LISTEN: Kandle and Kendel Carson, “Only Love Can Break Your Heart”

Artist: Kandle and Kendel Carson
Hometown: Vancouver, British Columbia
Song: “Only Love Can Break Your Heart”
Album: Birds EP
Release Date: January 1, 2021

In Their Words: “As a ’90s kid surrounded by rock ‘n’ roll, I couldn’t help but fall in love with Neil Young. Many of his songs were the first I ever learned to play on guitar and his influence has always been a little bit present in my songwriting. Kendel Carson and I set out to do this project simply to bring a little joy into our lives and to those who choose to listen. These are dark times and often on a hard day, all I need to lift me up is a beautiful melody and a lyric I can relate to.” — Kandle


Photo credit: Jeff Mitchell

WATCH: Chris Jones & The Night Drivers, “We Needed This Ride”

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “We Needed This Ride”
Label: Mountain Home Music Company

In Their Words: “The song is a very recent one of mine that tells the tale of a romantic reunion on a long-anticipated road trip. The journey is more important than the destination in this case. This is the first song we’ve recorded with new Night Drivers Grace van’t Hof and Marshall Wilborn. Grace plays banjo in the band but doubles on ukulele on some songs, which is a little unusual for a bluegrass band, but I’m loving the texture it brings to some of our material. I thought it would be cool to really announce her presence by starting the song with a baritone uke rhythm vamp, which really gives it a different sound right off the bat. Then she switches to banjo midway through the song.” — Chris Jones


Photo credit: Sandlin Gaither

STREAM: Cathy Fink & Marcy Marxer, ‘WAHOO!’

Artist: Cathy Fink & Marcy Marxer
Hometown: Silver Spring, Maryland
Song: “High on a Mountain”
Album: WAHOO!
Release Date: October 11, 2019
Label: Community Music, Inc.

In Their Words: “The ukulele has as many Americana and roots music voices as the player has, and that’s what we’ve explored on WAHOO! From the Turlough O’Carrolan Irish piece ‘Morgan Megan’ to a bluesy version of Ola Belle Reed’s ‘High on a Mountain,’ we’re pushing the ukulele into places that are new and exciting and love creating unique combinations with uke and cello banjo, uke and guitar, baritone and tenor uke, uke and electric guitar, songwriting and vocals. Somehow, all of our musical worlds come together on this little four string piece of magic.” — Cathy Fink & Marcy Marxer


Photo credit: Irene Young

Kauai Folk Festival Will Celebrate Music of Hawaii and Beyond

Even for knowledgeable fans of folk music, the lineup of the Kauai Folk Festival offers plenty of artists to discover from Hawaii and beyond. Along with headliners like Taj Mahal’s Hula Blues Band and Peter Rowan’s My Aloha Bluegrass Band, the two-day roster also features Hawaiian music from Puka Asing, Wally Rita y Los Kauaianos, and more representing the diversity of Hawaiian traditional music.

With five stages running continuously, the lineup also includes Jonny Fritz, Blaine Sprouse, Ed Poullard, Reeb Williams & Caleb Klauder, Mike Bub, and many others. Meanwhile, Kauai Folk Workshops will offer instruction on guitar, fiddle, banjo, ukulele and mandolin, in addition to dance instructors teaching hula, square dance, swing, and two-step, and voice instructors teaching harmony singing, ballads, and Hawaiian song.

Festival director Matt Morelock fielded a few questions by email about the festival, slated for September 28-29 at the historic Grove Farm Museum in Lihue, on the southeast coast of Kauai.

BGS: What inspired the idea to create a folk festival in Kauai?

Morelock: For decades, Hawaiian music has stood on the periphery of the ‘folk’ genre. Its undeniable and indelible influence on all forms of American music deserves to be celebrated. We created the Kauai Folk Festival for such a celebration and invited all of our favorite performers, both local and continental, to sing, pick, dance, and meet one another in this tropical paradise.

When you are selecting artists, do you have a certain audience in mind? In other words, is there a common thread that runs through your lineup and/or your ticket holders?

We’ve attempted to represent the broadest swath of ‘folk’ music and musicians that we could find. From bluegrass to blues – from Cajun to country – we chose the best performers in as many genres as possible to illustrate the diversity of American folk music. The common thread is diversity. Artists were chosen for their enthusiasm and skill.

What have you learned about the process of booking festivals that has really surprised you?

We’ve learned that a worthwhile festival is one with a purpose. Hawaiian music and musicians are fighting against the expense and logistical complication of geographical separation as well as the mass perception of their music and culture as ‘foreign,’ when in truth Hawaiian music and culture is both a product of and strong influence on what we consider ‘American’ culture and music. We’ve learned that a higher purpose can confound the typical challenges that festivals face in finding an identity and audience.

For someone who has never been to Kauai, how would you describe it to them?

