Charleston-based Doom Flamingo have risen to great heights since their initial recording sessions in May of 2018. They’ve released four new singles (the newest of which can be heard here), played their first live shows including a house-crumbling late night show in Atlanta during Umphrey’s McGee’s New Years run, and were named one of the standout new bands of 2018 by Jambase.

Picking up in 2019 where they left off, Doom Flamingo have just announced a partnership with booking agents and festival consultants, Midwood Entertainment. Rusty Cole, Head of Talent Division and Partner at Midwood couldn’t be more excited. Cole says of the band, “Once I saw them live, it was a no brainer. Doom Flamingo is something special and blows the roof off live! There will be a lot of great things to come-- this is not a flash in the pan.” The first fruit of this partnership is a string of Spring tour dates including stops in Brooklyn, Nashville, and Denver (see below for full tour listing). Band members Ryan Stasik (bass, Umphrey’s McGee), Kanika Moore (vocals), Ross Bogan (keys, RoBoTrio), Thomas Kenney (guitar, Terraphonics), Stuart White (drums), and Mike Quinn (saxophone) are preparing to bring their brand of synthwave to a number of new cities, giving audiences a first chance to hear what DF calls “Top Gun guitar riffs and Miami Beach poolside lounge vibes, all at once contrasted with dark-synth sounds eerily reminiscent of old John Carpenter films.”

In addition to new music and new tour dates, Doom Flamingo have been hard at work with Charleston’s Fatty’s Beer Works perfecting their first ever beer collaboration, which will be released at Charleston Pour House on April 27th. The new brew is a single malt, single hop India Pale Ale brewed with Golden Promise malt, Strata Hops, and industrial hemp. “Music and beer go hand in hand. Fatty's has long thought live music creates the atmosphere and vibe, and collectively brings together brand and patrons into a powerful force,” says David McClain, Founder and CEO of Fatty’s Beer Works. “The innovative and progressive music of Doom Flamingo creates the perfect platform and synergies to create wild and wonderful beer everyone enjoys together.”

Fans should also keep an eye out for the Doom Flamingo graphic novel, currently in production.

For more information, please visit https://www.doomflamingo.com/.

See Doom Flamingo on Tour:

1.11.19 - Richmond, VA - The Broadberry*

2.16.19 - Brooklyn, NY - Brooklyn Bowl*

3.29.19 - Nashville, TN - Mercy Lounge*

4.27.19 - Charleston, SC - Charleston Pour House^

5.4.19 - Hot Springs, NC - French Broad River Festival

6.20.19 - Denver, CO - Cervantes' Other Side**

*Umphrey’s McGee After-Party

**Umphrey's McGee Red Rocks Pre-Party

^Beer Release Celebration

Dunn, North Carolina, native Clint Alphin is set to release his fourth album, Straight to Marrow, on March 29th.  A collection of bluesy, folksy, and straightforward American roots music, Straight to Marrow finds Clint’s easy tenor vocals and down-home guitar picking entwined in his most eclectic album yet. Part of what makes Alphin’s new record ebb and flow with ease is producer Neilson Hubbard (The Apache Relay, Matthew Perryman Jones) and his careful song-by-song approach, allowing Clint’s skill set to shine as each new tune unfolds. Today, Glide Magazine premiered Straight to Marrow’s first single, “Out to California." Glide praises the release and notes that “Alphin explores moments in life that move you to the bone, as he embraces and celebrates risk taking and dream chasing.” Glide also nods to Hubbard’s work, noting that “the production is carefully constructed to suit each song.”

A finalist of Merlefest’s esteemed Chris Austin Songwriting Contest, Alphin moves from whimsy to heartache to reassurance with the ease that only a veteran writer can, and there are often secondary, deeper meanings behind even the happiest songs on this record. Clint says of mid-album track “Bless Your Heart”, “This is a rumination on a traditional southern turn of phrase that many of us are all too familiar with. Taken a little more earnestly, it’s a call for a little more peace, love, and understanding.”  Straight to Marrow closes with “Grandfather; Grandmother”, a vibrant, finger-picked ode to his grandparents, Jesse and Allene Alphin, who passed away in September of 2014, both in their 90’s. Clint found inspiration in memories and an interview with the pair while they were still around, some of which can be heard in the final moments of the record. Alphin finds solace in the album-closing number, remarking, “They were the most encouraging and true inspirations of my life, and I’m happy to have captured a bit of their essence here.”

Clint Alphin had a childhood epiphany while attending a Randy Travis concert, realizing immediately that he was meant to make music. Although he grew up in a musical family, there was always a looming idea in Alphin’s greater community that music was meant to be a hobby, not a career. As Clint puts it, “In that town, there aren’t a lot of models for how you can be a professional musician. The perception is that you’re either world famous, or you’re eating beanie weenies out of a can for your whole life.” That didn’t discourage his youthful dream, at least not enough.

Alphin tried his best to be a businessman with thoughts of following in the footsteps of his family who ran a second-generation meat and seafood distribution company. He even went as far as earning a business degree from UNC-Chapel Hill. But Clint found that his passion belonged elsewhere and decided to start paying his dues in the music industry. Hard work always pays off, and that hard work has won Clint the Telluride Troubadour contest at Telluride Bluegrass Festival 2017, twice gotten him to the Kerrville New Folk Competition finals, and earned him the title of Falcon Ridge Folk Festival Emerging Artist.  Not bad for a kid who decided not to take over the family business to pursue a childhood dream.

Catch Clint Alphin on tour:

January 22 - February 4 - Sundance Film Festival - Park City, UT

February 10 - Steve’s Guitars - Carbondale, CO

February 14 - Still Cellars Distillery - Longmont, CO

February 19 - WDVX Blue Plate Special - Knoxville, TN

February 23 - Commodore Grille - Nashville, TN

March 8 - Third Coast Comedy Club - Nashville, TN

March 21 - Bluebird Cafe - Nashville, TN

MerleFest, presented by Window World, is proud to announce new artist additions for MerleFest 2019: The Avett Brothers, Molly Tuttle, and Sean McConnell. The annual homecoming of musicians and music fans returns to the campus of Wilkes Community College in Wilkesboro, North Carolina, in the foothills of the Blue Ridge Mountains, April 25-28. MerleFest is pleased to welcome these three distinguished artists to the 2019 lineup.

The Avett Brothers: The Avett Brothers first made mainstream waves with their 2009 major label debut, I and Love and You, landing at #16 on the Billboard Top 200 and garnering critical acclaim from Rolling Stone, Paste, New York Times, Los Angeles Times, and Time. In 2012, The Carpenter hit #4 on the Billboard Top 200, while People, USA Today, and American Songwriter lauded the album, the band appearing on Jimmy Kimmel LIVE! twice in a few months' time. The eighth studio album, Magpie and the Dandelion, debuted at #5 on the Billboard Top 200 and the band performed on The Tonight Show with Jay Leno, The Late Show with David Letterman, and accompanied Chris Cornell for a Pearl Jam tribute on Late Night with Jimmy Fallon.

True Sadness, the record that followed, achieved The Avett Brothers’ highest career debut to date and dominated multiple charts. The Rick Rubin produced album hit #1 on Billboard’s Top Albums Chart, #1 Top Rock Albums Chart, #1 Digital Albums Chart, #3 on the Billboard Top 200 and scored two GRAMMY nominations. The Avett Brothers were inducted into the North Carolina Music Hall of Fame in 2016. 2018 brought the HBO premiere of “May It Last: A Portrait of the Avett Brothers,” a documentary co-directed by Judd Apatow and Michael Bonfiglio. Days after this debut, True Sadness launched to #3 on the iTunes Album Chart and #1 on the Rock Albums chart. In October of ‘18, The Avett Brothers debuted a new song, “Roses and Sacrifice,” live on Late Night with Seth Meyers and then released the track officially in November ‘18, Rolling Stone calling it a “joyous sing-along.” Also, in November of last year, the band headlined the Concert for Hurricane Florence Relief in Greenville, North Carolina, raising $325,000 to help those affected by Hurricane Florence. The Avett Brothers continue to be revered as one of the top folk-rock acts in the country and will perform on Sunday at MerleFest.

Molly Tuttle: Molly Tuttle speaks softly. Her voice is both lilting and lucid, and when she says that she wants to create music that is truly original and unmistakably hers, her quietness shifts into a steely audacity that’s charming and almost funny––she’s only 25 after all. But then you remember her songs and her playing. And it hits you: brash beautiful originality is exactly what Molly is doing. The 2017 release of her debut EP Rise further introduced Molly to a roots music audience who had already enthusiastically embraced and elevated her. Her 2017 and 2018 wins for IBMA Guitar Player of the Year were history-making as the first woman to be nominated for the honor. The accolades kept coming in 2018 when Folk Alliance International’s International Folk Music Awards awarded her Song of the Year for her song “You Didn’t Call My Name,” and she was named Instrumentalist of the Year by the Americana Music Association. With all of this recognition, it might be easy to forget that Tuttle has yet to release a full-length album. Her eagerly-anticipated debut album is scheduled to be released in early 2019 on Compass Records. Molly Tuttle will make her MerleFest debut on Saturday afternoon.

Sean McConnell: “I think embracing the blurry lines is a sign of getting older and just having more life experience,” Sean McConnell says. “It can be healthy to break your own boxes.” Sean is home in Nashville, reflecting on the path he’s taken to recording Secondhand Smoke, his 13th album. A cohesive collection of modern folk music, Secondhand Smoke asks provocative questions about how we become who we are, what and whom we love, and the growth, pain, and freedom that come with accepting that some answers might elude us forever.

Tim McGraw, Martina McBride, Brad Paisley, Brothers Osborne, and more have all recorded his songs. Sean earned his first Number 1 single on the country charts in 2018 with Brett Young’s delivery of “Mercy,” which the two co-wrote. As a performer, he packs listening rooms and quiets unruly bar crowds. His sound––a warm tenor painting vivid stories over acoustic guitar often cushioned by keys or other strings––has prompted a diverse range of music scenes from the storied Boston folk community to Texas’s defiantly self-sovereign camp to warmly claim Sean as one of their own. “My payoff is just making the music,” Sean says, then smiles. “Everything else is bonus.” Sean McConnell performs on Friday at MerleFest.

“We are extremely excited to be adding these artists to an already stellar lineup for 2019. They represent the diverse talent that MerleFest is famous for,” says Ted Hagaman, Festival Director. The three artists announced today join over 75 artists initially announced in November via Rolling Stone Country and the second wave of artists announced last month. Headliners include Wynonna & The Big Noise, Keb’ Mo’, The Earls of Leicester, Sam Bush, Tyler Childers, Brandi Carlile, and Peter Rowan and The Free Mexican Air Force with Los Texmaniacs. The Late Night Jam presented by The Bluegrass Situation will be hosted by Chatham County Line. In addition to the above mentioned artists, the following will be performing at MerleFest ‘19:

American Aquarium, Andy May, Ana Egge & The Sentimentals, AZTEC SUN, Banknotes, Bob Hill, Cane Mill Road, Carol Rifkin, Carolina Blue, Catfish Keith, Charles Welch, Dailey & Vincent, David LaMotte, Dirk Powell Band, Donna the Buffalo, Driftwood, Elephant Sessions, Elizabeth Cook, Ellis Dyson & The Shambles, Gordie MacKeeman & His Rhythm Boys, Happy Traum, Irish Mythen, Jack Lawrence, Jeff Little Trio, Jess Morgan, Jim Avett, Jim Lauderdale, Joe Smothers, Jontavious Willis and Andrew Alli, Junior Brown, Junior Sisk, Larry Stephenson Band, Laura Boosinger, Lindi Ortega, Mark Bumgarner, Mark & Maggie O’Connor, Maybe April, Michaela Anne, Mile Twelve, Mitch Greenhill and String Madness, Nixon, Blevins, & Gage, Pete & Joan Wernick and FLEXIGRASS, Presley Barker, Professor Whizzpop!, Radney Foster, Roy Book Binder, Salt & Light, Scythian, Shane Hennessy, Si Kahn & The Looping Brothers, Steve Poltz, T. Michael Coleman, The Black Lillies, The Brother Brothers, The Gibson Brothers, The Harris Brothers, The InterACTive Theatre of Jeff, The Kruger Brothers, The Local Boys, The Trailblazers, The Waybacks, Todd Albright, Tom Feldmann, Tony Williamson, Valerie Smith & Liberty Pike, Wayne Henderson, Webb Wilder, and Yarn.

Additional performers for MerleFest 2019 will be announced in the coming months. The lineup and performance schedule are accessible via MerleFest.org/lineup

Tim O’Brien recently announced a headlong leap back into traditional bluegrass with his new full-length album, Tim O’Brien Band. Due for release on March 15, 2019, Tim O’Brien Band, the title a sly nod to traditional music’s often eponymous band names, is a collection of not just old-school leaning music, but also of world-class musicians perfectly aligned in intention and ability. In addition to Tim, Mike Bub (bass), Shad Cobb (fiddle), Jan Fabricius (vocals/mandolin) and Patrick Sauber (banjo/guitar) make up this unstoppable band, who, from recent live performances, may be familiar to Tim O’Brien fans. Tim says, “This crew has the potential to make ten more records together and never reach the limit of the possibilities.” The only guest on the recording is O’Brien’s Hot Rize bandmate Bryan Sutton, who lends his distinctive guitar playing to two tracks.

Tim O’Brien Band is definitely a bluegrass record. That is to say, a bluegrass record that’s as much influenced by tradition as it is by Tim’s folklorist nature which he’s become known for. Of the five original songs on the record, O’Brien wrote two by himself. Jan Fabricius, Shawn Camp, and The Black Keys’ Dan Auerbach contributed to the remaining three. The rest of the record is comprised of songs hewn from a number of Tim’s influencers, old friends, and contemporaries. Notable tracks include the album opener, “Diggin’ My Potatoes”, a blues-turned-bluegrass number learned from Big Bill Broonzy, a Chicago musician from the 1940s and a favorite of Tim’s, “Beyond”, a gospel version much like “Ghost Riders in the Sky” co-written with Shawn Camp, and “Bolero-meets-Klezmer” instrumental “La Gringa Renee”, a mandolin-driven ode to Tim’s partner Jan Fabricius. Then, there’s Tim’s minor-key rendition of Woody Guthrie’s “Pastures of Plenty”. An urgent song about standing up for migrant workers in the 1940s, Guthrie’s lament may be as important now as it’s ever been. Tim realizes that, remarking, “Singing his [Woody’s] words can't hurt in these times, as the same story continues in the USA.” The songs of Tim O’Brien Band are as diverse and playful as the records of Tim’s past, but this new era is a touch more earnest and urgent without losing the merriment that fans know and love.

About Tim O’Brien:

Born in Wheeling, West Virginia on March 16, 1954, Grammy-winning singer-songwriter and multi-instrumentalist Tim O’Brien grew up singing in church and in school, and after seeing Doc Watson on TV, became a lifelong devotee of old-time and bluegrass music. Tim first toured nationally with Colorado bluegrass band Hot Rize, who last year marked 40 years as a band. Kathy Mattea scored a country hit with his song Walk The Way The Wind Blows in 1986, and soon more artists like Nickel Creek and Garth Brooks covered his songs. Over the years, Tim has collaborated with his sister Mollie O’Brien, songwriter Darrell Scott, and noted old-time musician Dirk Powell, as well as with Steve Earle, Mark Knopfler, Bill Frisell, and Steve Martin.

For more information, please visit https://timobrien.net.

On tour:

02/22/19 KBA Wintergrass / Wichita, KS / Tim O’Brien with Jan Fabricius

02/23/19 KBA Wintergrass / Wichita, KS / Tim O’Brien with Jan Fabricius

03/15/19 Chickie Wah Wah / New Orleans, LA / Tim O’Brien Band

03/21/19 Jefferson Center / Roanoke, VA / Lunasa feat. Tim O’Brien with Jan Fabricius

03/22/19 Purple Fiddle / Thomas, WV / Tim O’Brien with Jan Fabricius

03/23/19 Music and Art at Oak Glen / New Cumberland, WV / Tim O’Brien Band

03/24/19 Mountain Stage / Charleston, WV / Tim O’Brien Band

03/25/19 Lyric Theater / Woodsongs Radio Hour : Lexington, KY / Tim O’Brien Band

03/27/19 City Winery / Chicago, IL / Tim O’Brien Band

03/28/19 Stoughton Opera House / Stoughton, WI / Tim O’Brien Band

03/29/19 Dakota - Minneapolis, MN / Tim O’Brien Band

03/30/19 The Caribou Room / Nederland, CO / Tim O’Brien Band

03/31/19 The Armory / Fort Collins, CO / Tim O’Brien Band

04/03/19 Missouri Heights Schoolhouse / Carbondale, CO / Tim O’Brien Band

04/04/19 Sheridan Opera House / Telluride, CO / Tim O’Brien Band

04/05/19 Public House / Crested Butte, CO / Tim O’Brien Band

04/06/19 Warren Station Center for the Arts / Keystone, CO / Tim O’Brien Band

05/25/19 Gathering in the Gap / Big Stone Gap, VA / Tim O’Brien Band

05/26/19 The Grey Eagle / Asheville, NC / Tim O’Brien Band

05/28/19 The Station Inn / Nashville, TN / Tim O’Brien Band

06/01/19 The John Hartford Memorial Festival / Morgantown, IN / Tim O’Brien Band

Cumberland Music Collective is proud to announce its acquisition of Nashville’s premier acoustic music agency, KCA Artists. CMC will continue to book legendary acts, such as The Seldom Scene, Radney Foster, Blue Highway, and The Fairfield Four, in addition to greatly diversifying their roster.

“With CMC, we now have an opportunity to create a larger tent; offering many different styles of music to a wider audience. This will be a new kind of touring music company that we expect will offer opportunities for unlimited growth; for both artists and agents alike for years to come,” says Lee Olsen, President and Senior Agent at Cumberland Music Collective. New additions to the roster include motor-mouthed rapper, Twista, R&B powerhouse, Nivea, and female vocal group superstars, Danity Kane. See CMC’s full roster below.

Lee Olsen spent two decades as an agent at Keith Case Artists and does not take the responsibility of carrying this torch lightly. "First, I have to thank Keith Case for his generous help in getting CMC off the ground. KCA Artists has been a leader, for many years, in the acoustic music field; representing such legends as Alison Krauss & Union Station, John Hartford, Guy Clark, Townes Van Zandt, Gillian Welch and many more. I have been honored to work there for over 20 years.”

In addition to Olsen, the existing team from KCA is staying on board. Andrew Bestick will continue as an agent in addition to his new role of Vice President. Case’s former Agent Assistant, Jess Mosby, will have her own roster as an agent at CMC. Rounding out the team is Agent Assistant, Anna Dietz, making Cumberland Music Collective very familiar to artists and talent buyers who’ve worked with them previously.

CMC

1025 17th Avenue S, 2nd Floor

Nashville, TN 37209

615-327-4646, ext. 206

www.cmcartists.com

Roster:

Blue Highway

Danity Kane

Dumblonde

Ellis Dyson & The Shambles

J Holiday

June's Diary

Maybe April

Mike Henderson

Mike Jones

Nivea

Oliver Bates Craven

Omarion

Post Road

Radney Foster

Ramblin' Jack Elliott

SHEL

The Campbell Brothers

The Fairfield Four

The Mulligan Brothers

The Seldom Scene

The Slocan Ramblers

Twista

Zach DuBois

Tim Bluhm is set to release his new full-length solo album, Sorta Surviving, on March 29, 2019. A gentle departure from his usual California-Soul sound of the Mother Hips, Sorta Surviving finds Bluhm living out his classic country musical dreams. Produced by Widespread Panic’s Dave Schools and anchored by all-star band members Jesse Aycock (guitar, vocals) and Jason Crosby (piano, violin, organ), and Nashville session legends Gene Chrisman (drums) and David Roe (bass), Bluhm’s new album was recorded at Cash Cabin Studios in Hendersonville, TN. “Recording in that space with those guys was like a dream come true for me,” says Bluhm. “The depth of knowledge they walk around with in their heads is amazing, and you know you can trust the musical choices they’re making.” Today, Jambase premiered the video for “Where I Parked My Mind”, an up to date representation of a night on the town and its repercussions. Director Tim Duggan tells Jambase, “People start their night expecting to have the time of their lives and often they try to portray that kind of ecstasy with phones and social media. The reality is almost always less glamorous.” See the video here.

Bluhm is no newcomer when it comes to country’s heralded greats. Tim discovered Merle Haggard around the same time he co-founded The Mother Hips, a band that Rick Rubin signed to American Records on the strength of their debut album. Their then new label-mate was one of the most legendary of them all. “When we signed with American, the label had just put out Johnny Cash’s first Rick Rubin-produced album, which was actually recorded at the Cash Cabin,” says Bluhm. “I got to meet and hang with Johnny a couple times back then, and after that, we opened for him at The Fillmore in San Francisco. I was so impressed with his presence. He definitely lived up to his legend in real life, and he made a big impression on me.”

Those impressions live on through the songs of Sorta Surviving, of which all but three are Tim Bluhm originals. The record opens with “Jesus Save A Singer”, a shuffle fit for even the dustiest honky tonk. “No Way To Steer” follows, exploring the mindset of a headstrong, perpetually-leaving troubadour. A few songs in, listeners will have an immediate grasp on what this album is all about; Not just old-school country music, but also a collection of sometimes humorous narratives, painting vivid pictures of each song’s characters, whether it be the dustbowl farmers, oilmen, fugitive outlaws or traveling singers. “There’s more humor in these songs than anything else I’ve written before,” says Bluhm, “but it’s all very tongue in cheek. That’s a country music tradition.” In addition to the Bluhm-penned numbers, Sorta Surviving is also peppered with choice cover songs “Del Rio Dan”, made popular by the Everly Brothers, Johnny Cash’s 1958 hit, “I Still Miss Someone”, and album-closer, Merle Haggard’s waltzing “Kern River”.

“As a kid growing up in LA, I never even heard of country music,” reflects Bluhm, “but I remember flipping around the radio dial and coming across ‘The Gambler’ by Kenny Rogers. It was a song that just completely transcended genre. It was no more ‘country’ than Mark Twain was ‘country.’ It was a simple, timeless story set to music, and that’s what I’ve ultimately aspired to make myself.”

About Tim Bluhm:

Ever curious and wildly prolific, Bluhm simultaneously released a slew of his own solo and collaborative projects throughout his time with the Mother Hips, a band he co-founded while still a student at Cal State Chico. In 2013, he helped launch Nicki Bluhm & The Gramblers, serving as both mentor and music director for the group, which was fronted by his then-wife. The band performed on national TV, racked up millions of views on YouTube, and played festivals from Bonnaroo and Newport Folk to Hangout and Mountain Jam before Tim and Nicki ultimately parted ways in 2015. Outside of The Gramblers, Bluhm also collaborated with The Grateful Dead’s Mickey Hart and Bill Kreutzmann among others and opened up Mission Bells Studio in San Francisco with fellow California favorite Jackie Greene and engineer Dave Simon-Baker. There, he produced albums for a wide variety of bands and welcomed luminaries like Phil Lesh, Josh Ritter, Los Lobos, and Jonathan Richman for recording sessions. As if that wasn’t enough to keep him busy, Bluhm and the Hips also launched the Hipnic, an intimate and immaculately-curated music festival that’s been held annually amongst the towering redwoods of Big Sur for more than a decade.

Catch Tim Bluhm on tour:

March 29 - The Chapel - San Francisco, CA

March 30 - The Siren - Morrow Bay, CA

March 31 - McCabe’s Guitar Shop - Santa Monica, CA

April 5 - Chico Women’s Club - Chico, CA

April 6 - Harlow’s - Sacramento, CA

Today is Del McCoury’s 80th birthday. And to celebrate, DelFest, a production of McCoury Music and High Sierra Music, is announcing the following lineup additions to the 12th annual festival: Tyler Childers, Sam Bush, Yonder Mountain String Band, Keller Williams’ PettyGrass feat. The Hillbenders, The SteelDrivers, Joe Craven & The Sometimers, The Larry Keel Experience, Frank Solivan & Dirty Kitchen, Kitchen Dwellers, Lindsay Lou, Front Country, Pixie & The Partygrass Boys, and Marty O’Reilly & The Old Soul Orchestra.

Previously announced acts include festival hosts, The Del McCoury Band and The Travelin’ McCourys, along with The String Cheese Incident, Trampled by Turtles, Railroad Earth, I’m With Her (Sara Watkins, Sarah Jarosz, Aoife O’Donovan), The Marcus King Band, Billy Strings, Sierra Hull, Gibson Brothers & The Mockingbird Band, Dré & The Gospel Collective, and The Broomestix. The initial lineup, and the additions announced today, reflect why Paste Magazine called DelFest “a music festival that finds just the right balance between roots and branches” -- read the 2018 fest recap here.

DelFest 2019 will take place May 23-26, 2019, and once again be held at the beautiful Allegany County Fairgrounds in Cumberland, Maryland. The festival originated from the desire to create a family-friendly music festival celebrating the rich legacy of McCoury music while creating a forum for world-class musical collaborations and to showcase fresh new talent with a down-home feeling. Produced in association with High Sierra Music, the 12th Annual DelFest will offer a quality festival experience stamped with the unique McCoury touch. Nestled along the Potomac River in the scenic Appalachian Mountains, and personally chosen by Del, the Allegany County Fairgrounds in Cumberland, MD (2.5 hours from Baltimore and D.C.) serves as the perfect location for DelFest. The fairgrounds are conveniently located near four major airports and can be easily reached by rail or road. The city of Cumberland, MD, is a welcoming host offering multiple hotel options, a charming downtown, and great amenities that include biking, a steam train engine and museum, and top-notch dining.

In addition to traditional stage sets by these world-class artists, attendees can once again expect to see one-of-a-kind collaborations, special guest sit-ins, various tributes to Del McCoury and his musical legacy, intimate appearances, and late night indoor performances and picking sessions. DelFest will be immediately preceded by a 3-day music academy hosted by The Travelin’ McCourys and friends. DelFest Academy, which takes place May 19-22, provides all levels of musicians an opportunity to learn from some of the best pickers in the world.

Four-day general admission festival tickets (payment plans available) are on sale at www.delfest.com.

Bluegrass royalty, Del McCoury Band, will headline the 15th Aiken Bluegrass Festival on May 10th & 11th in Aiken, SC. The two-time GRAMMY winner, celebrating his 80th birthday this year, is at the top of a bill that brings the three-stage festival back to the roots of bluegrass, while simultaneously celebrating the bright future of the genre. The full lineup includes red-hot Billy Strings, Keller Williams’ string band collaboration, Keller and the Keels, the 14th ABF appearance of Larry Keel Experience, hard-driving Horseshoes & Hand Grenades, groovy and soulful Cris Jacobs, the dynamic voice of Lindsay Lou, and rowdy North Carolinians, Town Mountain.  Brad Parsons & Starbird, Kitchen Dwellers, Tenth Mountain Division, Kyle Tuttle Band, Benny Galloway, Artist-at-large Zebulon Bowles, DJ Bontzilla, and Doug & The Henrys round out the lineup. In addition to performing, Benny Galloway will return as main stage emcee, along with new emcee, Kyle Tuttle.

The Aiken Bluegrass Festival is known for unique collaborations and this year is no exception as Billy Strings' Psychedelic Circus returns with help from the Cris Jacobs Band. In addition, ABF will host Terrapin Mountain for the “Old and In The Way” tribute, a special-guest-loaded full band set from Kyle Tuttle, and the new and improved Campfire Stage, hosted by Benny Galloway, will host performances right in the campground.

The festival will be held at the Western Carolina State Fairgrounds (561 May Royal Drive in Aiken, SC) and is conveniently located close to many major cities; a less than 30-minute drive from Augusta, 2.5 hours from Atlanta and Charleston, and 3 hours from Asheville. On-site tent camping is available, as well as a deluxe RV area with power, water, and sewer. Primitive RV sites (no hookups) are also available. For those not wishing to camp, the city of Aiken has many lodging options at a variety of price points. For more information on camping, which is separately ticketed, please visit the ticketing tab on the ABF website.

The kid's area, a festival favorite for many families last year, is back again with an expansion of the bouncy house playground, providing additional activity areas for music fans of all ages.

Stay tuned for a complete list of food and drink vendors, satisfying vegans to carnivores, and details on the craft vendors that will be on-site. Applications are now being accepted, click here for more information.

Gates to the fairground open at 10 am and main festival gates will open at 2 pm on Friday, May 10th.

Tickets are on sale now at www.loveabf.com and in the Aiken area at The Alley Downtown Taproom. Buy early to take advantage of Early Bird pricing on GA wristbands as pricing increases after Feb. 14th. A limited number of LOVE VIP packages are available, perks include early entry (Thursday) camping, 2 private cash bars, side stage viewing areas, a backstage Bloodys & Brunch event (with an acoustic performance and a catered meal/open bar), and a VIP-only screen printed festival poster.

More about the Aiken Bluegrass Festival:

The Aiken Bluegrass Festival was started 15 years ago by Steve and Jeannie Groat as a fundraiser for a local therapeutic horseback riding program, Star Riding. We are happy to continue that tradition this year with our partnership with Great Oak Therapeutic Riding. Since its inaugural year, the festival has twice outgrown its confines and now finds its home at the Western Carolina State Fairground. ABF has brought an array of bluegrass artists to Aiken through the years including Peter Rowan, Old Crow Medicine Show, The Infamous Stringdusters, and Greensky Bluegrass. Aiken Bluegrass Festival has its roots in traditional bluegrass and this year’s lineup boasts a bridge from bluegrass founder Bill Monroe to current and future superstars.

Luck Reunion, the flagship festival of Luck Productions, is pleased to announce the 2019 lineup for the annual event taking place at Willie Nelson’s “Luck, TX” on Thursday, March 14th. Along with presenting sponsor Southwest, the boutique collective unveiled the diverse artist roster as part of the Lucky Draw Live ticketing event hosted at the iconic Cactus Cafe and presented in partnership with KUTX.

Lucky Draw Live was the third installment of Luck Reunion’s fan-forward ticket buying initiative; offering fans the opportunity to buy tickets in-person, in addition to an intimate performance from Hayes Carll and Southwest: On The Rise to Luck 2018 winner, Thomas Csorba.

Anchored by a performance by Willie Nelson & Family, the 2019 Reunion will showcase more than 40 artists representing a wide swath of genres across five stages. The World Headquarters Stage, situated outside of Nelson’s famed “Headquarters” haunt will feature acts such as Shakey Graves, Steve Earle & The Dukes, Lukas Nelson, and more; while the Sources Stage will host a full female roster headlining Mavis Staples and will feature kick-ass ladies including Brandy Zdan, Mountain Man, Courtney Marie Andrews, Yola, and more. Nathaniel Rateliff will return to Luck with an intimate set on the Chapel Stage, preceded by artists including Cedric Burnside, Nicole Atkins & Jim Sclavunos, and The Cactus Blossoms; and the crowd-favorite Revival Tent will welcome celebrated acts such as Strand Of Oaks, Langhorne Slim & The Law, and Low Cut Connie. In true Luck fashion, surprise special guests will join Jade Jackson on the Saloon Stage lineup.

Lineup:

WORLD HEADQUARTERS STAGE

Willie Nelson & Family

Steve Earle & The Dukes

Shakey Graves

Lukas Nelson & Promise Of The Real

The Marcus King Band

Matthew Logan Vasquez

Illuminati Hotties

Particle Kid

Paula Nelson & Jesse Dayton

Southwest® Artist On The Rise

SOURCES STAGE

Mavis Staples

Mountain Man

Courtney Marie Andrews

Haley Heynderickx

Angie McMahon

Yola

Sunny War

Brandy Zdan

REVIVAL TENT

Hayes Carll

Strand Of Oaks

Langhorne Slim & The Law

Low Cut Connie

The Nude Party

Quaker City Nighthawks

Thomas Csorba

E.B. The Younger

Logan Ledger

CHAPEL STAGE

Nathaniel Rateliff

Cedric Burnside

Nicole Atkins & Jim Sclavunos

The Cactus Blossoms

Dylan LeBlanc

J.S. Ondra

Billy Strings

Lola Kirke

Waylon Payne

High Sierra Music Festival saved a lengthy list of legendary artists and burgeoning up-and-comers for their second round of lineup announcements. Taking place in beautiful Quincy, CA, on July 4-7, HSMF is proud to include improv-rock favorites Umphrey’s McGee, festival veterans Leftover Salmon, funk powerhouse quartet The New Mastersounds, and the beautiful songs and harmonies of Mandolin Orange in their 2019 lineup. The McCoury Family, AKA the first family of bluegrass, will also grace the festival with a number of different sets from The Del McCoury Band, Del & Dawg (Del McCoury and David Grisman), and The Travelin’ McCourys. Luther Dickinson, along with Birds of Chicago and Sharde Thomas, will present his new project, Sisters of the Strawberry Moon and Reid Genauer will collaborate with Dan Lebowitz, Danny Eisenberg, members of Assembly of Dust, and more. BIG Something, The Lil Smokies, Songhoy Blues, Joe Craven & the Sometimers, Amo Amo, Marty O’Reilly & The Old Soul Orchestra, and Let’s Be Leonard round out what is sure to be one of the High Sierra’s best lineups yet.

Congratulations to The Travelin’ McCourys on their GRAMMY win for “Best Bluegrass Album,” announced today in Los Angeles, CA. The band’s eponymous debut album was released on May 25th of last year after decades of playing-- the GRAMMY award pointing to both the band’s work ethic and their innovative style of bluegrass which honors the genre’s tradition and drives it forward. In the acceptance speech Rob McCoury thanked Del and Jean McCoury, saying “without them, none of this would have happened.” And it’s true; few, if any, have blazed a musical path for their children the way Del has. Taking the torch, the Travelin’ McCourys have proven that not only are they worthy; they’re comfortable blazing a trail of their own. Earlier this month, Ronnie and Del McCoury spoke to Billboard about the nomination, the origins of the band, and more-- read the interview here.

The McCoury brothers-- Ronnie (mandolin) and Rob (banjo) -- were born into the bluegrass tradition. Talk about a source abundant and pure; their father, Del, is among the most influential and successful musicians in the history of the genre. Years on the road with Dad in Del McCoury Band honed their knife-edge chops and encouraged the duo to imagine how traditional bluegrass could cut innovative pathways into 21st-century music.

With fiddler Jason Carter, bassist Alan Bartram, and latest recruit Cody Kilby on guitar, they assembled a group that could take what they had in their DNA, take what traditions they learned and heard, and push the music forward. In fact, the band became the only group to have each of its members recognized with an International Bluegrass Music Association Award for their instrument at least once. There were peers, too, that could see the McCourys’ brand of bluegrass as both historic and progressive. Rock and Roll Hall of Fame inductees, The Allman Brothers Band, improv-rock kings Phish, and jamband contemporary Keller Williams were just a few that formed a mutual admiration society with the ensemble. The members of Travelin’ McCourys who also share duties in Del McCoury Band have now won three GRAMMY awards including Del’s two previous wins for Best Bluegrass Album. This win brings Cody Kilby’s GRAMMY Awards total to five after four wins during his time in Ricky Skaggs and Kentucky Thunder.

The Travelin’ McCourys is a brilliantly executed set overflowing with inventive style, stellar musicianship, and, of course, plenty of burnin’ grass, the 14-song collection is a true culmination of their decades-long journey. From the headwaters of Bill Monroe and the waves of Jerry Garcia to a sound both rooted and revolutionary, soulful and transcending that belongs only to the Travelin’ McCourys.

“The album definitely shows what we’ve evolved into as a band. And, it’s a pretty good representation of what’s happening with the whole genre,” says Ronnie. “The old bluegrass material is something I love but it’s been done many times. We’re forging ahead with our own sound. That’s what you have to do to make it all work.”

On Feb.13th, The Travelin’ McCourys will celebrate Del McCoury’s 80th birthday at the “Grand DEL Opry” alongside Marty Stuart, Sam Bush, Bela Fleck, Vince Gill, Old Crow Medicine Show, Dierks Bentley, and more. After the Opry, the band hits the road for a headlining tour including a number of The Grateful Ball dates (with Jeff Austin Band). Festival-wise, catch the band at Winter WonderGrass, DelFest, High Sierra Music Festival, ROMP, Rhythm & Roots, and more.

Listen to the GRAMMY-winning album here. For more information on The Travelin’ McCourys, please visit their website.

On tour:

February 13 - Nashville, TN - Grand DEL Opry

February 22 - Panama City Beach, FL - Bourbon, Beer, & Butts

February 23 - Huntsville, AL - Tangled String Studios (early & late show)

February 27 - Omaha, NE - The Waiting Room**

February 28 - Springfield, MO - Outland Ballroom**

March 1 - Louisville, KY - Zanzabar**

March 2 - Cincinnati, OH - Memorial Hall OTR**

March 3 - Ferndale, MI - Otus Supply

March 5 - Benton Harbor, MI - The Livery**

March 6 - Cleveland, OH - Beachland Ballroom & Tavern**

March 7 - Bloomington, IN - The Bluebird Nightclub**

March 29-31 - Olympic Valley, CA - Winter Wondergrass

**with Jeff Austin Band; together presenting The Grateful Ball

For more 2019 dates, please visit http://www.thetravelinmccourys.com/tour/

Sisters Leah and Chloe Smith, known musically as Rising Appalachia, are proud to announce their new full-length album Leylines, releasing May 3rd, 2019, and the album’s first single “Harmonize” releasing today. Leylines, the band’s seventh studio album, was produced by Joe Henry—the album title alluding to the concept of invisible lines believed to stretch around the world between sacred spaces, bonded by a spiritual and magnetic presence. That deep sense of connection is key to understanding Rising Appalachia as a whole. The video for “Harmonize”, the first single from Leylines, premiered today at Rolling Stone.  "We wrote ‘Harmonize’ as a love song and a rite of passage into a higher form of that love,” Rising Appalachia note. “It’s about the calling forth of truth, inspiration, fantasy, and honesty from the depths of a person.” Rolling Stone says the track “highlights their brand of acoustic folk and the natural vocal interplay.” Watch/listen here.

For the ten-day recording session in Marin County, CA, Rising Appalachia called on legendary producer Joe Henry, along with longtime band members David Brown (stand-up bass, baritone guitar) and Biko Casini (world percussion, n’goni) and two new members, West African musician Arouna Diarra (n’goni, talking drum) and Irish musician Duncan Wickel (fiddle, cello) to bring new life to the band’s blend of world music laced with their own southern roots, creating an inviting folk album. Although Leah and Chloe Smith consider their voices as their primary instrument, Leah also plays banjo and bodhran on the album, while Chloe plays guitar, fiddle, and banjo. Special guests on Leylines include folk hero Ani DiFranco, soulful songwriter Trevor Hall, and jazz trumpeter Maurice Turner.

Leylines runs the gamut with standout songs, all of which are freshly inspired and inspiring. “Cuckoo” brings together banjo, West African n’goni, and Irish fiddle, to tackle the old-time Appalachian fiddle tune with a driving fervor. The uplifting and simple “Sunny Days” brightens the day with no more than the Smith sisters’ blend of voices and basic backbeat hand claps for percussion. Rising Appalachia’s “longtime favorite” Ani DiFranco contributes her legendary vocal stylings to “Speak Out”, a musical urge to protect the American South’s diversity, culture, and environmental wealth from the negative impact of consumption and capitalism in its modern age.

“With some of our original songs, it’s a reflection of the times. We’re folk singers and we consider this a folk album, so there’s a lot in there. There’s word of politics, of being women in the music industry, as well as a lot about our lives on the road.” Last year, the band released a duo version of “Resilient”. NPR praised the track as an “uplifting, original folk anthem” and Rolling Stone called their sound “Protest music for the modern age bolstered by delicate, skillful musicianship and otherworldly vocal harmonies.” A full-band version of “Resilient” can be heard on the new album.

Rising Appalachia has toured British Columbia by sailboat, traversed the U.S. and Europe by train, and engaged in immersive cultural exchange programs in Bulgaria, Ireland, and Southern Italy, as well as Central and South America—not to mention the countless miles in their tour van. Tour highlights include Hardly Strictly Bluegrass in San Francisco, Music Hall Williamsburg in Brooklyn, New York, Boulder Theatre in Boulder, Colorado, and the Showbox in Seattle, Washington. The band’s routinely packed rooms around the globe are a testament to their self-built success and extremely loyal fan base, with no small degree of stubborn independence.

For more information, please visit http://www.risingappalachia.com/. The band will showcase this weekend at Folk Alliance International in Montreal, for a list of appearances please click here. Pre-order (digital, cd, or vinyl) Leylines here.

Track listing:

I Believe In Being Ready

Harmonize

Speak Out (Featuring Ani DiFranco)

Love Her In The Mornin’

Shed Your Grace (Featuring Trevor Hall)

Sadjuna

Make Magic

Sassafras

Sunny Days

Cuckoo

Indigo Dance (Featuring Maurice Turner)

Resilient

DelFest announces the 2019 Late Night lineup which starts Thursday with An Evening with Billy Strings (2 sets) and concludes on Sunday with The DelFest Chaser, a set hosted by recent “Best Bluegrass Album” Grammy winners, The Travelin’ McCourys, joined by longtime comrade, Sam Bush + surprise guests. New this year by popular demand, headliners Yonder Mountain String Band (Friday night) and Railroad Earth (Saturday night) will perform first followed by supporting acts, Larry Keel Experience (Friday) and Joe Craven and The Sometimers (Saturday). Get your late night tickets early as these shows will sell out due to space restrictions.

Thursday: Billy Strings (2 sets)

Friday: Yonder Mountain String Band, Larry Keel Experience

Saturday: Railroad Earth, Joe Craven & The Sometimers

Sunday: The DelFest Chaser (The Travelin' McCourys with Sam Bush and more)

Tickets for each show are $25

These nightly, indoor late night shows require separate admission. Everyone who attends Late Night shows MUST have a multi-day festival wristband, as single-day passes expire after the final performance on the Grandstand Stage.

Late Night tickets can be purchased online, at the Merchandise Tent located in the Main Music Meadow, and at the DelFest Music Hall the night of the show. For more information or to purchase Late Night tickets, please click here.

DelFest 2019 will take place May 23-26, 2019, and once again be held at the beautiful Allegany County Fairgrounds in Cumberland, Maryland. The festival originated from the desire to create a family-friendly music festival celebrating the rich legacy of McCoury music while creating a forum for world-class musical collaborations and to showcase fresh new talent with a down-home feeling. Produced in association with High Sierra Music, the 12th Annual DelFest will offer a quality festival experience stamped with the unique McCoury touch. Nestled along the Potomac River in the scenic Appalachian Mountains, and personally chosen by Del, the Allegany County Fairgrounds in Cumberland, MD (2.5 hours from Baltimore and D.C.) serves as the perfect location for DelFest. The fairgrounds are conveniently located near four major airports and can be easily reached by rail or road. The city of Cumberland, MD, is a welcoming host offering multiple hotel options, a charming downtown, and great amenities that include biking, a steam train engine and museum, and top-notch dining.

DelFest 2019 lineup: The Del McCoury Band, The Travelin’ McCourys, The String Cheese Incident, Trampled by Turtles, Railroad Earth, I’m With Her (Sara Watkins, Sarah Jarosz, Aoife O’Donovan), The Marcus King Band, Billy Strings, Sierra Hull, Gibson Brothers & The Mockingbird Band, Dré & The Gospel Collective, The Broomestix, Tyler Childers, Sam Bush, Yonder Mountain String Band, Keller Williams’ PettyGrass feat. The Hillbenders, The SteelDrivers, Joe Craven & The Sometimers, The Larry Keel Experience, Frank Solivan & Dirty Kitchen, Kitchen Dwellers, Lindsay Lou, Front Country, Pixie & The Partygrass Boys, and Marty O’Reilly & The Old Soul Orchestra.

DelFest is proud to reveal their full performance schedule for this year’s festival which will take place in Cumberland, Maryland, on Memorial Day Weekend—May 23-26, 2019.  Trampled by Turtles will be taking the stage as the lights go down Thursday night to kick the annual party off with a bang, while String Cheese Incident and Grammy award-winners The Travelin’ McCourys will be the mainstage headliners for Friday and Saturday, respectively. Railroad Earth will close out DelFest 2019 on Sunday night, wrapping up yet another weekend full of world-class music at the Allegany County Fairgrounds. A full schedule of events can be found at delfest.com.

DelFest has also announced the release of one-, two-, and three-day tickets, in addition to previously available 4-day passes. DelFest patrons will be able to purchase a three-day pass, good for Friday through Sunday, or a two-day pass for Saturday and Sunday only. For fans that may want to attend only one day of DelFest, single-day passes are also available now. The current tier of general admission early bird ticket pricing is good through April 1st. Please see below for full pricing information and be sure to visit delfest.com to purchase tickets.

Delfest Tickets, General Admission Through April 1st:

Adult 4-day Pass (Thurs-Sun) - $220.50

Adult 3-day Pass (Fri-Sun) - $205.50

Adult 2-day Pass (Sat-Sun) - $145.50

Adult Thursday-only Pass - $50.00

Adult Friday-only Pass - $70.00

Adult Saturday-only Pass - $70.00

Adult Sunday-only Pass - $65.00

Teen 4-day Pass - $145.00

Child 4-day Pass - $50.00

Child 3-day Pass - $40.00

Child 2-day Pass - $30.00

Child Single Day Pass - $20.00

Children 4 years and younger - FREE

Late-Night: Individual Late-Night Shows: $25.00

These nightly, indoor late night shows require separate admission. This years’ late-night lineup begins Thursday with An Evening with Billy Strings (2 sets) and concludes on Sunday with The DelFest Chaser, a set hosted by recent “Best Bluegrass Album” Grammy winners, The Travelin’ McCourys, joined by longtime comrade, Sam Bush + surprise guests. New this year by popular demand, headliners Yonder Mountain String Band (Friday night) and Railroad Earth (Saturday night) will perform first followed by supporting acts, Larry Keel Experience (Friday) and Joe Craven and The Sometimers (Saturday). Get your late night tickets early as these shows will likely sell out due to space restrictions.

Late Night tickets can be purchased online, at the Merchandise Tent located in the Main Music Meadow, and at the DelFest Music Hall the night of the show. For more information or to purchase Late Night tickets, please click here.

DelFest is also excited to announce the addition of The Kruger Brothers, Darin and Brooke Aldridge, Bowman, Bowman & Dré, the Sounds of Laurel Canyon, and The Po’ Ramblin’ Boys to an already stacked lineup that includes The Del McCoury Band, The Travelin’ McCourys, The String Cheese Incident, Trampled By Turtles, Tyler Childers, Railroad Earth, Sam Bush, I’m With Her feat. Sara Watkins, Sarah Jarosz, Aoife O’Donovan, Yonder Mountain String Band, Keller Williams’ PettyGrass feat. The Hillbenders, The Marcus King Band, Billy Strings, The SteelDrivers, Sierra Hull, The Gibson Brothers & The Mockingbird Band, Joe Craven & The Sometimers, Larry Keel Experience, Frank Solivan & Dirty Kitchen, Kitchen Dwellers, Lindsay Lou, Dré & The Gospel Collective, The Broomestix, Front Country, Pixie & The Partygrass Boys, and Marty O’Reilly & The Old Soul Orchestra.

High Sierra Music Festival, held July 4-7 in Quincy, CA, is proud to announce more artist additions for 2019. In addition to the previously announced, already show-stopping lineup, HSMF is pleased to welcome independent-music legends Dispatch to the top of the festival’s bill. The announcement also includes festival-favorites Steel Pulse, Manic Focus, Pnuma (Live), Too Many Zoos, Tauk, and Natalie Cressman. Keeping with the collaborative history HSMF is known for, Stanton Moore and Skerik reunite as the Emerald Quintet featuring Scott Metzger, Robert Walter and Chris Stillwell in celebration of the 20th “emerald” anniversary of their first JazzFest performance, and John Kadlecik brings his “Fellowship of The Wing” project featuring Jay Lane, Reed Mathis, and Todd Stoops; a pair of sure-to-be reminisced sets. Guatemalan songstress Gaby Moreno and funky-blues-rock rowdies Andy Frasco and the U.N. have also been added to the lineup.

See a full list of today’s additions:

Dispatch, Steel Pulse, Manic Focus, Pnuma (Live), Stanton Moore and Skerik’s Emerald Quintet feat. Scott Metzger, Robert Walter and Chris Stillwell; Too Many Zooz, Tauk, Natalie Cressman, John Kadlecik’s Fellowship of The Wing feat. Jay Lane, Reed Mathis, and Todd Stoops; Star Kitchen, Gaby Moreno, Andy Frasco & The U.N., Royal Jelly Jive, The Suitcase Junket, Mapache, Valley Queen, Templo, Diggin Dirt, and Rainbow Girls.

Today’s lineup announcement is in addition to previously announced performers:

Umphrey’s McGee, Greensky Bluegrass, Jim James (Full Band), St. Paul & The Broken Bones, Galactic, The Del McCoury Band, Pigeons Playing Ping Pong, Karl Denson’s Tiny Universe presents Eat a Bunch of Peaches, The Marcus King Band, Leftover Salmon, Mandolin Orange, Del & Dawg (Del McCoury/David Grisman duo), ALO, The Polish Ambassador, The New Mastersounds, The Travelin’ McCourys, Sisters of the Strawberry Moon feat. Luther Dickinson, Birds of Chicago and Sharde Thomas, The Nth Power (Marvin Gaye Tribute), The Lil Smokies, Big Something, Jennifer Hartswick Band, Reid Genauer & Folks, Songhoy Blues, Joe Craven & The Sometimers, Cris Jacobs Band, Amo Amo, Cha Wa, Ron Artis II & The Truth, Marty O’Reilly & The Old Soul Orchestra, and Let’s Be Leonard.

In his first new music release since 2016’s Storyman, Sam Bush leads the Sam Bush Band in a rocking, electric charge against the current climate of our culture. “Stop The Violence”, written by Bush and long-time collaborator Jeff Black, is reminiscent of so many great rock and roll protest songs of the 1960s, but is focused on the here-and-now; a world of mass shootings, polarized politics, and continued social inequality. Classic Allman Brothers-esque twin-lead guitar, or in this case, electric mandolin and guitar, are interspersed throughout the song, driving home their point with urgency and fervor not commonly found in Bush’s usual world of bluegrass. Today, Rolling Stone debuted “Stop The Violence” along with its music video counterpart, shot and directed by photographer and cinematographer extraordinaire, David McClister. Rolling Stone notes, “Sam Bush delivers a clear call to action in his rousing new song ‘Stop The Violence’.” The “amplified anthem” can be heard and seen here.

