Sean McConnell: Just One Song That Came the Quickest

Editor’s Note: Sean McConnell will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

“The quickest song I’ve ever written is the title track off of my newest record, Secondhand Smoke. For me, my favorite songs, and the ones I feel are my best, happen very quickly. They tend to be the ones that come out of nowhere, like they are already finished and are just trying to birth themselves into this world.

“‘Secondhand Smoke’ came to me while I was driving. I had just had an intense reunion with my father who I hadn’t seen in many years. I was thinking about our time together that day as well as our time together when I was a kid. The lyrics just started coming and coming and coming. I heard the chords that belonged underneath them and everything.

“By the time the idea entered my brain and I had arrived at my hotel, pulled out my guitar, and recorded a voice memo of it I think maybe 45 minutes had passed. Structure-wise and lyrically speaking, that voice memo sounds pretty much exactly like what you hear on the record. I’m grateful for it. It’s a song I know I’ll play for the rest of my life.” — Sean McConnell


Photo credit: Joshua Black Wilkins

Jessica Mitchell: Just One Song That Closed a Chapter

Editor’s Note: Jessica Mitchell will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

I was on my first writing trip to Los Angeles to try and write the last couple of songs for my first record. It was an array of different songs written over the course of five years so it was all over the place emotionally and storywise, but I liked that about it.

I got into a session on one of my last few days with an amazing writer named Matthew Puckett. He did everything from Broadway to film and TV writing and was definitely a new and exciting kind of writing partner for me. We talked about a lot of things, but mostly talked about a very tough and difficult relationship that had just ended, and that I had made a decision to stop putting myself in situations that weren’t healthy or that didn’t benefit my overall well-being as a woman.

“Rain for the River” was born, and very quickly. It flowed out of us. A beautiful piano backdrop with some of my favorite lyrics I’ve ever written with anyone.

We recorded a demo in the moment that turned out so raw and had this crack in my voice trying not to cry the entire time.

I remember listening back to it and thinking, This is it, this is the last song on the record. Not only just for the record, it felt complete and true for that chapter of my life.

I’ll never forget that.

Beth Rowley: Just One Song on the Rush of Attraction

Editor’s Note: Beth Rowley will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

“This is a song I wrote with Canadian singer/songwriter Ron Sexsmith. I was writing for my new album and decided to go on a trip for some inspiration. I emailed Ron and a few other friends I knew in Canada and booked to go on a writing trip. Our writing sessions were very relaxed and laid back. Ron is a genius writer. I’ve written with many people and there are very few writers like him. Even his rough ideas sound like the most beautiful finished songs. I had a few ideas up my sleeve but nothing finished. I’d been a longtime fan and knew we’d come up with something cool.

“I read one of the poems I’d written and he played a few chords on guitar. It didn’t take long for some to stick and after some lyric tweaks it was there. We chatted lots about life, music, relationships and what it meant to be in love. ‘Forest Fire’ is about passion and desire and the rush of attraction when you’re around someone new. The excitement and possibility and the pull towards someone. But it’s also about choice and responsibility. Before you let yourself go or be led, you have the choice to go along with it or not. Sometimes it can feel like we don’t have the choice, and that if we feel something it must be right. This song is about the rush and fire of passion but then on the flip side of that of taking responsibility and owning our choices and the effects they may have on others.” — Beth Rowley


Photo credit: Maria Mochnacz

Britain’s Got Bluegrass: August 2019

Get off your couch and go hear some live music with Britain’s Got Bluegrass! Here’s the BGS-UK monthly guide to the best gigs in the UK and Ireland in July.

Amadou & Mariam and Blind Boys of Alabama, 4 August, Cambridge

There are still day tickets available for the final Sunday of Cambridge Folk Festival and believe us when we say we’d pay the face price just for this single gig. Blending music by Amadou & Mariam and Blind Boys of Alabama, “From Bamako to Birmingham” is a special collaboration between two roots supergroups celebrating the African source of American gospel music, and it’s going to be a powerful closer to the festival. Of course, your £75 will also get you in to see Richard Thompson, Sarah Darling, Mishra, Jack Broadbent, Fisherman’s Friends, and many more acts, so consider it an utter bargain.