In addition to being GORGEOUS BEYOND BELIEF, Kauai is rural and cosmopolitan at the same time. There are more wild pigs than human beings living on this island. The natural beauty and local hospitality are legendary. You can book a hotel and rent a car here just like you can anywhere else in the U.S. Flights aren’t as expensive as you think. Beer is cheap. Fresh food and clean air are abundant. There’s really no reason NOT to visit!

In addition to interest from the locals, you will be hoping to attract people from the mainland as well. What are some of the amenities or unique qualities that will make this festival a destination event?

We’ve opted to keep festival admission affordable rather than spending time and resources on lodging and flight packages. We trust that Kauai Folk Festival attendees from the mainland won’t have trouble booking a flight, renting a car, and finding a hotel room. Kauai itself is a uniquity. The festival and the astounding Grove Farm Museum are an amenity. There’ll be a broad selection of spectacular local cuisine (plenty of accommodations for vegan/vegetarian/gluten-free diets), and extremely creative beverage and local juice options. We’re also ‘on call’ via www.kauaifolk.com to assist with any travel questions or complications!

What do you hope that attendees will take away from the Kauai Folk Festival experience?

We hope that Kauai Folk Festival fans will leave the event with a deeper understanding of the historical interconnectedness between Hawaiian culture and ‘mainland’ culture. In the production process, we are finding similarities and cross-influences on a daily basis!

LISTEN: The Weepies, “Backstreets”

Bruce Springsteen’s arena shows are legendary, yet his songs can be pared all the way down to just a few voices and a ukulele – as heard on this rendition of “Backstreets” by folk duo The Weepies. The poignant track is a centerpiece of an upcoming compilation album, Born to Uke, which recreates the rock star’s iconic Born to Run album on ukulele. Proceeds from the project will benefit Little Kids Rock, funding music education in underprivileged public schools. Ahead of the album’s release date of January 18, 2019, The Weepies’ Steve Tannen spoke about the new track.

The decision to cover a Springsteen song isn’t to be taken lightly, especially one from Born to Run. What kind of emotion were you hoping to capture in your recording of “Backstreets”?

Obviously the reason songs are great is that you can’t quite express the emotion any other way but the song. I’ll do my best knowing I’ll come up short. The key line for me is: “After all this time we find we’re just like all the rest, stranded in the park and forced to confess / to hiding in the backstreets.” It’s not just sad–it’s romantic, hopeful, and stark, and revelatory. Early friendship and disappointment can be transcendent. I connected to this as a 17-year-old, and I feel the same now as a dad. I think our spared down version reflects that.

To me, Springsteen is one of the best songwriters about dreams that don’t work out. When you think about the lyrics of “Backstreets” in particular, what sort of imagery comes to you?

The end of the night when I was alone in my teens–I see me and my friends late at night at diners and in cars. Most of those friends are gone or we all moved into a different place in our lives, split off from a few singular moments as teens. I like that I can revisit those moments through songs.

To some people, ukulele appears easy to play — but I imagine it could be tricky, even for seasoned musicians. What has been your experience in getting comfortable with that instrument?

We were given a Mya-Moe ukulele a few years ago that is fantastic. I’ve played guitar for decades, so it’s pretty natural. I definitely play uke like a guitar player though!

I believe that music in public schools was a saving grace for a lot of the Americana, bluegrass and folk community. Why is an organization like Little Kids Rock important for you to support?

Programs like this are like rain in the desert for bringing something holistic to schooling. Beyond reading and writing, the experience you take from school is holistic no matter what–you learn how to be a person, and what you need to do be happy or survive in society. Music and art are essential to getting me through life with some enjoyment and grace. The more of that that is in education, the better chance for a positive connection.


Photo credit: Robert Sebree

WATCH: Abbie Gardner, “Don’t Be Afraid of Love”

Artist: Abbie Gardner
Hometown: Jersey City, New Jersey
Song: “Don’t Be Afraid of Love”
Album: Wishes on a Neon Sign

In Their Words: “This song was the result of challenge called Real Women Real Songs, where 14 women across the U.S. endeavored to write a song a week for a year. The prompt ‘fear’ came up about 30 weeks into the project. I was a bit tired of all my feelings by then, so I grabbed the ukulele and wrote this little bluesy tune. I snagged the bass line from the album version of the song and developed a solo Dobro arrangement.

While making the record, I became enamored with the big empty room full of light next to the recording studio (Big Orange Sheep in Brooklyn). I remember thinking that it would be the perfect place to film a simple video with a live recording of just me and the dobro. Videographer Michael Croce had me run the tune about four times, while the original engineer from the CD (Chris Benham) recorded through a single condenser mic… the cable fed right through a hole in the wall to his studio next door!” — Abbie Gardner


Photo credit: Jeff Fasano