After sitting on the instrumental portion of “Stop The Violence”, Sam Bush found himself hanging with co-writer Jeff Black; drinking coffee, shooting the breeze. When the conversation turned to the current state of the world—mass shootings, violence towards women and children and minorities—they began questioning if this was the “new normal”. Jeff asked Sam what he wanted the song to say and Sam simply replied, “stop the violence.” “Violence has become a disease, a bad gene in our DNA,” Black said in a statement. “It’s not normal, but it’s being normalized and it’s happening right in front of our kids. When Sam brought me the track and his vision for the song, I started thinking about all the folks who grow up in a violent environment, and that’s all they know. I think about the children in particular and how they are cast into it without a choice. I think the hope, because violence itself is taught and handed down through the generations, is that someday, by small acts, we can break the chain.”

All-in, “Stop The Violence” is a decree; a frustrated, weary cry to humankind to stop hurting each other and spread love. When asked about the song, Bush says only, “I’m jumping on that peace train. Stop the violence.”

This single comes hot on the heels of Revival: The Sam Bush Story, a documentary released to the public via Amazon in November of last year. Written, produced, and directed by Wayne Franklin & Kris Wheeler, Revival not only chronicles the life and career of the newgrass-creator, but weaves an emotional, inspiring story about the risks and rewards of being a musical iconoclast. Since its debut at the Nashville Film Festival in 2015, winning the audience award for Best Music Documentary, the crowd-pleasing film has played to packed houses and standing ovations at independent film festivals (Sidewalk Film Festival, St. Louis International, Big Sky, Noise Pop, IF Film, Durango, Port Townsend, Woods Hole, and Hurricane) across the country and has screened at IBMA, Telluride, Film Falmouth, and Hear BG, picking up three more best documentary awards along the way. For more information on Revival, please visit http://sambushmovie.com

On tour:

March 23 - Boogie at the Broadmoor - Colorado Springs, CO

March 29 - Winter Wonder Grass - Olympic Valley, CA

April 13 - Big Sky Big Grass Festival - Big Sky, MT

April 18 - Germantown Performing Arts Center - Germantown, TN*

April 20 - Nashville Earth Day Festival - Nashville, TN

April 27 - MerleFest - Wilkesboro, NC

May 24 - Rooster Walk Music & Arts Festival - Axton, VA

May 26 - DelFest - Cumberland, MD

June 1 - John Hartford Memorial Festival - Morgantown, IN

June 14 - Blue Ox Music Festival - Eau Claire, WI

June 29 - ROMP Festival - Owensboro, KY

*with The Travelin' McCourys

Today, IBMA Momentum Award winners, Instrumental Performance, Emerging Artist nominees Mile Twelve release their new full-length album, City on a Hill. Produced by guitar-great Bryan Sutton and engineered by Ben Surratt, City on a Hill is comprised of ten new songs that feature Mile Twelve’s impeccable ability to tackle dense and often heavy subject matter from an easy-going, honest perspective. In combination with their masterful storytelling, Mile Twelve’s David Benedict (mandolin), Catherine “BB” Bowness (banjo), Bronwyn Keith-Hynes (fiddle), Evan Murphy (guitar, lead vocals), and Nate Sabat (bass, lead vocals) show a command of their respective instruments that reaches well beyond their years. “We all inspire each other and recognize that everyone has different strengths,” Murphy says. “What makes this band so collaborative is that everyone in the band can do something at a really high level. That’s the balance. We’re all challenging each other.”

The new release has been praised by American Songwriter, WBUR, PopMatters, No Depression, and more. No Depression celebrated the band for their ability to tell modern stories and tackle tough topics lyrically. PopMatters premiered City on a Hill’s first single, “City that Drowned”, writing that the track is "driven forward by progressive instrumentation and ominous undertones," and noting that the band "establishes themselves as a bluegrass outfit intent on telling a story... effortlessly conveying the track's mystique whilst producing enough of a grooving rhythm to encourage swaying." WBUR, the band's hometown NPR affiliate, premiered "Journey's End", calling attention to the band's "considerable musicianship" and "carefully calibrated dynamics." The video for the song "Jericho" debuted at American Songwriter, the band again being praised for their "lyrical storytelling and impressive instrumentation."

City on a Hill opens with “Down Where the Drunkards Roll”, a galloping version of the Richard and Linda Thompson-penned tune. Onward, the songwriting prowess of Mile Twelve shows up in a number of songs and laments seen through the eyes of a wide cast of characters. “Jericho” follows a modern war veteran’s struggle post-trauma. In “Liberty”, a Jewish immigrant tells their child the story of fleeing war to the United States of America. “Innocent Again” is a rollicking study of the stigma attached to one’s time spent in the penal system. The waltzing “Barefoot in Jail” and the dream sequence of “Journey’s End” roll right into album closer, John Cloyd Miller’s portrait of small-time life, “Where We Started”.

The album’s title alludes to the idealized imagery of a shining city on a hill; a historical phrase that is often used to describe Boston, MA, where the band got its start in 2014 after recognizing each other as regulars of a Tuesday night bluegrass jam in a Cambridge dive bar. Honing in as a band, Mile Twelve caught the attention of now-producer Bryan Sutton with their debut album, Onwards. “I’m a fan of bands who strive for a balance of being musically unique and individualized, while at the same time working to include time-honored traditions found in this music,” Sutton observes. “This blend is not an easy thing to accomplish. Mile Twelve does this with well-honed and refreshingly honest songwriting, along with powerful playing, singing, and performing.”

For more information, please visit https://www.miletwelvebluegrass.com/. To purchase the new album, please click here.

About Mile Twelve:

Although their sound is rooted in traditional bluegrass, Mile Twelve surveys a broader landscape on their newest album, City on a Hill. All five band members bring their own influences and observations into the music, resulting in a project that feels contemporary, thoughtfully crafted, and relevant. Produced by Bryan Sutton and engineered by Ben Surratt, City on a Hill follows significant recognition from the bluegrass community, including three IBMA Momentum Awards. With members based in Boston and Nashville, the lineup includes David Benedict (mandolin), Catherine “BB” Bowness (banjo), Bronwyn Keith-Hynes (fiddle), Evan Murphy (acoustic guitar, lead vocals), and Nate Sabat (bass, lead vocals).

Catch Mile Twelve On Tour:

March 29 - Camden Opera House - Camden, ME

March 30 - Stone Mountain Arts Center - Brownfield, ME

April 4 - The Barking Legs Theater - Chattanooga, TN

April 5 - Florida State Bluegrass Festival - Perry, FL

April 6 - Valley Hill Country Club - Huntsville, AL

April 17 - Acousticool House Concert - Bristol, CT

April 18 - Towne Crier Cafe - Beacon, NY

April 19 - The Cock 'n Bull - Galway, NY

April 20 - University of KY - Lexington, KY

April 24 - The Station Inn - Nashville, TN

April 25 - Isis Music Hall - Asheville, NC

April 26 - MerleFest - Wilkesboro, NC

April 27 - Randy Wood's Pickin' Parlor - Bloomingdale, GA

April 28 - Odeon - Louisville, KY (with Relic Bluegrass)

April 29 - Northfield Mandolin - Marshall, MI

See a full list of Mile Twelve’s 2019 tour dates here.

Today, Tim Bluhm releases his new full-length solo album Sorta Surviving via Blue Rose Music. Known as the frontman for praised rock outfit The Mother Hips, Sorta Surviving is a testament to Bluhm’s versatility as an artist and honed skill as a songwriter. Recorded while coping with a recent divorce and during recovery from a nearly-fatal paragliding crash, the album finds Bluhm at a unique place – grateful, appreciative for his life, and more determined than ever. Produced by Widespread Panic’s Dave Schools, Sorta Surviving features an all-star lineup of musicians including Elizabeth Cook (vocals), Jesse Aycock (guitar, vocals) and Jason Crosby (piano, violin, organ), as well as Nashville legends, David Roe (bass) and Gene Chrisman (drums).

Bluhm is no newcomer when it comes to country’s heralded greats. Tim discovered Merle Haggard around the same time he co-founded The Mother Hips, a band that Rick Rubin signed to American Records on the strength of their debut album. Their then new label-mate was one of the most legendary of them all. “When we signed with American, the label had just put out Johnny Cash’s first Rick Rubin-produced album, which was actually recorded at the Cash Cabin,” says Bluhm. “I got to meet and hang with Johnny a couple times back then, and after that, we opened for him at The Fillmore in San Francisco. I was so impressed with his presence. He definitely lived up to his legend in real life, and he made a big impression on me.”

Those impressions live on through the songs of Sorta Surviving, of which all but three are Tim Bluhm originals. The record opens with “Jesus Save A Singer”, a shuffle fit for even the dustiest honky tonk. “No Way To Steer” follows, exploring the mindset of a headstrong, perpetually-leaving troubadour. A few songs in, listeners will have an immediate grasp on what this album is all about; Not just old-school country music, but also a collection of sometimes humorous narratives, painting vivid pictures of each song’s characters, whether it be Dust Bowl farmers, oilmen, fugitive outlaws or traveling singers. “There’s more humor in these songs than anything else I’ve written before,” says Bluhm, “but it’s all very tongue in cheek. That’s a country music tradition.” In addition to the Bluhm-penned numbers, Sorta Surviving is also peppered with choice cover songs “Del Rio Dan”, made popular by the Everly Brothers, Johnny Cash’s 1958 hit, “I Still Miss Someone”, and album-closer, Merle Haggard’s waltzing “Kern River”.

“As a kid growing up in LA, I never even heard of country music,” reflects Bluhm, “but I remember flipping around the radio dial and coming across ‘The Gambler’ by Kenny Rogers. It was a song that just completely transcended genre. It was no more ‘country’ than Mark Twain was ‘country.’ It was a simple, timeless story set to music, and that’s what I’ve ultimately aspired to make myself.”

About Tim Bluhm:

Ever curious and wildly prolific, Bluhm simultaneously released a slew of his own solo and collaborative projects throughout his time with the Mother Hips, a band he co-founded while still a student at Cal State Chico. In 2013, he helped launch Nicki Bluhm & The Gramblers, serving as both mentor and music director for the group, which was fronted by his then-wife. The band performed on national TV, racked up millions of views on YouTube, and played festivals from Bonnaroo and Newport Folk to Hangout and Mountain Jam before Tim and Nicki ultimately parted ways in 2015. Outside of The Gramblers, Bluhm also collaborated with The Grateful Dead’s Mickey Hart and Bill Kreutzmann among others and opened up Mission Bells Studio in San Francisco with fellow California favorite Jackie Greene and engineer Dave Simon-Baker. There, he produced albums for a wide variety of bands and welcomed luminaries like Phil Lesh, Josh Ritter, Los Lobos, and Jonathan Richman for recording sessions. As if that wasn’t enough to keep him busy, Bluhm and the Hips also launched the Hipnic, an intimate and immaculately-curated music festival that’s been held annually amongst the towering redwoods of Big Sur for more than a decade.

Catch Tim Bluhm on tour:

March 29 - The Chapel - San Francisco, CA

March 30 - The Siren - Morro Bay, CA

March 31 - McCabe’s Guitar Shop - Santa Monica, CA

April 5 - Chico Women’s Club - Chico, CA

April 6 - Harlow’s - Sacramento, CA

April 7 - Flynn’s Cabaret and Steakhouse - Felton, CA

Tour dates for The Mother Hips can be found here.

Few musicians know what it’s like to leave New Orleans for California, record an album with a few absolutely legendary musicians, and return home in time to release said album and play the main stage at one of the world’s most beloved music festivals—but by the time the second weekend of New Orlean’s Jazz and Heritage Festival rolls around, Anders Osborne will. On April 26th, Osborne’s Buddha and the Blues will be released worldwide on Back On Dumaine Records. With the title in hand from the start, Osborne had a clear vision of how his new record should resonate, noting that, “Buddha and the Blues means the duality of our existence. The lyrics are supposed to be true, conversational, and uplifting with clean, classic, and thumpin’ sounds. That’s what I set out to accomplish.” Buddha and the Blues is available for pre-order here, and every fan who pre-orders will be entered for a chance to win a vinyl test-pressing copy of the record.  

With the help of Buddha and the Blues producer, Chad Cromwell, an all-star cast of west coast session musicians was assembled at Brethren Studio in Ojai, California, for a soulful SoCal meets the Big Easy tracking session. In the company of Waddy Wachtel (Stevie Nicks, Keith Richards, Linda Rondstadt, Warren Zevon) on guitar, Bob Glaub (Jackson Browne, John Lennon, Don Henley) on bass, Benmont Tench (Tom Petty and the Heartbreakers, Bob Dylan, Johnny Cash) on keyboards, Windy Wagner (Ringo Starr, Rod Stewart) on background vocals, and Cromwell (Neil Young, Mark Knopfler, Joe Walsh) on drums, Osborne set out to complete his initial vision; clean, classic, and most certainly thumpin’. The mellow, pacific vibes never overshadow Osborne’s greasy and groovy New Orleanian nature; it could even be argued that their symbiotic relationship could or should have been explored more thoroughly before now.

Buddha and the Blues opens with Osborne setting the tone off-mic in the studio. “Intimate and cool,” he says to the band, seemingly in jest, but a true mantra for what transpires next. The CD tracklisting differs from the digital release of Buddha and the Blues in that it is sandwiched by two very different versions of the same song—“Alone” and “Alone (Unplugged). “‘Alone’ was a meditative prose I wrote in my backyard,” he says. “It had a circular vibe to it, when I added the music, I wanted it to match the poem: a small word with an epic impression,” says Osborne. Between “Alone” and its unplugged counterpart, the album flows through a familiar-to-fans collection of quintessentially Anders Osborne songs. “Running” rides a mid-tempo, backbeat-heavy groove while Osborne sings about wading through life’s bullshit in his signature gravelly voice; a jubilant ode to one of life’s unfortunate realities. Of all the songs, the album’s penultimate tune, “Traveling with Friends”, feels the most like Southern California, musically-speaking—channeling a style these very studio musicians made popular with Jackson Browne, Tom Petty, and the like. Lyrically, it’s more personal to Osborne. “I wrote ‘Traveling with Friends’ on St. Thomas in the Virgin Islands while on vacation with my family. We had an amazing spot on top of a mountain overlooking a big part of the island, and I felt inspired and really grateful. I had a moment of relief from all of my searching and dissonance. I saw us all for what we are—beautiful, fragile, and in this tumultuous space trip all together.” On a grander scale, “Traveling with Friends” wraps up all of Buddha and the Blues’s conversations, ideas, and lessons, reminding us that we’re all here, doing this thing together. 

To celebrate the release of Buddha and the Blues, Anders Osborne will take the stage at New Orleans’ famous Tipitina’s on April 25th, exploring this host of new songs in a live setting, right at home in Louisiana. Tickets available here.

Catch Anders Osborne on tour and at Jazz Fest:

April 13 - Mobile, AL - South Sounds Music and Arts Festival

April 20 - Atlanta, GA - Sweetwater 420 Festival (as part of Everyone Orchestra)

April 25 - New Orleans, LA - Tipitina’s*

April 26 - Lafayette, LA – Festival International de Louisiane^

May 1 - New Orleans, LA - NOLA Crawfish Festival

May 2 - New Orleans, LA - New Orlean’s Jazz And Heritage Festival

May 2 - New Orleans, LA - Republic NOLA (as part of Dead Feat)

May 3 - New Orleans, LA - Saenger Theatre (as part of Foundation of Funk)

May 4 - New Orleans, LA - Joy Theater (Anders’ Birthday Bash)

July 13 - Alta, WY - Targhee Fest

September 3-6 - Big Indian, NY - Steve Earle’s Camp Copperhead

*Buddha and the Blues release show, Amy Helm opens

^with Tiffany Lamson & Helen Gillet

Organizers of Jam In The Trees, The Pisgah Brewing Outdoor Stage Series, and HoosierDevil are proud to announce Strings & Suds, a two-day music event held at Pisgah Brewing Company’s legendary taproom and outdoor stage on August 23rd and 24th, 2019.  The first-annual Strings & Suds, which derives its name from a former Pisgah Brewing event held in 2013, will feature Tex-Mex troubadours The Mavericks, roots music mainstays Donna the Buffalo, double-neck guitar slinger Junior Brown, the King of Americana himself, Jim Lauderdale, and mandolin-wielding songstress Sierra Hull. Additionally, Strings & Suds will feature Frank Solivan & Dirty Kitchen, YARN, Sarah Shook & the Disarmers, Danny Burns, East of Monroe, and Ashley Heath and Her Heathens.  Fans should be sure to expect special artist collaborations and sit-ins each night.

“We wanted to combine years of concert experiences from some of Western North Carolina’s most notable independent promoters while focusing on the crossroads of Americana music,” says Pisgah Brewing’s talent buyer, Benton Wharton. “We also wanted to keep some of the performances intimate, allowing fans to really hone in on the songs that make this music so great.” Festival consultant and co-founder, Steve Johnson adds, “My family has been involved in promoting music festivals and events in North Carolina for as long as I can remember. Strings & Suds is a way for me to continue that tradition, build on all the musical experiences I’ve gained over the years, and experiment with combining artists, art, and aesthetics to create an event where unexpected artist collaborations can occur and attendees feel like they are part of the event’s fabric and not just a ticket holder or a face in the crowd.”

The event will host an intimate evening on the Pisgah Taproom Stage on Friday, August 23rd. Saturday will see Strings & Suds spill out into Pisgah’s stunning Outdoor Stage, in addition to Taproom shows, giving fans an idyllic day to sip on Pisgah Brewing Company beer while listening to their favorite Americana artists. For good eats on-site, visit any of our local food trucks with options for all taste preferences and dietary needs. In addition to food, local artisans and craft vendors will set up and fans can take a brewery tour inside Pisgah Brewing. For those not wanting the night to end, the After Hours Jam will be hosted by Jim Lauderdale and feature artists from Saturday’s lineup, as well as other special guests, on the Taproom stage.

Tickets for Strings & Suds will be on sale Friday, April 5th at 10 A.M. EST, click here to purchase. Saturday VIP packages will also be available Friday, purchase here.  VIP ticket holders will receive early entry, preferred parking, a private bar, private port-a-lets, artist meet-and-greets, a VIP event laminate, and a commemorative event poster. VIP ticket holders will also be able to bring a chair into the VIP section and will get to enjoy one of three guided brewery tours and tastings throughout the day on Saturday. Visit http://www.pisgahbrewing.com for more information.

Asheville, NC-based Travers Brothership have announced a lengthy tour in support of their latest release, Let The World Decide. Starting April 5th, the Brothership takes flight into new, uncharted territory, storming the east coast and deep south with their homegrown brand of funky, improvisation-driven rock and roll. Fans can see Travers Brothership in a headlining role for roughly half of this tour while the rest of the dates will be in support of fan favorites like Yo Mama’s Big Fat Booty Band, Kyle Hollingsworth of The String Cheese Incident, DJ Logic and Jeff Sipe, guitar hero Eric Gales, Southern Avenue, and JJ Grey & Mofro.

Catch Travers Brothership on tour now: 

April 6 - Lenny Boy Brewing - Charlotte, NC w/ DJ Logic and Jeff Sipe

April 13 - University of Georgia - Athens, GA w/ Kyle Hollingsworth Band

April 15 - Preservation Pub - Knoxville, TN

April 16 - The High Watt - Nashville, TN w/ Lamont Landers Band

April 17 - Sidetracks Music Hall - Huntsville, AL w/ Lamont Landers Band

April 19 - Sweetwater 420 Festival - Atlanta, GA

April 20 - Earth Jam - Salisbury, NC

April 27 - The Caverns - Pelham, TN w/ Walter Trout & Eric Gales

May 3 - Highland Brewing - Asheville, NC w/ Yo Mama's Big Fat Booty Band

May 4 - Shakori Hills Festival - Pittsboro, NC

May 7 - The Brooklyn Bowl - New York, NY w/ Southern Avenue

May 9 - The 8x10 - Baltimore, MD w/ Southern Avenue

May 10 - Rock City - Charleston, WV w/ Black Garlic & Brother Smith

May 11 - Lincoln Theatre - Raleigh, NC w/ The Mantras & Trongone Band

May 16 - River Jam - Charlotte, NC

May 17 - The Windjammer - Isle of Palms, SC

May 18 - Mustang Spring Jam - Corolla, NC

May 25 - Long Creek Music Festival - Long Creek, SC

May 30 - Mountain Music Festival - Minden, WV

May 31 - Martin’s Downtown - Roanoke, VA

June 14 - Blind Tiger - Greensboro, NC w/ Moves

June 15 - Jam Sandwich Festival - Richmond, VA

June 20 - Rhythm and Brews - Hendersonville, NC

June 28 - Pisgah Brewing - Black Mountain, NC w/ JJ Grey & Mofro

July 5 - Sunrise Theatre - Southern Pines - NC

July 24-28 - FloydFest - Floyd, VA

Today, Cris Jacobs releases his acclaimed new album Color Where You Are via Blue Rose Music. After years of extensive touring with diverse acts like Greensky Bluegrass and JJ Grey, as well as bigger headliners like Sturgill Simpson and Steve Winwood, Color Where You Are weaves Jacobs’ soulful, signature blend of rock and Americana with lyrics that illustrate Jacobs’ new place in life, personally and professionally. Thematically, Color Where You Are spans from Jacobs learning to recognize the divisive nature of the current socio-political climate to the joys and challenges of becoming a husband and new father; the album’s title references Jacobs no longer having the luxury of waiting for inspiration to strike and learning to write “between tours, coming home, changing diapers, fixing things around the house… whenever I could.” The album has received praise from Relix, JamBase, Glide Magazine, and The Washington Post, who commented that the album, “might be his finest yet.”

As the follow up to his critically-acclaimed 2016 album Dust to Gold, Color Where You Are is Jacobs’ most focused effort to date. Recorded in Richmond, Virginia, the album came together as a collaborative effort between Jacobs and band members Todd Herrington (bass), Dusty Ray Simmons (drums/percussion), and Jonathan Sloane (guitar), as well as guest keyboardist Daniel Clarke (k.d. lang, Ryan Adams), who also played a major role in the album’s creation. Mixed by multi-GRAMMY winner Ryan Freeland, Color Where You Are is a deeply soulful delivery of styles, feels, and subject matter from a changed-for-the-better Cris Jacobs; still true to what his fanbase has grown devoted to, but with a confident step in a fresh direction. When asked what he wants to do with his music, Jacobs thoughtfully responds, “I’m trying to connect with people. To express real-life human emotions and make people feel things. To hopefully have people walk away feeling lighter or happier or more inspired to be a better person in some way after listening.”

“Painted Roads”, Jacobs’ groovy meditation on “finding the magic in the ordinary, everyday miracles and not getting caught up in any race to the finish line” opens Color Where You Are. Like most of the album’s songs, “Painted Roads” fleshed out in the studio; something Jacobs has usually not done in the past. "I booked the studio time with very little written and put a gun to my head," Jacobs says. "I had no choice but to just tap whatever emotional spaces I was in and whatever was going on around me and create as honestly as I could.” While Color Where You Are is not a political album, per se, current events certainly played an inspirational role in the songwriting. Tracks like “Afterglow” and “Under the Big Top” explore that environment with encouraging, thoughtful criticism, never allowing the listener to stew on the negative. Through each song and narrative, the album never loses the soulful, jovial feel that is evident in songs like “Rooster Coop” and “We’ll Act Like Strangers”. “I just wanted some country funk on that one,” Jacobs says of "Rooster Coop”. "We started grooving on this lick I had and the first line that popped into my head was, 'There’s something funky in the barnyard’. It wrote itself from there.”

More on Cris Jacobs:

After a decade, five records, and 200 shows a year as principal songwriter and frontman for beloved Baltimore-based band The Bridge from 2001-2011, Jacobs wasted no time continuing to write music of his own and exploring different configurations for his craft. He released his debut solo album, Songs for Cats and Dogs, in 2012, and continued to perform relentlessly, both with his new band and as a solo artist. In doing so, he quickly garnered the admiration of a variety of predecessors and peers: rock legend Steve Winwood saw Jacobs perform in 2014 and soon invited him to open his national tour. The following year, Sturgill Simpson extended the same invitation. Never limited by genre, Jacobs and New Orleans heavyweight Ivan Neville recorded a collaborative album under the name “Neville Jacobs”. As an adapting, evolving, versatile musician who has survived on his own merit, Jacobs continues to win over audiences of many tastes, as he brings his characteristic authenticity and soul to every set.

Catch Cris Jacobs on tour:

April 12 - Baltimore, MD - Union Craft Brewing

April 13 - Washington, D.C. - Pearl Street Warehouse

April 18 - Harrisonburg, VA - Golden Pony

April 19 - Richmond, VA - Broadberry

April 20 - Ardmore, PA - Ardmore Music Hall

April 27 - Baltimore, MD - Charm City Bluegrass Festival

April 28 - New Orleans, LA - Blue Nile

May 2 - New Orleans, LA - Maple Leaf Bar

May 3 - New Orleans, LA - Instrumenthead Exhibit at The Art Garage

May 9 - Raleigh, NC - Lincoln Theatre

May 10-11 - Aiken, SC - Aiken Bluegrass Festival

May 14 - Atlanta, GA - Smith's Olde Bar

May 15 - Nashville, TN - The Basement

May 16 - St. Louis, MO - Old Rock House

May 17 - Chicago, IL - Tonic Room

May 18 - Jasper, IN - Astra Theatre

May 25 - Thornville, OH - Dark Star Jubilee

June 6 - San Diego, CA - The Observatory North Park

June 7 - Monterey, CA - Golden State Theatre

June 8 - San Francisco, CA - Blue Rose Benefit at The Fillmore

July 4-7 - Quincy, CA - High Sierra Music Festival

July 11 - Snowshoe, WV - 4848 Music Festival

Now that MerleFest, presented by Window World, is only one week away, annual festival-goers have surely begun planning their weekends. For those who have not, however, here are five sure-to-be epic experiences that shouldn’t be missed. Make a note or two and join a welcoming legion of music fans in Wilkesboro, N.C., from April 25th to 28th at MerleFest.

The Avett Brothers Homecoming:

Concord, North Carolina’s own Avett Brothers will be having a homecoming of sorts, closing out MerleFest on the Watson Stage Sunday afternoon. Only 79 miles from where the Avett’s were born and raised, MerleFest has seen the band of brothers return time and time again. From kids spending time at the festival while their dad, Jim Avett, who is leading this year’s MerleFest Sunday morning gospel hour, to their first appearance as a band in 2004, to their most recent performance which saw record-breaking attendance numbers for the North Carolina festival, the Avett Brothers are attuned to the magic that MerleFest brings out in fans and bands alike. Be sure to see them in their purest element at 4:30 p.m. on Sunday.

Del, the Birthday Boy:

Sunday afternoon also brings about another kind of celebration. Bluegrass patriarch and legend Del McCoury will be celebrating his 80th birthday on MerleFest’s Hillside Stage at 1:30 p.m. The Grand Ole Opry member and nine-time IBMA Entertainer of the Year winner will once again call upon his Del McCoury Band—which has seen only a single change in membership in the past twenty years—to light up the Hillside crowd. If by some strange chance, fans haven’t had the opportunity to hear Del pick and sing, his birthday celebration would certainly be a special place to start.

Steep Canyon Rangers NC Songbook Set:

The Steep Canyon Rangers set at MerleFest is titled the North Carolina Songbook and is a tribute to this state’s vast musical heritage. The band says, “The influence of North Carolinians can be heard in almost every genre of popular music from Earl Scruggs to John Coltrane. Many of them worked in textile mills by day and played music with friends and family on the weekends. Some were virtuosos who packed up their influences and took the world by storm. All were, like us, a product of the music and people they grew up with in Carrboro, Jacksonville, Eden, Tryon… every corner East to West.” For fans of North Carolina’s musical heritage or students of music who might just want to learn more about where it all comes from, 2:40 p.m. Sunday on the Watson Stage for Steep Canyon Rangers’ set is the place to be.

Annual Wayback’s Album Hour:

Every year, fans flock to the Hillside Stage to see the San Francisco-based Waybacks perform a kept-secret-until-showtime classic rock album—in its entirety—with the help of some high-profile friends. Previous years have seen the Waybacks take on “Led Zeppelin II,” The Beatles’ “Abbey Road,” and the Allman Brothers Band’s "Eat a Peach.” Over the years, special guests have become an integral part of the Wayback’s annual cover-fest. Emmylou Harris, John Cowan, and Sam Bush joined the Waybacks in tackling the Rolling Stones’ Sticky Fingers and Elvis Costello, Jim Lauderdale, and Jerry Douglas lent a hand to the Beatles’ Abbey Road. In the days leading up to each MerleFest, the Waybacks drop some very cryptic, hard to decipher clues as to what new album will be performed. Fans should keep an eye on the band’s social media pages to see if they can use the clues to crack the Album Hour code before it happens at 3:15 p.m. Saturday on the Hillside Stage. 

Legends Debut at Merlefest:

It is truly special to see the look on an artist’s face when they take a MerleFest stage for the first time. This year will see a couple of heavy hitters debut at the festival. Contemporary blues powerhouse Keb’ Mo’ will get his first taste of a MerleFest crowd Saturday evening on the Watson Stage. Philly-based songbird Amos Lee is also making his first appearance at the festival, though he shares some Carolina roots. Lee majored in English and education at the University of South Carolina in Columbia. Amos Lee takes the Watson Stage at 7:15 p.m. on Friday. A beautiful story of success is also unfolding at this year’s MerleFest, where IBMA’s Guitar Player Of The Year and Americana Music Association’s Instrumentalist of the Year Molly Tuttle will return to MerleFest for the first time since winning the festival’s prestigious Chris Austin Songwriting Competition in 2012. She’s come a long way from competing for a slot to playing MerleFest’s biggest stage. Catch Molly Tuttle’s guitar acrobatics Saturday on the Watson Stage at 1:15 p.m.

Don’t forget to download the MerleFest app to help plan your festival experience. The MerleFest app can point you towards a variety of on-site activities for all ages. In between musical sets, the Shoppes at MerleFest is a centrally located shopping village of commercial vendors, official MerleFest memorabilia, and services such as first aid, lost and found, overnight storage, and internet access. The Little Pickers Family Area offers lots of fun and games for children as well as some fine storytelling, songwriting and music. Small 15-person backstage tours are available for purchase online and begin at the Merle Watson Garden of the Senses and continue into the MerleFest museum. The Pickin’ Place, an entire venue devoted to pickin’ and grinnin’, includes the Traditional Jammin’ Tent, Bluegrass Jammin’ Tent, Anything Goes Jammin’ Tent, and Hands-On Tent for pickers of all skill levels. Info for all of the above and more is available here.

Tickets for this year’s festival, backstage tours, as well as the Late Night Jam sponsored by The Bluegrass Situation, may be purchased at www.MerleFest.org or by calling 1-800-343-7857. MerleFest offers a three-tiered pricing structure and encourages fans to take advantage of the extended early bird discount. Early Bird Tier 2 tickets will be available through April 24th. Remaining tickets will be sold at the gate during the festival. Headliners include The Avett Brothers, Brandi Carlile, Amos Lee, Wynonna & the Big Noise, Del McCoury Band, Dailey & Vincent, Tyler Childers, Keb’ Mo’, Sam Bush, The Earls of Leicester, and Peter Rowan and The Free Mexican Air Force. The Late Night Jam sponsored by The Bluegrass Situation will be hosted by Chatham County Line. In addition to the above-mentioned artists, the following will be performing at MerleFest ‘19:

American Aquarium, Andy May, Ana Egge & The Sentimentals, Ashley Heath and Her Heathens, AZTEC SUN, Banknotes, Bob Hill, Cane Mill Road, Carol Rifkin, Carolina Blue, Casey Kristofferson Band, Catfish Keith, Charles Welch, Chris Rodrigues with Abby the Spoonlady, David LaMotte, Dirk Powell Band, Donna the Buffalo, Driftwood, Elephant Sessions, Elizabeth Cook, Ellis Dyson & The Shambles, Gordie MacKeeman & His Rhythm Boys, Happy Traum, Irish Mythen, Jack Lawrence, Jeff Little Trio, Jim Avett, Jim Lauderdale, Joe Smothers, Jontavious Willis and Andrew Alli, Josh Goforth, Junior Brown, Junior Sisk, Larry Stephenson Band, Laura Boosinger, Lindi Ortega, Mark Bumgarner, Mark & Maggie O’Connor, Maybe April, Michaela Anne, Mile Twelve, The Milk Carton Kids, Mitch Greenhill and String Madness, Molly Tuttle, Nixon, Blevins, & Gage, Pete & Joan Wernick and FLEXIGRASS, Presley Barker, Professor Whizzpop!, Radney Foster, Roy Book Binder, Salt & Light, Scythian, Sean McConnell, Shane Hennessy, Si Kahn & The Looping Brothers, Steep Canyon Rangers, Steve Poltz, T. Michael Coleman, The Black Lillies, The Brother Brothers, The Gibson Brothers, The Harris Brothers, The InterACTive Theatre of Jeff, The Kruger Brothers, The Local Boys, The Trailblazers, The Waybacks, Todd Albright, Tom Feldmann, Tony Williamson, Uncle Joe and The Shady Rest, Valerie Smith & Liberty Pike, Wayne Henderson, Webb Wilder, and Yarn. The lineup and performance schedules are accessible via MerleFest.org/lineup.

MerleFest is pleased to partner with Come Hear NC, a promotional campaign of the North Carolina Department of Natural & Cultural Resources and the North Carolina Arts Council, to celebrate 2019 as “The Year of Music,” a designation Governor Roy Cooper announced in November of last year. MerleFest, honoring its locale, has programmed over 40 artists who currently call North Carolina home, each artist representing a different aspect of the state’s great musical history. Come Hear NC was designed to celebrate North Carolinians’ groundbreaking contributions to many of America’s most important musical genres — blues, bluegrass, jazz, country, gospel, Americana, rock and everything in-between. It’s fitting then, with 2019 as “The Year of Music,” that the Steep Canyon Rangers, also proud North Carolinians, would debut their North Carolina Songbook set at MerleFest.

Anders Osborne’s new full-length album Buddha and the Blues is now available worldwide, just in time for a whirlwind of performances surrounding the heralded New Orleans Jazz and Heritage Festival. Billboard premiered the album’s first single, "Traveling with Friends", calling the "breezy" song "a moment of gratitude," adding that "serenity may not be the prevailing state of mind in the world these days... but the album, Buddha and the Blues, determinedly takes an antidote." The next single, “Running”, was labeled as “an anthem for the directionless” by Rolling Stone, who noted that “Anders mixes Big Easy groove with California cool” on “his newest collection of greasy roots-rock.” Buddha and the Blues can be purchased on CD or Vinyl here.

With the title in hand from the start, Osborne had a clear vision of how his new record should resonate, noting that, “Buddha and the Blues means the duality of our existence. The lyrics are supposed to be true, conversational, and uplifting with clean, classic, and thumpin’ sounds. That’s what I set out to accomplish.” With the help of Buddha and the Blues producer, Chad Cromwell, an all-star cast of west coast session musicians was assembled at Brethren Studio in Ojai, California, for a soulful SoCal meets the Big Easy tracking session. In the company of Waddy Wachtel (Stevie Nicks, Keith Richards, Linda Rondstadt, Warren Zevon) on guitar, Bob Glaub (Jackson Browne, John Lennon, Don Henley) on bass, Benmont Tench (Tom Petty and the Heartbreakers, Bob Dylan, Johnny Cash) on keyboards, Windy Wagner (Ringo Starr, Rod Stewart) on background vocals, and Cromwell (Neil Young, Mark Knopfler, Joe Walsh) on drums, Osborne set out to complete his initial vision; clean, classic, and most certainly thumpin’.

In true celebratory New Orleans fashion, Anders Osborne will keep the release of Buddha and the Blues rolling into weekend two of New Orleans Jazz and Heritage Festival. With an official set on May 2nd at the festival’s main stage as an anchor of sorts, Osborne will venture into the world of Jazz Fest late night shows with his own performances—including Anders’ Birthday Bash at the Joy Theater on May 4th—as well as performances as a member of Dead Feat and Foundations Of Funk throughout the weekend. String Cheese Incident also just announced Anders as a guest for their May 3rd New Orleans show at Mardi Gras World. Osborne also shared a playlist of some of his favorite acts at the festival with USA Today so that fans may get a taste of the New Orleans music that drew him to the city in the first place.

Catch Anders Osborne during Jazz Fest and on tour:

April 26 - Lafayette, LA - Festival International de Louisiane^

April 29 - New Orleans, LA - Louisiana Music Factory (Solo Acoustic)

April 30 - New Orleans, LA - Chickie Wah Wah (Osborne, Sansone & Fohl)

May 1 - New Orleans, LA - NOLA Crawfish Festival (Duo)

May 2 - New Orleans, LA - New Orleans Jazz And Heritage Festival

May 2 - New Orleans, LA - Republic NOLA (w/ Dead Feat)

May 3 - New Orleans, LA - New Orleans Jazz And Heritage Festival (w/ VOWA)

May 3 - New Orleans, LA - Saenger Theatre° (w/ Foundation of Funk)

May 3 - New Orleans, LA - Mardi Gras World (guesting with String Cheese Incident)

May 4 - New Orleans, LA - Joy Theater (Anders’ Birthday Bash)#

May 26 - Charlotte, NA - U.S. National Whitewater Center

June 22 - Denver, CO - Citizens for the River at Confluence Park

July 12 - Alta, WA - Targhee Fest

Sep 3-6 - Big indian, NY - Steve Earle's Camp Copperhead

Sept 14-15 - Telluride, CO - Telluride Blues & Brews Festival

^with Tiffany Lamson & Helen Gillet

° opening for Nathaniel Rateliff and The Night Sweats

# with Tim Reynolds & TR3, Samantha Fish and The Hornstars

MerleFest, presented by Window World, has officially come to a close, but not without a number of electric collaborations, spontaneous sit-ins, and world-class performances. Wynonna & The Big Noise, Amos Lee, Tyler Childers, Sam Bush Band, Brandi Carlile, and The Avett Brothers all brought extra MerleFest energy to the Watson Stage, marking another successful year for the long-running festival. Early estimates show that from its start on Thursday, April 25, to its close on Sunday, April 28, participation over the festival’s four days exceeded 75,000 attendees and artists from across the world. MerleFest, held on the campus of Wilkes Community College, is the primary fundraiser for the WCC Foundation, which funds scholarships, capital projects, and other educational needs.

“We’ve had an incredible weekend,” Festival Director Ted Hagaman said. “With over 100 artists on 13 stages over the four days, we again feel we succeeded in providing a quality and successful event for all involved. Preliminary numbers show we attracted thousands of fans from all over the world. We appreciate their support. This event could not happen without the work and dedication of our 4,500-plus volunteers and the many great safety and service agencies in Northwestern North Carolina. We’re already looking forward to MerleFest 2020.”

Thursday

Chatham County Line kicked off the 32nd annual MerleFest with a big “newgrass” bang. At the top of their game, Raleigh-based Chatham County Line appeared right at home on one of the biggest stages their home state has to offer. After Thursday’s sunset, Wynonna Judd and her band, The Big Noise, set about conjuring up enough rock and roll, blues, and country juju to knock the first-day crowd right off their feet. Once the crowd had recovered, the ones left with enough energy to carry on into the wee hours were treated with more electric boogie music in the form of Donna The Buffalo. Sporting dancey rhythms and electric improvisation, Donna proved to be the ultimate weekend ice-breakers, encouraging the late night crowd to let loose during their First Night Dance on the Bojangles’ Dance Stage. 

Friday

Before the sun had set on Friday, patrons were treated to show-stopping sets from the likes of Texas troubadour Radney Foster, Boston-based bluegrassers Mile Twelve, and the soft folk harmonies and humorous musings of The Milk Carton Kids. Upon the close of the Chris Austin Songwriting Competition, festival first-timer Amos Lee took the Watson Stage with his unique blend of soulful Americana. Tyler Childers closed out the Watson Stage with his now famous concoction of mountain music, old school country, and 1960s The Band-ish rock and roll. Under the bright stage lights, Childers rollicked through songs off of his award-winning 2017 album “Purgatory” to the delight of fans, some of whom had traveled to MerleFest on Childers’ merit alone. During Childers’ set, eclectic folk rockers Scythian set up in the Dance Tent for their second set of the day, the annual Friday Night Dance. Keeping the night owls rocking until almost midnight, Scythian reminded fans just how fun their music can be. 

Saturday

Saturday saw Chris Austin Songwriting Competition winners perform on the Cabin Stage to an audience eager to hear these up-and-coming songwriters before they’ve hit the big time. Now in its 27th year, the contest is an extraordinary opportunity for aspiring writers to have their original songs heard and judged by a panel of music industry professionals (Joey Ryan and Kenneth Pattengale, better known as The Milk Carton Kids, Cruz Contreras of The Black Lillies, and Texas-troubadour Radney Foster), under the direction of volunteer contest chairperson, Grammy Award-winning singer/songwriter Jim Lauderdale.

The first round of the CASC took place in Nashville, Tenn., and was narrowed down from 970 entries to 12 finalists representing four categories: bluegrass, country, general and Gospel/inspirational.

Each of the 12 finalists received admission and lodging for three nights at MerleFest. Finalists attended a workshop Friday morning given by D’Addario prior to the finals. After the contest, all finalists took part in a songwriting mentoring session with Jim Lauderdale and the on-site judges. The first-place winners in each category received $600 cash from MerleFest, a performance at the Cabin Stage on Friday night, and a 20-minute set on Saturday at the Cabin Stage. In addition, the first-place winners received a live performance/recording session with Saloon Studios Live, D’Addario strings, Shubb Capos, and their winning song will be aired on WNCW 88.7. Net proceeds from the Chris Austin Songwriting Contest help support the Wilkes Community College Chris Austin Memorial Scholarship. See below for a complete listing of winners and finalists.

Bluegrass:

1st Place- Anya Hinkle (Asheville, N.C.) – “Ballad of Zona Abston”

2nd Place- James E. Woolsey (Petersburg, Ind.), David Foster (Petersburg, Ind.) – “Sugar Ridge Road”

3rd Place- Wyatt Espalin (Hiawassee, Ga.) – “Light Coming Through”

Country:

1st Place- Andrew Millsaps (Ararat, N.C.) – “Ain’t No Genie (In a Bottle of Jack)

2nd Place- Hannah Kaminer (Asheville, N.C.) – “Don’t Open Your Heart”

3rd Place- Shannon Wurst (Fayetteville, Ark.) – “Better Than Bourbon”

General:

1st Place- Alexa Rose (Asheville, N.C.) – “Medicine for Living”

2nd Place- Bryan Elijah Smith (Dayton, Va.) – “In Through the Dark”

3rd Place- Wright Gatewood (Chicago, Ill.) – “First”

Gospel/inspirational:

1st Place- Russ Parrish (Burnsville, Minn.), Topher King (Savage, Minn.) – “Washed By The Water”

2nd Place- Ashleigh Caudill (Nashville, Tenn.), Jon Weisberger (Cottontown, Tenn.) – “Walkin’ Into Gloryland”

3rd Place- Kevin T.Hale- (Brentwood, Tenn.) – “We All Die to Live Again”

On Saturday, Molly Tuttle returned to the MerleFest stage for the first time since she won the Chris Austin Songwriting Competition in 2012. A rabid crowd ate up every guitar lick and melody Tuttle played as she continues to push the envelope of what can be played on a dreadnaught guitar. The Waybacks’ annual Hillside Album Hour found the bay-area band covering Led Zeppelin IV in its entirety with Sarah Dugas (formerly of The Duhks) handling most of the vocal duties and Sam Bush, Jens Kruger, Red Young, and Tony Williamson backing them up for yet another memorable Saturday afternoon set. Sam Bush Band lit up the Watson Stage ahead of Brandi Carlile, running through his career-spanning catalog of “New Grass” tunes and closing with his new rousing rock and roll anthem, “Stop The Violence”. Traditional Bluegrass super group Earls of Leicester once again paid excellent homage to the giants of the genre, Lester Flatt and Earl Scruggs. In an era of progression for the genre, the Earls brand of picking reminded the crowd that it’s perfectly OK to stick with tradition from time to time. Brandi Carlile and her band closed out Saturday with her signature songwriting style and vocal fireworks. Drawing from her newest release, “By The Way, I Forgive You,” and then diving deeper into her past works, Carlile and longtime musical partners Tim and Phil Hanseroth belted and whispered in close three-part harmonies well enough to make every last MerleFest attendee’s jaw drop. To close out an already special night, Sunday headliners Seth and Scott Avett of The Avett Brothers joined Carlile around a single mic at the front edge of the Watson Stage and performed the Avett’s “Murder In The City”, drawing a huge reaction from the already stunned crowd.

Sunday

North Carolina Governor Roy Cooper introduced Steep Canyon Rangers Sunday afternoon on the Watson Stage. Late last year, Gov. Cooper declared 2019 to be North Carolina’s “Year of Music”, adding, “from bluegrass to the blues, from gospel to funk, from beach music to indie and hip hop, North Carolina is the birthplace of many musical styles and iconic performers.” Gov. Cooper was in attendance for Steep Canyon Rangers’ “North Carolina Songbook” set on the Watson Stage which dove into the rich history of the region’s music, specifically the musical heritage of their—and the festival’s—home state, and solidified their place in MerleFest lore. Bluegrass patriarch and hair-style pioneer Del McCoury celebrated his 80th birthday surrounded by friends, family, and the Del McCoury Band. Del and the boys fired up the Hillside Stage, highlighting his eight-decade milestone with class and style that only the McCourys can provide. North Carolina’s own The Avett Brothers closed out the festival after having joined their father, Jim Avett, for Sunday’s annual Gospel Hour. On the Watson Stage, gladly playing tunes that spanned their almost-two-decade long career, The Avett Brothers had the crowd singing along from the very first line. While many MerleFest patrons have seen the Avetts at the festival before, this performance proved that the brothers and their band have now truly transcended to the next level of much-deserved stardom.

Virginia-based acoustic roots music collective The Steel Wheels have announced the July 12th release of their 7th full-length album, Over The Trees. Recorded in Maine with producer Sam Kassirer, Over The Trees draws attention to the impeccable harmonies of the four original members: Trent Wagler (guitar/banjo), Eric Brubaker (fiddle), Brian Dickel (bass), and Jay Lapp (guitars/mandolin). Kevin Garcia, who plays multiple percussion instruments, keyboard, and mallet-based instruments, formally joined the band after the 2017 release of Wild as We Came Here, which Kassirer also produced. In addition to familiar-to-fans harmonies, The Steel Wheels ventured a little farther out of their known comfort zone for Over The Trees. “This is a bit of an experimental record at times, with new sounds and influences,” Wagler says. “We know where we come from. We are a string band from Virginia, but we are evolving with this album, and we are embracing the future.”

Over The Trees opens with the percussion-heavy groove of “Rains Come,” a rehashing of the classic tale of Noah and his ark in relation to today’s contingency of climate change deniers. “If there are real dangers ahead in our planet’s hope for survival, why isn’t it all any of us are talking about?” asks Wagler, the song’s primary writer. “It’s overwhelming, that’s why. I don’t like admitting that I get stuck right there, but this song offers some of those questions.” A little deeper into the record, the swampy chant of “Something New” ushers in a recurring theme on Over The Trees; mantra and meditation. “Get To Work” is another tune that falls under the theme. Wagler muses, “I know that ‘Get To Work’ is self-talk for when I’m feeling down, when I’m feeling overwhelmed, or when I’m feeling like, ‘Ugh, what do we do this for?’” Certainly though, not all the songs on Over The Trees fall so neatly under that umbrella. “Time To Rest,” co-written by Wagler and southern songstress Sarah Siskind, reflects on the weight of letting down friends or loved ones in a lilting feel that Wagler calls “an implied Levon Helm swing.” The album closes with “This Year,” a wistful a cappella ode to keeping an optimistic spirit, even down to showing gratitude for the cat who is waiting for you when you finally get home.

On the whole, Over The Trees is a collection of songs about surviving tragedy. “At times our human response is muted and resigned, at other times triumphant and steadfast,” notes The Steel Wheels’ fiddle master Eric Brubaker, who’s outlook on the album changed significantly when he lost his 10 year old daughter to a sudden illness earlier this year. "Over the Trees is an ode to the community that rises up to support those in need, and is dedicated to the memory of Norah Brubaker."

The release of Over The Trees coincides with the band’s Red Wing Roots Music Festival, which they have hosted and curated for seven years. “Lucky number seven, can you believe it?” said Wagler. “The changes of seasons in Virginia are always something to behold. The colors of fall, the cool, quiet, darkness of winter, and the new growth of spring bringing us to our full bloom in the heat of summer. Summertime brings vacation for many, perhaps a slower pace, but in our modern age, it also comes with so many great choices for recreation and fun. We are charmed and delighted that somewhere along the way, among all the different choices, so many of you have joined our Red Wing family.” The community of Red Wing and the greater community of Steel Wheels fans have been the driving factor of what sets the band apart from their contemporaries and peers in a densely populated digital age. The love and kindness that breathes life into The Steel Wheels’ music flows freely from the stage, into the audience, and is taken from there into the world as a medicine; a much-needed pick-me-up for today’s trying times.

Catch The Steel Wheels On Tour:

May 25 - Martinsville, VA - Rooster Walk 11

May 26 - Aberdeen, NC - The Rooster’s Wife

June 8 - Ocracoke, NC - Ocrafolk

June 9 - Ocracoke, NC - Ocrafolk

June 13 - St. Paul, VA - Western Front Hotel

June 15 - Yadkinville, NC - Yadkin Arts Center

June 21 - Columbus, OH - Woodlands Tavern

June 22 - Effingham, IL - Moccasin Creek Festival

July 12 - Mt. Solon, VA - Red Wing Roots Music Festival

July 13 - Mt. Solon, VA - Red Wing Roots Music Festival

July 14 - Mt. Solon, VA - Red Wing Roots Music Festival

July 20 - Galax, VA - Blue Ridge Music Center

July 21 - Saluda, NA - The Purple Onion

July 22 - Nashville, TN - City Winery Lounge

July 23 - Kansas City, MO - Knuckleheads

July 27 - White Sulphur Springs, MT - Red Ant Pants Music Festival

August 3 - Bayfield, CO - Pine River Festival

August 17 - Lyons, CO - Rocky Mountain Folks Festival

September 28 - Lexington, VA - Lime Kiln Theater

Longtime Mother Hips guitar slinger, vocalist, and songwriter Greg Loiacono, in partnership with Blue Rose Music, is excited to announce the release of his new single, “Close Your Eyes (We’ll Be There Soon)”—the second in a series of releases for 2019. This track comes hot on the heels of the March release of “San Felipe,” Loiacono’s duet with Los Angeles songstress, Jamie Drake. The video for “Close Your Eyes (We’ll Be There Soon)” can be viewed at The Bluegrass Situation, watch and listen here.