Amythyst Kiah, 14 to 29 August, nationwide

Having brought Newport Folk Festival to its feet alongside Rhiannon Giddens in Our Native Daughters, Amythyst Kiah arrives in the UK with her solo material. The Tennessee songstress has a devoted following in Britain – she’s played Celtic Connections, Edinburgh Jazz and Blues festival, and last year’s Cambridge Folk Festival – and here she’ll be visiting a whole host of venues across her 16 dates, from Wales and the West Country, London to the Midlands, Leeds, Manchester, and Glasgow.


Hoot and Holler, 23 August to 3 September, nationwide

In 2016, Mark Kilianski and Amy Alvey spent an entire year travelling around the US, living in a campervan, performing wherever they could. As Hoot and Holler, their resultant fiddle and guitar duo (although both are given to instrument-swapping) pays beautiful tribute to the old mountain music of the Appalachians, while incorporating their own contemporary songwriting. It’s old-time and new world combined, and it’s utterly captivating. You can catch it Newcastle, Padfield, Huddersfield, Liverpool, Sheffield, St Davids, as well as several dates in Northern Ireland where they’re appearing at the Appalachian and Bluegrass Festival in Omagh.


Prom 49: The Lost Words Prom, 25 August, Royal Albert Hall

The Lost Words was one of the bestsellers of 2018 — a beautiful illustrated book that combined the incomparable nature writing of Robert Macfarlane with the mesmeric drawing of Jackie Morris. Now as Prom 49: The Lost Words Prom, it’s found a second life as a musical project, one that has assembled a stellar crew of Britain’s greatest folk musicians including Karine Polwart, Kris Dreever and Beth Porter, as well as Senegal percussionist Seckou Keita. Inspired by the animals, birds, and landscapes from the book, they have created a series of “spell songs” intended to charm a vanishing world back into existence. This special Prom amps it up with full orchestra and the additional contributions of beatboxer Jason Singh, violinist Stephanie Childress and the National Youth Choir of Great Britain. There are lots of different price points to choose from — and of course if advance tickets sell out, you can always queue on the day for gallery or standing tickets, and do it the proper Promming way.


Tyler Childers, 28 August to 1 September, Brighton, Nottingham, & Salisbury

The Kentucky songwriter Tyler Childers has enjoyed such a sudden rise in popularity that you can now buy tickets to his 2020 UK tour (dates include the Manchester Academy and the Shepherd’s Bush Empire, if you’re interested). But there’s no need to delay your gratification that long. Just get yourself to The Haunt in Brighton on 28th August, or the Rescue Rooms in Nottingham on 29th — or head down to Salisbury for the End of the Road festival. He’ll be playing there alongside acts including Beirut and Michael Kiwanuka, in the wonderful surrounds of Larmer Tree Gardens.


Photo of Amadou & Mariam and Blind Boys of Alabama: Neil Thomson

Brit Pick: Curse of Lono

Artist: Curse of Lono
Hometown: London
Latest Album: 4am and Counting

Sounds like: War On Drugs by way of Cowboy Junkies: dark Americana with vivid lyrics and a brooding, almost Lou Reed vibe.

Why You Should Listen: Genre names have been done to death but how about “Amerigothic?” Bet you haven’t heard that one before. Throw in “cinematic” and “atmospheric” and you’ll be somewhere close to the sound of Curse Of Lono, who won this year’s Bob Harris Emerging Artist Award at the UK Americana awards.

Formed in 2015, the group took their name from the title of a Hunter S. Thompson novel. So is this gonzo music? Well, there are certainly plenty of references to drugs in the band’s early oeuvre. Lead man Felix Bechtolsheimer, grandson of billionaire Karl-Heinz Kipp (and brother of Laura, Olympic gold medallist in dressage), used their first album to exorcise his heroin addiction. And even as the band have abandoned their electronic edge and recorded much of their second album in Joshua Tree, California there’s a certain haunting sound that has stayed with them.

The six-piece’s new release, 4am and Counting, is an album of previously-recorded songs that takes you into their late-night world. Picture the scene. They’ve played a gig, are chilling out afterwards, and start jamming around their set list. This time there’s no pounding sound system or fancy production, just simple, analog recording gear. A couple of friends join in and together they turn familiar tunes into something completely different.