With a decisively California feel, “Close Your Eyes (We’ll Be There Soon)” uses a bossa-esque acoustic guitar part, gorgeously sparse piano provided by Wilco’s Mikael Jorgensen, along with some vibey electric guitar drenched in reverb and tremolo, to ease listeners into Loiacono’s colorful, descriptive verses. The inspiration for “Close Your Eyes (We’ll Be There Soon)” came to Loiacono while listening to his friend Kyle Field (Little Wings) perform an afternoon set at The Hipnic in Big Sur, CA. “I was laying on the grass with my family and some friends, staring up at the trees and listening to Kyle’s voice lilt through the leaves. There was no other place to be,” says Loiacono.

Loiacono likens the three-part song to a road trip, saying, “The first touches on the excitement of making the journey to your favorite place. The second is being in that place and taking it all in. The third is that drive home which is filled with a tired, beautiful sadness—recalling the fun times you had and wishing they weren’t over while falling asleep off into a dream." By the time the final refrain of “Close your eyes, we’ll be there soon” rolls around, Loiacono’s voice is joined by angelic background vocals, repeating the line, wet with reverb, until it’s buried deep in the listener’s subconscious.

Click here for more information on Loiacono, this release, and forthcoming singles.

On Tour:

May 17-19 - The Hipnic - Big Sur, CA

May 30 - Moe's Alley - Santa Cruz, CA w/ Green Leaf Rustler

May 31 - 2nd Annual Western Weekend - Point Reyes, CA w/ Green Leaf Rustler

June 1 - Sherwood Music Festival - Chico, CA w/ The Mother Hips

June 2 - Terrapin Crossroads - San Rafael, CA w/ The Mother Hips and Phil Lesh and Friends

Blue Rose Music is proud to announce that The McCrary Sisters and The Mother Hips (Tim Bluhm & Greg Loiacono) have been added to the lineup for the 6th annual Blue Rose Benefit. Taking place on June 8th at San Francisco’s legendary venue, The Fillmore, the Blue Rose Benefit will once again raise money for the Blue Rose Foundation with 100% of ticket sales going towards funding pre-school scholarships for financially disadvantaged children in the Bay Area. This year, Jackie Greene returns as headliner and event host. He’ll be joined by fellow Blue Rose Music artists Cris Jacobs and Bailey Ingle—the latter’s appearance will be her first performance in California. Doors at The Fillmore will open at 8 pm on June 8th with the first act starting at 9 pm. Tickets can be purchased here.

“This is our sixth year and we’ve been so honored by the support of the community. It’s been five years of sell-out shows and we don’t take that lightly,” says Blue Rose Music founder Joe Poletto. “This year we hope to enhance the experience even more with an expanded VIP package and a silent auction to give the fans access to some truly unique items and the additional opportunity to support the cause. Jackie will treat his fans to something really special with the addition of the McCrary Sisters to the band. We’re extremely excited to welcome our new signing, Cris Jacobs, to the event, and to give one of our developing artists, Bailey Ingle, her first chance to perform in California.”

A limited number of VIP ticket packages are also available. Blue Rose Benefit VIPs will receive an event laminate, early admission to Jackie Greene’s soundcheck, a signed event poster, Blue Rose Music tote bag, Blue Rose Music pick tin, and a coupon to pick their own vinyl record from the Blue Rose catalog. VIP tickets can also be purchased here.

More About the Blue Rose Foundation:

The Blue Rose Foundation was created to honor the memories of our family members, friends, teachers, and mentors. To pay tribute to those who inspired us, we support programs that give children the ability to reach new heights of success. Reaching at-risk children early is critical to this success. Nobel Prize-winning Professor of Economics James Heckman has demonstrated that investing in pre-kindergarten programs for disadvantaged children provides a significant return on investment to society, improving literacy, high school graduation and employment rates, as well as reducing delinquency and violence.

Rising Appalachia, America’s new favorite World-Folk musicians, have already had a career-defining year, and it’s not yet July. Sisters Leah Song and Chloe Smith have already led the band to new heights in 2019; releasing their much-anticipated LP Leylines to praise from fans and critics alike. Brooklyn Vegan called “Speak Out,” one of the album's standout tunes featuring Ani DiFranco, “an appealing dose of fiddle-fueled folk and close harmonies.” NPR praised album closer, “Resilient,” as an “uplifting, original folk anthem” and Rolling Stone called their sound “protest music for the modern age bolstered by delicate, skillful musicianship and otherworldly vocal harmonies.” 

This spring, in addition to touring in support of Leylines, the duo still made time to participate in a six-week cultural exchange trip through Argentina, Uruguay, and Peru—read about Leah and Chloe’s expedition in their No Depression spotlight here. On Leylines, Leah and Chloe are joined by longtime members David Brown (stand-up bass, baritone guitar) and Biko Casini (world percussion, n’goni), as well as two new members: West African musician Arouna Diarra (n’goni, talking drum) and Irish musician Duncan Wickel (fiddle, cello). The sonic textures of these two cultures are woven into Leylines, enhancing the stunning blend of folk, world, and urban music that has become Rising Appalachia’s calling card.

No strangers to travel, both far and wide, Rising Appalachia have just announced a solid two months of North American tour dates. From Colorado to the Pacific Northwest, down the California coast, and east into New Mexico, the group’s October dates focus attention primarily west of the Rockies. November finds Rising Appalachia kicking off the eastern leg in Atlanta, GA, gallivanting through the Southeast and Midwest before winding up into New England, Quebec, and Ontario. The sisters and band will close things out at New York City’s famed Bowery Ballroom.

For the entirety of this tour, Rising Appalachia are offering a limited number of VIP packages for each show. VIPs will receive early entry into the venue, an intimate pre-show acoustic performance and a group conversation with the band, as well as early access to the band’s tour merchandise, and a signed collectible tour poster.

Before their tour kicks off in Aspen, Rising Appalachia will be hitting a number of festivals including 4 Peaks in Bend, OR, ARISE in Loveland, CO, and Americana Fest in Nashville, TN. 

For more information, please visit http://www.risingappalachia.com/.

Catch Rising Appalachia On Tour:

September 10-15 - Nashville, TN - Americana Music Festival & Conference

September 20 - Telluride, CO - Sheridan Opera House

September 21 - Telluride, CO - Sheridan Opera house

September 27 - Aspen, CO - Belly Up Aspen

September 28 - Steamboat Springs, CO - String Music Pavilion 

October 2 - Vancouver, BC - Hollywood Theatre

October 3 - Seattle, WA - The Neptune

October 5 - Portland, OR - Crystal Ballroom

October 6 - Eugene, OR - McDonald Theatre

October 7 - Ashland, OR - Ashland Armory

October 9 - Arcata, CA - Van Duzer Theatre

October 10 - Petaluma, CA - Mystic Theatre

October 11 - Nevada City, CA - Osborne / Woods Hall

October 12 - Berkeley, CA - The UC Theatre

October 15 - West Hollywood, CA - The Troubadour

October 17 - Santa Fe, NM - Meow Wolf

November 9 - Atlanta, GA - Variety Playhouse

November 10 - Nashville, TN - The Basement East

November 11 - Lexington, KY - The Burl

November 14 - Chicago, IL - Old Town School Of Folk Music

November 15 - Ann Arbor, MI - The Ark

November 16 - Millvale, PA - Mr. Smalls Theatre

November 20 - Washington, DC - The Hamilton

November 21 - Philadelphia, PA - World Cafe Live

November 23 - Woodstock, NY - Levon Helm Studios

November 24 - Allston, MA - Brighton Music Hall

November 25 - South Burlington, VT - Higher Ground

November 26 - Montreal, QC - L’astral

November 27 - Toronto, ON - Horseshoe Tavern

November 29 - New York, NY - The Bowery Ballroom

What happens when the Rolling Stones call to say their tour is rescheduled and your presence is requested on the road? Long-time leader of his own band and High Sierra Music Festival mainstay Karl Denson knows the answer; get creative! And creative he got—with a bit of a schedule shuffle, HSMF has confirmed that Karl Denson will still be at the festival and will still be putting on a notorious Karl Denson’s Tiny Universe late night show despite his participation in the Rolling Stones’ touring band this summer. With the help of The Marcus King Band and The New Mastersounds, who switched their own time slots with Denson to make everything work, the weekend will go on as planned. Please see the full schedule update below.

—>Karl Denson’s Eat a Bunch of Peaches will perform on the Grandstand Stage Thursday, July 4, 7:15 – 8:45pm

—>Karl Denson’s Tiny Universe will perform in the Funk’n Jamhouse Thursday night at 12am – 1:15am followed by Star Kitchen at 1:45am.

—>The New Mastersounds will perform in the Late Night Music Hall on Saturday night.

—>The Marcus King Band will perform on the Grandstand Stage Sunday, July 7, 7:15 – 8:45pm

If you have already purchased tickets for Karl Denson’s Tiny Universe Saturday Late Night Show, your tickets will be honored at Thursday’s Karl Denson Late Night show.

If you have already purchased tickets for The New Mastersounds Thursday Late Night Show, your tickets will be honored at Saturday’s The New Mastersounds Late Night show.

If you have purchased tickets to either of these late night shows and would like a refund, please email [email protected] before June 14th to request a refund. We will not accept refund requests after June 14th.

The High Sierra Troubadour Sessions lineup is out for 2019. Catch intimate, in-the-round songwriter performances after the main stages are wrapping up for the night. An acoustic alternative to the traditionally rowdy late night shows, each Troubadour Session will find four of HSMF’s best songwriters trading stories and songs. See the full High Sierra Troubadour Sessions lineup below.

Thursday

Marty O'Reilly

Caitlin Gowdey (Rainbow Girls)

Clay Finch & Sam Blasucci (Mapache)

Lauren Bjelde, Jesse Lemme Adams & Robby Elfman  (Royal Jelly Jive)

Friday

Cris Jacobs

Lebo (ALO)

Zach Gill (ALO)

Reid Genauer

Saturday

Grahame Lesh (Midnight North)

Elliott Peck (Midnight North)

Matt "The Rev" Reiger (The Lil Smokies)

John Kadlecik

Sunday

Maggie Forti

Eric Long

Ezra Lipp (ALO)

Erin Chapin (Rainbow Girls)

Additionally, High Sierra has announced their playshop lineup and schedule for 2019.  High Sierra Music Festival playshops have quickly become some of the most anticipated and talked about moments of each year’s festival. These unique, one-of-a-kind sets are a special treat for both musicians and fans alike, be it a tribute session celebrating a particular artist, a specific time or event in music history, a collaboration with other artists or a session focusing on a particular theme or style of music. Playshops give artists a chance to stretch their legs, musically speaking, and take more on-stage risks than they usually might. This laid back nature also grants music fans access they may rarely get anywhere else; bands finding the limits of improvisation or feeling out a brand new song in front of an audience. High Sierra’s full playshop schedule is laid out below.

FRIDAY

10:15 - 11:15 am / High Sierra Funk Jam (participatory playshop)

Get your weekend off on the good foot!   Music educator Sean Leahy and Tea Leaf Green's Eric DiBerardino invite you to come participate in a relatively new High Sierra tradition. Bring your axe, horn, sticks, voice or dancing shoes as Sean & Eric take you through a variety of Funk songs, styles and jams. All players and all ages are welcome to come jam on stage at High Sierra!  Learn some new songs, new licks and meet fellow players at this unique experience.

12:00 - 1:15 pm / By The Time We Got To Woodstock

Woodstock! The mother of the modern day music festival. It shaped and changed the way generations from 1969 - 2019 experienced live music, community and counterculture as well as everyday life. Sean Leahy, Eric DiBerardino and a cast of High Sierra All-Stars kick off this years playshop sessions with a nod to the 50th anniversary of the legendary festival as they cover jams by Santana, The Who, Jefferson Airplane, Jimi Hendrix and much more!

2:00 - 3:00 pm / Celebrating the Music of Creedence Clearwater Revival (Cris Jacobs Band)

Creedence Clearwater Revival were one of the most widely revered and commercially successful bands of the late sixties/early seventies and though they hailed from San Francisco their swamp-boogie blues-rock sound had its roots firmly in the south. Their sound was unmistakable, led by the ring of John Fogerty's voice and the snap and twang of his and brother Tom's guitar riffs along with the locked in rhythm section of Stu Cook on bass and Doug Clifford on drums. Who better than the Cris Jacobs band, an outstanding four piece roots rock band with the same two guitar/bass/drums line-up to pay tribute to one of America's most notable bands.

3:45 - 4:45 pm / Return Of The Skerik Improv Session (Skerik and friends)

Saxophonist Skerik is synonymous with High Sierra. He's been a part of more bands (from Garage A Trois to Critters Buggin' to DRKWAV to Les Claypool's bands) and performed in more sets than any other musician in the history of High Sierra! Skerik's a master musician with unlimited capacity and is comfortable in any musical setting. Good things always happen when Skerik's at the helm and we welcome he and his cohorts as they walk the musical high-wire without a net.

5:15 - 6:30 pm / Marty O'Reilly and the Old Soul Orchestra Take It To The Floor!

When Marty O'Reilly & The Old Soul Orchestra feel really connected with an audience a member of the band will say "let's take it to the floor!" at which point they'll leave the stage and come on down into the audience, circle up and finish the set. That kind of spontaneous shift makes for some magical moments allowing the audience to feel that much closer to the music. Join Marty and company as they TAKE IT TO THE FLOOR for an entire set, setting up in the middle of the room and eliminating the traditional barrier between performer and spectator - making the set one big inclusive experience.  

SATURDAY

10:15 - 11:15 am / High Sierra Blue Jam (participatory playshop)

Rise and shine and shake those blues!  Sean Leahy and Eric DiBerardino Invite all to come jam on a wide spectrum of blues songs and styles. From the roots of Robert Johnson to the modern blues expressions of Gary Clark Jr and more. The Blues is a universal language that welcomes all!  Bring your instrument and come have some fun!!

12:00 - 1:00 pm / drēmo : phoffman and Devol (Paul Hoffman and Mike Devol of Greensky Bluegrass)

Upright bassist Mike Devol and mandolin player Paul Hoffman (Greensky Bluegrass) occasionally play as a duo under the name drēmo, a name they came up with at High Sierra some years ago. Join them for a special playshop featuring songs of Greensky, stories, harmonies and anecdotes fueled by 15 years of close camaraderie featuring guest appearances by friends unnamed.

1:30 - 2:45 pm /  Lebo's High Sierra Ramble: 50 In The Rearview - Songs from 1969 (Lebo, ALO, Jay Lane, Reed Mathis, Reid Genauer, Jen Hartswick, Natalie Cressman, Jeremy Schon of Pigeons Playing Ping Pong and more)

1969 was one of the most important years in the history of popular music.  Simply put, there were leaps and bounds happening all over the place. Frank Zappa debuted Peaches En Regalia, The Beatles took to the stage together for the very last time, Gram Parsons and The Flying Burrito Brothers released their first album, Miles Davis released the seminal albums “In a Silent Way” and “Bitches Brew”, Eric Clapton formed Blind Faith, and so much more!  While we have several other playshops touching on this seminal year, we invite you to come on a time traveling experience and see what Lebo comes up with as he puts 50 in the rearview and curates a musical journey through some of his personal favorites from this ground breaking year in music!

3:30 - 4:30 pm / Classic Album Hour: The Rolling Stones "Let It Bleed"

(Simon Kurth & Mescalito, Jen Hartswick, Cris Jacobs Band, Jeremy Schon of Pigeons Playing Ping Pong, Shook Twins, Joe and Hattie Craven, the Rainbow Girls, Bo Carper and more)

1969 was a landmark year and one of the seminal albums to be released was 'Let it Bleed' by the Rolling Stones. It was a turning point for the band with Brian Jones departing and Mick Taylor coming into the fold while the record was being made. The songs and arrangements echoed the tumultuous nature of the times, and struck a chord that has rung true for the generations of fans it has influenced. Commemorating the 50th anniversary of the release of this album, Simon Kurth and Mescalito will lead a stellar cast of special guests through a live performance of the entire album. So slip back in time to 1969, and transport yourself to the front row and hear these iconic songs performed by some of your favorite High Sierra artists!

5:15 - 6:30 pm / Bean Night: Hosted by the Rainbow Girls

Rainbow Girls formed out of an underground open mic while in college in Santa Barbara, CA and though the band relocated to the Bay Area, they have kept the tradition alive, opening their house and inviting friends to share songs, poems, stories, comedy, performance art, and anything else that can be done in a crowded living room.  “Bean Night” (named for the pot of beans and rice made for those who come to share) has garnered a cult-like following up and down California and has really only existed in living rooms until now. Rainbow Girls. special guest John Craigie and a slew of friends (Shook Twins, Marty O'Reilly, Lauren Bjelde from Royal Jelly Jive and more) team up to bring you Bean Night at High Sierra. BYOBeans

SUNDAY

10:00 - 11:00 am / Grateful Dead (participatory playshop)

They're a band beyond description -- What else is there to say? In words that Jerry told Joe Craven when they were creating the Garcia Grisman recordings, "You gotta make the music your own",  Join Joe Craven & The Sometimers along with Sean Leahy, Eric DiBerardino and Scott Guberman (Phil Lesh & Friends) as they play - and play with - this classic canon of material that has become such a significant part of the soundtrack of our lives.     

11:30am - 12:45 pm / Gospel In The Hall (Bo Carper, Lebo, Joe & Hattie Craven,  Ron Artis & The Truth, Marty O'Reilly & The Old Soul Orchestra and more

Hallelujah! Sunday morning church at High Sierra continues... Bo Carper (New Monsoon) & Lebo (ALO) host an all-star lineup that will inspire, entertain and uplift you with songs that draw from the deepest well of American music and dip into Blues, R&B, Bluegrass and more.  You don’t have to be holy to love this set, but chances are you’ll walk out feeling joyful

1:30 - 2:45 pm /  Soul Queen Sunday: A Tribute To Aretha and other Ladies of Soul

(Hosted by Royal Jelly Jive)

The international music world lost a treasure last year when Aretha Franklin passed away and we couldn't let the year go by without paying tribute. While we wanted to shine a light on the incomparable talent Aretha possessed we also wanted to expand the love to include other Ladies of Soul such as Sharon Jones, Mavis Staples, Amy Winehouse, Nina Simon and more. Join Royal Jelly Jive (featuring vocalist Lauren Bjelde) and friends as they pay tribute to the Queen of Soul and other soul greats!

3:30 - 4:45 pm / Masters of Slide (Simon Kurth and Mescalito with special guests Luther Dickinson, Lebo, Lil Smokies, Jonathan Sloane, Sean Leahy, Rainbow Girls and more)

Come take a sonic journey through time and trace the evolution of slide guitar from its roots to its modern stylings. Leading us through these songs will be Simon Kurth and his band Mescalito, and a spectacular cast of guests  In addition to playing on the songs, each featured slide player will be sharing some background of what is special about the song and slide technique. From acoustic delta blues, and country lap steel to dobro picking, or rock n roll slide anthems, there's a little something for everyone in this slide playshop.

5:30 - 6:45 pm / Guitarmageddon plays Led Zeppelin

Guitarmageddon has been a High Sierra institution since 2005!  Born from the brain of Josh Clark, 'Geddon has been embraced by and blossomed at HSMF since it’s inception and owes its heart and soul to the HSMF family and community!  Come hear and see the core band of Sean Leahy, Eric DiBerardino, Dave Combs, Jeff Miller, Pamela Parker, Scott Guberman, Chris Grant, Simon Kurth and a long list of amazing guest guitarists close this years playshops with a big 50th anniversary nod to the one and only Led Zeppelin.  

More About High Sierra Music Festival:

Priding itself on a diverse musical lineup, one-of-a-kind intimate artist “playshops,” and legendary sit-ins and surprises throughout the weekend, HSMF remains the live music fan mainstay—a home away from home to pilgrimage to each year for a community experience of musical chances-taken, all day and all night, on stages big and small.  From the Grandstand Stage to the “don’t let out the air-conditioning” doors of the High Sierra Music Hall, festival-goers spend every day celebrating old traditions, as well as forging new ones each and every year. Craft brews and artisanal cocktails and cuisine to satisfy any appetite can be found around the clock, and kids never get bored of the daily parades, accommodating Family Village, and the always-popular community swimming pool right next door. On-site yoga, Pilates, and guided meditations provide a non-musical lift for the body, mind, and spirit. High Sierra Music Festival continues to be the cradle of exciting music in the picturesque locale of Plumas-Sierra Fairgrounds in Quincy, CA—located an easy distance from the Reno, NV, Bay Area, and Sacramento, CA, airports.

Visit http://highsierramusic.com/ to purchase four-day passes. All tickets, including FestivALL VIP packages and parking passes, are on sale now.

For travel FAQ and more information, please check the website and Facebook page.

Michaela Anne grew up bouncing around the States and abroad—from Washington to California to Italy, to name a few. A child of a military family, she learned to cope with her lack of roots and what she called “having more questions than answers” by learning to write songs. That skill set and those songs have carried Michaela Anne farther than ever imaginable, impressing the likes of NPR, who said she “works through weepers and hits the honky-tonks as every great country singer should,” and Noisey, who praised her most recent release as the antidote to commercial pop-country, calling her “our saving grace, our angel, the person who will help usher us into a new age.” And into the new age, she continues to push. On September 27th, Yep Roc Records will release Desert Dove, Michaela Anne’s full-length follow up to her critically-acclaimed Bright Lights and the Fame. “By Our Design,” the album’s first single and video, was premiered today at Rolling Stone. Celebrating the song as “a gorgeous meditation on picking the road not taken,” Marissa Moss, writing for Rolling Stone, notes that the track “highlights the songwriter’s pristine voice." The song, a mid-tempo burn framed with dense violins and tremolo guitar, is a sweet ode to a carved out life together; imperfect, but adaptive and free. Moss also points out Michaela Anne’s intent for the song to sound like a “bit of Laurel Canyon dust into Tennessee soil.” Pre-order Desert Dove and/or stream “By Our Design” here.

Recorded over the course of several weeks in San Clemente, CA, Desert Dove was completed “on location” with the help of an all-star cast. Producers Sam Outlaw and Delta Spirit’s Kelly Winrich assembled guitarist Brian Whelan (Dwight Yoakam, Jim Lauderdale), fiddler Kristin Weber (Kacey Musgraves, Margo Price), and drummers Mark Stepro (Ben Kweller, Butch Walker) and Daniel Bailey (Everest, Father John Misty) to address this batch of songs with a fresh take, not leaning too hard on traditional arrangements or instrumentation. “Child of the Wind,” the album’s fourth track, is a great example of this; using a chunky, fuzzy electric guitar in place of what could have been a pedal steel or fiddle intro, adding sonic and tonal variables to the breadth of Michaela Anne’s range of characters and motifs. Amidst the ups and downs of Desert Dove, there is a recurring focus on the emotions that fall in between peaks and valleys. “This record, for me, highlights the gray area, the nuance of emotional life and relationships that seems to be harder to convey in today’s modes of communication and limited attention spans: short excerpts on Instagram or Twitter paragraphs,” says Michaela Anne. “Nothing is black and white, solely good or bad. Who we are, how we live, how we love, what we desire or reject, it’s all full of contradictions and confusions. I wanted to explore that through my songs with care, depth, reality as well as light-heartedness, fun and fantasy.”

Michaela Anne also attacks most of the album with a sharp feminine perspective, dealing out wisdom, confidence, and sass with authority and maturity that is never tiresome. The easiest example of this is Michaela Anne’s light-hearted rebuttal to condescension and “mansplaining” with “If I Wanted Your Opinion,” but her stance drives deeper with each new song, all the way through the end of Desert Dove. “When I got to Nashville, I was told the ‘rules’ of songwriting,” Michaela recounts. “I was informed that a woman in a country song can never be the victim, but she can also never be the perpetrator. That’s not real life. As a woman, sometimes you’re everything all at once, and I wanted to write about those real experiences.”

Desert Dove is also Michaela Anne’s first release as a new signee to Yep Roc Records. North Carolina-based Yep Roc announced their partnership with Michaela Anne on May 16th of this year, making her label mates with the likes of Mandolin Orange, Jim Lauderdale, Aoife O’Donovan, Chatham County Line, The Felice Brothers, Amy Helm, Tift Merritt, and Kim Richey. Billy Maupin, Yep Roc’s General Manager, says of the signing, “We are ecstatic that Michaela Anne is now part of the Yep Roc family. Her new album showcases her as a triple threat of singer, songwriter, and performer. We are excited to be part of the release.”

Michaela Anne will tour in support of this release and was recently included in the first round of artist announcements for Nashville’s long-running AMERICANAFEST 2019.

Michaela Anne on Tour:

6/14 - Broken Dreams - Borlange, SE

6/15 - STHLM Americana Fest - Stockholm, SE

6/16 - Hotel Cecil - København, DK

7/3 - The Rooster’s Wife - Aberdeen, NC

7/4 - Red, White & Blue Festival - Greenville, SC

7/5 - The Kraken - Chapel Hill, NC

7/6 - Festival for the Eno - Durham, NC

8/1-2 - Mile of Music - Appleton, WI

9/10-15 - AMERICANAFEST - Nashville, TN

Americana and roots singer-songwriter Jackie Greene is announcing a new live solo album, 100% Greene: Live from Throckmorton Theatre. Set for release on July 5 on Blue Rose Music, the album features 16 live tracks from Greene’s November 24, 2018 performance at the intimate California venue. Greene comments, “That was a good night. It was just me, being me. The setting was warm and comfortable. It felt like I was having a conversation with the crowd. I did most of the talking, per usual.” Fans can pre-order 100% Greene: Live from Throckmorton Theatre today.

In addition to the album, Greene has also announced new West Coast dates including two nights at Seattle's Tractor Tavern on September 26 and 27, Portland's Aladdin Theater on September 28, and the WOW Hall in Eugene, Oregon on September 29. Greene adds, “Looking forward to seeing our friends in the Pacific Northwest this September. We’re going to bring the intimacy your way!”

Track Listing:

Ghosts Of Promised Lands

I Don't Live In A Dream

Gone Wanderin'

Honey I've Been Thinking About You

I'm So Gone

Hollywood

Drown In My Own Tears

Grindstone

Tupelo

Don't Let The Devil Take Your Mind

Prayer For Spanish Harlem

Shaken

Victim Of The Crime

The Ballad Of Sleepy John

Like A Ball And Chain

Sweet Somewhere Bound

Catch Jackie Greene on tour:

July 2 – Vail, CO – Gerald R. Ford Amphitheater

July 4 – Morrison, CO – Red Rocks (with Blues Traveler, Leftover Salmon)

September 26 + 27 – Seattle, WA – Tractor Tavern

September 28 – Portland, OR – Aladdin Theater

September 29 – Eugene, OR – WOW Hall

Taking place across five venues in the “best small city in America” on September 13th and 14th, Park City Songwriter Festival promises to be an experience to captivate even the most avid of live music fans. In addition to the headliner’s concerts each night, songwriters in the round, panels, and workshops will all be part of the PCSF experience, which was dreamed up by Park City residents and festival co-founders, Ben Anderson, Scott Thomson, and Aaron Benward. “Park City Songwriter Festival brings to life our vision for an intimate musical experience where attendees feel like they’re in the green room, listening to their favorite artists swap stories,” says Anderson. “We’ve got Grammy award-winning artists with chart-topping songs and the Festival lineup brings a great mix of acoustic shows, electric musical performances, and industry-leading speakers.” Speaking of Grammys, Park City Songwriter Festival’s inaugural lineup has collectively won 17 of them. In addition to those awards and 12 more Grammy nominations, they’ve also won 3 ACM Awards, 3 CMA Awards, and have had 59 number one songs. Three tiers of tickets for Park City Songwriter Festival are on sale now. A very limited number of “Platinum” and VIP tickets are available as well as general admission. A detailed list of what is included with each ticket can be found below. All tickets can be purchased here.

Diving deeper than just the songs, Park City Songwriter Festival was also founded to focus on mental health and addiction recovery challenges that persist in the music industry today. Partnering with the Grammy’s MusiCares organization and headlining artist Anders Osborne’s Send Me A Friend Foundation, Park City Songwriter Festival cares as much about the health of the songwriters as they do the songs themselves. 

Park City Songwriter Festival’s initial lineup includes (in alphabetical order) Aaron Barker, Aaron Benward, Alicia Stockman, Anders Osborne, Anna Wilson, Bill Luther, Billy Dean, Bryon Friedman, Chad Cromwell, Chris Wallin, D Vincent Williams, Danny Myrick, Dave Pahanish, DJ Logic, Earl Bud Lee, Eric Van Houten, Even Stevens, Hailey Steele, Ira Dean, Keith Stegall, Kent Blazy, Kyle Jacobs, Kylie Sackley, Luther Dickinson, Marc Broussard, Matt Warren, Megan Linville, Monty Powell, North Mississippi Allstars, Paul Jenkins, Phillip White, Rick Brantley, Rick Gerber, Shannon Runyon, Sinclair, Sophia Dion, Steve Seskin, The Side Deal, Tim James, Travis Howard, Tyler Hilton, and Windy Wagner. In addition to national talent, ten local songwriters were selected through Park City Songwriter Festival’s relationship with Mountain Town Music.

Keep an eye out for further lineup announcements and updates from Park City Songwriter Festival at https://www.parkcitysongwriterfestival.com/.

Ticket breakdown:

Platinum: 

-2 Day Festival ticket with 32 shows to choose from 

-Guaranteed access and first entry option to all shows

-Reserved ticket to Headline Songwriter Rounds (Anders Osborne, Luther Dickinson, and Marc Broussard acoustic set on Friday and Hall of Fame Round on Saturday)

-Main Stage shows on both nights

-High West Nelson Cottage Dinner on Friday or Saturday night with the artists

-Access to Saturday’s workshops 

-Access to Grammy’s MusiCares Discussion with Harold Owens & Paul Williams 

-Goodie Bag

-Dedicated platinum service concierge to help make the most of your festival experience

VIP: 

-2 Day Festival ticket with 32 shows to choose from 

-Access to Main Stage shows on Friday and Saturday night (NMA, Anders Osborne, & Marc Broussard on Friday; Saturday to be announced)

-VIP Only Artist Mixer on Saturday 

-Early Access to rounds (behind Platinum ticket holders)

-Limited Standby access to Listening Room Headliner Round

-Access to Saturday’s workshops with standby access to MusiCares Discussion on Friday

General Festival: 

-2 Day Festival ticket

-Choose from 28 shows on a first come, first in basis

-Access to workshops

-Limited Standby access to Main Stage at O.P. Rockwell

For the past 18 years, Hardly Strictly Bluegrass has brought hundreds of thousands of die-hard live music fans from around the world to San Francisco’s Golden Gate Park each October. This year, on October 4-6, Hardly Strictly will celebrate its 19th year with performances by celebrated acoustic duo The Milk Carton Kids, the unique collaboration of Calexico and Iron & Wine, Ukraine’s heralded folk-music group Dakhabrakha, Texas troubadour Hayes Carll, Bay Area golden boy Jackie Greene, cowpunk heroes Meat Puppets, powerhouse soul spirit Bettye LaVette, country-music renaissance woman Margo Price, songwriting legend Steve Earle, and British-Irish folk-rockers The Waterboys. “To me, this lineup reflects our event's legacy while looking ahead to the future,” says Hardly Strictly’s talent buyer Chris Porter. “Steve Earle has been celebrating with us since 2002 and artists like Margo Price and Dahkabrahka are making their first Hardly Strictly Bluegrass appearances.” This first round of artists was announced today after Hardly Strictly fans were treated to what the festival calls an “artist medley”—a sneak-peak audio clip of soon to be announced artists—on the festival’s social media accounts. The first lineup announce coincides with the 85th birthday of Hardly Strictly Bluegrass founder Warren Hellman who created the festival in 2001 as a gift to the people of San Francisco and the world, celebrating American “roots” music and its many outgrowths.

Several of today’s announced performers are also participating in Hardly Strictly Out of the Park—a series of evening shows at a number of local venues in which $1.00 per ticket goes to Music in the Schools Today. Jackie Greene, Meat Puppets, Hayes Carll, Calexico and Iron & Wine, and The Waterboys will each perform one of these Out of the Park shows surrounding Hardly Strictly Bluegrass. A partial list of Out of the Park performances is below, with more shows to be announced in the coming months.

Hardly Strictly Bluegrass takes place within Golden Gate Park in Hellman Hollow, Lindley Meadow, and Marx Meadow. All meadows open for entry at 10 am with music starting at noon on Friday and 11 am on Saturday and Sunday. Food and non-alcoholic beverage vendors will be stationed around the park. No alcoholic beverages will be sold during the festival, but patrons are allowed to bring beer and wine as long as it is not in glass containers. Hard alcohol is prohibited. In addition, coolers, blankets, and short-back chairs are allowed. Cameras are allowed, but not tripods or other intrusive equipment. Due to limited parking surrounding Golden Gate Park, attendees are highly encouraged to use public transit, ride-share, bike, or walk instead of driving. Long-time festival-goers will also be happy to know that for the first time in years, Hardly Strictly will not coincide with San Francisco Fleet Week. Patrons will be able to enjoy the intimacy of acoustic sets without noisy jets overhead. 

Please visit www.hardlystrictlybluegrass.com for more information.

Celebrating its 19th year in 2019, Hardly Strictly Bluegrass will return to Golden Gate Park in San Francisco on October 4-6. The festival, founded by Warren Hellman in 2001 as a musical gift to the people of San Francisco and the world, celebrates American “roots” music and its many outgrowths. Each year, hundreds of thousands of music fans from around the globe flock to Hardly Strictly Bluegrass to do exactly that—celebrate.

Keeping with their traditional “artist medley” teases, fans were treated to a sneak-peek audio clip of unannounced artists on their social media accounts earlier this week. The medley and subsequent lineup announce included the bluegrass gospel of Dry Branch Fire Squad, the first lady of outlaw country Tanya Tucker, prolific Swedish singer-songwriter Daniel Norgren, the powerhouse grouping of Buddy Miller & Dirk Powell with Stuart Duncan, rising folk star John Craigie, Bay Area string band favorites Hot Buttered Rum, Mdou Moctar's Tuareg pop stylings, the Austin soul and funk of Black Joe Lewis & the Honeybears, mandolin virtuoso Sierra Hull, and Americana highway queen Nikki Lane.

In addition to celebrating our country’s rich musical heritage, the 19th year of Hardly Strictly Bluegrass coincides with the 100th anniversary of our constitution’s 19th Amendment. The amendment, which both guarantees and protects women’s right to vote, is being commemorated as one of Hardly Strictly Bluegrass’s 2019 logos. The banjo-wielding suffragette can be seen below and on the festival’s social media accounts.

The ten artists listed above join an already stacked lineup including the previously announced The Milk Carton Kids, Calexico and Iron & Wine, Dakhabrakha, Hayes Carll, Jackie Greene, Meat Puppets, Bettye LaVette, Margo Price, Steve Earle, and The Waterboys. 

Several announced performers are also participating in Hardly Strictly Out of the Park—a series of evening shows at a number of local venues in which $1.00 per ticket goes to Music in the Schools Today. Jackie Greene, Meat Puppets, Hayes Carll, Calexico and Iron & Wine, and The Waterboys will each perform one of these Out of the Park shows surrounding Hardly Strictly Bluegrass. A partial list of Out of the Park performances is below, with more shows to be announced in the coming weeks.

Please visit www.hardlystrictlybluegrass.com and download the app (compatible with Apple and Android devices) for more information.

Hardly Strictly Out of the Park Schedule:

September 21 - Jackie Greene - Sweetwater in the Sun - Novato, CA

October 5 - Hayes Carll - Sweetwater Music Hall - Mill Valley, CA

October 5 - Meat Puppets - Ivy Room - Albany, CA

October 6 - Calexico and Iron & Wine - Mountain Winery - Saratoga, CA

October 8-9 - Dahkabrahka - Freight & Salvage Coffeehouse - Berkeley, CA

October 11 - The Waterboys - The Fillmore - San Francisco, CA

Kendell Marvel is—and will always be—a songwriter, but with his new record Solid Gold Sounds, Marvel has found a golden singing voice to match his highly accomplished songcraft. Set for release on October 11th, smack in the middle of a month-long run opening for Chris Stapleton, Solid Gold Sounds finds Marvel rekindling his love for artistry and good, old fashioned country music. C0-produced by Grammy winners Dan Auerbach (The Black Keys) and Dave “Fergie” Ferguson (John Prine, Mac Wiseman, Del McCoury, and more), the new full-length album was, as it usually is for Marvel, an easy-going, collaborative effort. He was written songs with and for Gary Allan, Brothers Osborne, Jamey Johnson, Jake Owen, Lee Ann Womack, George Strait, and Chris Stapleton (including Stapleton’s Grammy-winning song “Either Way”) to name a few. “He’s not craving the stage or craving the spotlight,” says Auerbach, who co-wrote nine of the ten songs on Solid Gold Sounds. “This record comes from a humble place, which I really love.” Today, Rolling Stone premiered the album’s first single “Hard Time with the Truth,” co-written by Marvel, Auerbach, and John Anderson, noting the song and its accompanying video as “a sound that’s at once retro and totally contemporary.” Pre-order Solid Gold Sounds here.

Solid Gold Sounds may be riddled with hard-driving electric guitars and song titles like the aforementioned “Hard Time with the Truth” and “Blood In The Water,” but critics and fans alike would be careless to dismiss Marvel as just an outlaw country rocker. Songs like “When It’s Good” and “Musta Kept It For Himself” give the burly songwriter a chance to shine on his own ballads. Part of Auerbach and Ferguson’s production end-game was to get the best vocal performances out of Marvel for the rockers and the slow numbers. “Kendell has this amazing voice, and when he backs it off a little bit, it opens up and sounds humongous,” Auerbach says. “It’s so resonant and the microphone just eats it up. We got him to sing a little softer on this record, not to actually sound softer, but so we could turn him up louder.” The producers were successful and were left with a finished product that they’ll all be proud of for years to come. “They brought the singer back out of me,” Marvel says. “I’ll always be a songwriter, but I want people to see the artistic side of me.”

From “Hard Time with the Truth” to “Cadillac’n” to “Roots of My Raisin” and in every nook and cranny in between, Kendell Marvel has wrapped his story in song and delivered it beautifully and eloquently on a silver platter for his fans to indulge. “As a professional songwriter, you have to get on the radio. That’s your job,” he explains. “There came a time when the stuff you had to write to get on the radio, I wasn’t willing to do anymore. I’d done pretty well as a songwriter up until that point, and made a few decisions where I didn’t have to put myself in that position. So I said, ‘I think I’ll make a record.’"

For more information, please visit http://www.kendellmarvel.com/ and https://easyeyesound.com/. 

Today, Mother Hips frontman, Tim Bluhm releases a new single "The Only Solution," recorded in Northern California with producer  Dave Schools  (Widespread Panic's founding member/bassist). Earlier this year, Tim released a Top 50 Americana album entitled  Sorta Surviving where he embraces a second chance and a new appreciation for life after a dangerous speed flying (a more intense version of paragliding) accident.

Tim laments, "I wrote this song maybe to comfort myself, to try and make myself feel good about the path I’ve taken in life. It was originally written in 6/8 and I played it like that many times. This version is in 4/4 with the kick drum played on the upbeats which I think gives the lyrics a more positive tone." Listen to "The Only Solution" here.

More info on Tim + his most recent record, Sorta Surviving :

Recorded and mixed at the Cash Cabin under the guidance of  Widespread Panic’s Dave Schools,  the collection is earnestly authentic and utterly timeless, and it finds Bluhm backed by elder statesmen like  Roe  and  Chrisman  along with younger virtuosos like keyboardist  Jason Crosby  (Eric Clapton, Dave Matthews) and  Jesse Aycock  (Hard Working Americans, Elizabeth Cook).

Indeed, the arrangements on the album are refined and elegant, yet still stripped-down and raw, enabling Bluhm’s warm, easygoing vocals to sit front-and-center as he weaves vivid tales of ordinary men and women facing down hard days and even harder nights. Mixing new originals and reimagined covers, the record pulls from a half-century of American music to craft a thoroughly modern love letter to a bygone era, one that showcases both Bluhm’s deft musical hand and his heartfelt reverence for the genre. “I’ve been a fan of classic country ever since I heard Merle Haggard sing,” reflects Bluhm. “I just admired his voice and storytelling so much, but I never made an album like this before because I figured it would take me at least 20 or 30 years to get good enough.

The songs are character-driven, valuing the visceral over the cerebral, and Bluhm inhabits his narrators with a voice as tough and as pliable as worn-in leather. “It just felt natural for me to sing this way,” he explains. “It was a chance to put away the books and focus more on the everyday rather than the existential, a chance to pull out the guitar and really tell some stories.”

Catch Tim Bluhm on tour:

Aug 3 - Petaluma Music Festival - Petaluma, CA*

Aug 9 - Hodi’s Half Note - Fort Collins, CO*

Aug 10 - Levitt Pavilion Denver - Denver, CO*

Aug 14 - Birch Aquarium of Scripps - La Jolla, CA*

Aug 24 - Old Princeton Landing Public House & Grill - Half Moon Bay, CA*

Sept 6 - June Lake Jam Fest - June Lake, CA*

Sept 7 - Sutter Creek Theatre - Sutter Creek, CA

Sept 10 - The Siren - Morro Bay, CA

Sept 19 - Hopmonk Tavern - Novato, CA

Sept 21 - Tapa Mountain MusicFest - Ojai, CA*

Oct 11 - Sierra Nevada Big Room - Chico, CA*

Oct 12 - Auburn Lodge #7, Independent Order of Odd Fellows - Auburn, CA*

Oct 30 - Sweetwater Music Hall - Mill Valley, CA*

Oct 31 - Sweetwater Music Hall - Mill Valley, CA*

Nov 1 - Lodge Room Highland Park - Los Angeles, CA*

Nov 2 - Pappy & Harriet’s - Pioneertown, CA*

Nov 9 - 3TEN Austin City Limits Live - Austin, TX*

Nov 23 - The Commonwealth Room - Salt Lake City, UT*

Dec 20 - Great American Music Hall - San Francisco, CA*

Dec 21 - Great American Music Hall - San Francisco, CA*

Dec 22 - Slim’s - San Francisco, CA*

*With the Mother Hips

Hardly Strictly Bluegrass keeps the lineup announcements rolling this week. Through their traditional “artist medley” teases, fans were treated to a sneak-peek audio clip of unannounced artists on HSB’s social media accounts earlier in the week. Today, HSB revealed ten new artists who will join the twenty previously announced artists for the festival in San Francisco’s Golden Gate Park this October 4-6.

The medley and subsequent lineup announce included intimate folk duo Mandolin Orange, queen of Americana—and the reason “Hardly” was added to the festival’s name—Emmylou Harris, female Mariachi powerhouses Flor De Toloache, Oakland’s thunderous rock group Whiskerman, the lo-fi indie folk musings of Kurt Vile & The Violators, the gut-punching songs of Mary Gauthier, Pimps of Joytime’s fresh funk and soul, rock-god-gone-Nashville Robert Plant, LA folkers The Wild Reeds, and the new queen of country-soul, Yola.

Kurt Vile & The Violators and Mandolin Orange will also be participating in Hardly Strictly Out of the Park, a series of evening shows around the bay area in which $1.00 per ticket goes to Music in the Schools Today. In addition to Kurt Vile and Mandolin Orange, Jackie Greene, Meat Puppets, Hayes Carll, Calexico and Iron & Wine, and The Waterboys will all perform one of these Out of the Park shows surrounding Hardly Strictly Bluegrass. A partial list of Out of the Park performances is below, with more shows to be announced in the coming weeks. 

The ten artists listed above join an already stacked lineup including the previously announced The Milk Carton Kids, Calexico and Iron & Wine, Dakhabrakha, Hayes Carll, Jackie Greene, Meat Puppets, Bettye LaVette, Margo Price, Steve Earle, The Waterboys, Dry Branch Fire Squad, Tanya Tucker, Daniel Norgren, Buddy Miller & Dirk Powell with Stuart Duncan, John Craigie, Hot Buttered Rum, Mdou Moctar, Black Joe Lewis & The Honeybears, Sierra Hull, and Nikki Lane.

The Hip Abduction—a band fueled by African rhythms, dub spirit, and roots soul—are proud to release To the Ends of the Earth, available everywhere today. This release, a sonic expedition past genre barriers, aiming to guide listeners towards anthemic bliss, is the band’s fourth full-length independent album. The band, David New (Lead Vocals, Guitar), Chris Powers (Bass), Dave Johnson (Baritone, Tenor Saxophone), Cody Moore (Keyboards), Matt Poynter (Drums, Vocals), and Justino Walker (Guitar), call St. Petersburg, FL home and mined an expansive well of local and global influences to sharpen their signature style on To the Ends of the Earth. New describes the sound best as, “an ethereal journey to the ends of the earth,” after which the album was named. The band, along with producers Jackson Hoffman and Ryder Stuart, set out to create a timeless record, remembering back to their early days of informal jam sessions. “It helped us come to terms with who we are as a band, defining our sound. We weren’t trying to sound like anything but ourselves,” says New. And by sounding like themselves, they continue to bring the laid back, beachy vibes they’re known for to this new album. To the Ends of the Earth is available everywhere now. 

The bulk of To the Ends of the Earth was self-recorded at The Lala Mansion in Tampa, FL before heading to New York to finish the album alongside producers Hoffman and Stuart. The process, of which New says “was the best production experience of my career,” was organic and natural, much like the resulting record. The Hip Abduction feel as if they’ve hit a new stride with To the Ends of the Earth, further refining their songcraft into an album that flows effortlessly from beginning to end, touching on subjects not easily trodden by their contemporaries without ever losing the good vibes that envelope the album. The band will carry these vibes into a nation-wide tour in August and September, hitting the southeast and west coast with stops in New Orleans, Nashville, Charleston, Los Angeles, San Francisco, and more. A full list of tour dates can be found below. 

For more information, please visit https://www.thehipabduction.com. 

Tour Dates: 

Aug. 15 - Gasa Gasa - New Orleans, LA

Aug. 16 - Avondale Brewing Company - Birmingham, AL

Aug. 17 - Exit/In - Nashville, TN

Aug. 18 - Top Cats - Cincinnati, OH

Aug. 21 - The Senate - Columbia, SC

Aug. 22 - The Charleston Pour House - Charleston, SC

Aug. 23 - Raise A Ruckus Benefit - Brevard, NC

Aug. 24 - Aisle 5 - Atlanta, GA

Sept. 4 - Teragram Ballroom - Los Angeles, CA

Sept. 5 - The Chapel - San Francisco, CA

Sept. 6 - SEP 7, 2019 - Bear Music Fest - Pinecrest, CA

Sept. 8 - Lost on Main - Chico, CA

Sept. 11 - Mississippi Studios - Portland, OR

Sept. 12 - Lucky You Lounge - Spokane, WA

Sept. 13 - High Dive - Seattle, WA

Sept. 14 - Sessions Music Hall - Eugene, OR

Sept. 19-22 - Resonance Music & Arts Festival - Slippery Rock, PA

Oct. 24 - 27 - Suwannee Hulaween - Live Oak, FL

Nov. 8 - 10 - Miami Beach Pop Festival - Miami Beach, FL

For the fourth straight week, Hardly Strictly Bluegrass has announced ten more artists for their 2019 festival which takes place in San Francisco’s Golden Gate Park on October 4-6. As with past lineup reveals, fans were treated to a sneak-peek audio clip of the soon-to-be-announced artists on HSB’s social media accounts earlier this week. Upon hearing what HSB calls the weekly “artist medley,” fans hypothesized in the comment section about who might be added to the lineup.

This week’s medley and subsequent lineup announce included folk-country balladeer Caitlin Canty, San Francisco alt-rockers Chuck Prophet & The Mission Express, Bedouine’s vintage folk stylings by way of Syria and Saudi Arabia, the electric incarnation of Bay-area legends Hot Tuna, The Infamous Stringdusters’ award-winning progressive bluegrass, Kronos Quartet’s Pete Seeger @ 100 with special guests Brian Carpenter, Lee Knight, Meklit, Aoife O’Donovan, and San Francisco Girls Chorus, directed by Valérie Sainte-Agathe, Paisley Underground pioneers The Long Ryders, the many-faced folk stylings of Hiss Golden Messenger, Poor Man’s Whiskey and their “high octane hootenanny,” and the nouveau New Orleans gumbo of Tank & The Bangas.

A number of HSB artists will also be participating in Hardly Strictly Out of the Park, a series of evening shows around the bay area in which $1.00 per ticket goes to Music in the Schools Today. Kurt Vile, Mandolin Orange, Jackie Greene, Meat Puppets, Hayes Carll, Calexico and Iron & Wine, and The Waterboys will all perform one of these Out of the Park shows surrounding Hardly Strictly Bluegrass. Amanda Richards & The Good Long Whiles, Echoes & Artifacts, and Fog Holler were just announced for October 4th at Amnesia Beer & Music Hall in San Francisco. An ever-growing list of Out of the Park performances is below, with more shows to be announced in the coming weeks. In addition, Steve Earle, with support from the Lake Charletons, will be playing a solo acoustic show benefitting Autistry Studios on October 3rd at Sweetwater Music Hall in Mill Valley.

The ten artists listed above join an already stacked lineup including the previously announced The Milk Carton Kids, Calexico and Iron & Wine, DakhaBrakha, Hayes Carll, Jackie Greene, Meat Puppets, Bettye LaVette, Margo Price, Steve Earle, The Waterboys, Dry Branch Fire Squad, Tanya Tucker, Daniel Norgren, Buddy Miller & Dirk Powell with Stuart Duncan, John Craigie, Hot Buttered Rum, Mdou Moctar, Black Joe Lewis & The Honeybears, Sierra Hull, Nikki Lane, Mandolin Orange, Emmylou Harris, Flor De Toloache, Whiskerman, Kurt Vile & The Violators, Mary Gauthier, Pimps Of Joytime, Robert Plant, The Wild Reeds, and Yola.