So the big electronic sound that came out of “Way to Mars” on As I Fell has, by the time the clock strikes 4am, been turned into something rootsy; pedal steel is provided by legendary session musician BJ Cole. On “Welcome Home” from another previous project, Severed, Bechtolsheimer’s blistering slide solo takes a step back to allow the harmonica to shout Americana from the rooftops. And it all feels like Curse of Lono’s true habitat.


Photo credit: Dani Quesada

Matt the Electrician: Just One Song Motivated by a Healthy Sense of Competition

Editor’s Note: Matt the Electrician will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

In 2007 I was asked to travel to Japan and play a tour of a dozen shows or so. It was my first time there, and actually only my second time out of the US — the first being a short drive into Vancouver, BC a few years earlier. In the subsequent years between, I have toured Japan nearly every year, with a total of 11 trips to date. But at the time, I was a newbie to international traveling, and filled with equal parts wonder and terror. My tour manager/booker/promoter was a man named Shuichi Iwami. I had met Shu a few years before in Austin, at SXSW, and he told me then that he would bring me to Japan someday. He kept his promise.

Shuichi lives in the city of Kure, which is very close to Hiroshima. A few days into the tour, we took a train to Osaka for a gig. When we exited the train station, it was raining, we were carrying guitars and suitcases, and I followed as Shuichi led the way, Mapquest in hand. We walked for what felt like a long time. And in what felt like circles. Eventually, as we started to really get wet, Shu turned to me and said, “I think I am lost. I do not know Osaka very well.” He then directed me to take a seat on the front stoop of a brownstone with the luggage, and said, “Wait here, I will go find the hotel, and then come back and get you.”

Only as he was nearly a block away, did it occur to me, that perhaps this was it. Maybe I now lived in Japan. Bear in mind that while this was not pre-cell phone era, it was pre-smartphone, so while in Japan my little flip phone (it didn’t take pictures either) was mostly useless. I sat on that stoop wondering what my new life in Japan would bring. I watched girls riding by on bicycles while holding umbrellas.

After a while, Shu returned and we walked to the hotel. While he was checking us in, I decided to check my MySpace page on the computer in the lobby. There was a message from my songwriter/bass playing friend Tom Freund. He asked what I was doing, I responded, “I’m in Osaka in the rain.” He wrote me back immediately. “If you don’t write that song right now, then I will.” So I went immediately up to my room and wrote my song, “Osaka in the Rain”

Most importantly, I wrote the song before Tom could write it. I beat him. And if history has taught us anything, it’s that songwriting is a competition, and the scoring is based on speed.


Photo credit: Allison Narro

Dan Whitener: Six of the Best Tips for Touring the UK

I love playing banjo in the UK. By the end of my latest British tour with Gangstagrass, I started thinking that next time I should stay for longer. Maybe I’ll get a Leicester flat.

Fortunately, Man About a Horse is heading out on our first UK tour. To help my bandmates adjust to the culture shock, I’ve identified a few key differences between our nations from observations during my time abroad. I hope this resource proves helpful to other touring bands and to the readers of the Bluegrass Situation. — Dan Whitener, Man About a Horse

The political system is different.

It’s important to be sensitive to the current political climate when you are a visitor, especially if you have to interact with large groups of people on a daily basis. What you should know is that there was a contentious vote in 2016 that stoked xenophobia, sowed distrust of government, drove a wedge between groups of citizens, and separated the country from the world community in a meaningful way. The country is still navigating the effects of this vote, as well as experiencing ongoing turbulence and the occasional unseating of high-ranking government officials.

How will Americans possibly understand what that’s like?

The green rooms are different.

The green rooms have tea. The hotels have tea. Every place has tea. Somewhere, a British scientist is working on a tea pipeline to have it come out of the tap. Which reminds me, washing your hands is an art that takes the better part of half an hour. The sink, or washbasin, has separate taps for hot and cold water, and you mix them to the perfect temperature in the basin, which you stopper and fill. This process serves as a reminder of why we don’t take baths in America.

These differences in your daily routine may slow you down, but you might find yourself becoming more contemplative while soaking your hands in a basin of hot tea.

The language is different.

Here in America, we sometimes make the mistake of thinking we speak a language called English. Having visited England, I can tell you that we do not speak English. Having visited Scotland, I can also tell you that they do not speak English. For instance, musicians use the word “gig” to refer to a show we’re going to play, but fans in the UK also use it to describe a show they’re going to see. This will only enhance your existing suspicion that everyone else has more gigs than you!

It’s always a good idea when visiting a foreign country to learn a few key words and phrases. This is true of the UK. To practice conversing like a local, you should first determine what’s on your mind, and then make sure not to say it.

The driving is different.

The UK is one of those places where you drive on the left side of the road. Accordingly, the driver sits on the right side, left turns are much easier, and sometimes I wake up from road naps disoriented and screaming about incoming traffic.

Calculating distance and gas economy can be confusing as well. The gas (called “petrol,” unless you’re using diesel) is sometimes measured in litres (not liters, unless it’s gallons), while distance is still measured in miles (unless it’s kilometres, not kilometers). All you need to know is that the venues are still as far apart as they need to be, according to the radius clause.

The crowd is different.

You may have some difficulty assessing the audience reaction. One time I played a show in England for a good-sized crowd who clapped for every song. However, not a single person danced. In fact, everyone plastered themselves against the back wall the entire time. At the end of the show, we went out to say hi, and asked if everyone had been having fun. “Oh, we did,” they reassured us, “but no one wanted to be the first to start dancing.”

You might also find it unsettling to not hear constant talking from the audience. They are doing something they call “listening.” You’ll get used to it.

You are different.

Remember not to blend in too much! British people may seem foreign and exciting to you, but in the UK, you are the stranger, which means you are foreign and exciting to them! So, instead of trying to perfect your British accent, just speak the way you normally do. The same goes for your music.

Imagine this: some British fans are already wild about American folk music without ever having heard an American musician play it in person. You get to play for a knowledgeable audience with fresh ears.


Editor’s Note: Man About A Horse are playing in the UK until 14 July. Get all of their tour dates here.

UK’s Black Deer Festival 2019 in Photographs

With Band of Horses headlining, and Billy Bragg getting all protest-y on us, the second of year of the Black Deer Festival more than lived up to the promise of the first. From its gloriously eclectic line-up – including brilliant sets from Fantastic Negrito, Kris Kristofferson, Yola, The Sheepdogs and Jerron “Blind Boy” Paxton – to its special partnership with Nicolas Winding Refn, screening restored vintage Americana films handpicked by the director of Drive, this was an event ready to flex its creative muscles. It even introduced a new Livefire stage, dedicated to cooking demos and BBQ contests.

Walking around Eridge Park you couldn’t get over spacious feeling, with the beautiful green hills of Kent rolling away in every direction. Despite increasing capacity to 10,000, Black Deer still feels like one of the most pleasant and laid-back festivals on the UK circuit. This should be no surprise given that its creators, Gill Tee and Deborah Shilling, worked on the late lamented Hop Farm Festival, which always put music first and commercial considerations second. Here’s hoping Black Deer will be around a long time — and in the meantime, revisit the fest in photographs.

 


Lede photo: Ania Shrimpton

The Show On The Road – Greg Holden

This week, our guest is Greg Holden — a Scottish-born singer-songwriter and pop hitmaker with a series of increasingly personal, poetically powerful, and politically charged albums.

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Greg Holden finds himself in an interesting spot. He’s a former major label artist who has taken himself off all social media and openly questions the need for the toxic digital society in which we’ve trapped ourselves. His songs “Boys in the Street” and “Hold on Tight” have been streamed nearly 26 million times. “Home,” the acoustic pop blockbuster he co-wrote for American Idol wunderkind Phillip Phillips, has been listened to more than 120 million times, but when you listen to these songs a little deeper, you discover a depth and introspection that is rarely found in mainstream pop music today.

ANNOUNCING: BGS Takeover at the Long Road Fest

BGS is thrilled to announce this year’s lineup for the Bluegrass Situation Takeover at the Long Road Festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

Performers will include Rose Cousins, Matt the Electrician, Jessica Mitchell, and Beth Rowley. In addition, the festival will feature a Nashville-style “In the Round” set at the BGS Songwriters Parlour.

The three-day festival will also offer performances from Rhiannon Giddens, Asleep at the Wheel, Suzy Bogguss, Sam Outlaw, John Paul White, Charley Crockett, and many others.

Get more information and purchase tickets here.