Please visit www.hardlystrictlybluegrass.com and download the app (compatible with Apple and Android devices) for more information.

Prolific rockers Umphrey’s McGee are proud to announce The Woodlands Fall Music & Arts Festival, a brand new event happening in Charleston, SC, on November 8-9. In addition to two nights—four sets total—of Umphrey’s McGee, The Woodlands lineup includes Big Something, CBDB, Empire Strikes Brass, Heather Gillis Band, Manic Focus, Runaway Gin, Spafford, Sunsquabi, The Movement, theNEWDEAL, Voodoo Visionary, and Zach Deputy, with more artists to be announced in the coming weeks. Early-bird GA and early-bird VIP tickets to The Woodlands Fall Music & Arts Festival are on sale now. Public on-sale begins Friday, August 23 at 11 am ET. Tickets can be purchased here and a full breakdown of ticket pricing can be found below.

Taking place in the picturesque Charleston Woodlands, a 6000-acre private nature reserve, The Woodlands reaches beyond your typical weekend music festival, offering festival-goers the opportunity to rent a kayak to fish on two stocked lakes, go for a hike on miles of wooded trails, or hop on a stand-up paddle board and enjoy a view of both stages from out on the water, and if being lazy is the desired activity, Eagles Nest Outfitters will be on hand, providing a plethora of hammock options for fans to lounge. “Umphrey’s McGee is thrilled to call Charleston our 2nd home ever since Ryan Stasik, our bassist, & I moved here in 2013,” says the band’s longtime manager, Vince Iwinski. “We have actively been looking for a good home for an Umphrey’s anchored festival and when I first stepped foot on the grounds of Charleston Woodlands, I knew we had found it. This festival will offer the perfect combination of aesthetics; incredible natural beauty and top-notch rock show production.” Stasik, a Charleston resident since 2012, says of his hometown, "Every time we step on stage in Charleston, there’s a strong energy in the air. Seeing family and all the CHS fans out there is truly special, we look forward to taking it to the next level this November.”

What would a Charleston festival be without creative, delicious, Lowcountry food? The Woodlands Festival is proud to partner with some of Charleston’s finest culinary curators to offer vast food options, from local food trucks and neighborhood restaurants, offering fans from around the country a taste of Charleston. The Woodlands has also partnered with the Charleston Arts Festival to offer a creative spin on the festival experience. Charleston Arts Festival strives to highlight the best and the brightest of “all things creative” in Charleston and the Lowcountry in the diverse disciplines of visual art, dance, music, comedy, culinary, film, and drama. In addition to curating a world-class musical lineup, The Woodlands will most certainly showcase the best of everything Charleston has to offer—nature, food, art, music, and more. 

Fans who decide to roll in style with a VIP ticket will receive a two-day festival ticket, access to VIP lounge and designated viewing areas, VIP indoor bathrooms, all-day complimentary refreshments, discounted beverages at VIP bars, exclusive merchandise items, and access to a VIP happy hour. 

Ticket Pricing:

Early-bird 2-day GA tickets - $89

Early-bird 2-day VIP tickets - $229

Advance 2-day tickets - $99

Advance 2-day VIP tickets - $249

Day of 2-day GA tickets - $109

Day of 2-day VIP tickets - $269

Camping:

Car Camping Ticket (up to four people, 1 vehicle) - $155

Premium Campsite (up to 2 people, 1 vehicle) - $495

RV Campsite with Electric Hookup - (1 vehicle, 1 RV) - $445

RV Campsite Non-Hookup - (1 vehicle, 1 RV) - $295

*Camping requires a separate add on ticket, click here for full details.

Luck Productions is pleased to announce that The Marcus King Band will join the Luck Showboat lineup, a special AMERICANAFEST collaboration in which the magic of Luck, TX, will be brought to Nashville’s Cumberland River on September 12th via the iconic General Jackson Showboat . Also slated to perform are old-time golden boys Old Crow Medicine Show and Southwest Airlines Artist On The Rise winner Katie Pruitt , with more artists to be announced. Fans who’ve experienced Luck’s flagship event, Luck Reunion at Willie Nelson’s ranch in Texas, can expect the same curated musical experience found there, and new fans who’ve never been “in Luck” will get a taste of the quintessential hospitality Luck Productions is known for—an event that Fast Company called the “Anti-Coachella” that is “all about the music and almost impossible to get into.”

Tickets can be purchased at http://luckreunion.com/showboat .

Luck Showboat will begin boarding at Nashville’s 1st Ave South and Broadway Riverfront Dock at 6pm with music beginning at 6:30. The boat will depart at 8:15 for a two-hour cruise up the Cumberland River and will begin re-docking at 9:45.

Katie Pruitt, who earlier this year was selected as a Southwest Artist On The Rise and earned an opening slot on the World Headquarters Stage at Luck Reunion will help kick off the evening before the boat sets sail at golden hour.“It’s an honor to be included in the Luck family,” says Pruitt. “So many artists I admire are part of this rad collective of people!” In addition to soaking up world-class music while taking in the sites of Nashville, Luck Showboat attendees can sip craft cocktails from Tito's Handmade Vodka and beer from Lagunitas Brewing—rehydrating with The Mountain Valley Spring Water and refueling with samples of Willie’s Remedy offerings.

Visit Southwest Airlines music website, Southwest.fm, for a chance to win two Luck Showboat tickets, including airfare: https://southwest.fm/luckshowboat

While tickets for a special pre-board VIP dinner, presented by The Mountain Valley Spring Water, are currently sold out, patrons can enter for a chance to win two tickets to the dinner via Instagram: https://www.instagram.com/mountainvalleywater

Luck Productions is grateful for partners Southwest Airlines, AMERICANAFEST, The Mountain Valley Spring Water, Tito's Handmade Vodka, ASCAP, Willie’s Remedy, Bumble, and Lagunitas Brewing Company.

Hardly Strictly Bluegrass, which takes place October 4-6, is proud to be returning to San Francisco’s Golden Gate Park for its 19th year, and is asking fans to help spread the word about the new regulations in place. As the world changes, Hardly Strictly Bluegrass feels the need to respond, prioritizing safety over convenience. We understand that these changes will make our event differ from years past, but are hopeful that our long-time fans will embrace these new rules and enjoy the performances as they always have. Please work with us as we make these changes. As Mavis Staples sings in “Dedicated,” “And if it's us against the world, well, I would bet on us to come out on top. But if you go yours and I go mine, all bets are off.”

Important things to know:

We have added fence lines. Enter only at these four locations. Click here for a map. 

JFK Drive and Transverse Drive

Fulton Street and 30th Avenue

JFK Drive and 36th Avenue

South Polo Field

Do not bring coolers, they are no longer allowed. We have updated our concessions in anticipation of increased public need. Click here for a list of vendors and new offerings. Any bags/backpacks must be clear plastic, measuring less than 16”x16”x8”. Entrances will not open until 9am.There will be increased SFPD and Tactical Unit presence inside and outside the venue. Blankets and short backed chairs (seats no more than 9” from the ground) are allowed, but will be subject to search. Any restricted or oversized items will be turned away at all entry points.

See a complete list of items that are and are not allowed at hardlystrictlybluegrass.com.

Be aware that the side paths that have been used for years will be closed off with fencing for the protection of everyone involved. People who arrive early to lay down blankets will have to wait until 9 am. This was a difficult but necessary decision. Please be courteous and patient with fellow music lovers as we make this significant change. As usual, fans are asked to respect the park, to clean up after themselves, and to take everything out that’s been brought in.

Be conscious of your setting and the people around you. SFPD wants to remind all guests to “say something if they see something” and look out for each other—reporting any suspicious persons or activity to HSB staff or a police officer. To report a non-emergency to SFPD, please call 1-415-553-0123. Stay informed of emergencies or significant events by signing up for AlertSF, an emergency text message network, by texting “HSBlue” to 888-777. Additionally, stage announcers will keep you informed throughout the day.

And now for the news you have been anticipating! After four straight weeks of artist announcements, HSB is proud to announce “all the rest,” the final installment of performers for this years festival. In addition to the already-announced list of artists, Adia Victoria, Bill Frisell : HARMONY F: Petra Haden, Hank Roberts & Luke Bergman, Bill Kirchen, Bobby Braddock, Brothers Gibb, The Budos Band, Chastity Brown, Fantastic Negrito, The Flatlanders, The Go To Hell Man Band, Ismay Presents: Songs and Stories from Sonoma Mountain, Joan Osborne, Joan Shelley, John Kay, Jon Langford and the Skull Orchard Welsh Male Voice Choir, Judy Collins, Laurie Lewis & the Right Hands, Lebo & Friends featuring George Porter Jr., John Molo, Wally Ingram, Adam MacDougall & Jenniffer Hartswick, Live From Here with Chris Thile with Grace Potter and J.S. Ondara, Mapache, Marco & The Polos, Mercury Rev & Beth Orton Perform Bobbie Gentry’s The Delta Sweete, Michael Nesmith & The First National Band, Moonalice, Moshe Vilozny, Nancy & The Lambchops, The New Pornographers, Parsonsfield, Punch Brothers, Rayland Baxter, Rob Ickes & Trey Hensley, Robert Earl Keen, Robert Ellis, Shooter Jennings, St. Paul & the Broken Bones, Travis Meadows, Will Kimbrough, Wood & Wire, and Y La Bamba will be joining the bill for HSB’s 19th year.

For our complete list of artists for 2019, please visit hardlystrictlybluegrass.com.

The mission of Hardly Strictly Bluegrass is to carry forward the wish of Warren Hellman and his family to make a gift to the people of San Francisco and the world of a free annual outdoor music festival that features and celebrates American “roots” music and its many outgrowths, and in doing so fosters joy, creativity, freedom, peace, collaboration, love of music, mutual respect, and spiritual community.  

For the past 19 years, our free weekend of music has promoted tolerance amongst us and kindness to strangers. Bring extra patience and compassion with you and support the necessary efforts of our staff, volunteers, security and law enforcement.

Hardly Strictly Bluegrass, proud to be returning to San Francisco's Golden Gate Park on October 4-6 for its 19th year, has just released its much-anticipated daily lineup. Plan your schedule now via the HSB app. 

HSB organizers appreciate and acknowledge the feedback given after last week’s security changes. A few helpful updates are listed below. Again, we appreciate your help as we improve our policies to make this a safe and enjoyable event for all. 

HSB is listening to you: 

ADA parking has been moved to accommodate the extra foot traffic at JFK Drive and Transverse Drive. Click here for a map. 

Prescribed medication or infant care may be brought in through one of the four entrances in a small, soft sided cooler. All items are subject to search. 

If you require a taller chair, do bring a size that suits your needs. Please be considerate and mindful of the neighbors around you. 

Collapsible wagons are allowed. Kegs are not allowed per park rules. 

Please note that in addition to the four entrances, there will be staffed and clearly labeled emergency exits throughout the festival grounds. Please make note of these emergency exits when entering. 

Attendees are allowed to bring more than one clear bag. We again ask for your consideration of others when packing as multiple bags will slow the process of entering. 

Expect an increased police and K9 presence around the perimeter and at all four entrances.

Please visit HSB’s website for details regarding what can and cannot be brought in, where to enter and exit, and our complete list of artists for 2019. HSB organizers would also like to remind our music-loving community that while major logistical changes have been made to the perimeter, once inside the festival grounds, the spirit of HSB will remain. For the past 19 years, our free weekend of music has promoted tolerance amongst us and kindness to strangers. We love our fans, and appreciate that you’ve always been supportive of the changes we’ve brought in over the years. This year, we ask that you bring extra patience and compassion with you and assist with the necessary efforts of our staff, volunteers, security, and law enforcement.

The mission of Hardly Strictly Bluegrass is to carry forward the wish of Warren Hellman and his family to make a gift to the people of San Francisco and the world of a free annual outdoor music festival that features and celebrates American “roots” music and its many outgrowths, and in doing so fosters joy, creativity, freedom, peace, collaboration, love of music, mutual respect, and spiritual community.  

Darrin Bradbury released "The Trouble with Time," a stunning duet featuring Grammy-nominated singer-songwriter and fellow Nashvillian Margo Price. A country ballad tinged with elements of indie rock, Margo's crystalline vocals compliment Darrin's signature sound and plainspoken lyrics. Written and recorded with his parents in mind, Darrin wanted his family to have a "go-to" song to share with their friends – a track that represented his unique songwriting style that simultaneously, in Darrin's words, "wouldn't weird them out". Listen to the track here.

A self-described folk satirist, Talking Dogs & Atom Bombs (out this Friday, September 20, via ANTI- Records) highlights Bradbury’s natural gift for storytelling. Bradbury’s oddball observations and Prine-esque songwriting are shaped by his lingering battle with depression and sly sense of humor. Bradbury brought these songs to life with the help of producer Kenneth Pattengale of The Milk Carton Kids, yielding for 11 contemplative, yet witty songs that paint the way things really are in America. In addition to Margo Price, Bradbury was joined in the studio by fellow ANTI- signee Jeremy Ivey, who plays both bass and piano throughout the record.

“When I write, there are things that I want to get away with,” Bradbury says. “I want to get away with the line, ‘I woke up this morning and I got out of bed / Tripped on my pants and fell on my head.’ ” Overall, Talking Dogs & Atom Bombs is a beautifully refined version of Bradbury’s writing; going for broke, connecting the dots, and doing it with blunt honesty that brings it all home. “If I can get you to take that seriously, and not skip a beat when you listen to it, that's what I want.”

Catch Bradbury On Tour: 

Sept 20 – Nashville, TN – Grimey's In-Store

Sept 30 – Baltimore, MD – Creative Alliance *

Oct 1 – Alexandria, VA – The Birchmere *

Oct 4 – Garwood, NJ – Crossroads *

Nov 8 – Charlotte, NC – The Evening Muse +

Nov 10 – Chapel Hill, NC – Local 506 +

Nov 14 – New York, NY – City Vineyard + 

Nov 15 – Philadelphia, PA – Boot & Saddle +

Nov 16 – Middletown, CT – MAC 650 +

Nov 18 – Boston, MA – Haymarket Lounge + 

Nov 22 – London – The Cavendish Arms ^

Nov 23 – Broadhempston – Broadhempston Church ^

Nov 24 – Shrewsbury – Henry Tudor House ^

Nov 25 – Manchester – Gullivers ^

Nov 27 – Halifax – The Lantern ^

Nov 28 – Norwich – Waterfront Studio ^

Nov 29 – London – The Cavendish Arms ^

Nov 30 – Liverpool – Prohibition Recording Studio ^

Dec 1 – Glasgow – The Blue Arrow ^

Dec 2 – Edinburgh – The Voodoo Rooms ^

Dec 3 – Newcastle – Cluny 2 ^

Dec 5 – Bristol – Rough Trade ^

Dec 7 – Belfast – Ulster Sports Club ^

* supporting John Moreland

+ supporting Cory Branan

^ supporting Jarrod Dickenson

A little over 43 years ago, Meridian, MS, native Steve Forbert boarded a train bound for New York City. Twenty-one years old at the time, Forbert, with his guitar and harmonica, spent two years working his way up from street performer living at the YMCA to filling historic Greenwich Village clubs and signing a major label contract. By 1979, Forbert had really hit his stride, releasing Jackrabbit Slim, which produced his first top 40 hit, “Romeo’s Tune,” and afforded Forbert the opportunity to share his music with the world. On November 8th, 2019, Blue Rose Music will be releasing an extremely limited edition vinyl reissue of Jackrabbit Slim, remastered by the legendary Ted Jensen of Sterling Sound (The Eagles, The B-52s, Dave Matthews, Norah Jones). 500 copies will be pressed on red-colored wax, and when they’re gone, they’re gone. Fans can pre-order the vinyl here. 

In addition to “Romeo’s Tune,” Jackrabbit Slim introduced the world to Forbert’s Mississippi instincts and catchy-but-deep rock and roll tunes. From the rollicking “Say Goodbye To Little Jo” to the almost-reggae-tinged “Complications” to the straight-ahead folk of “January 23-30, 1978,” Jackrabbit Slim spans Forbert’s early creative potential, all while entertaining different types of listeners. “Jackrabbit Slim was the release that put me on the map and gave me the audience that’s still with me today,” says Forbert. “Every singer/songwriter needs one of these!” 

Artists like Keith Urban, Rosanne Cash, and Marty Stuart have covered songs from Jackrabbit Slim and Forbert’s extensive 20 album catalog. And in 2017, twenty-one artists paid tribute to Steve by recording An American Troubadour: The Songs of Steve Forbert, further validating the quality of Forbert’s musicianship, writing, and profound contributions to Americana and Folk music.

To celebrate this 40th anniversary, Forbert will perform Jackrabbit Slim in its entirety at The Iridium in New York City on December 5th. “I’m preparing my New Jersey-based band for the show and I’m having no problem still relating to the stories in these songs,” says Forbert. “‘Romeo’s Tune,’ which I’ve sung hundreds of times, is still fun! And I’m still totally down with ‘It’s often said that life is strange, but compared to what?’” A full list of Forbert’s tour dates can be found below.

Catch Steve Forbert On Tour:

9/20 - Plymouth, MA - Spire Center for the Performing Arts

9/21 - Cambridge, MA - Club Passim

9/27 - Turnersville, NJ - Volume Live Music Cafe

9/28 - Beacon, NY - Towne Crier Cafe

9/29 - Saratoga Springs, NY - Caffe Lena

10/17 - San Antonio, TX - Sam’s Burger Joint

10/18 - Austin, TX - Cactus Cafe

10/19 - Houston, TX - McGonigel’s Mucky Duck

10/20 - Baton Rouge, LA - Red Dragon Listening Room

11/23 - New Hope, PA - New Hope Winery

11/24 - Piermont, NY - Turning Point

12/5 - New York City, NY - The Iridium* 

12/7 - St. Louis, MO - Off Broadway

12/8 - Memphis, TN - Lafayette’s Music Room

12/31 - Kennett Square, PA - Kennett Flash

*Vinyl Release Show

The D’Addario Foundation, longtime champions for accessible music instruction, are proud to announce Back 2 School Class of 2019 which will take place at Los Angeles’s historic Palace Theatre, their first event of this kind in Southern California, on November 2nd. As a 501c3 non-profit, the money raised by The D’Addario Foundation at this benefit will provide kids access to amazing music programs, provide college assistance scholarships, and encourage more females to pick up guitars and rock out through D’Addario’s Girls In Music Initiative. 

In partnership with BGS and Kensington Presents, Back 2 School will feature house band and Los Angeles institution, The Watkins Family Hour, with acclaimed producer, songwriter, and artist Mike Viola. A world-class cast of musicians will join Sara and Sean Watkins and their collaborative Family Hour crew over the course of the evening. Prolific songwriter and My Morning Jacket frontman, Jim James , platinum-selling musician and Emmy nominated actress Mandy Moore , silver screen troubadour John C Reilly , straight-shooting singer-songwriter LP , everyman Americana hero Langhorne Slim , Los Angeles’s own comedy-folk duo Garfunkel & Oates , six-string renaissance man Blake Mills, and one half of The Bird And The Bee, Inara George , will all take the stage to raise money for The D’Addario Foundation. Fans should also keep an eye out for additional artist announcements in the coming weeks. Tickets , priced from $50 to $250, will be available here on Friday, September 20th, with a password-accessible pre-sale on Wednesday, September 18th.

As the philanthropic arm of D’Addario, the world’s largest manufacturer of music instrument accessories—The D’Addario Foundation utilizes up to 10% of D’Addario’s net earnings each year to fund over 200 non-profit programs. And D’Addario absorbs all operational costs, ensuring 100% of every dollar goes directly to support music programs globally. “Bringing music instruction back into schools and communities is a simple but deeply powerful way to improve our education system and boost creativity and academic achievement in students,” says D’Addario Foundation Executive Director, Suzanne D’Addario Brouder. “The D’Addario Foundation is a leader in finding and partnering with the highest quality music programs in the neediest areas.” Through the foundation’s action, real-life metrics show incredibly positive results. “In neighborhoods where the high school dropout rate hovers at 50%, over 95% of participating students are graduating on time and applying to college,” adds Brouder. “Many are the first generation in their family to attend college.”

VIP ticket options are also available for those who wish to upgrade their Back 2 School experience. VIP will include premium seating (center orchestra or first two rows of mezzanine), a VIP laminate, and a priority entry lane. Gold Circle VIP includes premium seating (first four rows of orchestra), a free drink/cocktail, an event poster, and the aforementioned VIP laminate and priority entry lane. All tickets are available here. 

In addition to catching once-in-a-lifetime performances and collaborations amongst world-class musicians, Back 2 School attendees will be contributing directly to The D’Addario Foundation’s mission to put music education back in the forefront and into the lives of those who otherwise might not have these opportunities. “The bottom line is kids need lots more music as part of their education and your support makes that possible,” adds Brouder to further emphasize their mission statement. “We believe in the power of music to unlock creativity, boost self-confidence, and enhance academics. By making music education accessible, we can positively affect social change and foster better citizens of the world.” For more information on the foundation, please click here.

Friends with Benefits Productions (FWBpro) and prolific rockers Umphrey’s McGee are pleased to announce CHERUB will be joining the lineup of the inaugural Woodlands Music & Arts Festival which takes place November 7-9 in Charleston, SC. CHERUB, the electronic duo of Jordan Kelley and Jason Huber, join an already stacked lineup which includes four sets from festival-curators Umphrey’s McGee, as well as Big Something, CBDB, Empire Strikes Brass, Heather Gillis, Manic Focus, Runaway Gin, Spafford, Sunsquabi, The Movement, The New Deal, Voodoo Visionary, and Zach Deputy. CHERUB, hot on the heels of their 2019 release Gummo Season, bring the perfect combination of string plucking, button pushing, and knob turning to make absolutely certain bodies will be dancing on the pristine 6,000-acre nature reserve. Speaking of dancing, Charleston’s own Dance Lab will be debuting a seventy-five dancer performance piece at the festival.

The Woodlands Music & Arts Festival has also announced an official Pre-Party which will take place Thursday, November 7th on festival grounds. Turkuaz will headline and be joined by the ever-elusive Omega Moos, an 80’s era jam project featuring Brendan Bayliss and Ryan Stasik of Umphrey’s and Jamie Shields, keyboardist of The New Deal. Additionally, on Thursday, an all-star cast of Charleston-based musicians will collab on Mike Quinn Presents The Fake News: A Tribute to Huey Lewis featuring members of the synthwave sextet DOOM FLAMINGO. Pre-Party attendees who have purchased camping passes for the festival will be able to access campsites early at no additional charge. Select food and craft vendors will be set up on Thursday night, including a General Store for all your forgotten festival necessities. Pre-Party tickets are $35 and may be purchased here. 

FWBpro is built on a social mission that focuses on community-driven events in the live concert setting and has chosen to donate a portion of festival proceeds to The American Red Cross for much-needed disaster relief efforts. "As we know well here in the Lowcountry, hurricane season can cause any number of disastrous issues, and we feel it is only fitting that we take this opportunity to help those in need during this active 2019 hurricane season,” said Vince Iwinski, Umphrey’s McGee’s longtime manager.

Expect the unexpected at The Woodlands Fest, and stay tuned for details on further artist additions, local food options, and mind-bending art installations. On-site amenities include the opportunity to rent a kayak to fish on two stocked lakes, go for a hike on miles of wooded trails, or hop on a stand-up paddleboard and enjoy a view of both stages from out on the water. And if being lazy is the desired activity, Eagles Nest Outfitters will be on hand providing a plethora of hammock options for fans to lounge.

Ticket Pricing:

Advance 2-day Tickets - $99

Advance 2-day VIP Tickets - $249

Day of 2-day GA Tickets - $109

Day of 2-day VIP Tickets - $269

Pre-Party (Thursday) -$35

Camping requires a separate add on ticket, see the camping section for full details.

Car Camping Ticket (up to four people, 1 vehicle) - $155

Premium Campsite (up to 2 people, 1 vehicle) - $495

RV Campsite with Electric Hookup - (1 vehicle, 1 RV) - $445

RV Campsite Non-Hookup - (1 vehicle, 1 RV) - $295

Portland-based roots-rockers Fruition have just announced the release of Wild As The Night, a 7-song collection of new music showcasing their honest song-crafting skills and individual musical talents in a blend that could only be forged from years of playing together. Available everywhere November 8th, Fruition’s Wild As The Night conveys the emotions of our darkest, and sometimes weakest, moments. 

The eclectic, after-hours vibe of Wild As The Night comes naturally to the band, composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar, vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). 

The album’s first single, “Wild As The Night,” provides perhaps the album’s most beautiful moment, with vocals from Naja evoking the midnight grief of letting a relationship go. It is available now to purchase or stream and its accompanying music video can be viewed above or by clicking here. 

Wild As The Night opens with the rollicking and pulsating “Forget About You,” setting the tone of the record as a whole; commiserating in sorrows and lifting spirits. “Sweet Hereafter” follows the album’s self-titled first single with an entrancing drum and piano loop that could be equally at home on a James Blake record. The organic beat gives way to thick repeating harmonies, leaving the listener wanting more after a subtle fade to silence. The album picks back up, tempo-wise, with a quick rock and roll study in city living with “Raining In The City” before it dives back into more classic Fruition territory with a campfire celebration of the Oregon Coast in “Manzanita Moonlight.” “Don’t Give Up On Me”’s seductive groove dips back into the commiseration with the final verse lamenting, “All the world is just empty without somebody to love.”

“For me, I've just always hoped that people relate to the music, whether it's a certain chord movement that lifts their spirit or comforts their sorrow, or a lyric that speaks to them like it was written for them,” Asebroek says. “This music comes from places of vulnerability and I hope people can take their guard down a little while resonating with it.”

Recorded at Silo Sound Studio in Denver, Wild As The Night captures the band’s mindset in the midst of relentless touring. “We were exhausted, but musically firing on all cylinders,” says Thompson, who shares production credit with the band on the new project. “It’s extremely diverse Americana, with a focus on great songwriting and harmonies. We weren’t going for a particular sound, just something that’s honest to our live sound along with a few tricks we learned from our last producer, Tucker Martine.”

With a renewed focus on harnessing the energy of the live experience, Wild As The Night allows listeners to get a glimpse of these longtime friends doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.

“Something that has always tied our variable styles together is the honesty in the songwriting, the attention paid toward what is genuinely and deeply catchy, not superficially so,” Asebroek says. “Vocal harmonies have also always been a unifying tool for our band. The Fruition sound has always been about being more than the sum of our parts.”

The band will announce an extensive 2020 winter tour with the release of Wild As The Night on November 8th.

For more information, please visit www.fruitionband.com. 

Catch Fruition On Tour:

Oct. 31 - Petaluma, CA - Mystic Theatre

Nov. 1 - Morro Bay, CA - The Siren

Nov. 2 - Santa Cruz, CA - Moe’s Alley

Nov. 3 - Hermosa Beach, CA - Saint Rocke

Nov. 5 - San Diego, CA - Winstons Beach Club

Nov. 8 - New Orleans, LA - Boudin, Bourbon & Beer

Nov. 9 - Jackson, MS - Gumbo Festival

Nov. 12 - Fayetteville, AR - George’s Majestic Lounge

Nov. 13 - Tulsa, OK - The Shrine

Nov. 14 - Dallas, TX - Deep Ellum Art Company

Nov. 15 - Burnet, TX - UTOPiAfest 

Nov. 16 - Houston, TX - Last Concert Cafe

Dec. 27 - Eugene, OR - Sessions Music Hall

Dec. 28 - Seattle, WA - The Crocodile

Dec. 29 - Bend, OR - The Domino Room

Dec. 31 - Portland, OR - Revolution Hall

Jan. 17 - Denver, CO - Mission Ballroom

Mar. 26-28 - Olympic Valley, CA - WinterWonderGrass at Squaw Valley Resort

Today, perineal roots-rock favorites Railroad Earth released “The Great Divide,” the first single from their new album, All For The Song, due out in 2020. Famously known for their genre-bending implementation of bluegrass instruments in non-traditional styles and arrangements, Railroad Earth—Todd Sheaffer (guitar), Tim Carbone (violin), John Skehan (mandolin), Carey Harmon (drums), and Andrew Altman (bass)—have always subscribed to the get-in-where-you-fit-in mentality. “We walk on either side of a line,” Skehan says. “The bluegrass influence is primarily in instrumentation—having a banjo, fiddle, mandolin, upright bass, and guitar – but it’s still a rock band.”

In “The Great Divide,” the band plays it close to home, never straying too far from their string band influences, and never needing to. The song reads somewhere between an old-timey gospel number and a modern meditation on death and what comes next. The opening line, “there’s tellin’ of a better home a-waitin’, waitin’ on the other side,” sets the tone for the rest of the song, describing a better life or after-life “across these troubled waters; across the great divide.” It’s a touching tribute to Railroad Earth founder and multi-instrumentalist Andy Goessling, who passed away in October of 2018, and a fitting first single from All For The Song, the band’s first full-length album without Goessling. “The Great Divide” is now available via YouTube and will be available tomorrow for purchase and streaming.

From January to March 2020, Railroad Earth are heading to a hefty number of our nation’s finest and most time-honored live music venues, including two nights at San Francisco’s famed Fillmore, The Capitol Theatre in Port Chester, NY, First Ave in Minneapolis, and a two-night run at D.C. favorite, 9:30 Club. In these rooms, All For The Song’s arrangements will take on entirely new forms and facades night to night. “We don’t typically play stuff before we record it. It gets recorded, then we play it live,” Altman says. “That’s when we really find out what the song’s personality is and what really works.” A full list of tour dates can be found below, and tickets are available now via the band’s fanclub. Click here to access. General on-sale begins at 10 A.M. local time on Friday, Nov. 1. Stay tuned to the band’s socials and website for additional 2020 tour dates.

Catch Railroad Earth On Tour in 2020:

Jan. 16 - Felton, CA - Felton Music Hall

Jan. 17 - San Francisco, CA - The Fillmore

Jan. 18 - San Francisco, CA - The Fillmore

Jan. 19 - Crystal Bay, NV - The Crystal Bay Club

Jan. 22 - Los Angeles, CA - Teragram Ballroom

Jan. 23 - San Luis Obispo, CA - Fremont Theater

Jan. 24 - Solana Beach, CA - Belly Up Tavern

Jan. 26 - Tucson, AZ - Rialto Theatre

Jan. 28 - Aspen, CO - Belly Up Aspen

Jan. 29 - Aspen, CO - Belly Up Aspen

Jan. 30 - Frisco, CO - 10 Mile Music Hall

Jan. 31 - Frisco, CO - 10 Mile Music Hall

Feb. 1 - Denver, CO - Mission Ballroom

Feb. 7 - Boston, MA - Paradise Rock Club

Feb. 8 - Port Chester, NY - The Capitol Theatre

Feb. 19 - Salem, VA - Salem Civic Center

Feb. 20 - Charlotte, NC - The Fillmore

Feb. 21 - Raleigh, NC - Lincoln Theatre

Feb. 22 - Asheville, NC - The Orange Peel

Feb. 23 - Charleston, WV - Mountain Stage

Feb. 25 - Louisville, KY - Mercury Ballroom

Feb. 26 - Knoxville, TN - Mill And Mine

Feb. 27 - Birmingham, AL - Iron City

Feb. 28 - Pensacola, FL - Vinyl Music Hall

Feb. 29 - Pelham, TN - The Caverns

Mar. 3 - Indianapolis, IN - The Vogue 

Mar. 4 - Grand Rapids, MI - The Intersection

Mar. 5 - Madison, WI - The Sylvee

Mar. 6 - Minneapolis, MN - First Avenue

Mar. 7 - Chicago, IL - Vic Theatre

Mar. 20 - Washington, DC - 9:30 Club

Mar. 21 - Washington, DC - 9:30 Club

Mar. 25 - Fayetteville, AR - George’s Majestic Lounge

Mar. 26 - Tulsa, OK - Cain’s Ballroom

Mar. 27 - Kansas City, MO - Knuckleheads Saloon

Mar. 28 - St. Louis, MO - The Pageant 

Today, Pacific Northwest roots-rockers Fruition released the much-anticipated, Wild As The Night, a 7-song collection of new music showcasing their honest song-crafting skills and individual musical talents in a blend that could only be forged from years of playing together. Coming hot off of a buzzed-about late-night set at Hangtown Music Festival and guitarist and mandolinist Mimi Naja’s participation in What The Night Brings: A Tribute To Jeff Austin, Fruition have also just announced a 4-week tour of the midwest and northeast before returning to the west coast for WinterWonderGrass at Squaw Valley Resort. A full list of dates can be found below and Wild As The Night can now be streamed or purchased by clicking here.

Wild As The Night’s second single, “Forget About You,” pulses underneath a tale of longing for a lost love from the never-ending road. “‘It’s a song that came out of me in less than 10 minutes at a hotel parking lot, with no instrument, just a melody, in the middle of the night after driving 8 hrs,” says Fruition’s electric guitar slinger and singer, Jay Cobb Anderson. “It’s an honest and vulnerable look at what the road life can feel like.” "Wild As The Night," the album's first single, was declared a "21st-century soft-rock treasure" in NPR Music's "Best New Songs" roundup.

The eclectic, after-hours vibe of Wild As The Night comes naturally to the Portland, Oregon-based band, composed of Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar, vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). With a renewed focus on harnessing the energy of the live experience, this collection of new music allows listeners to get a glimpse of these longtime friends doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Bonnaroo,Telluride Bluegrass, and DelFest.

“Forget About You” and “Wild As The Night” open the album, setting the tone of the record as a whole; commiserating in sorrows and lifting spirits. “Sweet Hereafter” follows the album’s self-titled single with an entrancing drum and piano loop that could be equally at home on a James Blake record. The organic beat gives way to thick repeating harmonies, leaving the listener wanting more after a subtle fade to silence. The album picks back up, tempo-wise, with a quick rock and roll study in city living with “Raining In The City” before it dives back into more classic Fruition territory with a campfire celebration of the Oregon Coast in “Manzanita Moonlight.” “Don’t Give Up On Me”’s seductive groove dips back into the commiseration with the final verse lamenting, “All the world is just empty without somebody to love.”

“For me, I've just always hoped that people relate to the music, whether it's a certain chord movement that lifts their spirit or comforts their sorrow, or a lyric that speaks to them like it was written for them,” Asebroek says. “This music comes from places of vulnerability and I hope people can take their guard down a little while resonating with it.”

Recorded at Silo Sound Studio in Denver, Wild As The Night captures the band’s mindset in the midst of relentless touring. “We were exhausted, but musically firing on all cylinders,” says Thompson, who shares production credit with the band on the new project. “It’s extremely diverse Americana, with a focus on great songwriting and harmonies. We weren’t going for a particular sound, just something that’s honest to our live sound along with a few tricks we learned from our last producer, Tucker Martine.”

 “Something that has always tied our variable styles together is the honesty in the songwriting, the attention paid toward what is genuinely and deeply catchy, not superficially so,” Asebroek says. “Vocal harmonies have also always been a unifying tool for our band. The Fruition sound has always been about being more than the sum of our parts.”

Montana-based rising stars, The Lil Smokies, have just announced the release of their third studio album, Tornillo, on January 24, 2020. Recorded at Sonic Ranch in Tornillo, TX, with producer-engineer Bill Reynolds (The Avett Brothers, Band of Horses, Midland) Tornillo is a focused and refined representation of the sound The Lil Smokies have become known for. Their dynamic musicianship, anthemic songs, and packed tour schedule have launched The Lil Smokies’ career, checking off goals many musicians dream of; Telluride Bluegrass, Red Rocks, and millions of streams on Spotify, to name a few. Comprised of Matt Cornette (banjo), Andy Dunnigan (vocals, dobro), Scott Parker (bass), Matt “Rev” Rieger (guitar, vocals) and Jake Simpson (fiddle, vocals), The Lil Smokies’ camaraderie on stage is every bit a reflection of their bond off stage. “We’re all best friends, and I really do mean that with sincerity,” Dunnigan says. In addition to the new release, The Lil Smokies have also just announced a lengthy Winter/Spring tour throughout the US and Canada. A full list of dates can be found below. Pre-order/pre-save Tornillo here.

On Tornillo, The Lil Smokies dove deep into their well of influences—most notably Laurel Canyon songwriters from the 1970s—and used their traditional string band instruments to craft very non-traditional songs and arrangements. Throughout the album’s eleven tracks the band found themselves trekking into new sonic territory. With Reynolds’ guidance, hints of drums, baritone guitar, and synth pads wove their way into the band’s usual instrumentation. With the goal to enhance the songs, never overwhelming them, The Lil Smokies used their last few days in the studio to experiment, eventually going deep enough to find themselves tracking one of Billy Gibbons’ (ZZ Top) electric guitars through an amplifier previously used by the industrial band Ministry.

As one of the centerpieces of the album, “Carry Me” offers magnificent musicianship and eludes to the distance that is created by life on the road. Dunnigan explains, “It's about the dreams we have, and what we go through to make those dreams live on.” While that longing for a sense of home permeates Tornillo, the band also found inspiration in unlikely places. For example, “Giant” was written after Dunnigan watched a documentary about Andre the Giant and his struggles with living in the public eye. Other songs, like “Fortunes” and “True Blues,” are less obvious in their origins, which is intentional. “I like having a little bit of ambiguity in songs, using some impressionistic lyrics, and making it sparse,” Dunnigan says. Another common thread weaves through the entirety of Tornillo; room for the music to breathe. “It seems like over time we’re learning that it’s not the more you play, but the tastefulness and space in between the notes that can pull that emotion out,” says Dunnigan. The band attributes a lot of that space and emotion to the outdoors, where they recharge and find their inspiration.

The album closes with the title track, “Tornillo.” Having gone through a few different arrangement ideas for “Tornillo,” The Lil Smokies eventually landed on a simple, uplifting piano arrangement to carry the album home. “Although initially inspired by an article on simulation theory, Tornillo was written for my girlfriend,” says Dunnigan. But the song can just as easily be interpreted as a love letter to the town of Tornillo and the band’s experience on the 2300-acre pecan orchard which houses the Sonic Ranch studio.

“Our time there encapsulates all of the good things about being in a band and making music,” Dunnigan says. “The word ‘tornillo’ in its literal definition means a screw or a bolt. That’s exactly what this experience in the studio did for us as a band. We really came together and worked as a unit, and we got back to those reasons why we do this.” The transcendent vibe of Sonic Ranch ultimately helped the band recalibrate, resulting in an album that’s both exhilarating and introspective. 

Catch The Lil Smokies On Tour:

Dec. 13 - Berkeley, CA - The UC Theatre

Dec. 19 - Breckenridge, CO - Riverwalk Center 

Dec. 20 - Denver, CO - Ogden Theatre 

Dec. 21 - Boulder, CO - Boulder Theater 

Dec. 27-29 - Whitefish, MT - Great Northern 

Dec. 31 - Missoula, MT - The Wilma  

Jan. 23 - Seattle, WA - Neptune Theatre 

Jan. 24 - Vancouver, BC - The Biltmore Cabaret 

Jan. 25 - Portland, OR - Aladdin Theater 

Jan. 31 - Morro Bay, CA - The Siren 

Feb. 1 - Los Angeles, CA - Lodge Room  

Feb. 6-7 - Durango, CO - Animas City Theatre  

Feb. 9 - Crested Butte, CO - Public House 

Feb. 15 - Salt Lake City, UT - State Room

Mar. 5 - Philadelphia, PA - Boot & Saddle

Mar. 6 - Brooklyn, NY - Knitting Factory

Mar. 7 - D.C. - 9:30 Club

Mar. 11 - Boston, MA - The Sinclair 

Mar. 12 - Burlington, VT - Higher Ground Lounge

Mar. 14 - Jay, VT - Jay Peak Resort 

Mar. 27-29 Squaw Valley, CA - WinterWonderGrass 

Apr. 8 - Madison, WI - High Noon Saloon

Apr. 9-10 - St. Paul, MN - Turf Club 

Apr. 16 - Nashville, TN - Basement East

MerleFest, presented by Window World, is proud to announce the initial lineup for MerleFest 2020, which will be held April 23-26. The annual homecoming of musicians and music fans returns to the campus of Wilkes Community College in Wilkesboro, North Carolina, in the foothills of the Blue Ridge Mountains. “For over 30 years, one of the major factors that has built and sustained MerleFest has been the quality of the artists and performances that our guests see over the 4-day festival,” says Ted Hagaman, Festival Director. “People truly feel that the festival is a great value and that is why music fans and families return year after year. We feel that the 2020 lineup again reflects the diversity and quality of performers, and we look forward to another successful festival in April.” The complete lineup for MerleFest 2020 will be announced over the next few months. 

Today’s lineup announcement includes Willie Nelson & Family, Alison Krauss, The Jerry Douglas Band, Sam Bush, Jim Lauderdale, Kruger Brothers, The Waybacks, Scythian, Donna The Buffalo, Peter Rowan and the Free Mexican Airforce, Tommy Emmanuel, Shinyribs, Charley Crockett, Darrell Scott, The Steel Wheels, Robbie Fulks, Amythyst Kiah, Cordovas, Alison Brown, Andy May, “B” Townes, Banknotes, Bill & The Belles, Bryan Sutton, Carol Rifkin, Charles Welch, Chatham Rabbits, Che Apalache, The Cleverlys, Creole Stomp with Dennis Stroughmatt, David Holt, Fireside Collective, Flattop, Happy Traum, Hogslop String Band, InterACTive Theatre of Jef, Irish Mythen, Iron Horse Bluegrass, Jack Lawrence, Jeff Little Trio, Jody Carroll, Joe Smothers, Ken Crouse, Laura Boosinger, The Local Boys, Los Texmaniacs, Mark Bumgarner, Mary Flower, Mitch Greenhill, Pete & Joan Wernick, Piedmont Bluz, Presley Barker, Rev. Robert Jones, Roy Book Binder, Sierra Ferrell, String Madness, T. Michael Coleman, Tony Williamson, Wayne Henderson, The Moore Brothers, The Williams Brothers, and Wyld Fern. 

Tickets for next year’s festival go on sale November 12, 2019, and may be purchased at www.MerleFest.org or by calling 1-800-343-7857. MerleFest offers a three-tiered pricing structure and encourages fans to take advantage of the extended early bird discount. Early Bird Tier 1 tickets may be purchased from November 12 to February 16, 2020; Early Bird Tier 2 tickets from February 17 to April 22. Remaining tickets will be sold at the gate during the festival.

New for MerleFest 2020 is “The Patio at MerleFest.” This ticket-upgrade includes comfortable seating in a covered area with great views of the Watson and Cabin stages, access to the friends and family seating area (formerly named VIP), a deluxe air-conditioned mobile bathroom unit, snacks and beverages, and live video displays from the Watson and Cabin stages. Fans wanting to gain access to this exciting new addition to MerleFest should act quickly, as seating is limited.



MerleFest would also like to remind potential participants that the entry period for 2020’s Chris Austin Songwriting Contest is still open. Now in its 28th year, CASC is an extraordinary opportunity for songwriters to have their original songs heard and judged by a panel of Nashville music industry professionals, under the direction of volunteer contest chairperson, Grammy-winning singer/songwriter Jim Lauderdale. Aspiring songwriters may submit entries to the contest using the online entry form at MerleFest.org or by mailing entries to MerleFest/CASC, P.O. Box 120, Wilkesboro, NC, 28697. All entries received during October and November will receive an early-entry discount price of $25 per entry, while submissions received in December and January will require a $30 fee per entry. All lyrics must be written in English and no instrumental entries will be accepted. The deadline to enter is February 1, 2020.

Falling in the middle of their 2019 fall tour, this September marked the 20th Anniversary of award­-winning Colorado bluegrass band, Yonder Mountain String Band’s critically acclaimed debut album, Elevation. Out of print for years and considered by decades-long fans to be the band’s career-defining album, it only seemed natural for YMSB to celebrate this milestone with a 20th-anniversary 180g double vinyl re-release. Originally released on the band’s own independent Frog Pad Records, Elevation features founding members Dave Johnston, Ben Kaufmann, Adam Aijala, and Jeff Austin, along with guest musicians Mike Marshall, Darol Anger, Sally Van Meter, and Celeste Krenz. The 20th Anniversary release of Elevation is available now in limited quantities at the merch table and online.

Elevation producer Sally Van Meter shared some of her heartfelt thoughts on the creation and legacy of Elevation and what it meant to the greater acoustic music community:

"Twenty years ago, over a good meal and margaritas, a pivotal moment in acoustic music transpired and forever changed the face of acoustic and bluegrass music. That moment was the agreement to produce Yonder Mountain String Band’s first studio recording, Elevation. YMSB’s Elevation broke past traditional bluegrass music boundaries, opening the door for acceptance of the next generation’s take on a new style that audiences would fully embrace. YMSB had something special about what they played, and how they played it. Their songs showed that it was not just jamgrass party time. No matter what they played, they did it with a full musical heart—both familiar and new concert attendees fell in love with them. Young and old listeners together could feel that this first recording was a wind-direction change in acoustic music that had not been felt possibly since the 70s with Tony Rice and David Grisman.

When YMSB came to me to produce Elevation, they told me, “We want to make a studio recording that will show people we are serious, and that we can make a studio recording that is professional.” What emerged from that conversation was near equal to a paradigm shift in the Bluegrass Universe. At Rancho De Ville recording studio in Boulder, we shared laughter, disagreements, commitment, and hope. We recorded a great album in the way YMSB members and their fans approach life in general: we had fun and worked hard together. I am still thankful that I took them at their word and accepted the job as their producer.

With the 1999 release of Elevation, YMSB brought their new music and songs into folks’ living rooms, weddings, parties, and more prominent concert venues. The new fans earned from Elevation are fans that understood they had become part of the magic that is YMSB. The band always worked together as one unit; no one offered more than the other and all remained true to their vision and audience. YMSB’s gift to the music community remains evident.

Now, upon the 20th Anniversary of the release of Elevation, it is good for me to remember and to celebrate this recording for what it was and still is: full of heart, great music, and the best of times for so many.”

Yonder Mountain String Band spent the latter half of 2019 touring from the Eastern Seaboard to Oregon’s Northwest String Summit with stops throughout the heartland, including a near sold-out performance at Red Rocks Amphitheatre. The band will finish out the year at Mexico’s Strings & Sol and their highly anticipated Colorado New Years run. 2020 kicks into high gear with a January Mountain State tour, including a Pacific Northwest run with The Infamous Stringdusters, before heading to the Southeast with The Travelin’ McCourys.

Catch Yonder Mountain String Band On Tour:

Nov 14, 2019 - Brooklyn Bowl - Brooklyn, NY

Nov 15, 2019 - Ardmore Music Hall - Ardmore, PA

Nov 16, 2019 - The Hamilton Live - Washington, DC

Nov 17, 2019 - Levon Helm Studios - Woodstock, NY

Nov 21, 2019 - Port City Music Hall - Portland, ME

Nov 22, 2019 - The Met - Pawtucket, RI

Nov 23, 2019 - Brighton Music Hall - Boston, MA

Nov 24, 2019 - Capitol Theatre - York, PA

Jan 6, 2020 - Park City Live - Park City, UT

Jan 7, 2020 - Mangy Moose - Teton Village, WY

Jan 9, 2020 - The Mint - Hailey, ID

Jan 10, 2020 - The Rialto - Bozeman, MT

Jan 11, 2020 - Top Hat Lounge - Missoula, MT

Jan 12, 2020 - The Hive - Sandpoint, ID

Jan 14, 2020 - Wild Buffalo - Bellingham, WA

Jan 16, 2020 - Historic Ashland Armory - Ashland, OR

Jan 17, 2020 - Crystal Ballroom - Portland, OR

Jan 18, 2020 - The Showbox - Seattle, WA

Jan 19, 2020 - McDonald Theater - Eugene, OR

Jan 28, 2020 - The Lyric Theatre - Blacksburg, VA

Jan 29, 2020 - The National - Richmond, VA

Jan 30, 2020 - Cat’s Cradle - Carrboro, NC

Jan 31, 2020 - The Orange Peel - Asheville, NC

Feb 1, 2020 - The Mill & Mine - Knoxville, TN

Feb 4, 2020 - Ponte Vedra Concert Hall - Ponte Vedra Beach, FL

Feb 5, 2020 - The Plaza Live - Orlando, FL

Feb 6, 2020 - Culture Room - Fort Lauderdale, FL

Feb 7, 2020 - Jannus Live - Saint Petersburg, FL

Feb 8, 2020 - Variety Playhouse - Atlanta, GA

Don't miss roots-rock favorites Railroad Earth live at The Capitol Theatre on February 8th, 2020. They released “The Great Divide,” the first single from their new album, All For The Song, due out in 2020. Famously known for their genre-bending implementation of bluegrass instruments in non-traditional styles and arrangements, Railroad Earth—Todd Sheaffer (guitar), Tim Carbone (violin), John Skehan (mandolin), Carey Harmon (drums), and Andrew Altman (bass)—have always subscribed to the get-in-where-you-fit-in mentality. “We walk on either side of a line,” Skehan says. “The bluegrass influence is primarily in instrumentation—having a banjo, fiddle, mandolin, upright bass, and guitar – but it’s still a rock band.”

In “The Great Divide,” the band plays it close to home, never straying too far from their string band influences, and never needing to. The song reads somewhere between an old-timey gospel number and a modern meditation on death and what comes next. The opening line, “there’s tellin’ of a better home a-waitin’, waitin’ on the other side,” sets the tone for the rest of the song, describing a better life or after-life “across these troubled waters; across the great divide.” It’s a touching tribute to Railroad Earth founder and multi-instrumentalist Andy Goessling, who passed away in October of 2018, and a fitting first single from All For The Song, the band’s first full-length album without Goessling. “The Great Divide” is now available via Youtube and will be available tomorrow for purchase and streaming.

From January to March 2020, Railroad Earth are heading to a hefty number of our nation’s finest and most time-honored live music venues, including two nights at San Francisco’s famed Fillmore, The Capitol Theatre in Port Chester, NY, First Ave in Minneapolis, and a two-night run at D.C. favorite, 9:30 Club. In these rooms, All For The Song’s arrangements will take on entirely new forms and facades night to night. “We don’t typically play stuff before we record it. It gets recorded, then we play it live,” Altman says. “That’s when we really find out what the song’s personality is and what really works.” A full list of tour dates can be found below, and tickets are available now via the band’s fanclub. Click here to access. General on-sale begins at 10 A.M. local time on Friday, Nov. 1. Stay tuned to the band’s socials and website for additional 2020 tour dates. 

Catch Railroad Earth On Tour in 2020:

Jan. 16 - Felton, CA - Felton Music Hall

Jan. 17 - San Francisco, CA - The Fillmore

Jan. 18 - San Francisco, CA - The Fillmore

Jan. 19 - Crystal Bay, NV - The Crystal Bay Club

Jan. 22 - Los Angeles, CA - Teragram Ballroom

Jan. 23 - San Luis Obispo, CA - Fremont Theater

Jan. 24 - Solana Beach, CA - Belly Up Tavern

Jan. 26 - Tucson, AZ - Rialto Theatre

Jan. 28 - Aspen, CO - Belly Up Aspen

Jan. 29 - Aspen, CO - Belly Up Aspen

Jan. 30 - Frisco, CO - 10 Mile Music Hall

Jan. 31 - Frisco, CO - 10 Mile Music Hall

Feb. 1 - Denver, CO - Mission Ballroom

Feb. 7 - Boston, MA - Paradise Rock Club

Feb. 8 - Port Chester, NY - The Capitol Theatre

Feb. 19 - Salem, VA - Salem Civic Center

Feb. 20 - Charlotte, NC - The Fillmore

Feb. 21 - Raleigh, NC - Lincoln Theatre

Feb. 22 - Asheville, NC - The Orange Peel

Feb. 23 - Charleston, WV - Mountain Stage

Feb. 25 - Louisville, KY - Mercury Ballroom

Feb. 26 - Knoxville, TN - Mill And Mine

Feb. 27 - Birmingham, AL - Iron City

Feb. 28 - Pensacola, FL - Vinyl Music Hall

Feb. 29 - Pelham, TN - The Caverns

Mar. 3 - Indianapolis, IN - The Vogue 

Mar. 4 - Grand Rapids, MI - The Intersection

Mar. 5 - Madison, WI - The Sylvee

Mar. 6 - Minneapolis, MN - First Avenue

Mar. 7 - Chicago, IL - Vic Theatre

Mar. 20 - Washington, DC - 9:30 Club

Mar. 21 - Washington, DC - 9:30 Club

Mar. 25 - Fayetteville, AR - George’s Majestic Lounge

Mar. 26 - Tulsa, OK - Cain’s Ballroom

Mar. 27 - Kansas City, MO - Knuckleheads Saloon

Mar. 28 - St. Louis, MO - The Pageant 

DelFest, the festival brainchild of Del McCoury and his extended McCoury family now in its 13th year, in partnership with High Sierra Music, announced an initial star-studded lineup today. Held at the Allegany County Fairgrounds in beautiful Cumberland, MD, DelFest originated from the desire to create a family-friendly music festival celebrating the rich legacy of McCoury music while creating a forum for world-class musical collaborations and to showcase fresh new talent. On May 21-24, 2020—Memorial Day Weekend—DelFest will stay true to their original mission statement with musical performances from The Del McCoury Band, The Travelin’ McCourys, Old Crow Medicine Show, St. Paul & The Broken Bones, Béla Fleck & The Flecktones, Punch Brothers, Sam Bush, Billy Strings, Mandolin Orange, The Infamous Stringdusters, Sierra Hull, and emcee, Joe Craven with many more to be announced. 

Fans are encouraged to take advantage of discounted Advance 4-Day passes which are available now at DelFest.com. All other passes including DELuxe VIP packages, on-site RV passes with and without hookups, and parking will go on-sale Dec. 3rd at 12p EST. Once again, DelFest Academy will serve as a prelude to the festival, taking place May 17-20 at the Allegany County Fairgrounds, with registration also opening on Dec. 3rd. The Academy is a 4-day instrument-specific deep dive led by The Travelin’ McCourys and other star players, and students of all ages and skill levels, from children to adults, are welcome. 

Stay tuned for more artists and ticket information to be announced in the coming weeks. Relive the magic from DelFest 2019 with Osiris’ Brokedown Podcast who was on-site recording exclusive interviews with last year’s artists. Please visit DelFest.com for more information or to purchase discounted Advance 4-Day passes. 

Freeburg, IL, native John Dennis has lived a long life in his mere 27 years, but he’s certainly never hidden his story away. From the death of his girlfriend Adrienne in 2010 to his subsequent and near-fatal battle with alcoholism to his journey through recovery, Dennis has efficiently and poetically crafted his story, beliefs, and feelings into song and things are no different with his newest release Mortal Flames. Following the elemental title theme of his first two albums—Eternity’s Tree (2014) and Second Wind (2017)—Mortal Flames finds Dennis asking en lieu of telling; How does one process and heal wounds of the past or how does man find meaning in life in the face of mortality? Set for release on January 31st, 2020, Mortal Flames is a concept album of sorts, chronologically following the timeline of human life from birth to death—including adolescence, first love, loss, and new beginnings—never missing a step along the way.

The album’s lead single and first track, “First Light,” delves into Dennis’s own version of a creation myth. “I wanted to set up the ‘mortal flames’ idea by challenging myself to imagine my own poetic version of existence coming to be,” says Dennis. “The idea that resonated most with me was that of all life being a part of one great, harmonious—and sometimes cacophonous—song and dance; and its fundamental ‘meaning’ is to continually experience the wonder of itself.” Today, “First Light” premiered exclusively via The Bluegrass Situation; listen here.

Filled with equal parts beautifully finger-picked acoustic and gritty, tremolo-drenched electric guitars, Mortal Flames is painted with detailed, thoughtful strokes, even when the bigger picture is broadly rock and roll. Take for example, “Board Game Money,” which represents childhood in the chronology of Mortal Flames. “Board Game Money” rollicks right into a stomp and clap laden ruckus, but, like all of the songs on this album, the depth of the song’s content is more than meets the eye. “At its inception, the idea for this song came from the ironic combination of feeling like I was barely scraping by financially and several late-night Monopoly game nights,” says Dennis. “But to tell the album’s story, I also wanted to have a song that conjured the wistfulness of being a kid with all of the limitlessness of imagination and possibility—hence the heavy use of mythical and fairy tale imagery.”

On the latter half of Mortal Flames, “Good Good Love” is the reverse of the coin, representing a period of learning to love again within the album’s timeline. The song revolves around the precipice of Dennis’s relationship with his current girlfriend. “We both had been hurt deeply in the past, and the idea of being faced with something that seemed genuinely good, let alone being deserving of it was frightening,” Dennis remembers. “‘Good Good Love’ is about that place. I guess what I was thinking was ‘what is the one thing everyone needs to hear?’ and that became the lyrics to the chorus.” Mortal Flames closes with “Oh Beloved,” a song which Dennis wanted to “not only signified the death of the main character but also, describe what I would want said to me before my own death.” “To me it sums up all of the things I would want to say to someone who is dying,” continues Dennis. “And the lines ‘nobody blames you for having to leave’ and ‘your failures mean nothing, it’s success just to be’ specifically aim to comfort the part of me that would feel guilty to die and to leave behind those that I love.” After the last breath of “Oh Beloved” is breathed, the ethereal whistling motif from “First Light” ties the entire story together, signaling the cycle of life to begin again. Mortal Flames ends as it begins; from dust to dust, an invitation for all, alongside John Dennis, to tell our own stories and bear our own scars.

Hot on the heels of their recent release, Wild As The Night, Portland-based roots-rock darlings Fruition have just announced another brand new collection of songs, Broken at the Break of Day. The new seven-song album, available January 17th, 2020, was recorded in between tour dates in Fruition drummer Tyler Thompson’s newly constructed home studio, and like Fruition’s past releases, this collection of songs won’t fit into one box. Although it’s a challenge to categorize, Broken at the Break of Day feels whole because of the band’s dedication to honesty as well as harmony. Working as perfect companion pieces, both Wild as the Night and Broken at the Break of Day will be released together on 180g vinyl in January, giving listeners the option to hear the two newest Fruition releases as a collective body of work in this playlist-focused era. Today, Billboard Magazine premiered “Dawn,” Broken at the Break of Day’s first single, calling it “Melodic and harmony-laden.” “Dawn” will be available on all online platforms starting tomorrow, December 6th. Click here to pre-save. View the video for "Dawn" here.

In addition to the new digital and vinyl releases, Fruition have also just announced a slew of new tour dates, adding to their already-busy 2020 schedule. March will find Fruition playing their way through the American South before turning west to Indiana and Missouri on their way to WinterWonderGrass at California’s Squaw Valley Resort. Stops include NPR’s Mountain Stage (who included the single “Wild as the Night” in their November roundup of “Best New Songs,” noting the “cascade of harmonies feels like a 21st-century soft-rock treasure”), The Basement in Nashville, Asheville Music Hall, Indianapolis’s HI FI, and the Record Bar in Kansas City, MO. A full list of new and previously-announced tour dates can be found below.

Broken at the Break of Day shines a light on all five members of the band—Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums)—whether it’s on the traded lead vocals of “Dawn” or the irresistible rhythms of “Where Can I Turn.” As it’s been for more than a decade, their sound is hard to define, but the songwriting and the harmonies tie their diverse influences together.

For example, “Counting the Days” is a poignant love letter, while “For You” shows the exasperation of maintaining a relationship on the road. The band’s most electrifying rock moment, “Do What You Want,” is then followed by “Nothing More Than Spinning,” which sounds like a folk song interpreted by Queen. The stunning vocal blend heard in “At the End of the Day” brings Broken at the Break of Day to its beautiful and touching conclusion.

“This process was the quickest the band had ever written and recorded the songs,” Thompson says. “All the songs obviously fit either a ‘day’ or ‘night’ theme, but the whole rehearsing and recording process had to be done in about half the amount of time we were used to. That time limitation leant us to not overthink things, play instinctually and all live in the studio with very minimal overdubs. All the songs are very different, but I think the speedy process naturally created some sonic congruency.”

“From a visibility standpoint, being able to release more music more often—even if it is in smaller doses—is ideal in the new frontier of digital music that we have found ourselves smack dab in the middle of,” Asebroek says. “It's nice to be able to stay on people's radar, in an age where people have instant access to the whole of music history at their fingertips. It’s also nice to put these out together on vinyl as a nod to the way things once were.”

With a renewed focus on harnessing the energy of the live experience, Wild as the Night and Broken at the Break of Day allow listeners to get a glimpse of all five band members doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.

Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Drawing on their string-band influences early on, they released their debut album Hawthorne Hoedown that same year. Thompson joined the band in 2011, shortly after hearing the band members singing together in a friend’s attic. Leonard came on board in 2015. Broken at the Break of Day is the band’s tenth release, including EPs and LPs.

“We pushed ourselves like never before. But in the end, it all turned out great,” Anderson says about the sessions for Broken at the Break of Day. “It was a bit more of a hectic process to get things done and recorded. I can’t believe it sounds so good when we did it all so fast.”

Broken At The Break Of Day Track Listing:

Dawn

Where Can I Turn

Counting The Days

For You

Do What You Want

Nothing More Than Spinning

At The End of the Day

Catch Fruition On Tour:

Dec. 27 - Eugene, OR - Sessions Music Hall #

Dec. 28 - Seattle, WA - The Crocodile #

Dec. 29 - Bend, OR - The Domino Room #

Dec. 31 - Portland, OR - Revolution Hall #

Jan. 15 - Aspen, CO - Belly Up Aspen 

Jan. 17 - Denver, CO - Mission Ballroom ^

Jan. 22 - Des Moines, IA - Wooly’s %

Jan. 23 - St. Paul, MN - Turf Club %

Jan. 24 - Milwaukee, WI - Back Room at Colectivo %

Jan. 25 - Chicago, IL - Lincoln Hall %

Jan. 26 - Grand Rapids, MI - Pyramid Scheme %

Jan. 28 - Ferndale, MI - Parliament Room at Otus Supply %

Jan. 30 - Concord, NH - Bank of New Hampshire Stage &

Jan. 31 - Somerville, MA - ONCE Ballroom &

Feb. 1 - Albany, NY - The Hollow &

Feb. 5 - Brooklyn, NY - Brooklyn Bowl @ 

Feb. 6 - Washington, DC - Union Stage @ 

Feb. 7 - Ardmore, PA - Ardmore Music Hall @ 

Feb. 8 - Pittsburgh, PA - Rex Theater @

Feb. 9 - Charleston,WV - Mountain Stage *

Mar. 3 - Charlottesville, VA - The Southern Cafe & Music Hall

Mar. 5 - Knoxville, TN - Open Chord +

Mar. 6 - Nashville, TN - The Basement East +

Mar. 7 - Asheville, NC - Asheville Music Hall +

Mar. 10 - Covington, KY - Madison Live +

Mar. 11 - Indianapolis, IN - HI-FI +

Mar. 12 - Louisville, KY - Zanzabar >

Mar. 13 - St Louis, MO - Old Rock House >

Mar. 14 - Kansas City, MO - recordBar >

Mar. 26-28 - Olympic Valley, CA - WinterWonderGrass at Squaw Valley Resort

Apr. 1 - Salt Lake City, UT - The State Room <

Apr. 2 - Jackson, WY - Pink Garter Theatre <

Apr. 3 - Bozeman, MT - Rialto <

Apr. 4 - Missoula, MT - Top Hat <

Apr. 5 - Sandpoint, ID - Heartwood Center <

^ Co-headline with The California Honeydrops with support from Mama Magnolia

# w/ Danny Barnes

% w/ The Mighty Pines

& w/ Caleb Elliott

@ w/ Lindsay Lou

+ w/ Katie Toupin

> w/ Goodnight, Texas

< w/ TK & The Holy Know Nothings

* Supporting Keller & the Keels

MerleFest, presented by Window World, is proud to announce the next round of artist additions for MerleFest 2020, which will be held April 23-26. John Prine, Billy Strings, Colin Hay, Kelsey Waldon, and Gangstagrass will be joining the annual homecoming of musicians and music fans on the campus of Wilkes Community College in Wilkesboro, North Carolina, in the foothills of the Blue Ridge Mountains.

Today’s lineup announcement adds five great artists to MerleFest’s already stacked lineup: Willie Nelson & Family, Alison Krauss, The Jerry Douglas Band, Sam Bush, Jim Lauderdale, Kruger Brothers, The Waybacks, Scythian, Donna The Buffalo, Peter Rowan and the Free Mexican Airforce, Tommy Emmanuel, Shinyribs, Charley Crockett, Darrell Scott, The Steel Wheels, Robbie Fulks, Amythyst Kiah, Cordovas, Alison Brown, Andy May, “B” Townes, Banknotes, Bill & The Belles, Bryan Sutton, Carol Rifkin, Charles Welch, Chatham Rabbits, Che Apalache, The Cleverlys, Creole Stomp with Dennis Stroughmatt, David Holt, Fireside Collective, Flattop, Happy Traum, Hogslop String Band, InterACTive Theatre of Jef, Irish Mythen, Iron Horse Bluegrass, Jack Lawrence, Jeff Little Trio, Jody Carroll, Joe Smothers, Ken Crouse, Laura Boosinger, The Local Boys, Los Texmaniacs, Mark Bumgarner, Mary Flower, Mitch Greenhill, Pete & Joan Wernick, Piedmont Bluz, Presley Barker, Rev. Robert Jones, Roy Book Binder, Sierra Ferrell, String Madness, T. Michael Coleman, Tony Williamson, Wayne Henderson, The Moore Brothers, The Williams Brothers, and Wyld Fern. 

Known for their rowdy, energetic performances, Town Mountain has spent most of 2019 on the road, playing major festivals and venues across the country, including the legendary Grand Ole Opry. On September 30, the band made their debut at the iconic Red Rocks Amphitheatre in Morrison, Colorado, to a sold-out crowd alongside prolific singer-songwriter Robert Earl Keen and Grammy-nominee Tyler Childers. Today, JamBase premiered the band’s live performance of “Down Low” featuring Childers, who co-wrote the duet with banjo player and vocalist Jesse Langlais for Town Mountain’s most recent album, New Freedom Blues. “It’s always a pleasure to do shows with Tyler and The Food Stamps,” Langlais explains. “We love the guys and we love the music, brothers in arms! And it’s always a highlight when Tyler comes up with us and performs 'Down Low'. Especially at a venue like Red Rocks where you can just feel the energy and magic in the air.”

The band played a number of songs from their extensive discography including their well-known rendition of Bruce Springsteen’s 1984 single “I’m On Fire”, a fan-favorite that has racked up almost 6.5 million streams on the group’s Spotify alone. Childers ended the night with what The Boot called an “epic, show-stopping jam session”, calling on Town Mountain guitarist/vocalist Robert Greer and Robert Earl Keen to join him in performing Keen’s classic, “The Road Goes On Forever”.

Town Mountain recently wrapped up 2019 with one final run that included a two-night stint at Nashville’s beloved Station Inn; the band invited a handful of surprise guests to join them on stage, including Grammy award-winning songwriter Jim Lauderdale, dobro legend Jerry Douglas, and hailed bluegrass flatpicker Billy Strings. Read more about the night via Nashville Lifestyles.

Returning to the road in 2020, the band will tour the East Coast and are set to perform at Squaw Valley’s WinterWonderGrass in late March.

Town Mountain 2020 Tour Dates:

Jan 23 – Easton, MD – The Avalon Theatre

Jan 24 – Berryville, VA – Barns of Rose Hill

Jan 25 – Harrisonburg, VA – The Clementine Cafe

Jan 31 – Raleigh, NC – The Pour House

Feb 1 – Washington, DC – The Hamilton

Feb 7 – Charlotte, NC – The Visulite Theater 

Feb 8 – Boone, NC – Boone Saloon 

Feb 27 – Newport, KY – The Southgate House Revival 

Feb 28 – Nelsonville, OH – Stuart's Opera House

Feb 29 – Pineville, KY – Bell Theater  

Mar 28 – Squaw Valley, CA – WinterWonderGrass Music & Brew Festival

Apr 16 – Greer, SC – SpringSkunk Music Festival

May 2 – Asheboro, NC – Jimmy-June Music and Arts Festival 

Jun 6 – Pagosa Springs, CO – Pagosa Folk ‘N Bluegrass

Jul 16 – Clayton, NY – Clayton Opera House

Hot on the heels of their first annual Woodlands Music and Arts Festival in Charleston, SC, and gearing up for their first annual Rockjavik event in Reykjavik, Iceland, world-renowned improv-rockers Umphrey’s McGee are ready to release new music. Earlier this year, on a show day in New Haven, CT, the band found themselves recording a studio version of live show fan-favorite, “Ride On Pony,” at Telefunken Recording Studio. First played live back on April 5th, 2009, and written by guitarist Jake Cinninger a dozen years before that, this recording marks the first official release of the country-tinged, Bob Seger inspired tune. Today, Rolling Stone Country featured “Ride On Pony,” calling it “Nostalgic country-rock,” and making mention of the “Earnest acoustic strumming uplifted by arena-ready distortion-soaked chords and anthemic organ swells.” Listen here.

“Ride On Pony” opens with the lines, “Looking back on my life when it was cool to be young. Beer in the back of pickup trucks and sack of clovers just to press the luck. Laughs and jokes until morning comes up.” “This song goes back almost to pre-adolescence,” says Umphrey’s guitarist, Jake Cinninger. “It harkens back to the days of those mixed-up feelings and trying to cut loose, a teenage daydream.” Opening with a beautiful juxtaposition of strummed acoustic guitar and big, dirty power chords, “Ride On Pony” settles into a familiar 6/8 time feel, with tastefully picked guitar flourishes playing counterpoint to each heartfelt line of the lyric. The bridge brings a more familiar Umphrey’s McGee dual-guitar attack, satisfying even their oldest of fans before settling back into the last verse and chorus. “It’s all real...no joke, about the feel of being a teenager,” says Cinninger. “We tried to recapture some of those magical years gone past for everyone that listens.”

In usual Umphrey’s fashion, the band will finish out 2019 with a four-night New Year’s run, this year at Denver’s Fillmore Auditorium. To start things off in 2020, Umphrey’s will headline two nights at New York’s famed Beacon Theatre. Stops at fan favorites like Penn’s Peak, The Fillmore Detroit, The Caverns in Pelham, TN, and the ExploreAshville.com Arena fill out the band’s January and February schedule before they head west for the remainder of February and March. Umphrey’s sold-out Rockjavik shows at Eldborg Hall in Reykjavik, Iceland, mark the first of their kind for the band, and fans lucky enough to get tickets couldn’t be more excited.

Stay tuned to Umphreys.com for details on future single releases and new tour dates. 

Catch Umphrey’s McGee On Tour:

Dec. 27 - Denver, CO - Fillmore Auditorium

Dec. 28 - Denver, CO - Fillmore Auditorium

Dec. 30 - Denver, CO - Fillmore Auditorium

Dec. 31 - Denver, CO - Fillmore Auditorium

Jan. 17 - New York, NY - The Beacon Theatre

Jan. 18 - New York, NY - The Beacon Theatre

Jan. 19 - Brooklyn, NY - The Brooklyn Bowl

Jan. 23 - Jim Thorpe, PA - Penn’s Peak

Jan. 24 - Pittsburgh, PA - Stage AE

Jan. 25 - Columbus, OH - Express! Live

Jan. 29 - Ft. Wayne, IN - The Clyde Theater

Jan. 30 - Northfield, OH - MGM Northfield Park

Jan. 31 - Detroit, MI - The Fillmore Detroit

Feb. 1 - Detroit, MI - The Fillmore Detroit

Feb. 12 - Memphis, TN - Graceland Soundstage

Feb. 13 - Pelham, TN - The Caverns

Feb. 14 - Asheville, NC - ExploreAsheville.com Arena

Feb. 15 - Asheville, NC - ExploreAsheville.com Arena

Feb. 26 - Bend, OR - Midtown Ballroom

Feb. 27 - Eugene, OR - McDonald Theatre

Feb. 28 - Portland, OR - Crystal Ballroom

Feb. 29 - Seattle, WA - Showbox SoDo

Mar. 12 - San Diego, CA - The Observatory North Park

Mar. 13 - Los Angeles, CA - The Wiltern

Mar. 14 - Oakland, CA - Fox Theatre

Mar. 15 - San Rafael, CA - Terrapin Crossroads

Mar. 20 - Reykjavik, Iceland - Rockjavik

Mar. 21 - Reykjavik, Iceland - Rockjavik

Mar. 22 - Reykjavik, Iceland - Rockjavik

Apr. 2 - Kansas City, KS - The Truman

Apr. 3 - St. Louis, MO - The Pageant

Apr. 4 - St. Louis, MO - The Pageant

Apr. 5 - South Bend, IN - Morris Performing Arts Center

Apr. 16 - Houston, TX - House of Blues Houston 

Apr. 17 - Austin, TX - Stubb’s BBQ

Apr. 18 - Dallas, TX - House of Blues Dallas

Apr. 19 - Tulsa, OK - Cain’s Ballroom

Apr. 24 - New Orleans, LA - The Fillmore New Orleans

Apr. 25 - New Orleans, LA - The Fillmore New Orleans

Jul. 2-5 - Scranton, PA - The Peach Music Festival

Released today, Railroad Earth lean into the rock side of their roots with “It’s So Good,” their second single from All For The Song, due out in 2020. Famously known for their genre-bending implementation of bluegrass instruments in non-traditional styles and arrangements, Railroad Earth—Todd Sheaffer (guitar), Tim Carbone (violin), John Skehan (mandolin), Carey Harmon (drums), and Andrew Altman (bass)—give “It’s So Good” a laid back, big easy rock and roll vibe with the addition of Hammond organ and Toussaint-esque horn arrangements; a few things All For The Song’s producer, New Orleans music scene staple Anders Osborne, is definitely familiar with. Yesterday, American Songwriter premiered “It’s So Good,” praising the song for tapping into “surviving life on the road despite flights from hell, broken-down tour buses, and vans catching on fire.” Read the article and listen to “It’s So Good” here. Stream/purchase here.

“Brokedown buses, side-of-the-road Sunday, nothing open, borrowed ski shuttles, broken axles, lost tires, vans on fire,” shares Railroad Earth guitarist, Todd Sheaffer. “It’s a long story.” Their long story follows a couple of different nightmare days on tour; the first verse a true story about a bus breakdown and the ensuing scramble to make it from Steamboat Springs, CO, to Grand Targhee, WY, and the second verse recounting a plethora of air travel troubles, all of which are humorous to the band when looked back on. “Man, the crazy shit we musicians do just to play a little music,” says Sheaffer. “With this song, I had some fun with the curse of the touring musician—and everyone else in the world, for that matter.”

From January to March 2020, Railroad Earth are heading to a hefty number of our nation’s finest and most time-honored live music venues, including two nights at San Francisco’s famed Fillmore, The Capitol Theatre in Port Chester, NY, First Ave in Minneapolis, and a two-night run at D.C. favorite, 9:30 Club. In these rooms, All For The Song’s arrangements will take on entirely new forms and facades night to night. “We don’t typically play stuff before we record it. It gets recorded, then we play it live,” Altman says. “That’s when we really find out what the song’s personality is and what really works.” A full list of tour dates can be found below, and tickets are available now via the band’s fanclub. Click here to access.

Catch Railroad Earth On Tour in 2020:

Jan. 16 - Felton, CA - Felton Music Hall

Jan. 17 - San Francisco, CA - The Fillmore

Jan. 18 - San Francisco, CA - The Fillmore

Jan. 19 - Crystal Bay, NV - The Crystal Bay Club

Jan. 22 - Los Angeles, CA - Teragram Ballroom

Jan. 23 - San Luis Obispo, CA - Fremont Theater

Jan. 24 - Solana Beach, CA - Belly Up Tavern

Jan. 26 - Tucson, AZ - Rialto Theatre

Jan. 28 - Aspen, CO - Belly Up Aspen

Jan. 29 - Aspen, CO - Belly Up Aspen

Jan. 30 - Frisco, CO - 10 Mile Music Hall

Jan. 31 - Frisco, CO - 10 Mile Music Hall

Feb. 1 - Denver, CO - Mission Ballroom

Feb. 7 - Boston, MA - Paradise Rock Club

Feb. 8 - Port Chester, NY - The Capitol Theatre

Feb. 19 - Salem, VA - Salem Civic Center

Feb. 20 - Charlotte, NC - The Fillmore

Feb. 21 - Raleigh, NC - Lincoln Theatre

Feb. 22 - Asheville, NC - The Orange Peel

Feb. 23 - Charleston, WV - Mountain Stage

Feb. 25 - Louisville, KY - Mercury Ballroom

Feb. 26 - Knoxville, TN - Mill And Mine

Feb. 27 - Birmingham, AL - Iron City

Feb. 28 - Pensacola, FL - Vinyl Music Hall

Feb. 29 - Pelham, TN - The Caverns

Mar. 3 - Indianapolis, IN - The Vogue 

Mar. 4 - Grand Rapids, MI - The Intersection

Mar. 5 - Madison, WI - The Sylvee

Mar. 6 - Minneapolis, MN - First Avenue

Mar. 7 - Chicago, IL - Vic Theatre

Mar. 19 - Pittsburgh, PA - The Rex 

Mar. 20 - Washington, DC - 9:30 Club

Mar. 21 - Washington, DC - 9:30 Club

Mar. 22 - Covington, KY - Madison Theater 

Mar. 25 - Fayetteville, AR - George’s Majestic Lounge

Mar. 26 - Tulsa, OK - Cain’s Ballroom

Mar. 27 - Kansas City, MO - Knuckleheads Saloon

Mar. 28 - St. Louis, MO - The Pageant 

For eighteen years and counting, Northwest String Summit has brought fans of contemporary bluegrass, indie, funk, jam rock, and everything in between to the greater Portland area for what has become a highlight of the summer for festival-goers nationwide. Taking place in North Plains’ beautiful Horning’s Hideout, String Summit’s 19th annual gathering brings some familiar faces back to the festival and some widely requested artists to their first String Summit the weekend of July 16-19, 2020.

Northwest String Summit announces the inclusion of longtime String Summit veterans Greensky Bluegrass who took a year off in 2019, improv-rockers Umphrey’s McGee playing one rare acoustic set and one fully electrified set, longtime festival hosts Yonder Mountain String Band, Grammy Award winners The Infamous Stringdusters, and Portland-based favorites Fruition, all of whom will play two sets throughout the weekend. Additionally, Canadian outlaw country golden boy Colter Wall, newgrass legend Sam Bush Band, Keller Williams’ grassy collaboration Keller & The Keels, Greensky Bluegrass side project Dave Bruzza: Unsafe At Any Speed, Larry Keel Experience with String Summit Artist At Large, Kyle Tuttle, Handmade Moments, Them Coulee Boys, Benny “Burle” Galloway, Cascade Crescendo, Brad Parsons Gospel Hour, Upstate, Rob Ickes & Trey Hensley, Armchair Boogie, Pixie and the Partygrass Boys, Bowregard, Chicken Wire Empire, Lost Ox, and 2019 Band Competition winners, One Way Traffic, with many, many more to be announced soon! 

Tickets for Northwest String Summit 2020 are now on sale, including the Ultimate Peacock Club VIP Experience which bundles two four-day passes, two Ultimate Peacock Club VIP Experience tickets, unlimited shuttle pass, and parking (more than $1500 value), and Expedition Glamping campsites designed to accommodate 2 adults in total comfort in a canvas glamping tent with a queen bed, mattress, linens, and pillows along with all the comforts of home; nightstand, table, chairs, rug, coat rack, and more. 

4-day passes, parking passes, Peacock Club VIP experiences, basecamp, and glamping packages are available for purchase here. 

High Sierra Music Festival, madre of all west coast festivals, is back for its 30th iteration in 2020. Outliving early North American festivals of the 90s and persevering through the commercialized festival onslaught of the 2000s without selling out to anyone, HSMF returns to Quincy, CA, on July 2-5, 2020, offering the world-class, beloved environment and entertainment that have kept fans and musicians thrilled to return year after year, for three decades.

Today, High Sierra announced an initial lineup including grateful torch-bearers and improv masters Joe Russo’s Almost Dead, Afrobeat royalty Femi Kuti & The Positive Force, Grammy-nominated funk powerhouse Lettuce, bay-area R&B mainstays The California Honeydrops, electro-funk duo The Floozies, perennial festival-favorites Twiddle, the diverse jams of Spafford, the brotherly collaboration of BoomBox with BackBeat Brass, and New Orleans heavy-hitters Dumpstaphunk. Samantha Fish, True Loves, Cris Jacobs, Steve Poltz, Andy Frasco & The U.N., Ron Artis II & The Truth, Goose, Ghost-Note, Aqueous, Cedric Burnside, Lindsay Lou, Neal Francis, AJ Lee & Blue Summit, The Higgs, and Crying Uncle Bluegrass Band round out High Sierra’s first round of artist announcements, with several headliners and many more surprises expected.

With a talented and diverse lineup, collaboration continues to be a primary focus for High Sierra. Each year, the festival finds new ways to encourage once-in-a-lifetime jams and sit-ins, often booking artists to play multiple sets over multiple days. The social time between sets lets artists cut loose, hang out, and noodle around—something most bands agree doesn’t happen as often as you’d think. From the main stage to smaller late-night venues, HSMF always makes it a point to put new groups of musicians together each year, usually in the air-conditioned High Sierra Music Hall as “Playshops”, to play each other’s tunes, improvise, and generally have a good time on-stage.

High Sierra has and always will be a purposefully intimate, uncrowded event, and fans know they should get tickets early for the best prices. Tickets including FestivALL VIP Packages, RV parking, and vehicle passes are on sale now and can be purchased here. 

Known collectively as Hawktail, fiddler Brittany Haas, bassist Paul Kowert, guitarist Jordan Tice, and mandolinist Dominick Leslie are proud to share their much-anticipated sophomore album, Formations today. With the help of co-producer Chris “Critter” Eldridge, the band recorded the album in just four days at Nashville’s Southern Ground Studios. The album has received high praise from critics, including NPR Music who complimented the band’s “rustic” sound on All Songs Considered’s “New Music Friday” this morning. No Depression commented, “As new album Formations proves, the band members defy expectations based on other projects or instruments of choice by constantly pushing each other’s creative boundaries,” while Folk Alley praised the band’s unprecedented musicianship, noting, “We simply haven't seen these instruments played this way and with this exuberance... except by Hawktail.” The group will begin touring this month at Folk Alliance in New Orleans, followed by two Nashville performances including an album release show at Little Harpeth Brewing and a special performance at the Grand Ole Opry on February 1. Formations is available today, click here to purchase or stream.

Building on their 2018 debut Unless, Hawktail partnered up with Eldridge, veteran engineer Dave Sinko (Edgar Meyer, Béla Fleck, Sam Bush) and legendary mixing guru Jacquire King (Tom Waits, Kings of Leon, Shania Twain) to create a cohesive vision for Formations; a bigger picture shared by the entire band and production team that combined the group’s monstrous compositional and instrumental forces. “Unless took care of the learning curve,” Tice explained in a December interview with Billboard, “and having done that we were like, ‘Oh, we know how to make music together now. Let's make another record.’”

Playful and dramatic, Formations has more conversational trades, improvisation, and sonic shifts than their debut; this new energy is largely due to Leslie’s presence from the inception of the record. “Our first album had more or less been written by the time I joined the band, so it was more about finding a complementary part,” says Leslie. “On Formations, I was there for the writing, which resulted in the mandolin having a fundamental role in the music.”

Formations is a collection of seven instrumentals that tell dynamic stories, with elemental components that challenge the category that their instrumentation suggests. “With four people, new roles appear that weren’t there before. You can have two be ‘the backing band,’ one ‘the soloist,’ and one ‘the commentator,’ for instance. The music begins to tell a vivid story,” Tice explains. This is apparent in the album’s first single “Annbjørg,” a dizzying, Scandinavian-tinged choose-your-own-adventure tune that Kowert described to Folk Alley as “a polyrhythmic romp inspired by one of our heroes of fiddling, Annbjørg Lien.” Other examples include the noir minor bluegrass number “Last One on the Line” and “Eddie’s Attic”. “On ‘Eddie’s Attic’ we combine people on the same part in different ways. Unison, octave, together or staggered. Each instrument is like a character, and as they enter and exit, the scenes change,” says Haas, “It’s simple stuff, but it really makes an impact when it’s clear.”

However, on the album’s second single and most reflective number, “Dandelion”, the band returns to the chamber music-inspired orchestration of Unless, which NPR Music characterized as “devotional and worthy of deep attention.” With no definitive melody, the track takes a journey through consonance, dissonance, fragility, and robust strength, using simple, familiar sounds in unusual ways. The dreamlike result is hard to define yet familiar; archetypical and clear in its intent.

With Formations, it’s become clear that Hawktail are quite capable of blazing away at their own trail, successfully challenging the traditional roles of their respective instruments and genres. “We’re just trying to find something good to play,” says Tice. “We’re not interested in adhering to the same old forms—merely adding some spice to something that we all know how it’s going to end.”

Catch Hawktail On Tour:

Jan 24 – New Orleans, LA – Folk Alliance 

Jan 31 – Nashville, TN – Little Harpeth Brewing Album Release Show

Feb 1 – Nashville, TN – Grand Ole Opry

Feb 7 – Washington, DC – Songbyrd Music House 

Feb 8 – Charlottesville, VA – The Front Porch

Feb 9 – Frederick, MD – Weinberg Center For The Arts

Feb 13 – Del Mar, CA – Town Hall

Feb 14 – Los Angeles, CA – McCabe’s Guitar Shop  

Feb 15 – Soquel, CA – Michael’s on Main

Feb 16 – Berkeley, CA – Freight and Salvage

Feb 28 – Bennington County, VT – Billsville House Concerts 

Feb 29-Mar 1 – Northampton, MA – Back Porch Music Festival

Apr 3 – Decatur, GA – Eddie’s Attic

Apr 4 – Savannah, GA – Savannah Music Festival

June 18-21- Telluride, CO – Telluride Bluegrass Festival

Improv-rock group Umphrey’s McGee have always had an uncanny ability to melt down any genre of music, blend the molten styles, and hammer forge a new sound for each new song they write. While writing and recording their newest single, “Suxity,” the ingredients were—in guitarist and co-writer Jake Cinninger’s words—part Sly Stone, part Alice In Chains. Premiered yesterday via American Songwriter, “Suxity” was the first song Umphrey’s recorded during their sessions with producer Ryan Hewitt (The Red Hot Chili Peppers, The Lumineers) at Nashville’s famed Blackbird Studio. “Suxity” can be purchased or streamed here. 

“When I first heard Jake's demo for “Suxity,” I immediately got excited and knew it would turn into something substantial, and that it would happen quickly,” recalls guitarist and “Suxity” co-writer Brendan Bayliss. “Right away, I was getting ideas in my head for melodies and lyrics, and I always take that as a good sign after listening to something for the first time.” Cinninger was looking for a “drastic contrast between the verses and choruses,” a sound which keyboardist Joel Cummins considers “two of Umphrey’s hallmark sounds battling it out.” “A James Brown style funk verse with a 90s grunge chorus,” Cummins muses, “and Jake’s guitar solo adds a dash of Steely Dan to round it out.”

“It was the first time we’d ever tried to sit down with an idea in the morning and have a brand new song finished and recorded by the end of the day,” says Bayliss, and Hewitt had a steady hand in the success of their mission. “Working with Ryan Hewitt on ‘Suxity’ really helped shine a light on the song and bring out all of its idiosyncrasies,” says Cummins. “Ryan guided us toward the perfect arrangement where every note and space has a purpose and meaning.” At the end of the day, Umphrey’s left the studio with a fine-tuned product which Cinninger calls “one of the more exciting tracks that we have ever cut live in the studio. Just grinding, tight and heavy.” The band proved, once again, just how easy they can make it look, creating something strong out of seemingly thin air; musical blacksmithing for the 21st century.

Umphrey’s will headline two nights at New York’s famed Beacon Theatre to start off their 2020 tour. Stops at fan favorites like Penn’s Peak, The Fillmore Detroit, The Caverns in Pelham, TN, and the ExploreAshville.com Arena fill out the band’s January and February schedule before they head west for the remainder of February and March. Umphrey’s sold-out Rockjavik shows at Eldborg Hall in Reykjavik, Iceland, mark the first of their kind for the band, and fans lucky enough to get tickets couldn’t be more excited. Stay tuned to Umphreys.com for details on future single releases and new tour dates. 

Catch Umphrey’s McGee On Tour:

Jan. 17 - New York, NY - The Beacon Theatre

Jan. 18 - New York, NY - The Beacon Theatre

Jan. 19 - Brooklyn, NY - The Brooklyn Bowl

Jan. 23 - Jim Thorpe, PA - Penn’s Peak

Jan. 24 - Pittsburgh, PA - Stage AE

Jan. 25 - Columbus, OH - Express! Live

Jan. 29 - Ft. Wayne, IN - The Clyde Theater

Jan. 30 - Northfield, OH - MGM Northfield Park

Jan. 31 - Detroit, MI - The Fillmore Detroit

Feb. 1 - Detroit, MI - The Fillmore Detroit

Feb. 12 - Memphis, TN - Graceland Soundstage

Feb. 13 - Pelham, TN - The Caverns

Feb. 14 - Asheville, NC - ExploreAsheville.com Arena

Feb. 15 - Asheville, NC - ExploreAsheville.com Arena

Feb. 26 - Bend, OR - Midtown Ballroom

Feb. 27 - Eugene, OR - McDonald Theatre

Feb. 28 - Portland, OR - Crystal Ballroom

Feb. 29 - Seattle, WA - Showbox SoDo

Mar. 5 - Aspen, CO - Belly Up Aspen

Mar. 6 - Aspen, CO - Belly Up Aspen

Mar. 7 - Aspen, CO - Belly Up Aspen

Mar. 12 - San Diego, CA - The Observatory North Park

Mar. 13 - Los Angeles, CA - The Wiltern

Mar. 14 - Oakland, CA - Fox Theatre

Mar. 15 - San Rafael, CA - Terrapin Crossroads

Mar. 20 - Reykjavik, Iceland - Rockjavik

Mar. 21 - Reykjavik, Iceland - Rockjavik

Mar. 22 - Reykjavik, Iceland - Rockjavik

Apr. 2 - Kansas City, KS - The Truman

Apr. 3 - St. Louis, MO - The Pageant

Apr. 4 - St. Louis, MO - The Pageant

Apr. 5 - South Bend, IN - Morris Performing Arts Center

Apr. 16 - Houston, TX - House of Blues Houston 

Apr. 17 - Austin, TX - Stubb’s BBQ

Apr. 18 - Dallas, TX - House of Blues Dallas

Apr. 19 - Tulsa, OK - Cain’s Ballroom

Apr. 23 - Pensacola, FL - Vinyl Music Hall

Apr. 24 - New Orleans, LA - The Fillmore New Orleans

Apr. 25 - New Orleans, LA - The Fillmore New Orleans

May 22-24 - Chillicothe, IL - Summercamp Music Festival

Jul. 2-5 - Scranton, PA - The Peach Music Festival

Jul. 16-19 - North Plains, OR - Northwest String Summit

Jul. 22-26 - Floyd, VA - FloydFest 2020

Hot on the heels of their recent release, Wild As The Night, Portland-based roots-rock darlings Fruition have just released another brand new collection of songs, Broken at the Break of Day. The new seven-song album was recorded in between tour dates in Fruition drummer Tyler Thompson’s newly constructed home studio, and like Fruition’s past releases, this collection of songs won’t fit into one box. Although it’s a challenge to categorize, Broken at the Break of Day feels whole because of the band’s dedication to honesty as well as harmony. Working as perfect companion pieces, both Wild as the Night and Broken at the Break of Day are being released together on 180g vinyl, giving listeners the option to hear the two newest Fruition releases as a collective body of work in this playlist-focused era. Broken at the Break of Day can be heard here and the double vinyl can be purchased here. The band is in Denver tonight, marking the release of the new album with a sold out show at the 3950 seat Mission Ballroom.

Broken At The Break Of Day’s lead single, “Dawn”—which Billboard premiered, praising its “melodic” and “harmony-laden” arrangement—is already climbing to #8 on the Americana Tracks chart and #22 on the AAA Indicator chart and has been added to 50 stations in its first two weeks. The album is currently number 21 on the Americana Album chart and #30 on the JBE Public Chart.

Broken at the Break of Day shines a light on all five members of the band—Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums)—whether it’s on the traded lead vocals of “Dawn” or the irresistible rhythms of “Where Can I Turn.” As it’s been for more than a decade, their sound is hard to define, but the songwriting and the harmonies tie their diverse influences together.

For example, “Counting the Days” is a poignant love letter, while “For You” shows the exasperation of maintaining a relationship on the road. The band’s most electrifying rock moment, “Do What You Want,” is then followed by “Nothing More Than Spinning,” which sounds like a folk song interpreted by Queen. The stunning vocal blend heard in “At the End of the Day” brings Broken at the Break of Day to its beautiful and touching conclusion.

“This process was the quickest the band had ever written and recorded the songs,” Thompson says. “All the songs obviously fit either a ‘day’ or ‘night’ theme, but the whole rehearsing and recording process had to be done in about half the amount of time we were used to. That time limitation leant to us not overthinking things, playing instinctually—and all live—in the studio with very minimal overdubs. All the songs are very different, but I think the speedy process naturally created some sonic congruency.”

“From a visibility standpoint, being able to release more music more often—even if it is in smaller doses—is ideal in the new frontier of digital music that we have found ourselves smack dab in the middle of,” Asebroek says. “It's nice to be able to stay on people's radar, in an age where people have instant access to the whole of music history at their fingertips. It’s also nice to put these out together on vinyl as a nod to the way things once were.”

With a renewed focus on harnessing the energy of the live experience, Wild as the Night and Broken at the Break of Day allow listeners to get a glimpse of all five band members doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.

Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Drawing on their string-band influences early on, they released their debut album Hawthorne Hoedown that same year. Thompson joined the band in 2011, shortly after hearing the band members singing together in a friend’s attic. Leonard came on board in 2015. Broken at the Break of Day is the band’s tenth release, including EPs and LPs.

“We pushed ourselves like never before. But in the end, it all turned out great,” Anderson says about the sessions for Broken at the Break of Day. “It was a bit more of a hectic process to get things done and recorded. I can’t believe it sounds so good when we did it all so fast.”

In addition to the new digital and vinyl releases, Fruition have also announced a slew of new tour dates, adding to their already-busy 2020 schedule. January and February take the band through the midwest and northeast. March will find Fruition playing their way through the American South before turning west to Indiana and Missouri on their way to WinterWonderGrass at California’s Squaw Valley Resort. Stops include NPR’s Mountain Stage (who included the single “Wild as the Night”  in their November roundup of “Best New Songs,” noting the “cascade of harmonies feels like a 21st-century soft-rock treasure”), The Basement East in Nashville, Asheville Music Hall, Indianapolis’s HI FI, and the Record Bar in Kansas City, MO. A full list of tour dates can be found below.

Catch Fruition On Tour:

Jan. 17 - Denver, CO - Mission Ballroom ^ (SOLD OUT)

Jan. 20 - Steamboat Springs, CO - Cowboy Downhill Concert

Jan. 22 - Des Moines, IA - Wooly’s %

Jan. 23 - St. Paul, MN - Turf Club %

Jan. 24 - Milwaukee, WI - Back Room at Colectivo %

Jan. 25 - Chicago, IL - Lincoln Hall %

Jan. 26 - Grand Rapids, MI - Pyramid Scheme %

Jan. 28 - Ferndale, MI - Otus Supply %

Jan. 30 - Concord, NH - Bank of New Hampshire Stage &

Jan. 31 - Somerville, MA - ONCE Ballroom &

Feb. 1 - Albany, NY - The Hollow &

Feb. 5 - Brooklyn, NY - Brooklyn Bowl @ 

Feb. 6 - Washington, DC - Union Stage @ 

Feb. 7 - Ardmore, PA - Ardmore Music Hall @ 

Feb. 8 - Pittsburgh, PA - Rex Theater @

Feb. 9 - Charleston, WV - Mountain Stage

Feb. 29-Mar. 1 - Frisco, CO - Subaru Winterfest

Mar. 3 - Charlottesville, VA - The Southern Cafe & Music Hall

Mar. 5 - Knoxville, TN - Open Chord #

Mar. 6 - Nashville, TN - Basement East #

Mar. 7 - Asheville, NC - Asheville Music Hall #

Mar. 10 - Covington, KY - Madison Live #

Mar. 11 - Indianapolis, IN - HI-FI #

Mar. 12 - Louisville, KY - Zanzabar +

Mar. 13 - St. Louis, MO - Old Rock House +

Mar. 14 - Kansas City, KS - recordBar +

Mar. 26-28 - Olympic Valley, CA - WinterWonderGrass at Squaw Valley Resort

Apr. 1 - Salt Lake City, UT - The State Room =

Apr. 2 - Jackson Hole, WY - Pink Garter Theatre =

Apr. 3 - Bozeman, MT - Rialto =

Apr. 4 - Missoula, MT - Top Hat =

Apr. 5 - Sandpoint, ID - Heartwood Center =

May 22 - Martinsville, VA - Rooster Walk Music & Arts Festival

June 14 -Laytonville, CA - The Hog Farm Hangout

July 16 - North Plains, OR - Northwest String Summit

^ w/ The California Honeydrops

% w/ The Mighty Pines

& w/ Caleb Elliott

@ w/ Lindsay Lou

# w/ Katie Toupin

+ w/ Goodnight, Texas

= w/ TK And The Holy Know Nothings

Umphrey’s McGee are no strangers to the high-elevation rock and roll workout that is Red Rocks Amphitheatre in Morrison, CO, having hosted raucous evenings as the headlining band numerous times over the past decade. With no signs of slowing down, UM are charging right into the next ten years with a three-night run at the fan- and band-favorite venue on June 19, 20, and 21, 2020. And like any good party, this one would be incomplete without a host of funky friends. Never having played Red Rocks with UM, Pigeons Playing Ping Pong, Cory Wong, Fearless Flyers, Samantha Fish, Gene Ween + UM as Godboner, and Goose will support the band over Father’s Day Weekend 2020.

Fans will already know Cory Wong—as well as side project Fearless Flyers—from the band Vulfpeck, previous UM collaborators and a modern classic in their own right. Pigeons Playing Ping Pong are bringing their brand of Baltimore funk to the night of the 19th and guitar-slinger-blueswoman Samantha Fish will join Fearless Flyers to open up on the 20th. Gene Ween will join UM during one of their three sets on the final night for what will be the 2nd ever appearance of their super-band, Godboner. A full daily lineup can be found below. Tickets will be on sale Friday, Jan. 31st and will be available here. 

Beer lovers rejoice! In another round of great news, Umphrey’s McGee are pleased to announce that they are now better equipped than ever to quench fans’ thirst. Their two signature beers—Nothing Too Fancy Pale Ale and Dark Brush Imperial Stout—are now available to ship directly to 42 states. The updated version of Nothing Too Fancy is available in 16oz. cans in 4-, 8- or 12-packs. Produced in conjunction with Rock Brothers, and brewed in North Carolina at Nantahala Brewing with a new water source and improved yeast strain, N2F is a little smoother, fresher, and every bit as sessionable. Dark Brush is available in 22 oz. bombers, with the added benefit of being bottle-aged in perfect conditions for almost two years. You can learn more about shipping details, purchase limited edition snifters, access a discount code, and order right here.  

This Red Rocks announcement comes hot on the heels of last week’s three-night New York run which included two nights at the Upper West Side’s landmark venue, Beacon Theatre, followed by a Sunday show at Brooklyn Bowl. American Songwriter reviewed Beacon night two, pointing out the “prisms of light and moving shapes” working “in tandem with slow-building jams” that help define the band’s live shows. Read the full show recap here. 

New music alert! In December of last year, the band announced a plan to release a series of singles and has since dropped two recorded tracks. The first of which was live show fan-favorite, “Ride On Pony.” Rolling Stone featured the country-tinged, Bob Seger inspired tune calling it “nostalgic country-rock,” and making mention of the “earnest acoustic strumming uplifted by arena-ready distortion-soaked chords and anthemic organ swells.” Listen here. And most recently, the band dropped “Suxity,” a song that keyboardist Joel Cummin described as “a James Brown-style funk groove paired with a ’90s grunge chorus.” American Songwriter echoed the sentiment, saying “it’s a song for people who want to dance and headbang at the same time.” Listen here. 

Umphrey’s McGee at Red Rocks 2020 Lineup:

Friday, June 19th:

Umphrey’s McGee

Pigeons Playing Ping Pong

Cory Wong

Saturday, June 20th:

Umphrey’s McGee

Fearless Flyers

Samantha Fish

Sunday, June 21st:

Umphrey’s McGee (3 sets)

Including a special set as Godboner: Umphrey’s + Gene Ween

Goose

Catch Umphrey’s McGee On Tour:

Jan. 24 - Pittsburgh, PA - Stage AE

Jan. 25 - Columbus, OH - Express! Live

Jan. 29 - Ft. Wayne, IN - The Clyde Theater

Jan. 30 - Northfield, OH - MGM Northfield Park

Jan. 31 - Detroit, MI - The Fillmore Detroit

Feb. 1 - Detroit, MI - The Fillmore Detroit

Feb. 12 - Memphis, TN - Graceland Soundstage

Feb. 13 - Pelham, TN - The Caverns

Feb. 14 - Asheville, NC - ExploreAsheville.com Arena

Feb. 15 - Asheville, NC - ExploreAsheville.com Arena

Feb. 26 - Bend, OR - Midtown Ballroom

Feb. 27 - Eugene, OR - McDonald Theatre

Feb. 28 - Portland, OR - Crystal Ballroom

Feb. 29 - Seattle, WA - Showbox SoDo

Mar. 5 - Aspen, CO - Belly Up Aspen

Mar. 6 - Aspen, CO - Belly Up Aspen

Mar. 7 - Aspen, CO - Belly Up Aspen

Mar. 12 - San Diego, CA - The Observatory North Park

Mar. 13 - Los Angeles, CA - The Wiltern

Mar. 14 - Oakland, CA - Fox Theatre

Mar. 15 - San Rafael, CA - Terrapin Crossroads

Mar. 20 - Reykjavik, Iceland - Rockjavik

Mar. 21 - Reykjavik, Iceland - Rockjavik

Mar. 22 - Reykjavik, Iceland - Rockjavik

Apr. 2 - Kansas City, KS - The Truman

Apr. 3 - St. Louis, MO - The Pageant

Apr. 4 - St. Louis, MO - The Pageant

Apr. 5 - South Bend, IN - Morris Performing Arts Center

Apr. 16 - Houston, TX - House of Blues Houston 

Apr. 17 - Austin, TX - Stubb’s BBQ

Apr. 18 - Dallas, TX - House of Blues Dallas

Apr. 19 - Tulsa, OK - Cain’s Ballroom

Apr. 23 - Pensacola, FL - Vinyl Music Hall

Apr. 24 - New Orleans, LA - The Fillmore New Orleans

Apr. 25 - New Orleans, LA - The Fillmore New Orleans

May 22-24 - Chillicothe, IL - Summercamp Music Festival

June 19-21 - Morrison, CO - Red Rocks Amphitheatre

July 2-5 - Scranton, PA - The Peach Music Festival

July 16-19 - North Plains, OR - Northwest String Summit

July 22-26 - Floyd, VA - FloydFest 2020

DelFest, the festival brainchild of Del McCoury and his extended McCoury family now in its 13th year, in partnership with High Sierra Music, announced additions to an already star-studded lineup today. Held at the Allegany County Fairgrounds in beautiful Cumberland, MD, DelFest originated from the desire to create a family-friendly music festival celebrating the rich legacy of McCoury music while creating a forum for world-class musical collaborations and to showcase fresh new talent. On May 21-24, 2020—Memorial Day Weekend—DelFest will stay true to their original mission statement with musical performances from Leftover Salmon, The Jerry Douglas Band, Anders Osborne & Jackie Greene, Molly Tuttle, The Lil Smokies, Della Mae, Cris Jacobs Band, Hot Club of Cowtown, Michael Cleveland & Flamekeeper, Frank Solivan & Dirty Kitchen, The Broomestix, Rob Ickes & Trey Hensley, Steve Poltz, Sister Sadie, Lonesome River Band, Dre’ Anders, Twisted Pine, Fireside Collective, The Jakob’s Ferry Stragglers, Crying Uncle Bluegrass Band, and Birches Bend.

Of course, this announcement is in addition to the already spectacular initial lineup of The Del McCoury Band, The Travelin’ McCourys, Old Crow Medicine Show, St. Paul & The Broken Bones, Béla Fleck & The Flecktones, Punch Brothers, Sam Bush, Billy Strings, Mandolin Orange, The Infamous Stringdusters, Sierra Hull, and emcee, Joe Craven. Fans are encouraged to take advantage of discounted Advance 4-Day passes, DELuxe VIP packages, and parking passes are available now at DelFest.com. 

Once again, DelFest Academy will serve as a prelude to the festival, taking place May 17-20 at the Allegany County Fairgrounds. The Academy is a 4-day instrument-specific deep dive led by The Travelin’ McCourys and other star players including Frank Solivan (mandolin) and Dirty Kitchen bandmate Mike Munford (banjo), Chris Luquette (guitar), Ronnie Bowman (guitar and vocals), Garnet Bowman (vocals) and Jay Starling (dobro). Students of all ages and skill levels, from children to adults, are welcome. Registration is now open at delfest.com/delfest-academy. 

Relive the magic from DelFest 2019 with Osiris’ Brokedown Podcast who was on-site recording exclusive interviews with last year’s artists. Please visit DelFest.com for more information or to purchase discounted Advance 4-Day passes (current prices good through February 10).

Adored world-folk music group, Rising Appalachia, are pleased to invite viewers, both new fans and old, to their NPR Tiny Desk Concert which was filmed in November of last year while the band was routing through Washington D.C. for their sold out show at The Hamilton Theatre. Known for broadening the definition of, and educating listeners on folk music, the band is led by sisters Leah Song and Chloe Smith, who are joined by longtime members David Brown (stand-up bass, baritone guitar) and Biko Casini (world percussion), as well as two new members: West African musician Arouna Diarra (n’goni, talking drum), and Irish musician Duncan Wickel (fiddle, cello). The sonic textures of these two cultures are woven into Leylines, the band’s latest album, enhancing the stunning blend of folk, world, and urban music that has become Rising Appalachia’s calling card. Watch Rising Appalachia’s Tiny Desk Concert here.

Leylines has been a defining record for Rising Appalachia, garnering praise from a wide swath of critics and solidifying their place in the greater Americana musical movement. Brooklyn Vegan called “Speak Out,” one of the album's standout tunes featuring Ani DiFranco, “an appealing dose of fiddle-fueled folk and close harmonies.” NPR praised album closer, “Resilient,” as an “uplifting, original folk anthem” and Rolling Stone called their sound “protest music for the modern age bolstered by delicate, skillful musicianship and otherworldly vocal harmonies.” They topped off 2019 ranking #8 on the NACC Top Albums Chart, holding the #1 spot for over 6 weeks this past summer. Most recently, Billboard featured the video for “Cuckoo,” calling the song a “perception changer,” and noting that it “channels their southern roots.” Redefining and widening the circles of what it means to be a southern-based band is something Leah and Chloe are constantly exploring. Leah put her thoughts on this on paper for The Bitter Southerner’s Folklore Project, identifying and exploring common threads that run from Peru to the American south.

Fans should stay tuned for announcements on new music, and in the meantime make plans to seek the band out on tour. New tour dates were announced this morning including a stop at every band’s bucket list venue, Red Rocks Amphitheatre.

On tour:

4.17.20 - Reeves Theater - Elkin, NC

4.19.20 - Charleston Music Hall - Charleston, SC

4.21.20 - Lincoln Theatre - Raleigh, NC

5.1.20 - Red Rocks Amphitheatre- Morrison, CO (with Trevor Hall and Citizen Cope)

5.3.20 - The Commonwealth Room - Salt Lake City, UT

5.7.20 - Top Hat Lounge - Missoula, MT

6.11.20 - 6.13.20 - Blue Ox Music Festival- Eau Claire, WI

7.10.20 - Green River Festival- Greenfield, MA

Visit https://www.risingappalachia.com for more information and tickets. 

Luck Reunion , presented by Southwest Air, the flagship festival of Luck Productions, is pleased to announce the 2020 installment of their fan-forward ticket buying initiative, Lucky Draw Live. On February 13th at 6 PM , fans looking to get lucky with tickets to the festival will be treated to a free and intimate performance from Glorietta and 2019 Southwest: Artist on the Rise to Luck winner, Katie Pruitt at Austin’s legendary Antone’s Nightclub . Over the past 40 years, Antone’s has brought Austin a variety of blues and music from across the country including B.B. King, Muddy Waters, Ray Charles, and James Brown, and helped develop local talent like Stevie Ray Vaughan, The Fabulous Thunderbirds, Bob Schneider, and Gary Clark Jr.—aligning directly with Luck’s motto of “celebrating the legacies still among us, while lifting up the new crop of individuals who share a respect for those who blazed the trails before them.”

Lucky Draw Live, presented by KUTX 98.9 and Topo Chico, is centered around Luck Reunion’s lineup announcement for 2020, but will also feature special Luck-centric door prizes, a reveal of the 2020 Southwest: Artist on the Rise to Luck finalists, and an opportunity to purchase two tickets to Luck Reunion which takes place at Willie’s Ranch in Luck, TX, March 19, 2020.

How to win: Starting at 6:00 PM, attendees can obtain a scratch-off lottery ticket (while supplies last), which will dictate, by color, a designated area to line up for entry. At 7:00 PM a Roulette wheel will be spun with both colors/lines represented: those holding lottery tickets with the color the wheel lands on will be able to automatically purchase a maximum of two (2) tickets to Luck Reunion (while stock lasts). Those who don't get lucky with tickets onsite will gain priority entry to the venue for the concert and will be entered into a raffle offering additional ticketing opportunities, merch, and more.

Can’t make it to Antone’s?: The lineup announcement will also be broadcast live on KUTX 98.9.

Southwest: Artist on the Rise to Luck: Lucky Draw Live will also serve as the official reveal of the 2020 Southwest: Artist On The Rise to Luck finalists, to be presented by Pruitt at the event. The announcement will kick off the fan voting process, starting on Friday, February 14, in which the public will be able to vote for their pick in the pool of the three selected artists until voting ends on Friday, February 28. Southwest: Artist On The Rise contestants vie for the opportunity to take a coveted slot on Luck Reunion's main stage.

One more chance to win tickets: After the February 13th event at Antone’s, there will be one remaining “Lucky Draw” with details available only on Luck Reunion’s Instagram and Facebook . These four Lucky Draws are Luck’s answer to fans looking for a smoother ticket buying process, allowing patrons to submit for their chance to buy tickets without racing the clock or cursing their internet connection.

PotLuck: February 13th also marks the ticket on-sale date for the 2020 PotLuck, an intimate, chef-prepared dinner held at Willie’s ranch in Luck, TX on the eve of the Reunion (March 18) and featuring a post-meal performance by Willie Nelson. At 6:00 PM central, fans both in and outside of Austin will be able to purchase tickets to the dinner via https://amplitix.com/luck.

The festival: Luck Reunion, presented by Southwest Air, will take place on March 19th in Luck, TX, less than thirty miles outside of Austin, and feature both artists who have defined American music and artists who are redefining it. Luck Reunion performers, or “Luck Family” as they’ve grown to be called, all take after the event’s gracious host, free-wheeling legend Willie Nelson, in that they bow to nothing but inspiration, refuse to play it safe, and are always open for collaboration. In between once in a lifetime sets from their favorite new artists, fans will have plenty of chances to refuel in style with food options curated by Austin Food + Wine, celebrating Central Texas chefs who are pushing boundaries and redefining what it means to have a cookout in the Hill Country.

For more information on this year's festival, please visit Luck Reunion’s Website . For more information Luck’s ticketing process, please visit Luck Reunion - Ticketing

MerleFest, presented by Window World, is proud to announce the next round of artist additions for MerleFest 2020, which will be held April 23-26. Greensky Bluegrass, Mavis Staples, Paul Thorn, Cane Mill Road, Sweet Potato Pie, The Barefoot Movement, Nefesh Mountain, and Smitty and the Jumpstarters will be joining the annual homecoming of musicians and music fans on the campus of Wilkes Community College in Wilkesboro, North Carolina, in the foothills of the Blue Ridge Mountains.

Greensky Bluegrass: “There’s this great duality to our band,” reflects Greensky Bluegrass mandolinist vocalist and songwriter Paul Hoffman. “We’re existing in a few different places at once. We’re a bluegrass band and a rock band. We’re song-driven and interested in extended improvisation.” Formed in 2000 in Kalamazoo, Michigan, Greensky Bluegrass kicked off their career playing living rooms and open mic nights across the Midwest. By 2005, they were touring nationally, and by 2006, they were playing the first in a long series of appearances at the annual Telluride Bluegrass Festival. Bandmates Hoffman, Bruzza, dobro player Anders Beck, banjoist Michael Arlen Bont, and upright bassist Mike Devol spent most of the following decade on the road, fine-tuning a live show modeled not after the toned-down production of traditional bluegrass music, but the full-on spectacle of rock. Greensky Bluegrass will perform Friday night on the Watson Stage.

Mavis Staples: “I’m the messenger,” Mavis Staples says on her 80th birthday. “That’s my job—it has been for my whole life—and I can’t just give up while the struggle’s still alive. We’ve got more work to do so I’m going to keep on delivering my message every single day.” That message—a clarion call to love, to faith, to justice, to brotherhood, to joy—lies at the heart of ‘We Get By,’ Staples’ spectacular twelfth studio album and first full-length collaboration with multi-grammy award-winner Ben Harper. Backed by her longtime touring band, Staples breathes extraordinary life into Harper’s compositions on the record, delivering roof-raising performances with both a youthful vigor and a commanding maturity. The arrangements here are spare but weighty, matched by Harper’s suitably lean and thoughtful production, and Staples seizes the opportunity to showcase her remarkable evolution as an artist, one still growing and exploring more than half a century into her storied career. ‘We Get By’ is undoubtedly a timely collection, arriving in the face of deep social divisions and heightened political tensions, but like everything Staples touches, it’s also larger than any particular moment, a timeless appeal to the better angels of our nature, assuring better things ahead. Mavis Staples will perform Sunday afternoon on the Watson Stage.

Paul Thorn: Paul Thorn has created an innovative and impressive career, pleasing crowds with his muscular brand of roots music—bluesy, rocking, and thoroughly Southern American, yet also speaking universal truths. Among those who value originality, inspiration, eccentricity, and character—as well as talent that hovers somewhere on the outskirts of genius—the story of Paul Thorn is already familiar. Raised in Tupelo, Mississippi, among the same spirits who nurtured the young Elvis generations before, Paul Thorn has rambled down back roads, battled four-time world champion boxer Roberto Duran on national television, signed with and been dropped by a major label, performed on stages with Bonnie Raitt, Mark Knopfler, Sting, and John Prine among many others, and made some of the most emotionally restless yet relatable music of our time. When performing live, his songs of humanity and redemption create an incredible range of emotions that will have the audience on their feet. It’s a show that’s guaranteed to be good for the soul. Paul Thorn will perform Sunday afternoon on the Creekside Stage.

Today’s lineup announcement adds eight great artists to MerleFest’s already stacked lineup: Willie Nelson & Family, Alison Krauss, John Prine, Melissa Etheridge, Lukas Nelson & Promise of the Real, The Jerry Douglas Band, Sam Bush, Billy Strings, The Marcus King Band, Jim Lauderdale, Kruger Brothers, The Waybacks, Scythian, Donna the Buffalo, Peter Rowan and the Free Mexican Airforce, Tommy Emmanuel, Christone “Kingfish” Ingram, John Cowan, Colin Hay, Shinyribs, Charley Crockett, Darrell Scott, The Steel Wheels, Kelsey Waldon, Gangstagrass, Robbie Fulks, Amythyst Kiah, Cordovas, Alison Brown, Andy May, “B” Townes, Banknotes, Bill and the Belles, Bryan Sutton, Carol Rifkin, Charles Welch, Chatham Rabbits, Che Apalache, The Cleverlys, Creole Stomp with Dennis Stroughmatt, David Holt, Fireside Collective, Flattop, Happy Traum, Hogslop String Band, InterACTive Theatre of Jef, Iron Horse Bluegrass, Jack Lawrence, Jeff Little Trio, Jody Carroll, Joe Smothers, Ken Crouse, Laura Boosinger, The Local Boys, Los Texmaniacs, Mark Bumgarner, Mary Flower, Mitch Greenhill, Pete & Joan Wernick, Piedmont Bluz, Presley Barker, Rev. Robert Jones, Roy Book Binder, Sierra Ferrell, String Madness, T. Michael Coleman, Tony Williamson, Wayne Henderson, The Moore Brothers, The Williams Brothers, and Wyld Fern.

Tickets for the festival are on sale now and may be purchased at www.MerleFest.org or by calling 1-800-343-7857. MerleFest offers a three-tiered pricing structure and encourages fans to take advantage of the extended early bird discount. Early Bird Tier 1 tickets may be purchased until February 16, 2020; Early Bird Tier 2 tickets from February 17 to April 22. The remaining tickets will be sold at the gate during the festival.

About MerleFest: MerleFest was founded in 1988 in memory of the son of the late American music legend Doc Watson, renowned guitarist Eddy Merle Watson. MerleFest is a celebration of "traditional plus" music, a unique mix of traditional, roots-oriented sounds of the Appalachian region, including old-time, classic country, bluegrass, folk and gospel, and blues, and expanded to include Americana, classic rock, and many other styles. The festival hosts a diverse mix of artists on its 13 stages during the course of the four-day event. MerleFest is the primary fundraiser for the WCC Foundation, funding scholarships, capital projects, and other educational needs.

Fruition will be taking their Broken at the Break of Day tour to the West Coast with an additional six dates in April & May. Fruition’s newest album, Broken at the Break of Day, may be hard to categorize, yet it feels complete because of their dedication to honesty as well as harmony. Influenced equally by acoustic music and rock ‘n’ roll, the Portland, Oregon-based band is composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Since that time, they have opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.

Broken at the Break of Day ( LISTEN HERE ) is the companion release to the band’s exceptional Nov. 2019 release, Wild as the Night ( LISTEN HERE ).

ADDITIONAL DATES:

4/25/2020 - Applegate, OR - Applegate River Lodge

4/28/2020 - Arcata, CA - Humboldt Brews

4/29/2020 - Chico, CA - The Big Room

4/30/2020 - San Francisco, CA - The Independent

5/1/2020 - Highland Park, CA - Lodge Room

5/2/2020 - San Diego, CA - Music Box

Luck Reunion, presented by Southwest®, will take place on March 19 in Luck, TX, less than thirty miles outside of Austin, and feature both artists who have defined American music and artists who are redefining it. Luck Reunion performers, or “Luck Family” as they’ve grown to be called, all take after the event’s gracious host, free-wheeling legend Willie Nelson, in that they bow to nothing but inspiration, refuse to play it safe, and are always open for collaboration. Below is a view of each branch of 2020’s “Luck Family” tree—a.k.a. this year’s lineup: 

World Headquarters Stage: Southwest: On The Rise to Luck winner (voting ends February 21), Devon Gilfillian, Paul Cauthen, Parquet Courts, Angel Olsen, Particle Kid, Shooter Jennings, Lukas Nelson & Promise of the Real, Willie Nelson and Family

Revival Tent: Mariachi Las Coronelas, Black Lips, Night Moves, Palm Palm, Neal Francis, Ian Noe, Terry Allen and Panhandle Mystery Band, Orville Peck

Legacies Stage: Tre Burt, Amanda Shires, Colter Wall, Delta Spirit, Lucinda Williams

Chapel Stage: Jonathan Wilson, Jeremie Albino, Ian Ferguson, Sierra Ferrell, Early James, Haden Triplets, S.G. Goodman, The Still Tide, Shooks

Tito's Saloon Roadhouse Stage: The Mastersons, Katie Pruitt, Chuck Prophet, David Ramirez, Margo Price & Friends ft. Jeremy Ivey, Teddy and The Rough Riders, and special guests

Lucky Draw Live: Today, Luck’s lineup was announced at the second annual “Lucky Draw Live” at Antone’s Nightclub in Austin, TX. Lucky attendees were treated to intimate performances from Glorietta and 2019 Southwest: On The Rise to Luck winner, Katie Pruitt.

Southwest: On The Rise to Luck Participants: Luck and Southwest would like to congratulate Gabe Lee, Ida Mae, and Jordan Moser, the 2020 participants for Southwest: On The Rise to Luck. Starting today, fans can vote for their top pick of the three artists until voting ends on Friday, February 21. Artists who take part in Southwest’s Artist On The Rise program vie for the opportunity to take a coveted slot on Luck Reunion's World Headquarters stage. Visit Southwest’s music site Southwest.fm for more information and to vote.

One More Chance for Tickets: There will be one remaining “Lucky Draw” with details available only on Luck Reunion’s Instagram and Facebook. These four Lucky Draws are Luck’s answer to fans looking for a smoother ticket buying process, allowing patrons to submit for their chance to buy tickets without racing the clock or cursing their internet connection.

PotLuck: Tickets are now on sale for the 2020 PotLuck, an intimate, chef-prepared dinner held at Willie’s ranch in Luck, TX on the eve of the Reunion (March 18) and featuring a post-meal performance by Willie Nelson. At 12 PM central today, fans both in and outside of Austin are able to purchase tickets to the dinner via https://amplitix.com/luck.

For More Information: Please visit Luck Reunion’s website. For more information on Luck’s fan-forward ticketing process, please visit Luck Reunion - Ticketing.

Gratitude for our Sponsors: Luck is grateful to the following sponsors who keep our artists and attendees healthy, happy, and hydrated: Southwest Airlines, Tito's Handmade Vodka, Tecovas, Topo Chico, El Silencio, Desert Door, Willie's Remedy, Juneshine, White Claw, Guyaki, and Patrón.

Known for her honest songwriting that often traces political realities to their spiritual roots, Letitia VanSant is proud to share her much-anticipated sophomore album, Circadian today. Recorded in East Nashville with the help of noted producer Neilson Hubbard (Mary Gauthier, Caroline Spence) and an all-star backing band, Circadian is a cohesive collection of nine poignant and powerful songs that explore both VanSant’s personal struggles as well as environmental and social crises. Paste Magazine praised her depth of empathy while writing about topics like depression, ecological destruction, politics, and her own account of sexual assault, adding, “Even at her most impassioned, VanSant sings to soothe spirits.” No Depression described Circadian as, “A record extolling the need for honesty, empathy, and a call to change society’s most destructive urges.” Circadian is available today, click here to purchase or stream.

In addition to Paste and No Depression, the album has garnered national praise from a multitude of outlets, including Wide Open Country, American Songwriter, The Boot, Substream Magazine, PopMatters, Audiofemme, and Americana Highways.

Entering the studio with the intention of recording a 2-song EP, VanSant and Hubbard both recognized the chemistry between the two of them, the studio musicians, and the songs. At the end of a week’s worth of recording, VanSant walked away with a 9-song album. Many of the songs were recorded live in just 2 or 3 takes with a trio of renowned studio musicians—Will Kimbrough, Michael Rinne (Miranda Lambert), and Juan Solorzano—and several of the final vocal tracks were lifted directly from scratch tracks; takes usually thrown away in exchange for a more polished final performance. “I just figured that people are going to either like my singing or they’re not, and splicing and dicing to get the perfect take would probably hurt more than it helped,” VanSant says about their decision. With the end result, even the most discerning ears will be hard-pressed to hear a difference in the soul and execution of VanSant’s singing. 

Circadian was announced last December with the premiere of the first single, “Something Real,” via The Boot; the song came to VanSant at a moment when she was feeling cynical about music and life in general. “I was at Kerrville Folk Festival not long after the death of a beloved songwriter named Jimmy LaFave,” says VanSant, “And although I never met him, I was amazed to feel how much his energy was still moving through the world as people sang his songs around campfires.” The album’s title track, “Circadian,” was inspired by the inability of fireflies to find their mates due to light pollution. 

After working for six years at a peace and social justice lobby group in DC, VanSant left to pursue music; whether in song or in statement, VanSant continues to speak out against social injustice. NPR’s Hidden Brain recently shared her song “Tin Man,” a track inspired by one of their episodes that explored how modern day culture leaves little room for men to express their emotions. She also spoke with Rolling Stone Country last month about the lack of non-binary and POC representation in country, Americana, and roots music coverage.

Written during the Supreme Court hearings of Brett Kavanaugh, “You Can’t Put My Fire Out” is one of the album’s most affecting songs. VanSant wrote the song to reclaim the power of her own narrative as a sexual assault survivor—read more here via her in-depth interview with Audiofemme. Wide Open Country called the track “chilling” and “powerful,” while Baltimore Magazine dubbed it “an anthem for 2020,” adding, “...This holy roller single is a waking moment, and one of reckoning. Known for fusing personal and political, the singer embraces both on this fiery, fearless new track...her robust melody-making is on full display, and her rich vocal command roars to new heights. Letitia arrives ready to take on the world, and show it what she’s made of.” 

Fans will soon be able to hear this compelling group of songs live as VanSant embarks on tour tomorrow, looping around the northeast before heading to California for a run of shows. VanSant will return to the United Kingdom in late April with stops in Scotland, Wales, and England.

Catch Letitia VanSant On Tour:

Feb. 22 – Philadelphia, PA – Philly Folksong Society

Feb. 23 – Brick Township, NJ – Rosie’s Cafe

Feb. 28 – Towson, MD – WTMD Album Release Show

Mar. 4 – Richmond, VA – Hardywood Park Craft Brewery 

Mar. 5 – Barnesville, OH – Albert S. George Youth Center

Mar. 6 – Pittsburgh, PA – Hambones

Mar. 9 – Annapolis, MD – 49 West Coffeehouse, Winebar, & Gallery

Mar. 26 – Redwood City, CA – Redwood City Downtown Library

Mar. 27 – Soquel, CA – The Ugly Mug

Mar. 28 – San Jose, CA – Foothill Community Presbyterian Church 

Mar. 29 – Berkeley, CA – The Back Room Music

Apr. 2 – Washington, DC – City Winery at Wine Garden Stage

Apr. 4 – Rockport, MA – Old Sloop Coffeehouse (supporting Amy Speace)

Apr. 5 – Ewing, NJ – 1867 Sanctuary at Ewing

Apr. 22 – Glasgow, UK – Fallen Angels Club at Glad Cafe

Apr. 23 – Kirkcaldy, UK – Acoustic Music Club

Apr. 26 – Irvine, UK – Harbour Arts Centre

Apr. 28 – Kilbarchan, UK – Kilbarchan Performing Arts Centre

Apr. 29 – Abergavenny, UK – The Art Shop & Chapel

Apr. 30 – Pembroke Dock, UK – Cwtch Coffee

May 1 – Topsham, UK – The Bridge Inn

May 2 – Barton Upon Humber, UK – The Ropewalk

May 3 – High Wycombe, UK – Kingsmead House

May 5 – London, UK – Green Note

Jun. 6 – Montague, MA – The Montague Bookmill

Jun. 7 – Portsmouth, NH – Portsmouth Book & Bar

Jun. 26 – Brooklyn, NY – Brooklyn Americana Unplugged Music Series

Jul. 18 – Thomas, WV – Purple Fiddle

Oct. 10 – Saint Joseph, MN – The Local Blend 

Ever since Bill Monroe stormed out of Kentucky 75 years ago with a hot new take on traditional tunes, bluegrass music’s metric drive and high lonesome sound has thrilled and inspired audiences around the world. That bluegrass high energy and soulfulness was captured live in December of 2019 at the Bluegrass Music Hall of Fame & Museum in Owensboro, Kentucky for BLUEGRASS NOW!, a nationally televised PBS special premiering Saturday, February 29.

Featuring hosts Rhonda Vincent and Jim Lauderdale and an all-star cast, BLUEGRASS NOW! is a masterful homage to bluegrass across genre, gender, and generations. 

BLUEGRASS NOW! features performances reflecting the many facets of bluegrass music as performed by an array of today’s leading artists. Hosts Rhonda Vincent and Jim Lauderdale welcome Alison Brown, Becky Buller, Dan Tyminski, Frank Solivan & Dirty Kitchen, Michael Cleveland & Flamekeeper, Missy Raines, Molly Tuttle, and Bluegrass Hall-of-Famer Larry Sparks into the theater at the beautiful Bluegrass Music Hall of Fame & Museum.

Featuring full-band performances, BLUEGRASS NOW! presents rare and dynamic vocal pairings coupled with instrumental duets showcasing masters of art and instrument.

BLUEGRASS NOW! features the following performances:

"Muleskinner Blues" – Rhonda Vincent & The Rage

"Like I Could" – Rhonda Vincent & The Rage

"Take Me Back to West Virginia" – Larry Sparks w/ The Rage

"High on Kentucky" – Dan Tyminski

"I Am a Man of Constant Sorrow"– Dan Tyminski

"Iodine" – Jim Lauderdale w/ Becky Buller 

"I Feel Like Singing Today" – Jim Lauderdale w/ Alison Brown, Becky Buller 

"Girls’ Breakdown" – Alison Brown, Becky Buller, Missy Raines, Molly Tuttle & Rhonda Vincent

"Allegheny Town" – Missy Raines w/ Alison Brown, Becky Buller, Missy Raines, Molly Tuttle & Rhonda Vincent

"Shiver" – Frank Solivan & Dirty Kitchen

"Mountain Heartache" – Michael Cleveland & Flamekeeper

"Son of a Ramblin’ Man" – Michael Cleveland & Flamekeeper

"Henryville" – Becky Buller w/ Michael Cleveland & Flamekeeper

"The High Road" – Molly Tuttle

"Take the Journey" – Molly Tuttle

"Swing Low Sweet Chariot" – All Star Finale

“This feels like a homecoming as many of today’s most prominent bluegrass artists make a pilgrimage back to the source of the music to document their own musical journeys,” remarked Chris Joslin, Bluegrass Music Hall of Fame & Museum Executive Director. “If bluegrass music is Kentucky’s gift to the world, BLUEGRASS NOW! feels like Christmas morning.”

From stunning up and comers to beloved Hall of Famers, BLUEGRASS NOW! celebrates musical milestones and the breadth of the genre.

“Excitement continues to build on the successful first year of the Bluegrass Music Hall of Fame and Museum,” said Mark Calitri, president of Visit Owensboro. “Hosting this nationally televised PBS special event drives home the message that Owensboro is Kentucky’s music city.”

NOW! is produced by Todd Jarrell (Bluegrass Underground, Nitty Gritty Dirt Band 50th Anniversary, Havana Time Machine, Songwriting With Soldiers) and underwritten by Kentucky Department of Tourism and the Marilyn and William Young Foundation.

BLUEGRASS NOW! will begin airing on PBS stations beginning February 29, 2020. Visit https://www.pbs.org for premiere dates specific to each market.

Celebrating its 30th year in 2020, High Sierra Music Festival is continuing to add to its milestone-year party, returning to Quincy, CA, on July 2-5, 2020. Today’s lineup addition appeals to as broad a range of fans as ever before, all the while keeping true to High Sierra’s legacy; an environment that has kept fans and musicians thrilled to return year after year, for three decades. Reggae royalty Ziggy Marley, longtime festival favorites The Disco Biscuits, and American music torchbearers and innovators Lukas Nelson & Promise of the Real are only a few of the welcome additions to High Sierra 30’s lineup. Railroad Earth Featuring Peter Rowan performing Old & In The Way, ALO, Sunsquabi, The War & Treaty, Molly Tuttle, Sierra Ferrell, Late Night Radio, Dirty Revival, Birches Bend, and Skerik (artist at large) round out the festival’s second round of artists with even more to be announced in the coming weeks.

Today’s artist announcement adds to an already stellar High Sierra lineup which includes Joe Russo’s Almost Dead, Femi Kuti & The Positive Force, Lettuce, The California Honeydrops, The Floozies, perennial Twiddle, Spafford, BoomBox with BackBeat Brass, Dumpstaphunk, Samantha Fish, True Loves, Cris Jacobs, Steve Poltz, Andy Frasco & The U.N., Ron Artis II & The Truth, Goose, Ghost-Note, Aqueous, Cedric Burnside, Lindsay Lou, Neal Francis, AJ Lee & Blue Summit, The Higgs, and Crying Uncle Bluegrass Band.

With a talented and diverse lineup, collaboration continues to be a primary focus for High Sierra. Each year, the festival finds new ways to encourage once-in-a-lifetime jams and sit-ins, often booking artists to play multiple sets over multiple days. The social time between sets lets artists cut loose, hang out, and noodle around—something most bands agree doesn’t happen as often as you’d think. From the main stage to smaller late-night venues, HSMF always makes it a point to put new groups of musicians together each year, usually in the air-conditioned High Sierra Music Hall as “Playshops,” to play each other’s tunes, improvise, and generally have a good time on-stage.

High Sierra has and always will be a purposefully intimate, uncrowded event, and fans know they should get tickets early for the best prices. Tickets—including FestivALL VIP Packages, RV parking, and vehicle passes—are on sale now and can be purchased here. 

For the droves of fans who block off dates months in advance, repeatedly caravan with friends to North Plains, Oregon, and grow their festival families year after year, Northwest String Summit continues to add world-class entertainment to their already stacked lineup for their 19th annual event. Bringing fans of bluegrass, rock and roll, and everything in between to the beautiful Horning’s Hideout on the weekend of July 16-19, 2020, Northwest String Summit saved more than a few extra surprises for their final lineup announcement. 

Joining an already stacked String Summit lineup are festival veterans Leftover Salmon featuring Bonnie Paine, South Carolina folk powerhouse duo Shovels & Rope, jam-world golden boys Goose (2 Sets), clever and eloquent singer-songwriter John Craigie & Friends, Elephant Revival’s Bonnie Paine & Friends, Cosmic Twang featuring Nicki Bluhm with Tony Furtado, World’s Finest, Yak Attack, Life During Wartime performs Remain In Light, Tony Furtado, Chris Worth & David Jacobs-Strain, Pete Kartsounes, Taarka, Rainbow Girls, Caitlin Jemma, Andrew McConathy, Band of Comerados, Far Out West, Dave Johnston & Justin Garber, Meadow Mountain, Banshee Tree, Pioneer Mother, Mackenzie Page, Pajama Jam, and Kyle Ledson.

Tickets for Northwest String Summit 2020 are now on sale, including the Ultimate Peacock Club VIP Experience which bundles two four-day passes, two Ultimate Peacock Club VIP Experience tickets, unlimited shuttle pass, and parking (more than $1500 value), and Expedition Glamping campsites designed to accommodate 2 adults in total comfort in a canvas glamping tent with a queen bed, mattress, linens, and pillows along with all the comforts of home; nightstand, table, chairs, rug, coat rack, and more.

4-day passes, parking passes, Peacock Club VIP experiences, basecamp, and glamping packages are available for purchase here. If the pass you are in search of is sold out, check CashorTrade’s NWSS page. 

Today’s lineup announcement is in addition to previously announced performers for String Summit 2020: Greensky Bluegrass, Umphrey’s McGee playing one rare acoustic set and one fully electrified set, Yonder Mountain String Band, The Infamous Stringdusters, Fruition, Colter Wall, Sam Bush Band, Keller & The Keels, Dave Bruzza: Unsafe At Any Speed, Larry Keel Experience with String Summit Artist At Large, Kyle Tuttle, Benny “Burle” Galloway, Cascade Crescendo, Brad Parsons Gospel Hour, Handmade Moments, Upstate, Rob Ickes & Trey Hensley, Them Coulee Boys, Armchair Boogie, Pixie and the Partygrass Boys, Bowregard, Chicken Wire Empire, Lost Ox, and 2019 Band Competition Winners, One Way Traffic.

Also announced this week is the partnership between String Summit and CashorTrade, the first social network where fans buy, sell, and trade tickets at face value. Touted as the "Airbnb of tickets" (Al.com), CashorTrade has worked tirelessly to provide fans with the face value experience. 

"Northwest String Summit is a true celebration of American roots music. Like CashorTrade, it has an incredibly dedicated fan base who come back time and time again. We’re so proud to become part of such a great tradition," says CashorTrade co-founder and CEO Brando Rich.

“We want to take care of our fans, protect those buying tickets from scalping and scamming, and give those who can’t make it a free place to sell their ticket if they have to,” says String Summit director Skye McDonald.

For more information on upcoming artist announcements and ticketing, please visit stringsummit.com

In response to directives from North Carolina Governor Roy Cooper and growing concerns about the spread of the novel coronavirus (COVID-19), Wilkes County officials have cancelled all mass gatherings of more than 100 people in Wilkes County through the end of April. Therefore, MerleFest 2020 has been cancelled. “While this decision is disappointing for all of us, we fully support the directive from our county officials. The health, safety, and well-being of all involved with MerleFest is, and always will be, our primary concern,” says Ted Hagaman, festival director.

“MerleFest serves as the largest fundraising event in support of the students of Wilkes Community College. The WCC Foundation, which plans and manages the festival each year, has already incurred significant costs in the lead up to MerleFest 2020. With this in mind, MerleFest is asking for your help. We are calling on all our loyal fans and supporters to help alleviate the financial burden this puts on the college in this unprecedented moment of crisis. We are asking for fans to consider converting their festival purchase this year to a 100% tax deductible donation. This will help sustain the mission of MerleFest and its impact on WCC students,” adds Hagaman.

MerleFest will be offering three options for those who have purchased 2020 tickets through the official MerleFest ticketing system:

Option 1- Convert your purchase to a donation. Ticket Holders may convert their festival purchase to a 100% tax deductible contribution to the WCC Foundation to help sustain the mission of MerleFest and its impact on WCC students.

Option 2- Roll your tickets forward. Ticket holders may roll purchases over to MerleFest 2021. This option allows fans to retain the same seat, package, parking, ticket, etc. at 2020 prices. The dates for next year’s festival are April 29-May 2, 2021.

Option 3- Refund. If neither option 1 or 2 is chosen, the festival will then provide a refund for the price of the ticket only, the service fee is non-refundable. All refunds must be requested by April 15.

IMPORTANT: All ticket holders must contact the MerleFest box office between March 16 and April 15 to confirm the option they are choosing. Failure to contact the box office by April 15 will result in an automatic roll forward of tickets to 2021. Ticket holders can contact the MerleFest box office Monday-Thursday 12pm-5pm and Friday 11am-3pm.

Here are 4 ways to contact MerleFest: 

Email: [email protected]

Mail: MerleFest Tickets, P.O. Box 120, Wilkesboro, NC 28697

Phone: (800) 343-7857

Visit the MerleFest box office located in the Walker Center at Wilkes Community College, Wilkesboro, NC

MerleFest asks for patience while working through the transition process. The festival will add staff to handle requests as quickly as possible. 

Thank you for your support and we look forward to seeing you at MerleFest in April of 2021! 

Storytelling is something of a Texas tradition. Tall hats and even taller tales are woven into the fabric of The Lone Star State, and Waco native, now Nashville-based songwriter Jarrod Dickenson, can spin a yarn with the best of them. Known for his soulful vocals and ability to blend a variety of instruments and influences into one signature sound, Dickenson returns on May 22 with the release of his new album Ready The Horses. Today, American Songwriter premiered the first single, “Way Past Midnight,” and its accompanying animated music video, created by multi-faceted artist, director, and cinematographer Jefferson Elliott. As Dickenson’s personal album favorite, he describes the track’s dynamic layers as perfectly aligning in the studio. “This was one of those magical moments in the studio where everything just came together. It’s equal parts gospel and grease. It’s about late nights in seedy dive bars. The possibilities, the thrill, the chase… and the comedic reality of how those nights tend to end up,” Dickenson explains, “Recording this tune was pure, unadulterated joy.”

Ready The Horses was recorded live, straight to 2” tape in a studio on the southeast coast of England. Inspired by the legendary music of Stax and Muscle Shoals in the ‘60s, Ready the Horses is layered with slide guitar, Hammond organ swells, punchy horns, and infectious melodies; but lyrically, the ten songs on Ready The Horses illustrate Dickenson's honed writing skills and solidify his place as a truly charismatic Texas songwriter. From “Gold Rush”—a rowdy single that draws parallels between the greed in 1800s California and today’s Wall Street—to personal ballads about learning from your mistakes (“I Won’t Quit”) and a compelling duet with his wife (“Your Heart Belongs to Me”), Ready The Horses is dynamic enough to both make a statement and to make you dance.

Ready The Horses Track Listing:

1. Faint Of Heart

2. Take It From Me

3. Your Heart Belongs to Me

4. Way Past Midnight

5. In The Meantime

6. California

7. Gold Rush

8. A Cowboy & The Moon

9. Nothing More

10. I Won’t Quit

Railroad Earth has unearthed a special surprise for their long-time-loyal fanbase. “It’s springtime and hard not to feel that it’s gettin’ on time for festivals soon. Except now we have to stay home and deal with this challenge,” laments RRE drummer and vocalist Carey Harmon. And to help fans deal, the band is announcing Railroad Radio, a place to engage with RRE from home. To launch Railroad Radio, RRE will be broadcasting a special summer show every Thursday night for the remainder of April to gather the Hobo community together in these tough times. On Thursday, April 9 at 8 pm EST, the band will be streaming their June 15, 2019, set from Blue Ox Festival in collaboration with Jamgrass TV. “We thought this would be a good time to share some more carefree moments when nights together under the stars were something we could take for granted,” says Harmon. “We hope the next few weeks of festival sets bring comfort and a place to gather until we can do so again. Enjoy!” Fans can stream Railroad Radio’s first broadcast this Thursday via Facebook Live here.

Stay tuned for more exciting endeavors from Railroad Radio!

Not unlike the rest of the country and the world, improv-rock gurus Umphrey’s McGee have found themselves with an empty-for-now itinerary and, in isolation, the strange daily balance of making sense of it all and making use of the extra time. Today, UM released “Easter In Quarantine.” Penned and recorded by Jake Cinninger and Brendan Bayliss, mixed, and mastered in the course of just over two weeks, “Easter In Quarantine” is a haunting, moody reflection that encapsulates the zeitgeist of this surreal experience we’re all having. “Easter In Quarantine” can be streamed and purchased here.

“Gazing out the window on a chilly, gray day and what lands in my inbox but an unknown track titled ‘Easter in Quarantine,’” remembers Umphrey’s manager and the man behind this single’s artwork, Kevin Browning. “Setting down my coffee, I picked up my headphones and hit play on Jake’s latest delivery. The heartbeat of the kick drum and somber piano melody immediately gave me chills. Sparse and emotive, it perfectly captured the mood that morning.” A swirling Hammond organ ramps into a simple ride cymbal and kick drum rhythm before Bayliss’s first lines enter amidst a chilling reverb. “Empty pockets, frozen feet. Noone’s walking down the street.” “Jake had set the mood, the vibe was there, and the subject matter was all too apparent in the moment,” says Browning. “And as Brendan does, he perfectly channeled the sentiments that we’re all experiencing during these bizarre times.”

The song’s refrain of “looking for a way to wait it out” and “looking for a way to make it out alive” gives way to an uplifting tag, promising “I’ll see you when I see you, on the other side.” The song closes with something atypical for Umphrey’s McGee, a saxophone solo. Played by Jake Cinninger—along with the rest of the instrumentation on “Easter In Quarantine”—the outro leaves listeners with maybe a little more hope than they started the song with.

“It is said a lot right now and it’s as true as ever: We are all in this together. The feelings of missing one another, of longing for more human connection, are palpable in all of us. We have constructed lives by building a community together, it’s what we know. This pause of unknown length in the middle of that is a new reality which resonates with each of us now,” says the band in a collective statement. “Music has always been an irreplaceable part of us, and it’s the way we will continue to get through it, together. And we here at Umphrey's can't wait to see you on the other side of this crazy moment in history.”

More About Umphrey’s McGee: The music of Umphrey’s McGee unfolds like an unpredictable conversation between longtime friends. Its six participants—Brendan Bayliss [guitar, vocals], Jake Cinninger [guitar, vocals], Joel Cummins [keyboards, piano, vocals], Andy Farag [percussion], Kris Myers [drums, vocals], and Ryan Stasik [bass]—know just how to communicate with each other on stage and in the studio. A call of progressive guitar wizardry might elicit a response of soft acoustic balladry, or a funk groove could be answered by explosive percussion. At any moment, heavy guitars can give way to heavier blues as the boys uncover the elusive nexus between jaw-dropping instrumental virtuosity and airtight songcraft.

Umphrey’s McGee is a touring powerhouse, performing 85+ shows per year, headlining annual shows across the US including Red Rocks Amphitheatre in Morrison, Colorado and the Beacon Theatre in New York. Umphrey’s is a constant US festival staple, with performances at major events including Lollapalooza, Austin City Limits, Rothbury, and Bonnaroo, as well as international festivals Fuji Rock Festival (Japan) and Byron Bay Blues Festival (Australia). The band hosts their own festival in Illinois, Summer Camp Music Festival, where they perform three nights and have hosted the likes of Primus, Jane’s Addiction, Thievery Corporation, and Willie Nelson, to name a few. Umphrey’s McGee has also hosted and headlined Jam in the Dam (2005, 2006, 2008, and 2010), a three-night mini-festival at the Melkweg in Amsterdam.

John Hartford’s nimble, whit-fueled songs have long been a focal point of the bluegrass and newgrass canon and Hartford’s musicianship, on both the banjo and fiddle, has now been doted over for generations, but until recently, little has been known about his late-in-life, academic approach to fiddle music. After Hartford passed in 2001, his family discovered over two-thousand original, hand-written fiddle tune charts in file cabinets under his desk, and in time, the idea for a way to honor Hartford’s passion has grown legs. Nashville-based fiddler Matt Combs spent months pouring over Hartford’s journals and notes to compile resources for what would become two expansive projects; a book called John Hartford’s Mammoth Collections of Fiddle Tunes and this album, The John Hartford Fiddle Tune Project, Volume 1, which will be available online on June 26th. A vinyl LP of Volume 1 can also be pre-ordered here.

Hartford’s music and ideas certainly don’t need a qualifier attached, but if one were to look for evidence to support their greatness, the laundry list of grade-A musicians who took part in the recording of The John Hartford Fiddle Tune Project, Volume 1 would be a righteous place to start. From track one, the guest artists flow in and out of a revolving door of virtuosity. Combs is joined by Ronnie McCoury, Noam Pikelny, Chris Eldridge, and Dennis Crouch for “Tennessee Politics,” Sierra Hull accompanies herself on both mandolin and octave mandolin for “Old Beveled Mirror,” and Brittany Haas leads Paul Kowert, Dominic Leslie, and Jordan Tice through “Long White Road.” Meanwhile, four tracks feature Hartford’s former bandmates—Mike Compton on mandolin, Mark Howard on banjo, and Chris Sharp on guitar—reuniting their bandleader’s music with the pickers who brought it to life for years. The head-turning list of contributors continues with Tim O’Brien, Alison Brown, Megan Lynch Chowning, Tristan Scroggins, Forrest and Kate Lee O’Connor, Kristen Andreassen, Mike Bub, Rachel Combs, and Jan Fabricius before the album concludes with Shad Cobb joining Combs and O’Brien for the triple-fiddle, album-closing composition “Evening Farewell.” When all is said and done, listeners will have heard a total of seventeen unreleased Hartford compositions, running the gamut from driving to lilting to waltzing to stomping, while never losing their creator’s lighthearted touch.

“We are quickly approaching 20 years since his passing, and I hear not only John’s tunes out in the ‘fiddleverse’ but so many of the old-time tunes he unearthed and brought to the world,” says Combs. “I truly hope that this record continues that trend. There are so many great tunes here that represent the breadth of John’s influences and his deep creative spark; all of the artists on this recording helped bring them to life through their unique lens.” Katie Harford Hogue, Hartford’s daughter and executive producer of the album, says, "What I love the most about this record is that each artist's DNA comes through, and Dad is the unifying spirit that brings it all together. He pulled inspiration from every moment, every sound, every sight he encountered, and his journals were a place to explore all of his ideas."  The ​John ​Hartford Fiddle Tune Project, Volume 1 was recorded in part at the legendary Cowboy Arms Hotel and Recording Spa in Nashville, home of the late Jack Clement, where Hartford recorded his 1984 album Gum Tree Canoe. Those album sessions essentially coincide with the start of Hartford’s musical journals, which date back to 1983.

“Ever since I pulled the first fiddle journal out of a storage box back in 2008, the whole concept has fascinated me. The idea of this much creative output from one source is mind-boggling, and yet I understand where it comes from,” says Hogue. “With the creative brain, once the faucet is turned on the ideas just keep coming. Everything builds upon everything else, and there are endless variations. That’s the great thing about art, music, and creative thinking—every idea spurs on ten more. It’s a beautiful burden.”

Combs adds, "We knew we had to bring these tunes to life and record them so that others can learn and play them. When John was still living, he felt a great sense of accomplishment when his tunes were accepted into the fiddle tune vernacular, and his greatest hope as a composer was that they would get mixed in with all the old tunes that he loved so much. This record is our attempt to do just that.”

The John Hartford Fiddle Tune Project, Volume 1 Track Listing:

1. Tennessee Politics

2. Calhoun County

3. Old Beveled Mirror

4. Running Board Waltz

5. Little Country Town

6. Don Brown And The Boys

7. John Rice

8. On Guitars, The End Of New Fingers Get Sore

9. Long White Road

10. The Old Man’s Drunk

11. Heartache What To Do

12. How Can We Love

13. Just Enough Room To Turn Around

14. Every Hour On The Hour

15. The Half-Price Hornpipe

16. Over At The Side Of The Road

17. Evening Farewell

“If you ask ol’ Will, he’ll say, ‘Here’s the deal friends, it’s all going to…’” Luck Productions presents “Come And Toke It”—a new variety show and fourth installment of Luck’s ongoing live programming (following Til’ Further Notice, Hello Walls, and Prime Cuts). What better way to honor Willie’s favorite holiday, than to celebrate with him on April 20th at 4:20 PM CDT in the comfort of your own home! Hosted by the unofficial patron saint of weed himself, Willie Nelson, who will be joined by artists, chefs, comedians, and cannabis experts during the 4 hour and 20-minute live-streamed program.

The variety show will include performances by various musical guests, cooking and cocktail demos, and weed-centric moments. Stayed plugged-in to Luck Reunion social media channels, as the talent will be revealed on a rolling basis.

Luck and Willie's Reserve are joining forces to launch the #comeandtokeit #passleft challenge, which is perhaps the world's only chance to knock smoking with Willie Nelson off their bucket list. Whether you partake or not, this is your chance to live the dream. Luck will be asking fans to post a video of themselves passing (whatever toking material of their choice) to the left with the hashtags #ComeandTokeIt #PassLeft. One lucky participant will be randomly selected to talk to Willie himself, live on air, to pass left and wish him an early birthday “in person” during the broadcast.

“Come and toke it with me on 4/20 at 4:20,” exhaled Nelson. “There will be music and good times. And, it’s for a good cause.” For full details on how to #PassLeft with Willie, click here.

To help kick your at-home party off, viewers in Austin, Dallas, Los Angeles, San Francisco, and New York City areas will be able to order from classic cocktail delivery service Sourced Craft Cocktails. Details can be found at www.sourcedcraftcocktails.com. Come And Toke It will also highlight its partnerships with Willie's Reserve, Last Prisoner Project, El Silencio, and Grav.

Tune In: All programming will stream live on www.luckreunion.com/comeandtokeit

and www.twitch.tv/luckreunion

The Bluegrass Situation, along with its co-founder, actor/comedian/musician Ed Helms, have just announced Whiskey Sour Happy Hour, a 21st-century online variety show to benefit MusiCares’ COVID-19 Relief Fund and Direct Relief, debuting on April 22nd at 5 pm Pacific, 8 pm Eastern. With Helms serving as host of the series, Whiskey Sour Happy Hour will draw on his long-running Whiskey Sour Radio Hour shows at LA’s Largo to bring world-class music, comedy, and interviews directly into homes across the country and world. April 22nd’s edition of Whiskey Sour Happy Hour will feature music from Lee Ann Womack, Aubrie Sellers, Billy Strings, and Madison Cunningham—plus more surprise guests. Whiskey Sour Happy Hour can be streamed at thebluegrasssituation.com, YouTube, and Facebook. Watch Helms’ Whiskey Sour Happy Hour announcement here and visit DonorBox to start donating now!

After Whiskey Sour Happy Hour premieres on April 22nd, new shows will be broadcast every Wednesday for the following three weeks—April 29, May 6, and May 13. Confirmed guests for the series include Chris Thile, Yola, Sarah Jarosz, Rhiannon Giddens & Francesco Turrisi, Rodney Crowell, Aoife O’Donovan, Robert Ellis, and Watkins Family Hour, to name a few. Additional guests will be announced in the coming weeks.

"As soon as we realized the severity of the current crisis, Ed and I both knew we had to do something to support both our musical and medical community—and not just a one-time thing, but something that could promote more sustained giving through multiple shows,” says BGS Co-Founder and Executive Director, Amy Reitnouer Jacobs. “In a short amount of time, our BGS family of artists have come together in such a big way to make this happen. It makes us feel like even though we're all separated right now, we're closer than ever before." Fans will be able to donate to MusiCares and Direct Relief via DonorBox during the live stream.

In addition to supporting Whiskey Sour Happy Hour, Ft. Worth’s craft whiskey brand TX Whiskey has already stepped up their efforts to combat the COVID-19 pandemic, shifting 100% of their production to making hand sanitizer. As of March 31st, the TX team has produced 800 gallons of hand sanitizer for government agencies. With more raw materials inbound, TX Whiskey is currently positioned to make and bottle 5000 more gallons of sanitizer. On top of that, TX Whiskey continues to support local musicians by giving them an online stage and revenue generator through their Straight From the Couch Sessions—streaming every Friday night in April on IGTV.

Also a presenting sponsor for Whiskey Sour Happy Hour, Allbirds have been working hard to lift up the healthcare community responding to COVID-19, having already donated $500,000 dollars worth of shoes to healthcare workers nationwide. While supplies last, customers are able to bundle any shoe purchase with a donation to immediately supply a pair of Wool Runners to a healthcare professional who’s already reached out to Allbirds for support. Don’t need a new pair yourself, but still want to help? That’s an option, too.

 More About Ed Helms: Helms can currently be seen in Netflix’s comedy film Coffee & Kareem opposite Taraji P. Henson. Upcoming, he is set to write, co-executive produce, and star in Mike Schur’s Rutherford Falls for NBCU’s new streaming service, Peacock. He is also slated to host and executive produce NBCU’s hybrid television comedy True Story alongside Randall Park and has completed production on Nicole Beckwith’s comedy film, Togetherish. In 2012, Helms and Mike Falbo co-founded the production company Pacific Electric Picture Co., which currently has several TV projects in the works at various networks including Netflix, Fx, and Apple, and previously produced Helms’ Comedy Central special, “The Fake News with Ted Nelms,” which was honored with the Writers Guild of America Award for the Best Comedy/Variety Special. Among his diverse list of credits, Helms is best known for his tenure on NBC’s award-winning comedy series, The Office, and the box office smash hit film trilogy, The Hangover.

More About BGS: The Bluegrass Situation is the world’s largest community for American roots music, culture, and lifestyle. What began as a blog for like-minded Los Angelenos pining for bluegrass in Southern California has morphed and grown over the greater part of a decade to become a national and international standard-bearer for all of the things we love about bluegrass within every branch and offshoot of the roots music family tree—from vibey pop-folk to ravishing alt-country; plus blues, singer/songwriter, Americana, old-time, and everything else above, below, and in between. The Bluegrass Situation proudly represents a unique gathering place that supports the rich and varied history of these musics, while looking ahead for ways to transform traditions into a carefully curated, 21st-century lifestyle.

More About the Americana Music Association: The Americana Music Association is a professional not-for-profit trade organization whose mission is to advocate for the authentic voice of American roots music around the world. The Association produces events throughout the year; including AMERICANAFEST and the critically acclaimed Americana Honors & Awards program.

Over the better part of the last four decades, Monte Warden and his songs have ebbed and flowed through the Austin music scene like a river changing course over time, influencing the city’s musical landscape as much as he’s been influenced by it. From the inception of The Wagoneers to having his songs cut by the likes of George Strait, Warden’s journey has taken quite a few turns but never meandered. Set for release on June 19th, 2020, Monte Warden & The Dangerous Few, the new album from Monte and his ace band of Austin musicians finds Warden chasing a sound he’d never quite nailed down before now—the golden era of songwriting from the likes of Burt Bacharach and Hal David, Peggy Lee, and Johnny Mercer—all while showcasing the deft musicianship of The Dangerous Few; Mas Palermo on drums, Erik Telford on horns, Brent Wilson (of the Wagoneers) on bass, and T. Jarrod Bonta on piano.  “This record with the Dangerous Few is exactly what we do live,” says Warden. “We cut the whole album live in two days. It wouldn’t have been true if it had been a bunch of overdubs, with fixes and tunings. There’s none of that on this record.”

Monte Warden & The Dangerous Few opens with “Black Widow,” a greasy trad-pop number accentuated by the smokey tones of muted trumpet and washy cymbals. Warden recalls, “This was the first song written for this project that fully encapsulated everything I envisioned: slinky, sexy, sophisticated and urbane.” This encapsulation is a result of an all-around team effort. In addition to the songs and instrumentation, Palermo and Telford share production credit with Tim Palmer (whose credits include U2, Pearl Jam, David Bowie) and Brandi Warden (multi-platinum music publisher, Monte’s co-writer, and wife). Visual artist Derek Yaniger provided the retro cover illustration.

“Martini” rollicks into the picture next, beautifully exemplifying the spirit of the project. “As we first started playing shows, new fans would come up & enthusiastically ask, ‘What do you call this music?!’ recalls Warden. “We described it as ‘martini music’.” When Brandi suggested they write a big, up-tempo ode to the martini, the crew jumped in a car heading to Floyd Domino’s house and did their best “to just get the hell outta this song’s way.” The album continues, enthusiastically dancing around a common theme without being repetitive or tiresome, giving way to a big, gritty New Orleans burlesque feel in “Joy.” “When I was signed to A&M Records with The Wagoneers, I was given Herb Alpert’s (the label’s co-founder) entire catalog,” says Warden. “I was fascinated by the fact that each album featured one burlesque number; his thinking being that that cut would get played in the strip clubs! ‘Joy’ is my tribute to Mr. Alpert and those song arrangements.”

Monte Warden & The Dangerous Few continues to run the gamut of styles within a style. From the sweet waltz of “Anything But Love” to the album-closing “Wrong Side” which Warden describes as “something I felt could have been pitched to Sinatra for his 1955 quintessential album In The Wee Small Hours,” this album is a picture of Warden and his band at their free-est, moving where the river carries them and leaving an impression as they drift by. “For the first time in my career, there was no roadmap for me to follow, so I just allowed the songs to take me where they wanted to go,” says Warden, gratefully. “I feel this album captures this moment perfectly.”

Be sure to tune into the “Monte Warden Feel Good Hour” every Friday at 7pm CDT via https://www.facebook.com/montewarden. 

The red-eyed, twenty-foot paper mache shark that lives above the bar at Solana Beach’s famous Belly Up nightclub has been witness to countless jaw-dropping live shows in this intimate, 600 capacity live music venue—and the shark misses concerts just as much as the rest of us who are now sheltering-in-place. Today, to a sigh of relief from those with feet and those with fins, the Belly Up announced SharkBelly Festival, a new kind of festival featuring audio downloads direct from the Belly Up's archives—a.k.a. the “shark’s belly”—available for purchase for a limited time, only at BellyUpLive.com.

Want to experience Macy Gray’s grooving set from December 15, 2015? Missed Charlie Musselwhite blow his world-famous blues harp on November 4, 2009, at Belly Up? Starting May 6th, and for only 90 days, music fans will be granted unprecedented access to professionally recorded sets from a remarkable and eclectic list of world-renowned artists like Rufus Wainwright, Toots and the Maytals, and The Blind Boys of Alabama — recorded completely live, with no overdubs, and mixed directly from the soundboard and two-room mics. For only $7.99, roughly the price of a drink, fans can still enjoy the energy and passion of a live performance while all net proceeds from SharkBelly will directly support the Belly Up and the participating artists during this unprecedented time.

Full list of performances available May 6th:

Adolescents, Aggrolites, ALO, Anderson East, Arise Roots, Beats Antique, Big Head Todd and the Monsters, Blind Boys of Alabama, Bob Schneider, Brothers Comatose, Built to Spill, Charlie Musselwhite, Don Carlos, Edward Sharpe and the Magnetic Zeros, English Beat, Eric Hutchinson & the Believers, Greyboy Allstars, The James Hunter Six, Jeff Daniels and the Ben Daniels Band, John Brown’s Body, Johnny Clegg, Junior Brown, Macy Gray, Marc Broussard, Motet, Nahko and Medicine for the People, Over The Rhine, Ozomatli, Rufus Wainwright, Save Ferris, Seun Kuti and Egypt 80, Skatalites, Soul Rebels, Tommy Castro & the Painkillers, Too Many Zooz, Toots and Maytals, Victoria Canal, The White Buffalo, X, Yonder Mountain String Band, and Zap Mama with Antibalas.

"With so many people reaching out to see what they could do to support us while the venue is closed, we felt this was a great time to focus on downloads because each download generates money immediately for the club and the artists,” said Chris Goldsmith, President of Belly Up Entertainment and multiple Grammy Award-winning producer. “The sound quality and the vibe captured in our room is undeniable.  When we put out a few recordings right after we were shut down, the response we got from fans in Southern California, and around the world, was incredibly encouraging,” said Goldsmith. "As more and more artists agreed to the concept, we realized that this had the feeling of a very unique, global ‘festival,’ one that is maybe only possible in a time like this.”

What: SharkBelly Festival 

When: May 6th (downloads available for 90 days)

Where: BellyUpLive.com

How much: Download your favorite Belly Up live recordings for $7.99 each

Where does the money go?  supports the Belly Up and the artists directly

Long-time festival favorites and jam-grass pioneers Yonder Mountain String Band have joined forces with JamBase to present Yonder May—a weekly video broadcast of YMSB sets from the 1990s and early 2000s, culled from the band’s personal, fan-gifted VHS tape collection and hand-edited (yes, painstakingly cut and spliced, remember that?) and digitized by guitarist and founding member Adam Aijala. Airing every Thursday in May at 4:20 pm EDT, Yonder May will raise funds to support the entire YMSB team while not on tour via a “virtual tip jar” for Venmo and Paypal donations. Fans can tune in to raise money here.

The first installment of Yonder May is from Dexter Lake Music Festival on June 23rd, 2000; a pivotal moment in the band’s now longstanding relationship with the American Northwest and a particularly “kind” memory for the Yonder Mountain boys. “I remember hanging backstage with Leftover Salmon and smoking copious amounts of marijuana with Vince Herman, Ben Kaufmann, and Dave Johnston,” recalls Aijala. “I must have swam in the lake because I was wearing a red Hawaiian bathing suit on stage!” Dexter Lake Music Festival was also a significant moment for the band, as that’s where they met the team that would eventually go on to produce Northwest String Summit. “I remember that our appearance at this festival was basically 100% thanks to Leftover Salmon vouching for us,” says Kaufmann. Johnston adds, “Not only were we playing with Leftover Salmon, who we revered in the way of older brothers, but I believe it was our first summer playing any festivals out there. It would prove to be a lynchpin in our presence in the Northwest. It was the beginning of the feeling that would strike me again and again whenever we came to the Northwest, that we belong here and there were plenty of people who made us feel that way.”

Tune in today at 4:20 pm Eastern at JamBase.com and again on May 14th, 21st, and 28th for continued archival video releases from Yonder Mountain String Band. Missed the Thursday set or just want to watch it again? Keep an eye on Yonder Mountain socials on Saturday night for a rebroadcast!

Nell Robinson and Jim Nunally have been melding genres their entire careers—bluegrass, folk, country, jazz, swing, alt-roots, folkbilly, you-name-it—but when it came time to put together Western Sun, their third album as the Nell & Jim Band, Robinson and Nunally wed their passion for songwriting and storytelling, using their vocabulary of way-back influences; a story told from the roots of roots music. Available everywhere May 29th, Western Sun features Robinson and Nunally as well as their stellar band—bass fiddle player Jim Kerwin (Grisman, Jerry Garcia, Yo Yo Ma), drummer/percussionist Alex Aspinall (Chris O’Connell & the Smart Alecks, Silvestre Martinez) and accordionist/keyboard player Rob Reich (Gaucho, Circus Bella)—writing and creating with a particular point of view in mind. “The original songwriting on Western Sun is tied together with a thread, our visceral response to the backlash about immigrants in this country,” says Robinson. “It’s profoundly disturbing to us. Our families are immigrants, and particularly being West Coast people with roots in the South, we believe so strongly in the beauty of diversity and culture.” 

Western Sun feels drenched in history, in both music and story. “The virtuosity of the band, the depth and breadth of their talent, gives us free rein in creating interesting arrangements,” says Nunally. The band has emulsified in the bottom of the great melting pot—a roux of American music—in a way that only a group of musicians with years of experience can pull off; a perfect unit whose sum is always greater than its parts, and that’s what really makes this album shine. The songwriting and composition both serve the storytelling in a way that allows listeners to immerse themselves in the history that’s being depicted. 

Western Sun opens with “By Stars and Sunrise,” a tale of an immigrant who fell in love with a Tejana named Luisa on an Emigrant Trail through what is now called Texas. Co-written with Chris Wadsworth, “By Stars and Sunrise” aims to capture the feels of the Trail and immigrant experiences while studying the Gold Rush era. Nell, the band’s primary lyricist, penned the lyrics while envisioning the song’s protagonist having two children with Luisa before heading west out of necessity, seeking fortune to support their family. The songwriting trio and soaring three-part harmonies on the chorus ring triumphant when the subject returns home; healthy with a pack full of riches.

Deeper into Western Sun, we get to “Travelin’ the Road West,” a lively bluegrass number featuring instrumental breaks from Nunallys flat-picked guitar and Robinson’s signature flute. Written by Nunally about his family, “Travelin’ the Road West” follows southern and midwestern farmers during the Great Migration West of the 1930s. “I can remember my Dad said he had been called an Okie. But he was from Arkansas, his Dad was a sharecropper there. And he, his parents, and sisters moved out west looking for work and a better life in the ‘Golden State’,” recalls Nunally. “Reading The Grapes of Wrath inspired me to write about my own family’s history.”

In addition to literature and North American history, Nunally and Robinson also draw inspiration from European culture and folklore. Take “Limonaia,” one of the album’s lush ballads, that was inspired by the true story of Princess Ghyka in 19th century Italy, who lived just outside of Florence at Villa Gamberaia. According to local legend, Ghyka, a renowned beauty, veiled her face at 19 due to what she perceived as the flaws of aging, and continued to live at the Villa with her American companion Florence Blood before passing away at age 24. Robinson explains, “I had in mind not only the story of Ghyka but also the idea that she and her ‘companion’ may have been in love. ‘Companion’ was a term sometimes used for same-sex couples at the turn of the 20th century. Also raising my daughter in this society that still drives women to great lengths to fit a strange view of beauty, I was very aware that the story of Princess Ghyka still plays out today.” 

“Sequoia Gold” is another Wadsworth-Robinson-Nunally co-write, closely resembling what it would’ve been like around Caspar Creek, CA, during the Gold Rush when the small city grew to a town of a half-million people, most of whom looked towards the redwoods and lumber business after not finding gold. “Chris’ lyrics on this are spectacular, capturing the jargon of the time and place,” say Nell and Jim. “We added a verse at the end and worked together on the chorus. The three of us had a ball playing with the harmonies.”

“The songs are really stories. Some of them historical, some from our families or how we’re reacting to what’s happening in the world,” says Robinson. “So a number of the songs on the album—most of them, really—reflect the diverse heritage and ever-changing world in which our music is created.”

For more information, please visit https://www.nellandjim.com.

More about the Nell & Jim Band: Jim Nunally—guitarist and vocalist with the David Grisman Bluegrass Experience for a decade and a half—is a third-generation roots musician. During the Dust Bowl era, his grandfather, a sharecrop farmer, emigrated from Arkansas to California, where he taught Jim’s dad how to play guitar, and Jim has expertly and passionately carried on the family tradition from his father.  Jim is a certified Grammy Award participant and IBMA award winner. 

Nell Robinson, born Hilary Perkins in rural Alabama, honored her own family tradition, taking her grandmother’s name when she began performing in the Bay Area at the age of 46, belatedly but ecstatically embracing the musical strains that had beguiled her during her youth.

Robinson and Nunally’s combined experiences and vast knowledge of a range of traditional idioms are further enriched and expanded by those of their virtuosic bandmates: string-bass player Jim Kerwin (Grisman, Jerry Garcia, Yo Yo Ma), drummer/percussionist Alex Aspinall (Chris O’Connell & the Smart Alecks, Silvestre Martinez) and accordionist/keyboard player Rob Reich (Gaucho, Circus Bella).

The quintet made its recording debut with 2017’s Baby Let’s Take the Long Way Home and followed it up two years later with Steel. On top of their studio work, Robinson and Nunally wrangled crews of all-star musicians for live performances based on The Rose of No-Man’s Land in 2015 and Baby Let’s Take the Long Way Home two year later, both filmed for the PBS concert series Music Gone Public.

Touring extensively, they have performed at the Kennedy Center, Hardly Strictly Bluegrass Festival, Kate Wolf Music Festival, Strawberry Music Festival, and on Garrison Keillor’s Prairie Home Companion, as well as festivals and concerts in Canada and Europe. 

"As with so many of our songs, the message of “Resilient” has taken on a new poignancy in this time of disruption, isolation, and uncertainty,” says David Brown, bassist and baritone guitar player for the global folk band Rising Appalachia, about the remixed version of “Resilient” that was released Friday. NPR Music praised the original track when it was released as an “uplifting, original folk anthem,” and this remix is no different. The music matches the mood of the times while the lyrics remain planted in hope, deepening the notion that music—Rising Appalachia’s in particular—can be both timeless and timely. The remixed version of “Resilient” is now available for streaming and purchase.

Leah Song’s quote around the 2018 original version, the band’s most successful streaming track to date, rings truer now than ever. “We want to bring attention to issues facing our homelands and our world—indigenous justice, public education, environmental reclamation, reforming and redefining justice, and most importantly finding local solutions. After everything that's happened this past couple of years, and is still happening, we need to remember that we the people are resilient, and can become more so. To live with hope in a time where apathy is rampant and even excessive is a great act of resistance. What we choose to bring into our focus in this life will greatly affect our very own reality let alone the world around us. Let hope and resiliency be contagious.”

In an effort to stay creative while quarantining, Brown—who produced “Resilient Remix” under the moniker of his side project, CASTANEA—began remixing and reinterpreting old Rising Appalachia tunes, adding new instrumentation and beats to the songs, and also changing their time signatures and harmonic structures. He saw new potential in the powerful lyrics of “Resilient” and chose to shift the tone from major to minor, giving an introspective and manta-like feel to an otherwise uplifting song. Brown spliced in parts from other band members including Arouna Diarra’s ngoni recorded in between takes while in the studio for Leylines and Duncan Wickle’s home-recorded, remix-specific string parts.

This single comes on the heels of the band’s Earth Day release, “Stand Like An Oak,” an intimate track encouraging listeners to “put away your cares” and “fold up your fears”; to “stand like an Oak” in the face of trying times—which featured soft harmonies and a focused message of support. 

Stay tuned to band socials and website for more Rising Appalachia releases, digital meet & greets, and conversations.

For other isolation ideas, if you haven’t yet seen Rising Appalachia’s Tiny Desk Concert which features songs from Leylines, their most recent record, might we suggest checking that out on NPR Music.

More About Rising Appalachia: Sisters Leah Song and Chloe Smith, known musically as Rising Appalachia, are just as much stewards for their earth and its peoples as they are musicians.  Framing their foundation of traditional American music with West African n’goni and Celtic-Irish fiddle, Rising Appalachia have landed on something that has the potential to grow its own roots, rather than leaning on one particular past—folk music from different corners of the world all working together as one, used as a sharpened tool for cultural and environmental preservation and education.

Their newest album, Leylines, has been a defining record for the sister-led band, garnering praise from a wide swath of critics and solidifying their place in the greater Americana musical movement. Brooklyn Vegan called “Speak Out,” one of the album's standout tunes featuring Ani DiFranco, “an appealing dose of fiddle-fueled folk and close harmonies.”NPR praised album closer, “Resilient,” as an “uplifting, original folk anthem” and Rolling Stone called their sound “protest music for the modern age bolstered by delicate, skillful musicianship and otherworldly vocal harmonies.” On Leylines, Leah and Chloe are joined by longtime members David Brown (stand-up bass, baritone guitar) and Biko Casini (world percussion), as well as two new members: West African musician Arouna Diarra (n’goni, talking drum) and Irish musician Duncan Wickel (fiddle, cello). The sonic textures of these two cultures are woven into Leylines, enhancing the stunning blend of folk, world, and urban music that has become Rising Appalachia’s calling card.

DelFest, the festival brainchild of Del McCoury and his extended McCoury family, has just announced DelFest At Home, a streaming event celebrating musical highlights from DelFests past. Happening during the originally scheduled festival weekend, May 21st through May 24th, the free online event will feature performances from the festival’s namesake and his family as well as bluegrass and jam band luminaries such as Trey Anastasio Band, Bela Fleck & Chris Thile, Greensky Bluegrass, and more. A full lineup can be found below. Donations collected throughout the weekend will go toward funding the DelFest Foundation, an organization that works with non-profit organizations such as Western Maryland Food Bank, Allegany Health Right, and Habitat for Humanity  as well as others in and around Allegany County, home to DelFest for over a decade. Starting Thursday at 4:30 pm Eastern, fans can tune into Nugs.tv, DelFest’s youtube channel, or Facebook page.

"We've heard from many folks how much it's going to hurt not being at DelFest this Memorial Day weekend, so we hope this helps a little. We're grateful to have a dedicated crew that has captured some great moments of DelFest through the years, and are looking forward to reliving some of these great moments with you ourselves,"  says Ronnie McCoury of the Del McCoury Band and The Travelin’ McCourys. His brother—and band member in both aforementioned ensembles, Rob McCoury adds, "We are so excited about this. It's just a small way we can all feel connected this weekend. Keep an eye on your notifications—we are going to pop onto Facebook Live from time to time between sets to say ‘hello.’"

Schedule (All Times Eastern):

Thursday, May 21 - 4:30 pm - 9:30 pm

Friday, May 22 - 2:30 pm - 11:30 pm

Saturday, May 23 - 12:30 pm - 1:00 am (next day)

Sunday, May 24 - 11:30 am - 12:30 am (next day)

Performances:

The Del McCoury Band

The Travelin' McCourys

Trey Anastasio Band

Greensky Bluegrass

The Bluegrass Congress (Del McCoury Band with Ricky Skaggs, David Grisman, Sam Bush, Bela Fleck, Jerry Douglas, Bryan Sutton, and Stuart Duncan)

Bela Fleck & Chris Thile

Billy Strings

Railroad Earth

Sam Bush

The Wood Brothers

The Infamous Stringdusters

Yonder Mountain String Band

Marty Stuart

The Marcus King Band

I'm With Her

Hot Rize

Grateful Ball (The Travelin' McCourys and Jeff Austin Band)

Sierra Hull

Dre & The Gospel Collective

Broomestix

Known for his soulful vocals and ability to blend a variety of instruments and influences into one signature sound, Jarrod Dickenson’s songs are both compelling and catchy. Today, Dickenson is proud to share his anticipated new album Ready The Horses, released via Hooked Records. Self-produced in a studio on the southeast coast of England, Ready The Horses was recorded live, straight to 2” tape. The album has been spotlighted and critically acclaimed by a multitude of outlets, including PopMatters, who said, “Jarrod Dickenson's rootsy, broad-ranged Americana draws deeply from tradition while forging all-new sounds,” and BlogCritics, who praised the album saying, “Ready the Horses is a gem of a record, one you may find yourself playing from start to finish, uninterrupted – the ultimate compliment for any artist’s work.” Other critics emphasized Dickenson’s adept writing style, like American Songwriter, who said, “The Nashville-by-way-of-Waco songwriter knows how to craft a tune that leads listeners in with a jovial and warm community attitude but also leaves room for just a drop of mystery.” Ready The Horses is available today, click here to purchase or stream.

Inspired by the legendary music of Stax and Muscle Shoals in the ‘60s, Ready the Horses is layered with slide guitar, Hammond organ swells, punchy horns, and infectious melodies. Soul-soaked singles “Take It From Me” and “Way Past Midnight” are a great example of this, the latter of which Dickenson explains, “This was one of those magical moments in the studio where everything just came together. It’s equal parts gospel and grease. It’s about late nights in seedy dive bars. The possibilities, the thrill, the chase… and the comedic reality of how those nights tend to end up.” Ready The Horses further proves itself to be a truly dynamic record with softer singles like “A Cowboy & The Moon”, premiered by The Bluegrass Situation, and the intimate “Your Heart Belongs To Me”, which PopMatters dubbed, “...a subtly sweet duet,” with wife Claire Dickenson.

Lyrically, the ten songs on Ready The Horses illustrate Dickenson's honed writing skills and solidify his place as a charismatic songwriter with Texas roots. Glide Magazine said, “Dickenson shows himself to be quite the songwriter. He draws from a variety of influences and brings them altogether in a way that is enjoyable and easy to listen to, whether he’s singing a downtempo song or one that makes you feel like you’ve been taken to church.” Take “Gold Rush”—a rowdy tune that draws parallels between the greed in 1800s California and today’s Wall Street—a lyrical backstory that feels more timely than ever, albeit written years ago. Sounds Like Nashville pinned the song as, “a shadowy reminder that the get-rich-at-any-cost mindset is still very much alive—even in a crisis.”

“I wanted this record to sound bigger, be more energetic, get down and dirty in places and stay tender and vulnerable in others,” Dickenson explains, “More than anything, I simply want people to hear it. We put a lot of love into this album. It's honest. It's real. There was no studio trickery. No bullshit. What you hear on the record is what went down in the room. It's a bunch of friends crowding into the same room, making music together, live.”

All things Jarrod Dickenson can be found at https://jarroddickenson.com.

“To work with Mac is to work with a master,” boasts country music singer-songwriter, Drake White. Of course, he’s talking about the one and only Mac McAnally; Nashville Songwriters Hall of Fame inductee and ten-time CMA Musician of the Year, not to mention a tenured member of Jimmy Buffett’s Coral Reefer Band. McAnally and White co-wrote “Once in a Lifetime,” the first single from McAnally’s upcoming album of the same title. Out July 31st on Mailboat Records, Once in a Lifetime is a studio reflection of McAnally’s intimate live show in which the all-new material is arranged around mostly guitar and percussion, though a few tracks on the album admittedly outgrew the simple setup. Yesterday, Rolling Stone premiered the title track featuring Drake White, calling it an “uplifting, authentic tune.” “Once in a Lifetime” can be heard here and in rotation on SiriusXM’s Margaritaville (Ch. 24). Pre-orders are available now and include a Once in a Lifetime ballcap and t-shirt. Stream the first single on your favorite platform by following this link.

Once in a Lifetime’s title track came about when McAnally and White saw each other at a local breakfast spot. When White asked if he was enjoying himself these days, McAnally said, “Yeah, every day. Every day is once in a lifetime.” White immediately replied, “We need to get together to write THAT!” Sometimes, McAnally’s songwriting spark is more subtle.

While participating in an art project—novels were given to songwriters and visual artists, who would then create a piece based on their response to the book—McAnally found himself immersed in Harrison Scott Key’s memoir, The World’s Largest Man. “The author came from the same part of the country as me and it woke up a bunch of stuff about my childhood—what it was like hanging with my dad, going to the drugstore, talking about football, politics, and religion,” he says. “That opened up that part of my brain that I haven’t been down into for a while.” Connecting his upbringing in Belmont, Mississippi, with the imagery from The World’s Largest Man led McAnally to write the swaggering, album-opening shuffle, “Alive and in Between.”

Songwriting, though, only fills half of McAnally’s plate. It’s his guitar playing and musicianship that makes Once in a Lifetime feel complete. “All the way back to the beginning, my songwriting has been built around my guitar playing because I’m not a very confident singer,” he says. “I was always trying to make a guitar part sound like a whole arrangement.” A vast majority of the album reflects McAnally’s approach; arrangements based around the guitar with percussion and few auxiliary instruments rounding out each tune. A few notable exceptions are “Just Right,” which was recorded with the Coral Reefer Band in Key West during time off from making a Jimmy Buffett record, and the barn-burning bluegrass feel of “Brand New Broken Heart”—neither of which feel out of place amongst McAnally’s wide-cast net of influences. “I’m interested in all kinds of music,” he says. “There’s obviously some Buffett influence on a few of the things and I’ve been playing country music and gospel music all my life, so there’s that influence, too.”

The thoughtful lyrics and arrangements Once in a Lifetime as a whole can perhaps be traced back to a phrase McAnally remembers from his childhood when his mother would tell him to “make some use of yourself” on his way out the door. McAnally still adheres to that philosophy today. Asked about the experience of listening to these assorted songs that have now become an album, he modestly replies, “I see a guy trying to be a good representation of a human being. I hope there’s something in what I do that in some way can make someone else’s life a little bit better, too. That’s really what I’m shooting for.”

Once in a Lifetime Track Listing:

Alive and In Between (Mac McAnally)

Almost All Good (Mac McAnally)

Once in a Lifetime feat. Drake White (Drake White and Mac McAnally)

First Sign of Trouble (Mac McAnally)

That’s Why They Call It Falling (Mac McAnally)  

Changing Channels (Jimmy Buffett, Mac McAnally)

Just Right (Will Kimbrough, Mac McAnally) 

Norwegian Wood (This Bird Has Flown) (Paul McCartney and John Lennon)

Good Guys Win (Roger Guth, Mac McAnally) 

Just Like It Matters (Mac McAnally) 

Brand New Broken Heart (Mac McAnally) 

The Better Part of Living (Mac McAnally) 

Today, Bluegrass Pride announced Porch Pride: A Bluegrass Pride Queer-antine Festival. Airing over the weekend of June 27th and 28th, Porch Pride is a streaming festival featuring more than ten hours of live music over what would’ve been Pride weekend in San Francisco.

Started as a side project of the California Bluegrass Association in 2017, Bluegrass Pride is now an internationally-recognized 501(c)(3) non-profit organization devoted to letting the world know that bluegrass and old-time music are for everyone, regardless of age, race, gender, orientation, nationality, upbringing, or politics. The goal of Porch Pride is to highlight and showcase LGBTQ+ Roots musicians while also generating financial support as they navigate a new, nearly non-existent performance landscape. Performances include—among many, many talented musicians, singers, and songwriters—the fierce, neo-folk stylings of Amythyst Kiah and Molly Tuttle’s brand of sweet songs and flat-picking acrobatics. “[Bluegrass Pride’s] hard work has created so much positive change for LGBTQ+ musicians and fans, and I couldn’t be more thrilled to be a part of Porch Pride 2020!” says Tuttle. “When I walked alongside their float in the San Francisco Pride Parade in 2018, I saw first hand the effect that they were having on the community by giving a voice to marginalized people and letting people who weren’t familiar with bluegrass know that this music is for everyone.” Every donation goes right back into the community, creating opportunities for LGBTQ+ roots artists throughout the pandemic and beyond. Porch Pride is suggesting a $10 donation, but fans are encouraged to donate more if they’re enjoying the show! A full weekend schedule can be found below and fans can find more info and donate to the cause at bluegrasspride.net/porchpride.

In their first year, Bluegrass Pride marched through San Francisco with hundreds of enthusiastic supporters, their picket-fenced float home to three bands proudly representing the local traditional American music scene. The impression they left on Pride and the bluegrass scene as a whole that year—winning, ahem, Best of the Best at SF Pride 2017 out of 270 marching contingents, the first year a first-time entrant had won the accolade—merely set the stage for Bluegrass Pride to grow into what it is today. “Since that first march in SF Pride in 2017, Bluegrass Pride has been working year-round to support LGBTQ+ roots music artists and fans in as many ways as we can,” says Kara Kundert, the organization’s Executive Director. “So when the COVID crisis forced us to cancel our in-person Pride celebrations in San Francisco, Portland, and Nashville, we knew we had to find another way to support our community with financial relief for vulnerable artists in need and with an uplifting event for our community to safely share from home. We are proud to be able to bring Bluegrass Pride to where it is most needed right now: your front porch.”

“Porch Pride reinforces that our mission is about people first and foremost and that Bluegrass Pride exists everywhere—from the Bay Area to Appalachia to New England and beyond!” adds Justin Hiltner, IBMA-nominated banjo player and chair of Bluegrass Pride’s Board of Directors. “What better way to spotlight this diverse array of LGBTQ+ musicians, artists, and creators than highlighting them exactly where they happen to be in this moment?”

Full Porch Pride Schedule (All Times Are Pacific PM):

Saturday, June 27th

1:00 - Rachel Eddy

1:30 - Karen Pittelman

2:00 - Rachel Baiman & George Jackson

2:30 - Tyler Hughes

3:00 - Cameron DeWhitt

3:30 - Jake Blount & The Vox Hunters

4:00 - Nic Gareiss

4:30 - Joe Troop

5:00 - Alice Gerrard

5:30 - Allison de Groot & Patrick M'Gonigle

6:00 - Front Country

6:30 - Molly Tuttle

Sunday, June 28th

1:00 - Noa Laniakea

1:30 - Sam Armstrong-Zickefoose

2:00 - Brandon Godman

2:30 - Grace Van't Hof

3:00 - Tatiana Hargreaves & Reed Stutz

3:30 - Justin Hiltner

4:00 - Maddie Witler

4:30 - Sam Gleaves

5:00 - Cathy Fink & Marcy Marxer

5:30 - Kimber Ludiker & Avril Smith

6:00 - Amythyst Kiah

 The teams behind A Night For Austin stand firmly against all forms of racism and hate, and wish to emphasize their full acknowledgment and sincere heartbreak over the current upheaval in our country, and across the world. The organizers understand that cities and towns across our country have suffered devastating financial losses due to the global pandemic, Austin being one of many. With this in our hearts and minds, the crew and participants have decided to move forward with A Night For Austin, a broadcast event that has been in the works for multiple weeks. The hope is that the program serves as a reminder that coming together is the key to prevailing; while also following through on the mission to support the Austin community as it continues to recover and heal. Together we stand against racism. Together we support Austin. 

Austin, Texas, has, without a doubt, left a lasting impression on all who have spent any amount of time in the Live Music Capital of the World—a week for SXSW, a day’s stop on tour, business conferences, or years building careers and friendships—and right now, the city we’ve strived to keep weird all these years needs a little help to “Keep Austin Going.” Announcing “A Night For Austin,” a television and streaming event to raise money for the community of Austin in reaction to the closures and loss due to COVID-19 shutdowns. Produced by Luck Productions—the busier-than-ever collective best known for hosting Luck Reunion at Willie Nelson’s Luck, TX, ranch every year—“A Night For Austin” is the brainchild of Grammy Award-winning, Mt. Rushmore-worthy singer-songwriter Paul Simon. The two hour, commercial-free telethon-style broadcast starts at 8 pm Central on June 10th at anightforaustin.com and twitch.tv/luckreunion. The program will also air locally on CBS Austin (KEYE). A Night For Austin will be powered by Brightcove, the world’s leading video technology platform. 

Performances from Simon, Nelson, James Taylor, and more will intertwine with appearances from the likes of Ethan Hawke, Renée Zellweger, Woody Harrelson, and Owen Wilson; all Texans with a strong love for the city and its people. 100% of the money raised will go to a fund managed by the Austin Community Foundation to be distributed directly to MusiCares Austin, HAMM, Central Texas Food Bank, Six Square, Southern Smoke Foundation, Red River Cultural District, and People Fund. Locals will be able to watch “A Night For Austin” on CBS Austin (KEYE). Worldwide, “A Night For Austin” will be streamed on anightforaustin.com and at Luck Reunion’s Twitch channel, complete with a “virtual tip jar”—a direct link to donate throughout the evening. A full, ever-growing list of performers can be found below.

“We were incredibly honored and excited that Paul Simon and his team tapped Luck to produce this event and to benefit our own community of Austin,” said Matt Bizer, Co-founder of Luck Productions. “It means a lot for us to be able to support this community that has always inspired and provided for us and we are excited to be doing it alongside an amazing group of talented individuals, organizations, artists who themselves represent the unique fabric and soul that makes Austin our home.”

“Everyone here at CBS Austin loves our Austin community, our hearts go out to the musicians, artists, and business owners who have struggled due to the COVID 19 pandemic,” said Amy Villarreal, Vice president and General Manager of CBS Austin/Telemundo Austin. “That’s why we’re proud to provide this commercial-free two-hour televised event as a means to help them out.”

“The coronavirus has completely upended live music in Austin, which is why we must come together to support the industry that makes our city special. Austin Community Foundation is honored to work with Paul Simon to bring much-needed relief to those who rely on the music scene for their livelihood. The funds raised through A Night For Austin will go to nonprofit organizations equipped to help musicians, producers, venue owners, and others persevere through these difficult times,” said Mike Nellis, CEO of Austin Community Foundation.

What: “A Night For Austin” a two hour, commercial-free telethon-style fundraiser 

When: June 10th at 8 pm Central

Where: anightforaustin.com/donate, twitch.tv, or locally on CBS Austin (KEYE)

Appearances by: Paul Simon, Edie Brickell, Vince Gill, Lyle Lovett, Shawn Colvin, John Hiatt, Jerry Douglas, Bonnie Raitt and Boz Scaggs, Ryan Bingham, Black Pumas, Ray Benson and Asleep at the Wheel, Augie Meyers with Los Texmaniacs, Flaco Jiménez with Los Texmaniacs, Patty Griffin, Alejandro Escovedo, Willie Nelson, Lukus Nelson, Gary Clark Jr., Britt Daniel (Spoon), Jimmie Vaughan and The Tilt-a-Whirl Band, David Ramirez, Charlie Sexton with Doyle Bramhall II, Terry Allen, Norah Jones, James Taylor, Ethan Hawke, Renée Zellweger, Woody Harrelson, and Owen Wilson.

Nashville’s ever-involved, ever-expansive Acme Radio Live is at it again—this time with Keep The Music Playing, a star-studded live stream fundraiser sponsored by Jack Daniel’s benefiting Music Health Alliance airing June 17th. Utilizing live and pre-recorded performances from a smattering of famous and infamous Nashville locations—The Ryman Auditorium, Bluebird Cafe, Acme Feed and Seed, and Dino’s, to name a few—Keep The Music Playing continues Nashville’s long-seeded history of stepping up to help in times of need. Through the Spotify COVID-19 Music Relief Project, Spotify will match all donations to Music Health Alliance, dollar for dollar, up to a collective total of $10 million. Keep The Music Playing will air on acmeradiolive.com as well as facebook and youtube channels at 5 pm Central on June 17th and donations can be made here starting today.

Hosted by Nashville’s favorite radio personality, Justin Hammel, and Emmy Award-winning television host Kathie Lee Gifford, Keep The Music Playing will feature performances from tenured Nashville artists and songwriters and legends in the making; all from beloved Nashville landmarks and institutions. Jason Isbell & Amanda Shires, Keb Mo, Rosanne Cash, John Oates, John “JoJo” Hermann (Widespread Panic), Katie Pruitt, Devon Gilfillian, and many more are slated to perform. A full lineup can be found below.

"When COVID-19 really started ramping up and it became obvious to us that a lot of the events and plans we'd made for the summer would have to be canceled, our team hopped on a call to immediately start problem-solving,” says Acme’s Director of Marketing, Tricia Higbee. “As disappointed as we were, what was really bothering us the most was being unable to provide that platform for all the amazing artists and personalities that go into making our events what they are. We didn't want to take away that opportunity from voices who need to be heard, so we quickly decided to pivot.” Utilizing Acme Radio Live’s already up-and-running in-house production team to create world-class content for the event, Keep The Music Playing presented itself as the natural solution for the conundrum at hand. "Our mission with this event is simple, raise as much money as possible for the Music Health Alliance while also offering people around the world a glimpse inside Nashville, if only through a screen, to show how we're physically distancing, but socially joining together to keep the music playing in Music City."

What: Keep The Music Playing online concert event benefiting Music Health Alliance

When: Wednesday, June 17th at 5 pm Central

Where: acmeradiolive.com

Why: Support Music Health Alliance’s COVID-19 Relief Program, providing direct support for the immediate needs of music industry professionals and their families during this public health crisis through relief grants, simplified solutions and a comprehensive database of resources. Spotify will match all donations to Music Health Alliance, dollar for dollar, up to a collective total of $10 million.

Who: Performances and appearances from: 

AJ Croce 

AJ Eason 

Andrew Combs

Barry Scott

Bre Kennedy 

Charles Wigg Walker

Chuck Mead 

Craig Morgan

Dave McGinnis

Devon Gilfillian 

Donna the Buffalo 

Early James 

Erin Rae

Future Thieves 

Gramps Morgan

Guthrie Trapp 

Ian Ferguson 

Jaime Wyatt 

Janelle Moser

Jason Isbell & Amanda Shires

Jeff Coffin

Jeff Hanna

Jim Lauderdale 

Joe Bonamassa 

John Oates 

John “JoJo” Hermann

Jordan Davis 

Katie Pruitt 

Keb Mo

Kenny Vaughan, Dave Roe, & Pete Abbott 

Laine Hardy 

Leah Blevins 

Louis York

Marcus Finnie 

Mike Keith (Voice of the Tennessee Titans) 

Minton Sparks

Parker Gispert 

Pat McLaughlin

Pete Weber & Terry Crisp (Nashville Predators) 

Phil Vassar 

Rod McGaha

Rodney Crowell 

Ron Gallo 

Rosanne Cash 

Sam Bush 

Sara Evans

Scotty McCreery

Sean Henry (Nashville Predators CEO & president)

Steve Conn  

Steve Wariner

Sweettalker

Tim Gent 

Swift Current, Saskatchewan - The music industry is no stranger to cowboys—but it’s been a long while since any with an authentic affinity for the North American West came along and carried around a love for heroes like Ramblin’ Jack Elliot and Ian Tyson. Enter 24-year-old Colter Wall, whose dusty baritone voice and deep well of stories are almost single-handedly carrying traditional western music into the future. Wall’s approach is that of a preservationist, pure as the prairie wind, and is on full display on his new self-produced album Western Swing & Waltzes and Other Punchy Songs. Available from La Honda Records/Thirty Tigers on August 28th, Wall’s 10-track ode to the themes and labors of western life picks up where his last album left off, with a reverence for his “working cowboy kin” and a whole mess of cowboy songs. Fans can pre-order Western Swing & Waltzes and Other Punchy Songs here and listen to the album’s first track, “Western Swing & Waltzes,” here. 

Along the Blanco River bank, outside the small town of Wimberley, Wall rounded up his band, hot off a North American tour, to lay down these ten new songs at Yellow Dog Studios, deep in the heart of Texas. From his previous recording sessions with Dave Cobb at the helm, Wall began to take in what it meant to produce a record; the decision making, risk-taking, and band-leading all learned along the way. With Western Swing & Waltzes, it was Wall’s turn to take the reigns. His band. His choices. And the finished product is diverse and effortlessly cool, with an extra log or two on the fire. 

Songs like “High & Mighty,” cowboy poet and rancher Lewis Martin Pederson III’s ode to a legendarily tough bronco, showcase Wall’s well-curated and hard-working touring band—Patrick Lyons (pedal steel, dobro, mandolin), Jake Groves (harmonica), Jason Simpson (bass), and Aaron Goodrich (drums); joined by Emily Gimble on piano and Doug Moreland on fiddle—while others like Wall-penned “Talkin’ Prairie Boy” feature just Wall’s voice and guitar. However arranged, there’s an earnestness to these songs, roughly half of them written by Wall and half by Wall’s direct influences and fellow purveyors of honest, hard-earned tunes for the prairie and beyond.

About the album, Wall said, “These songs are punchier than I am.” Giving credit where credit is due however, Wall is no slouch on the ranch. As any new cattleman would, he adds to his herd, as he does his musical legacy with Western Swing & Waltzes and Other Punchy Songs.

Western Swing & Waltzes and Other Punchy Songs Track listing:

Western Swing & Waltzes

I Ride An Old Paint/Leavin’ Cheyenne

Big Iron

Henry and Sam

Diamond Joe

High and Mighty

Talkin’ Prairie Boy

Cowpoke

Rocky Mountain Rangers

Houlihans at the Holiday Inn

Twisted Pine—once a straightforward, Boston-based bluegrass act—has been hard at work; busily evolving into what the Boston Globe now calls “something else, a wider version of a string band; boundary jumpers akin to outfits like Punch Brothers, Nickel Creek, and Crooked Still.” Their influences certainly don’t stop there—Twisted Pine’s collective instrumental and songwriting skills should also be listed in the same echelon of contemporaries like Vulfpeck or Hiatus Kaiyote or Lake Street Dive. On August 14th, their new album Right Now will hit shelves and streaming services worldwide. Today, American Songwriter premiered a music video for the album’s first single, “Don’t Come Over Tonight,” calling it a “bluegrass, indie folk-and-funk concoction.” Fans can now listen to “Don’t Come Over Tonight” here and pre-order Right Now here.

Right Now is ripe with the grooves of 2 am funk jams, the sass of zero-gravity pop, and the astral flute and shoobedoos of 70s radio; all from fairly traditional instruments played in a very non-traditional way. “You could call it, ‘neo-folk indie soul avant jazz jam grass-icana’ but that doesn’t quite roll off the tongue,” says Twisted Pine bassist, Chris Sartori. The band is among a new generation of line-blurrers; musician musos who don’t see any reason not to let their influences mingle and meander off the beaten path. Album opener “Right Now” feels as if Twisted Pine have hired a drummer for the new album, but that’s just Sartori’s bass and Dan Bui’s mandolin chop effortlessly holding down a backbeat heavy groove under Kathleen Parks’ singing and fiddling and tasteful flourishes from Twisted Pine’s newest member, flutist Anh Phung.

“Amadeus Party” comes next; a “bluegrass band does James Brown funk” ensemble of stringed instrument mastery. After that comes the indie-rock island music vibe of “Papaya,” completing a near-perfect triangulation of what Twisted Pine’s sound is all about; an all-encompassing appetizer hinting at the album to come. Of course, the band had to add a little of Phung’s flute skills to a ripping bluegrass tune—something they’ve been sure not to leave behind while journeying into their own sound. “Come Along Judy” is just that, another opportunity for Twisted Pine’s musicianship to shine, this time over a tune penned by bluegrass fiddler Tex Logan. There’s a Father John Misty cover in there too, along with a short instrumental that starts in reverse—also, a song named after a Brazillian Steakhouse which started as a green room jam on tour.

Through the whirlwind of vibes, styles, and skills, Twisted Pine really gets their point across on Right Now. The band is capable of chasing whatever musical inspirations come their way without ever losing their signature sound—definitely a sound of their own, but one which nobody can quite pin down—that’s the way they like it. “The music is easier to feel than it is to describe,” Sartori says. “Genre is a construct anyways right?”

“An upbeat, poppy vibe; energetic, driving rhythms; virtuosic solos; tight harmonies. This is definitely a band to watch.” -NPR

Right Now Track Listing: 

Right Now

Amadeus Party

Papaya

Well, You Can Do It Without Me

Come Along Jody

Dreamaway

Talkeetna 

Don’t Come Over Tonight

Fogo de Chow

Tomorrow the Sun Will Rise

In “Road Runner,” the first release of original material since his acclaimed debut Fried Chicken and Evil Women, next-generation Texas honky-tonker Vincent Neil Emerson channels being on tour with his buddy and third-verse guest singer Colter Wall. This week, Garden & Gun premiered “Road Runner,” saying “Emerson’s quick-picking guitar twang and loose, relaxed vocals immediately evoke the feeling of the open road.” Fans can also watch Emerson play his new tune from the comfort of his own home via The Boot right here. For more information or to purchase, click here.

“Road Runner” came about after Emerson’s first tour with Wall. “Every day of that run with Colter felt like we were living in a Jimmy Martin song,” Emerson says. “I felt like I needed to try and capture that feeling as best as I could. My wife used to give me Road Runner trinkets and pins all the time, and it became our special little thing. I’d carry around this Road Runner pin with me for good luck. It reminded me of what was waiting back at home for me.” Emerson recorded “Road Runner” in Fort Worth at his friend Josh Block’s studio, Niles City Sound. “After originally cutting the track, it felt like something was missing,” says Emerson. “Every time I play the song live, it reminds me of my buddy Colter and every inch of highway we covered together. It made sense to ask him to be on this song with me, but honestly, it was a stroke of luck that we made it happen.” Noting the near impossibility of getting two touring musicians in the same town at the same time, Wall happened to be in town for Willie Nelson’s picnic when he recorded his parts for “Road Runner.”

“Road Runner” came about after Emerson’s first tour with Wall. “Every day of that run with Colter felt like we were living in a Jimmy Martin song,” Emerson says. “I felt like I needed to try and capture that feeling as best as I could. My wife used to give me Road Runner trinkets and pins all the time, and it became our special little thing. I’d carry around this Road Runner pin with me for good luck. It reminded me of what was waiting back at home for me.” Emerson recorded “Road Runner” in Fort Worth at his friend Josh Block’s studio, Niles City Sound. “After originally cutting the track, it felt like something was missing,” says Emerson. “Every time I play the song live, it reminds me of my buddy Colter and every inch of highway we covered together. It made sense to ask him to be on this song with me, but honestly, it was a stroke of luck that we made it happen.” Noting the near impossibility of getting two touring musicians in the same town at the same time, Wall happened to be in town for Willie Nelson’s picnic when he recorded his parts for “Road Runner.”

“I’m honored to have [Wall] sing on this one, and I’m thankful that he did. I hope all you folks out there have as much fun listening to it as we did making it. Hopefully, this ain’t the last you’ll see of me and him startin’ trouble together,” says Emerson. “See y’all on down the trail.” 

More About Vincent Neil Emerson: Vincent Neil Emerson has been preserving good-time, honky-tonk music all over Texas for years. Still a young songwriter, his performances are known for dancing as much as crying, and since the release of his debut, Fried Chicken and Evil Women, Emerson’s fan base has exploded, including fellow artists and celebrities like Jason Mamoa. From the East Texas dot, Myrtle Springs, Emerson comes from humble beginnings rooted in the Choctaw-Apache Tribe of Ebarb, Louisiana. As soon as he could, he cut out on his own, bouncing around until he landed in Fort Worth, Texas, where he began to make his living as a musician, in any barbecue and beer joint he could. In the eight years since he took the stage, Emerson has confirmed among listeners, that classic country is alive and well in his hands. The first pressing of his vinyl from independent label La Honda Records sold out within days, and the appreciation for his fans is immense. Taking a note on gratitude, Emerson can be found after his sets, mingling among the crowd, shaking hands and snapping selfies until they close the doors.

“I’m honored to have [Wall] sing on this one, and I’m thankful that he did. I hope all you folks out there have as much fun listening to it as we did making it. Hopefully, this ain’t the last you’ll see of me and him startin’ trouble together,” says Emerson. “See y’all on down the trail.” 

More About Vincent Neil Emerson: Vincent Neil Emerson has been preserving good-time, honky-tonk music all over Texas for years. Still a young songwriter, his performances are known for dancing as much as crying, and since the release of his debut, Fried Chicken and Evil Women, Emerson’s fan base has exploded, including fellow artists and celebrities like Jason Mamoa. From the East Texas dot, Myrtle Springs, Emerson comes from humble beginnings rooted in the Choctaw-Apache Tribe of Ebarb, Louisiana. As soon as he could, he cut out on his own, bouncing around until he landed in Fort Worth, Texas, where he began to make his living as a musician, in any barbecue and beer joint he could. In the eight years since he took the stage, Emerson has confirmed among listeners, that classic country is alive and well in his hands. The first pressing of his vinyl from independent label La Honda Records sold out within days, and the appreciation for his fans is immense. Taking a note on gratitude, Emerson can be found after his sets, mingling among the crowd, shaking hands and snapping selfies until they close the doors.  

Over the better part of the last four decades, Monte Warden and his songs have ebbed and flowed through the Austin music scene, influencing the city’s musical landscape as much as he’s been influenced by it. On June 19th, Warden proudly shared his critically acclaimed record Monte Warden & The Dangerous Few, which was cut live in two days at Austin's legendary Arlyn Studios. This album garners praises from outlets such as Glide Magazine, who declared, "The sound produced is enough to make you feel like you are in some smoky jazz club seeing this band perform live," and Austin Chronicle who applauded the album saying, "Warden's songs dance with the timelessness of his ageless tenor.." Other critics spotlight Warden's impressive transformation as an artist, like Americana Highways, who said, "He weaves in elements of big band sounds, vocal finesse and songs that tip their hat to the past but don't ever stay there." From the inception of The Wagoneers to having his songs cut by the likes of George Strait, Warden’s journey has taken quite a few turns but never meandered. The new album from Monte and his ace band of Austin musicians finds Warden, once again, expanding the boundaries of Americana. Monte Warden & The Dangerous Few is available today, click here to purchase.

Monte Warden & The Dangerous Few opens with “Black Widow,” a greasy trad-pop number accentuated by the smokey tones of muted trumpet and washy cymbals. Warden recalls, “This was the first song written for this project that fully encapsulated everything I envisioned: slinky, sexy, sophisticated and urbane.” This encapsulation is a result of an all-around team effort. In addition to the songs and instrumentation, Palermo and Telford share production credit with Tim Palmer (whose credits include U2, Pearl Jam, David Bowie) and Brandi Warden (multi-platinum music publisher, Monte’s co-writer, and wife). Visual artist Derek Yaniger provided the retro cover illustration.

“Martini” rollicks into the picture next, beautifully exemplifying the spirit of the project. “As we first started playing shows, new fans would come up & enthusiastically ask, ‘What do you call this music?!’ recalls Warden. “We described it as ‘martini music’.” When Brandi suggested they write a big, up-tempo ode to the martini, the crew jumped in the car, headed to Floyd Domino’s house and did their best “to just get the hell outta this song’s way.” The album continues, enthusiastically dancing around a common theme without being repetitive or tiresome, giving way to a big, gritty New Orleans burlesque feel in “Joy.” “When I was signed to A&M Records with The Wagoneers, I was given Herb Alpert’s (the label’s co-founder) entire catalog,” says Warden. “I was fascinated by the fact that each album featured one burlesque number; his thinking being that that cut would get played in the strip clubs! ‘Joy’ is my tribute to Mr. Alpert and those song arrangements.”

Monte Warden & The Dangerous Few continues to run the gamut of styles within a style. From the sweet waltz of “Anything But Love” to the album-closing “Wrong Side” which Warden describes as “something I felt could have been pitched to Sinatra for his 1955 quintessential album In The Wee Small Hours,” this album is a picture of Warden at his free-est, moving with the hustle of a city and turning heads as he briskly passes by. “For the first time in my career, there was no roadmap for me to follow, so I just allowed the songs to take me where they wanted to go,” says Warden, gratefully. “I feel this album captures this moment perfectly.”

Be sure to tune into the “Monte Warden Feel Good Hour” every Friday at 7pm CDT via https://www.facebook.com/montewarden.

“I don’t like bluegrass, but I love you guys,” is something Wood & Wire hear often from new fans, and while the band never claims to defy categorization—they are, after all, a four-piece band made up of guitar, bass, banjo, and mandolin—they certainly ignore the notion of musical boundaries. On August 28th, Wood & Wire will release No Matter Where It Goes From Here, a whirlwind of songs and styles sprung from the band’s punk, hardcore, and jazz backgrounds and crafted into a cohesive, collective work; one certainly capable of earning yet another Grammy nomination for the band. On this nine-song collection, Wood & Wire—Trevor Smith (Banjo, Vocals), Dom Fisher (Bass, Vocals), Tony Kamel (Guitar, Vocals), and Billy Bright (Mandolin, Mandola, Vocals)—combine virtuosic playing with engaging melodies and lyrics that range from mentions of Banksy and Kerouac (“John”), a social commentary on money and exploitation (“Pigs”), to the 1794 Whiskey Rebellion and steam-powered river travel. No Matter Where It Goes From Here was produced by Wood & Wire and Pat Manske (Robert Earl Keen, Ray Wylie Hubbard) at The Zone in Dripping Springs, TX. Fans can find out more about the album and pre-order at this link.

The first single “Pigs,” written by Kamel and Silas Lowe, is a driving Wood & Wire-style commentary on the power of money and its effect on everyday life. “This tune was originally inspired by my deep disdain for reality TV shows,” says Kamel. “It expanded as a social commentary on money and how we as a people consume, and are constantly manipulated by the constant flow of media information–and misinformation.” The music meets the message flawlessly and aggressively before leading into the next, more peaceful instrumental, “Roadie’s Circles,” joined by acoustic music legend, Peter Rowan. The song starts with Rowan’s lusty yodel, then weaves traditional bluegrass tempos into an intricate rondo of interconnected textures, with jazz-kissed Southwest breezes and a Spanish-guitar interlude.

They’ve been playing the historical song, “Spirit of ’94,” written by band friend Geoff Union of Ragged Union, since being invited to perform at the 2018 Whiskey Rebellion Festival, held annually in Washington, Pennsylvania, where the insurrection began. The charmingly melodic Robin Bernard/Dom Fisher tune “Paddlewheels” would totally steal the heart of late riverboat pilot John Hartford. The river also figures in Bright’s composition, “My Hometown,” an El Paso reminiscence in which he mentions, “My hometown is steeped in funk/My hometown’s got the border punk junk.” If those words evoke Punch Brothers before Stanley Brothers, that just affirms how broad the spectrum of bluegrass-oriented music really is.

Another standout is album-opener, “John,” a good-time swing about Kamel’s high school buddy who didn’t adhere to the life he was prescribed. John became a commercial salmon fisherman and artist in Alaska, Kamel a musician. It is an ode to the “seekers, searchers, and drifters” sung about in the song’s chorus; those that go against the grain and choose a direction less traveled.

In a way, that sentiment is a perfect precursor for an album full of unapologetic ideals that, when combined with world-class musicianship, results in a release to appease most everyone who will hear it. Bright sums up the artistic philosophy behind the band. Just getting to gigs, much less performing, staying together, sustaining the precarious lifestyle; the odds are stacked against success. “As performers,” he adds, “we understand this plight and that the only way forward, wherever we may land, is to put ourselves out there, no matter where it goes from here.” For Kamel, it applies not only to the band’s dynamic, but the bigger-picture uncertainty of their musical future in a pandemic-tilted world. “We’ll ride whatever wave that comes our way,” he assures. “We just can’t control what kind of wave that is.”

No Matter Where It Goes From Here Tracklisting:

John

Can’t Keep Up With You

Pigs

Roadie’s Circles (feat. Peter Rowan)

Spirit of ‘94

Home and the Banjo

My Hometown

Paddlewheels

Clamp’s Chute

As Luck would have it... we’re bringing Willie Nelson’s annual 4th of July Picnic to the people this year; part Picnics past, part what’s to come, and all in the spirit of the Picnic’s storied history. On July 4th, starting at 3:30 pm Central, fans will be able to enjoy interviews with characters from the Picnic’s past, and see new, live performances from their favorite Luck Family artists.

This year, Luck Productions was set to host the 47th annual event, welcoming the Picnic back to its hill country home. While the droves of sweaty Texas hippies and extended family members—blood kin and musicians alike—won’t be crowding into Willie’s Luck, TX, ranch this summer, the man himself will be performing alongside his band from his nearby recording facility, Pedernales Studios. In addition to Willie, performers will include the likes of Sheryl Crow, Ziggy Marley, Margo Price, Steve Earle, and Kurt Vile. A full list of confirmed performers can be found below. Tickets for digital admission are $35 ahead of the event and $45 day-of-show and can be purchased www.williepicnic.com.

This July 4th, the Picnic will kick off with a Prime Cuts episode with Chef Scott Roberts of Salt Lick BBQ and special guest Ray Benson, followed by live-streamed performances from Luck’s Saloon and Chapel stages before leading into a 90-minute concert film segment. The film will feature remote performances from Picnic artists, an all-star house band curated by The Texas Gentlemen’s Beau Bedford (featuring Charlie Sexton, John Michael Schoepf, and Josh Blue), and interviews and Picnic memories stitched in throughout. Additionally, SiriusXM’s Willie’s Roadhouse will broadcast the 90-minute stream to subscribers.

Tickets to the event grant access to highly curated food and beverage delivery packages from Assembly Kitchen, Austin Food and Wine Alliance grant recipients, and Sourced Craft Cocktails.

One dollar from each ticket sold will support The Luck Reunion Fund, managed by the Austin Community Foundation, directly benefiting five designated organizations. Budweiser, Michelob Ultra, and Karbach Love Street will also be matching donations. Beneficiaries for this event include All Together ATX, Six Square, Health Alliance for Austin Musicians, SIMS Foundation, and Central Texas Foodbank.

“Our goal with the 2020 Picnic is to bring it back to what it was—in the only way we can during these times. We were set to host this year's event at Luck, to welcome the Picnic back to its hill country home,” says Ellee Fletcher Durniak, co-founder of Luck Productions. “The Picnic is really one of a kind, it has always been scrappy. Cars on fire. Mass arrests. You name it...it happened at the Picnic.”

What: Willie Nelson’s 4th of July Picnic concert film experience and live stream

When: July 4th, 2020 at 3:30 pm Central

Where: www.luck.stream and www.williepicnic.com

How: Tickets can be purchased here; $35 pre-event, $45 day of show

Who: Willie Nelson & Family

Asleep At The Wheel

Charley Crockett

Devon Gilfillian

John Doe

Johnny Bush

Kinky Friedman

Kurt Vile

Lukas Nelson & Promise of the Real

Lyle Lovett

Margo Price

Matthew Houck (Phosphorescent)

The McCrary Sisters

Particle Kid

Randy Rogers & Wade Bowen

Ray Wylie Hubbard

Robert Earl Keen

Shakey Graves

Sheryl Crow

Steve Earle

The Peterson Brothers

Vincent Neil Emerson

Ziggy Marley

For eighteen years and counting, Northwest String Summit has brought fans of contemporary bluegrass, indy, funk, jam rock, and everything in between to the greater Portland area for what has become a highlight of the summer for festivalgoers nationwide. Usually taking place in North Plains’ beautiful Horning’s Hideout, this year’s String Summit’s 19th annual event, “Hiding Out At Home,” will take place entirely online with live, remote, and archival sets from festival favorites including Yonder Mountain String Band, Greensky Bluegrass, Del & Dawg, and more. See below for the initial lineup. As of today, 3-day tickets are available for Early Bird special pricing. Pass holders to the 2021 event will be emailed a one-time use discount code. Prices will increase on July 7th with even more top-tier talent to be announced. Click here to snag early bird pricing for the 3-night streaming event, July 17-19.

Hiding Out At Home 2020 artists: Yonder Mountain String Band, Greensky Bluegrass, Del & Dawg, Railroad Earth, The Infamous Stringdusters, Brendan Bayliss of Umphrey’s McGee, Pigeons Playing Ping Pong, Rick and Peter (aGOOSEtic) , Fruition, Paul Hoffman & Dave Bruzza of Greensky Bluegrass, Adam Aijala of Yonder & Andy Thorn (Leftover Salmon), Chris Pandolfi, Andy Hall & Jeremy Garrett of The Infamous Stringdusters, John Craigie, Bonnie Paine, Daniel Rodriguez of Elephant Revival, Arthur Lee Land, Jay Cobb Anderson & Kellen Asebroek of Fruition, Kitchen Dwellers, Shook Twins, Danny Barnes, Cascade Crescendo, Twang Is Dead, Fallen Heroes, TK & The Holy Know Nothings, with more artists to be announced soon!

For more information on upcoming artist announcements, photos, lineup archives, and ticketing, please visit stringsummit.com. 

For two decades, Will Hoge has carried the torch for American rock & roll, carving out his own blue-collar sound rooted in amplified guitars, melodic hooks, southern soul, and rootsy stomp. It's a sound that nods to the best moments of the past—the punch of Tom Petty's anthems; the countrified twang of Buck Owens' singing; the raw, greasy cool of the Rolling Stones—while still pushing forward into new territory with Hoge's storytelling and larger-than-life voice leading the charge on his new self-produced album, Tiny Little Movies, out today via Thirty Tigers. In the days leading up to Tiny Little Movies’ release, Associated Press called the album “Compelling soundtrack material for the progressive political movement,” adding “whether the subject is politics or romance, Hoge sings with a hungry heart.” Rolling Stone also praised Hoge’s passionate and direct songwriting, saying, “Content but far from complacent...On Tiny Little Movies, Hoge doesn’t sugarcoat tough topics.” Fans can see Hoge and his band play the album’s first single, “The Curse,” recorded live for Public Radio Music Day at NPR Music, and Tiny Little Movies be streamed or purchased here.

With a strong acoustic guitar strum and snare drum backbeat, “Midway Motel” opens Tiny Little Movies in a throwback rock and roll splendor, setting the tone well for an album in which Hoge chose to highlight the raw chemistry of his road band. After tackling the arrangements over four days in an East Nashville rehearsal space, Hoge, guitarist Thom Donovan, drummer Allen Jones, and bassist Christopher Griffiths headed into Trace Horse Studio and tracked each song live, together and inspired. "There's a classic, rock & roll centerpiece to everything this band does, but it's still a group of four different people, and we all bring different influences to the table," says Hoge, who turned to Grammy-winning producer/engineer Matt Ross-Spang (Jason Isbell, Margo Price, Lori McKenna) to mix the album at Sam Phillips Recording. "We've got a metalhead in the group. We've got a Motown fan. We've got a guitarist who loves Johnny Marr. It's a unique hodgepodge of sounds coming together, and we tried to accentuate that."

The album quickly settles into “Maybe This Is Ok,” an autobiographical song that finds Hoge chasing down inner peace with the realization that he’s done pretty well for himself, mistakes and all. On the atmospheric "Even the River Runs Out of This Town," Hoge pines for the one who got away or, more accurately, the one he allowed to get away, knowing she'd only be dragged down by his presence. "I love you so much, I ain’t asking you to stick around," he sings during the song's final moments. With a melodic guitar and bass intro that could just as easily be on a late-era Beatles record, “That’s How You Lose Her” quickly gives way to full-on Bob Seger arena rock; recalling all the wrong moves in the final days of a love-gone-wrong. Tiny Little Movies may nod to the heartland rockers who came before Hoge, but this is an album that stands in a theater of its own, accented by everything from the country storytelling of Hoge's southern roots to the soulful sway of his voice.

"I grew up loving rock & roll records, and that's my intent every time I go into the studio — to honor that sound," he says. "You get closer sometimes more than others. This time, I think we nailed it." The sound complements the songs on Tiny Little Movies, and the songs add more depth to Hoge’s career-spanning catalog of love lost, stories told, and lessons learned; a little wiser and more patient with each new album. "I spent years worried about things falling apart—personally, musically, emotionally, financially, you name it,” Hoge recalls. “As I've gotten better at my life, there’s a moment of realizing that this is it. It is where it is supposed to be. So I've been looking around, embracing the good and the bad, hoping to change what I can, and accepting the things I can’t."  It's Hoge at his best; raw, amplified, and inspired, with enough hunger to keep him inspired and enough contentment to add perspective to his rougher edges.

In light of shelter in place orders nationwide, Will Hoge has momentarily been trading the road for the world wide web with a series of webcasts from his home in Nashville. Hoge has been on a roll with his My House To Your House Tour. Tonight, June 26th, at 5pm Central, Hoge will host a special album release webcast.

Tiny Little Movies Tracklisting:

Midway Motel

The Overthrow

Maybe This Is Ok

Is This All That You Wanted Me For

Even The River Runs Out Of This Town

My Worst

That’s How You Lose Her

Con Man Blues

Likes Of You

The Curse

All The Pretty Horses

High Sierra is recapping some of their favorite sets from 29 years of High Sierra, and the lineup is truly incredible.

Home Sierra, 4 days of curated live recordings from 29 years of High Sierra Music Festival starting today, July 2nd and going through July 5th. This year's Home Sierra event is presented by Sierra Nevada Brewery and hosted by KVMR 89.5FM & 105.1FM.

The High Sierra team just announced this weekend's schedule and incredible lineup of past performances. Featured acts include: Del McCoury Band, The Lumineers, Allen Stone, Railroad Earth, Marcus King Band, and many more.

All info here: http://highsierramusic.com/home-sierra/

For eighteen years and counting, Northwest String Summit has brought fans of contemporary bluegrass, indie, funk, jam rock, and everything in between to the greater Portland area for what has become a highlight of the summer for festivalgoers nationwide. Usually taking place in North Plains’ beautiful Horning’s Hideout, this year’s String Summit’s 19th annual event, “Hiding Out At Home,” will take place entirely online on July 17-19 with live, remote, and archival sets and interviews from festival favorites including Yonder Mountain String Band, Greensky Bluegrass, Del & Dawg, Brendan Bayliss (Umphrey’s McGee) and many, many more. See below for the entire lineup. As of today, 3-day passes are still available for $39.99 and single-day passes will go on sale for $15.99 this Thursday, July 16th, at 10 am Pacific. All passes can be purchased at this link. A full list of performances—live, remote, and archival—can be found below.

Longtime String Summit-goers will be happy to know that the annual Lilli Trippe Memorial Headshave will be held digitally on Sunday’s stream. The festival’s emcee, Pastor Tim Christensen, will be shaving his head for the 2nd time for this amazing cause. Click here for a history of this loving festival tradition. Conscious Alliance’s Art That Feeds food drive is offering a unique commemorative Hiding Out At Home poster benefitting the Washington County, Oregon, Food Shelter. The poster is available here and other virtual String Summit merchandise can be purchased here. Every festivalgoer’s favorite non-partisan voter registration organization, HeadCount, will also be participating in Hiding Out At Home to help bring awareness to the election year cycle and to aid viewers in registering to vote.

“The intent of this project is to co-create something NEW and exciting alongside—albeit 6ft apart—many of our Kinfolk and industry family; something that will help, in our own way, ease some pains and frustrations of the current state of affairs through art, music and virtual community,” say festival organizers in a statement regarding this year’s Northwest String Summit live stream. “It is an understatement to say that it is tough to see the beautiful brothers and sisters of the music industry—crew and artists—struggle so much without income, gigs, and only a few outlets of expression. This stream is for them! Much of the money raised by the Virtual NWSS will go back to the artists and crew of our event and industry. By doing so we feel we've created a beautifully unique product that truly captures the energetic essence of NWSS at Horning's Hideout. We believe that you will feel much of the same love, excitement, and community as is if you were actually there...with a little less dust.”

For more information on Hiding Out At Home: A Virtual Northwest String Summit and to buy passes and commemorative merchandise, please visit stringsummit.com

Live Performances: Yonder Mountain String Band, Paul Hoffman & Dave Bruzza (Greensky Bluegrass), Adam Aijala (YMSB) & Andy Thorn (Leftover Salmon), Chris Pandolfi, Andy Hall & Jeremy Garrett (The Infamous Stringdusters), John Craigie, Bonnie Paine, Daniel Rodriguez (Elephant Revival), Arthur Lee Land, Jay Cobb Anderson & Kellen Asebroek (Fruition), Twang Is Dead, Fallen Heroes, TK & The Holy Know Nothings, Scott Law & Samson Grisman, World’s Finest, Burle with Melissa McGinley & Tyler Grant, and Wood Belly.

Remote Performances: Brendan Bayliss performs 30db (Umphrey’s McGee), Rick & Peter aGOOSEtic, Mimi Naja (Fruition), Kitchen Dwellers, Danny Barnes, Cascade Crescendo, and Pete Kartsounes

Archival Performances: Yonder Mountain String Band (6/2/2004), Greensky Bluegrass (7/21/2018), Del McCoury Band (7/18/2015), Del & Dawg (7/19/2015), Railroad Earth (7/19/2018), The Infamous Stringdusters (7/20/2018), Pigeons Playing Ping Pong (7/19/2019), and Fruition (7/20/2019).

Interviews: Yonder Mountain String Band, Greensky Bluegrass, The Infamous Stringdusters, Railroad Earth, John Craigie, Shook Twins, Kitchen Dwellers, Portland Independent Venue Owners, and the Frilli For Lilli Memorial Head Shave

East Nashville rock band The Love-In are redefining what the ‘Nashville sound’ is with their new EP As It Lays, announced today. Set for release on September 4, the group teamed up with acclaimed producer Collin Pastore (Lucy Dacus, Julien Baker, Phoebe Bridgers) to create the five-song EP that focuses on not only recognizing, but breaking down the ways that social norms and gender roles discourage individuality and the mirage that conformity is what we ought to strive to achieve. Yesterday, the debut single and title track “As It Lays” premiered via Underground Music Collective. “As It Lays” is out everywhere today, and fans can pre-order the full EP here.

Recently re-branding as The Love-In, As it Lays is the band’s first EP under the new moniker. Looking to literature, music, and movies, the majority of the album was influenced by strong female authors and artists and the way women have been portrayed over time. “The title track ‘As It Lays’ was inspired by Joan Didion’s 1970 novel, ‘Play it As it Lays’. I read it at a time when it felt like my whole life was falling apart,” main songwriter and lead singer Laurel Sorenson explains, “Didion’s journalistic approach to despair resonated with my own outlook. The main character has very little personal sovereignty, but finds that driving on the freeway each morning is a way to bring order to her personal chaos.”

Album closer “Pure Gold Baby” was actually inspired by two separate pieces of literature from female icons – Sylvia Plath’s poem “Lady Lazarus,” published posthumously in 1965, and Betty Friedan’s “The Feminine Mystique,” which is widely credited with sparking the beginning of second-wave feminism in the US. “I read both works thinking I would see what it must have been like for women in the 1960s, but was shocked to find my own experiences reflected back at me,” says Sorenson, “Women are praised for being self-sacrificing and never thinking about what they want for themselves. They are discouraged from analyzing their own lives. ‘Pure Gold Baby’ is about what it’s like to try and live up to the ideal of the perfect woman. Trying to be someone’s dream girl can turn you into a real nightmare.”

As It Lays also draws on experiences and personal realizations from Sorenson’s own life. “‘Save My Life’ came out of a conversation with my friend and co-writer Kaycie Satterfield about the expectations of womanhood. We talked about how society puts women into categories that are reflected on the screen. As little girls we were often asked about who our favorite Disney princesses were, and realized the answer to that question informed the kind of women we hoped to become. As we got older we realized that pornography also informed how people viewed women and how they were expected to look and behave. The ways women are portrayed are often contradictory to one another and entirely unrealistic. ‘Save My Life’ was about letting go of those images and expectations and laughing at how unachievable they are for real women.”

On As It Lays, The Love-In strives to dismantle social narratives and expose them for what they truly are—destructive and dangerous.

All things on The Love-In can be found at https://thelovein.band

Swift Current, Saskatchewan - Colter Wall fans have long adored the lonesome sound of his live versions of “Cowpoke,” the Stan Jones classic cowboy tune. The big sky sound continues with Wall’s full-band studio version of “Cowpoke” off of his upcoming, self-produced album, Western Swing & Waltzes and Other Punchy Songs. Harmonica, a fitting addition to the classic timbre of Wall’s iconic voice, leads the song into a hopeful territory, while notes of pedal steel guitar and mandolin provide a sentimental grace. Listed by the Western Writers of America as one of the best Western songs of all time, “Cowpoke” is a fitting tune for Wall, and the release of his version will ensure that the classic song will stick around. Fans can hear “Cowpoke” on all digital service providers or at this link.

In addition to the premiere of “Cowpoke,” Wall just released a surprise live performance video as part of a new series he calls “The Bunkhouse Sessions.” The first song, “I Ride an Old Paint/Leavin’ Cheyenne” is a tease and nod to his much-anticipated upcoming album. Shot in a bunkhouse on the ranch of Wall’s friend and actor, Beau Smith, the video features the songwriter seated by a bedroll and coffee maker just in front of Ray McGuffin and Tom Ryan paintings which hang on the plywood interior wall of the bunkhouse. Wall listed this video as “Episode 1” on his social media accounts, promising more to come from the Western singer and his label, La Honda Records. Watch Episode 1 of The Bunkhouse Sessions here. 

Visit ColterWall.com for more information or to pre-order.

More About Colter Wall: From the prairies of Saskatchewan, Canada, Colter Wall, is known for his songwriting and unparalleled voice. Steeped in Western tradition and historic influence, the music of Colter Wall has soundtracked movies such as Hell or High Water, Peanut Butter Falcon, and Deadwood, in addition to TV series Yellowstone and HBO’s Run, while catching the ears of celebrities, critics, and fans worldwide. His recent appearance on Austin City Limits TV set the direction of Country & Western music’s future. Still a young artist, Colter Wall’s discography includes the breakout Imaginary Appalachia, two acclaimed full-length collections, Colter Wall and Songs of the Plains.

With his new release, Western Swing & Waltzes and Other Punchy Songs, it was Wall’s turn to take the production reigns. His band. His choices. And the finished product is diverse and effortlessly cool, with an extra log or two on the fire. About the album, Wall said, “these songs are punchier than I am.” Giving credit where credit is due however, Wall is no slouch on the ranch. As any new cattleman would, he adds to his herd, as he does his musical legacy with Western Swing & Waltzes and Other Punchy Songs, available everywhere on August 28th via La Honda Records/Thirty Tigers.

A true son of the new, progressive South, Warren Givens has spent the last half of his life on the move, chasing a muse—from Mississippi to Nashville to New Orleans to Austin—but it wasn’t until he returned to Asheville, North Carolina, that Givens saw the clearer, bigger, balanced picture. On August 7th, Givens will release Rattle the Cages, a full-length album in two parts; the first half being electric, synthesized, rock and roll versions of his new songs and the second half the same songs, dialed back to the acoustic roots of what made Givens tick in the first place. Produced and engineered by fellow Asheville-based musician Seth Kauffman (Floating Action, Ray LaMontagne, Day of the Dead), Rattle the Cages gives fans a look into the extreme ends of what a set of songs can sound like from inception to release, all while navigating a global pandemic throughout the recording process; the second half of the album was finished via voice memos and text messages between Givens and Kauffman. “The balance between the two versions was very important because folk music is at the core of everything that I do,” says Givens. “So, while wanting to venture into new waters with the full band versions, I felt it was necessary to keep the reminder of my musical roots.” American Songwriter premiered the album’s title track(s), praising Givens’s tried and true approach of “making good music for people to dig—after that, let the chips fall where they may,” and The Bitter Southerner premiered “Broken Wing,” saying, “this song feels really right for right now.” Fans can pre-order or pre-save the entirety of Rattle the Cages at this link.

“This record means saying ‘screw it’ by throwing out my fears and trusting myself in a way that I've never experienced before,” says Givens on his state of mind during the writing and recording process of Rattle the Cages. “I set out to simultaneously write and record the most natural songs I could muster, and also to record them in a way that pushes the envelope while mirroring my evolving influences.” In the end, what made the most sense for Givens and Kauffman was not meeting in the middle on vibe and feel, but fleshing out both ends of the spectrum to their fullest extent; setting up a double EP of sorts on which there are no compromises. The aforementioned “Broken Wing” feels strikingly different from its electric version to the acoustic version, but, like the rest of the pairs of songs on the album, the song itself always gets the spotlight.

“You’re On My Mind” is the one song on Rattle the Cages which doesn’t get the double-version treatment; a connector of the two different sides. It’s also the only song to feature a musician that isn’t Givens or Kauffman, Warren’s sister and longtime collaborator, Ivy Givens, on vocals and fiddle. “Ivy flew down from New York, and we gathered around one big dynamic mic–old school bluegrass style,” Givens recalls. “We did guitar, fiddle, and our vocals live, maybe two takes tops, and then Seth added the drums, bass, and electric guitar.” When Givens speaks about the process, both with each song individually and the album as a whole, his tone matches that of the songs; a beautifully lighthearted approach to some pretty complicated stuff. Givens’s renewed approach to making records showcases an effortless and uncontrived maturity and growth only found in artists who get out and do some living in between each record cycle, and it shows. “Everything on Rattle the Cages was written and recorded with the conscious mindset of ‘first take’ to embrace the anomalies, not get bogged down with meticulous edits, and just have some damn fun.”

More About Warren Givens: Givens has toured the country as a utility musician for the Grammy-nominated bluegrass act Steep Canyon Rangers and duetted with country superstar Miranda Lambert on her song "Old Shit" (earning recognition from Rolling Stone along the way). American Songwriter has enthusiastically recommended his "rootsy rock & rollers and modern Americana folksongs," while The Boot praises his "unique lyrical perspective married to a genuine sense of song craftsmanship." Givens’ new album Rattle the Cages will be available on August 7th.

Rattle the Cages Tracklisting: 

Asylum Avenue

Broken Wing

Rattle the Cages

Angels and Demons

Bad Weather

You’re On My Mind

Asylum Avenue - Acoustic

Broken Wing - Acoustic

Rattle the Cages - Acoustic

Angels and Demons - Acoustic

Bad Weather - Acoustic

Festival organizers announced today that MerleFest, presented by Window World, will be moving to the weekend of September 16-19, 2021. MerleFest, dubbed by Rolling Stone as “the gold standard for bluegrass, Americana, and string-music festivals,” is normally held the last weekend of April, but the 2020 festival was canceled due to public safety concerns amidst the COVID-19 outbreak. Officials stressed that this would be a one time only move to the fall and they plan to return to the traditional April weekend in 2022. “We chose to announce this change now to give everyone an opportunity to put this on their calendar and to allow us time to secure all artists and contract the necessary support services,” said Festival Director, Ted Hagaman. “Lineup information and other festival details will be coming soon.”

“After months of deliberation and extensive research with leading medical experts we feel it is in the best interest of our fans, artists, staff, college, and community to reschedule the 2021 festival to the fall,” stated Hagaman. “We have a reputation for providing a quality, safe, and organized festival and feel this move is necessary to again deliver that type of event. We’d like to express appreciation to many for their ‘can do’ spirit in rearranging schedules and plans to accommodate this move. I’d especially like to thank the organizers of Carolina in the Fall for agreeing to forego their festival next year in order to support our festival. It truly is a team effort in our community.” 

There’s something to be said about the ingenuity it takes to put a group of great musicians together in a great room to record great songs and having them all coming together in one take. Undoubtedly, James Lee Baker has just pulled it off. Coming as no surprise to Baker’s existing fans—No Depression once said, “to call him anything other than brilliant would be criminal”—his new album 100 Summers accomplished this feat with graceful execution and the backbone of timeless songs and stories. Out everywhere September 4th, 100 Summers is an eleven-song collection of soothing folk-song melodies that circle around a centralized theme; that of personal transformation. Today, American Songwriter premiered “Santa Barbara,” the album’s second single. In July, Glide Magazine premiered the album’s first single and video, “18-Wheeler (I’m Coming Home),” calling it “poetry at its purest — tender, touching and flush with sweetness, sadness, and sentiment in equal measure.” Pre-order 100 Summers here.

Recorded in one-take recordings at Blue Rock Studios in Wimberly, Texas, 100 Summers finds Baker working with an exceptional group of collaborators — among them, Chris Bell (the man behind the boards for the Eagles, Don Henley and Christopher Cross), Doug Pettibone (John Mayer, Jewel, Lucinda Williams), Roscoe Beck (Leonard Cohen, Eric Johnson), Paul Simon’s Grammy-winning accompanist Joel Guzman, Americana Songwriter of the Year nominee Mark Erelli, and Laurie MacAllister from the famed folk group Red Molly. “I elected to record at the most appropriate studio I could find, with the best session players I could afford and the right engineers for the genre,” Baker reflects. “I aimed to give this everything I had in hopes that people who are seeking it can receive it.”

The aforementioned theme of “personal transformation” rears its head more obviously in some places than in others—“Santa Barbara” being a good example of the former. The rejoicing refrain of “Santa Barbara, I have come to hear your mission bells ring” precedes Baker’s proclamation; “I am here to start a new life again.” “In a way, the second verse is a kind of double entendre,” says Baker. “While I’m talking about the city and its hay days and eventual struggles, I’m really talking to myself and trying to give a needed pep talk—’you were a treasure chest of the gold rush, once a dangerous and lawless place.’” Album opener and title track “100 Summers” explores a more subtle change; one that comes through maturity and reflection. “As I grow older, it becomes clearer to me what truly matters most in this short and fragile life we have,” Baker reflects. “For me, it is my family, my pursuit for integrity, and my focus on craftsmanship as an artist. While I am always learning, I am coming to find material things and adventurous experiences pale in comparison to the tender and priceless moments I share with my family and dearest friends.”

On the whole, 100 Summers reflects a noble effort in Baker’s ongoing quest to put pen to paper to song to microphone in a way that not only relates to his life experience but, universally, the lives of anyone who might listen. With his shimmering 100 Summers, that quest continues.

100 Summers Track Listing:

1. 100 Summers

2. Misinterpreting the Angels

3. Santa Barbara

4. Wipe the Dust off Your Bellows

5. Returning to Paris

6. A New Man's World

7. 18-Wheeler (I'm Coming Home)

8. The Last Cowboy in Hutchinson County

9. Leave the Saving Souls for Later

10. Breaking Through the Sunbeams

11. If Eve Hadn't Eaten the Apple

In an ongoing effort to celebrate the musical accomplishments, extraordinary talent, community spirit, and creative soul of artists, Whippoorwill Arts is gearing up for the first-ever virtual Whippoorwill Arts Festival this August 29th and 30th. A combination of virtual workshops, live music streams, real-time Q&A sessions, and more, this year’s Whippoorwill Arts Festival will be especially focused on 2020 Whippoorwill Arts Artist Award winners Brittany Hass, Annie Staninec, Snap Jackson, and Kamara Thomas, as well as Master Artist Award winner, the legendary Ramblin’ Jack Elliott. The brainchild of Jim Nunally and Nell Robinson of Nell & Jim Band, Whippoorwill Arts was founded with the sole purpose of nurturing and expressing their own creativity and the creativity of the folks they respect and love from the roots music community. With those goals in mind, the aforementioned recipients of the 2020 Whippoorwill Arts Artist Award will be granted $25,000 to support their own creative endeavors, as well as an opportunity to be featured Whippoorwill Arts Festival performers. Live stream both days of Whippoorwill Arts Festival right here and find out more about this year’s award winners here.

Starting Saturday, August 29th, and Sunday, August 30th, at 9 am PDT, music fans and Whippoorwill Arts supporters will be able to stream and participate in two entire days of music workshops and live performances. In addition to 2020 award-winners, hosts Nell & Jim Band will perform as well as guitar virtuoso Molly Tuttle and Northern California string music legend, Keith Little. Workshops are set to touch on subjects from beginner-friendly bluegrass, to blues expression, to collaborative songwriting, with all money raised going to the respective workshop instructor. A full performance and workshop schedule can be found below.

When: Saturday, August 29 and Sunday, August 30

What: Whippoorwill Arts Festival

Time: Saturday, August 29 9 am PDT to 6:30 PM PDT

Sunday, August 30 10:30 am PDT to 6 PM PDT

Where: Facebook Live

Schedule: nellandjim.com/whippoorwill-arts-festival

Featuring: Workshops, Music, Live Q&A and more! Music by Nell & Jim Band, Ramblin’ Jack Elliott, Brittany Haas, Snap Jackson, Kamara Thomas, Annie Staninec, Molly Tuttle and Keith Little

To register for workshops and more info: nellandjim.com/whippoorwill-arts-festival.

Whippoorwill Arts Festival 2020 Schedule:

Saturday, August 29th

1pm PDT Snap Jackson 

2:15pm PDT pm Nell & Jim Band

3:15pm PDT Brittany Haas

4:15pm PDT pm Kamara Thomas

5:30-6:30pm PDT Whippoorwill Arts Happy Hour Social Mixer

Workshops

9-10am PDT: Energetic Voice with Kamara Thomas

10:30-11:30am PDT: Blues Expression Workshop with Chad Manning 

12-1pm PDT: Fiddle Fills with Annie Staninec

Sunday, August 30th

1pm PDT Panel Discussion: Annie Staninec, Snap Jackson, Kamara Thomas, Ramblin’ Jack Elliott, Brittany Haas

2:30pm PDT Annie Staninec

3:30pm PDT Keith Little

4:30pm PDT Molly Tuttle (is this supposed to say 4:30om?)

5:15pm PDT Ramblin Jack Elliott

Workshops

10:30-11:30am PDT: How to Create Inclusive Spaces in Traditional Music with Bluegrass Pride

12-1pm PDT: Collaborative Songwriting with Nell Robinson & Jim Nunally

Roses, Skylar Gregg’s new, soulful collection of self-penned songs, is an effortless amalgamation of her lifelong blues, soul, and country influences and a time-honed skill of crafting thoughtful songs out of real-life experiences. Released today, Roses has already been praised by American Songwriter, who called album single “Long Way Back” a “rich, bluesy sound that’s as American as hot dogs on the 4th of July” before claiming that “The energy and passion her powerful vocal performance injects into the song not only conveys the heartfelt message behind the lyrics but makes the song a unique achievement.”

Glide Magazine called Roses “a fully-realized project that fuses old and modern sounds with lyrics that make you think” and East Nashvillian said that album-track “Landfill” “fits into the imagination of driving down a kudzu-lined gravel road in the summer heat just outside of Muscle Shoals listening to the AM radio in the late ’60s.” Overall, the verdict is in; Skylar Gregg has spent the last ten years sharpening her sound—one that can invoke dancing as easily as it could tears—and it’s time for the world to hear. Fans can now stream or purchase Roses in its entirety here.

Produced by Jon Estes, whose credits both on stage and in the studio include John Paul White, Steelism, Robyn Hitchcock, and Langhorne Slim, Roses is a compilation of stories spanning Gregg’s life over the past decade; “Long Way Back” was written all the way back in 2009 while “Everything’s Gonna Be Fine” and “Southern Strain” were penned just last year. Gregg says, “I think I have spent the past ten years learning who I am. And by proxy who my artist is. And that discovery has been my biggest life lesson. This record is the realest I have ever been.”

Roses Tracklisting: 

Long Way Back

Roses

Landfill

40e and 40w

I Already Know

Never Enough 

Witch Hunt 

Everything's Gonna Be Fine

Have You Ever Tried To Lose Your Mind

Drunk In Nashville

Southern Strain

Twisted Pine—once a straightforward, Boston-based bluegrass act—has been hard at work, busily evolving into what the Boston Globe now calls “something else, a wider version of a string band; boundary jumpers akin to outfits like Punch Brothers, Nickel Creek, and Crooked Still.” Their influences certainly don’t stop there—Twisted Pine’s collective instrumental and songwriting skills should also be listed in the same echelon of contemporaries like Vulfpeck or Hiatus Kaiyote or Lake Street Dive. Today, their new album Right Now hit shelves and streaming services worldwide. American Songwriter premiered a music video for the album’s first single, “Don’t Come Over Tonight,” doting over the band’s “bluegrass, indie folk-and-funk concoction,” and No Depression said of the album, “Instrumental virtuosity—the band’s calling card—abounds on their latest album, Right Now, but so too do moments of sheer pop glory, funky all-day grooves, and spacecraft sonics.” Fans can now stream and purchase Right Now at this link.

Right Now is ripe with the grooves of 2 am funk jams, the sass of zero-gravity pop, and the astral flute and shoobedoos of 70s radio; all from fairly traditional instruments played in a very non-traditional way. “You could call it, ‘neo-folk indie soul avant jazz jam grass-icana’ but that doesn’t quite roll off the tongue,” says Twisted Pine bassist, Chris Sartori. The band is among a new generation of line-blurrers; musician musos who don’t see any reason not to let their influences mingle and meander off the beaten path. Album opener “Right Now” feels as if Twisted Pine hired a drummer for the new album, but that’s just Sartori’s bass and Dan Bui’s mandolin chop effortlessly holding down a backbeat heavy groove under Kathleen Parks’ singing and fiddling and tasteful flourishes from Twisted Pine’s newest member, flutist Anh Phung.

“Amadeus Party” comes next—it’s “what happens when the Punch Brothers meet Jean-Luc Ponty and Ian Anderson,” wrote Folk Alley. After that comes the indie-rock island music vibe of “Papaya,” completing a near-perfect triangulation of what Twisted Pine’s sound is all about; an all-encompassing appetizer hinting at the album to come. Of course, the band had to add a little of Phung’s flute skills to a ripping bluegrass tune—something they’ve been sure not to leave behind while journeying into their own sound. “Come Along Judy” is just that, another opportunity for Twisted Pine’s musicianship to shine, this time over a tune penned by bluegrass fiddler Tex Logan. There’s a Father John Misty cover in there too, along with a short instrumental that starts in reverse—also, a song named after a Brazilian Steakhouse which started as a green room jam on tour.

Through the whirlwind of vibes, styles, and skills, Twisted Pine really gets their point across on Right Now. The band is capable of chasing whatever musical inspirations come their way without ever losing their signature sound—definitely a sound of their own, but one which nobody can quite pin down—that’s the way they like it. “The music is easier to feel than it is to describe,” Sartori says. “Genre is a construct anyways, right?”

Canadian Country and Western star Colter Wall just dropped “High & Mighty,” the final single from his upcoming, self-produced album Western Swing & Waltzes and Other Punchy Songs before its release on August 28th. “‘High & Mighty’ is a Saskatchewan saddle bronc song written by Lewis Martin Pederson III,” says Wall. “LMP hails from around Abbey, Saskatchewan, not far from where I grew up. He’s known for rodeoing, his poetry, and in the ’70s he put out three great records—that I know of. Saddle bronc riding is my favorite rodeo event and upon hearing Pederson’s album Rodeo No.1 Sport, I immediately knew I wanted to cut it on a record.” Fans can stream “High & Mighty” now right here.

In addition to the premiere of the studio version of “High & Mighty” Wall just released a live performance video of the song as part of his new series, “The Bunkhouse Sessions.” Shot in a bunkhouse on the ranch of Wall’s friend and actor, Beau Smith, the video features the songwriter seated by a bedroll and coffee maker just in front of Ray McGuffin and Tom Ryan paintings which hang on the plywood interior wall of the bunkhouse. Watch “High & Mighty” here and catch up on Bunkhouse Sessions episodes here.

Wall’s name has been popping up everywhere in the lead up to Western Swing & Waltzes. From underground music blogs to a feature with the legendary outdoor brand, Filson, to a broad swath of celebrity fans. Recently, comedian and podcast magnate Joe Rogan dubbed Wall “legit as f***” and NASCAR driver Bubba Wallace name-dropped Wall in his recent GQ feature. Longtime fan Jason Momoa just featured Wall’s music exclusively in a gone-viral video about restoring his wife, Lisa Bonet’s, first Ford Mustang. Needless to say, Wall’s voice and songs have attracted fans from all walks of life and his new record isn’t even out yet.

More About Colter Wall: From the prairies of Saskatchewan, Canada, Colter Wall, is known for his songwriting and unparalleled voice. Steeped in Western tradition and historic influence, the music of Colter Wall has soundtracked movies such as Hell or High Water, Peanut Butter Falcon, and Deadwood, in addition to TV series Yellowstone and HBO’s Run, while catching the ears of celebrities, critics, and fans worldwide. His recent appearance on Austin City Limits TV set the direction of Country & Western music’s future. Still a young artist, Colter Wall’s discography includes the breakout Imaginary Appalachia, two acclaimed full-length collections, Colter Wall and Songs of the Plains.

With his new release, Western Swing & Waltzes and Other Punchy Songs, it was Wall’s turn to take the production reigns. His band. His choices. And the finished product is diverse and effortlessly cool, with an extra log or two on the fire. About the album, Wall said, “these songs are punchier than I am.” Giving credit where credit is due however, Wall is no slouch on the ranch. As any new cattleman would, he adds to his herd, as he does his musical legacy with Western Swing & Waltzes and Other Punchy Songs, available everywhere on August 28th via La Honda Records/Thirty Tigers.

“I don’t like bluegrass, but I love you guys,” is something Wood & Wire hear often from new fans, and while the band never claims to defy categorization—they are, after all, a four-piece band made up of guitar, bass, banjo, and mandolin—they certainly ignore the notion of musical boundaries. Today, Wood & Wire released No Matter Where It Goes From Here, a whirlwind of songs and styles sprung from the band’s punk, hardcore, and jazz backgrounds and crafted into a cohesive, collective work; one certainly capable of earning yet another Grammy nomination for the band. Already, No Matter Where it Goes From Here has garnered praise from the likes of American Songwriter, No Depression, Wide Open Country, Fretboard Journal, and The Boot ahead of today’s release. Fans can stream or purchase the album now at this link.

On this nine-song collection, Wood & Wire—Trevor Smith (Banjo, Vocals), Dom Fisher (Bass, Vocals), Tony Kamel (Guitar, Vocals), and Billy Bright (Mandolin, Mandola, Vocals)—combine virtuosic playing with engaging melodies and lyrics that range from mentions of Banksy and Kerouac (“John”), a social commentary on money and exploitation (“Pigs”), to the 1794 Whiskey Rebellion and steam-powered river travel. No Matter Where It Goes From Here was produced by Wood & Wire and Pat Manske (Robert Earl Keen, Ray Wylie Hubbard) at The Zone in Dripping Springs, TX.

The first single “Pigs,” written by Kamel and Silas Lowe, is a driving Wood & Wire-style commentary on the power of money and its effect on everyday life. “This tune was originally inspired by my deep disdain for reality TV shows,” says Kamel. “It expanded as a social commentary on money and how we as a people consume, and are constantly manipulated by the constant flow of media information–and misinformation.” The music meets the message flawlessly and aggressively before leading into the next, more peaceful instrumental, “Roadie’s Circles,” joined by acoustic music legend, Peter Rowan. The song starts with Rowan’s lusty yodel, then weaves traditional bluegrass tempos into an intricate rondo of interconnected textures, with jazz-kissed Southwest breezes and a Spanish-guitar interlude.

They’ve been playing the historical song, “Spirit of ’94,” written by band friend Geoff Union of Ragged Union, since being invited to perform at the 2018 Whiskey Rebellion Festival, held annually in Washington, Pennsylvania, where the insurrection began. The charmingly melodic Robin Bernard/Dom Fisher tune “Paddlewheels” would totally steal the heart of late riverboat pilot John Hartford. The river also figures in Bright’s composition, “My Hometown,” an El Paso reminiscence in which he mentions, “ My hometown is steeped in funk/My hometown’s got the border punk junk”. If those words evoke Punch Brothers before Stanley Brothers, that just affirms how broad the spectrum of bluegrass-oriented music really is.

Another standout is album-opener, “John,” a good-time swing about Kamel’s high school buddy who didn’t adhere to the life he was prescribed. John became a commercial salmon fisherman and artist in Alaska, Kamel a musician. It is an ode to the “seekers, searchers, and drifters” sung about in the song’s chorus; those that go against the grain and choose a directionless traveled.

In a way, that sentiment is a perfect precursor for an album full of unapologetic ideals that, when combined with world-class musicianship, results in a release to appease most everyone who will hear it. Bright sums up the artistic philosophy behind the band. Just getting to gigs, much less performing, staying together, sustaining the precarious lifestyle; the odds are stacked against success. “As performers,” he adds, “we understand this plight and that the only way forward, wherever we may land, is to put ourselves out there, no matter where it goes from here.” For Kamel, it applies not only to the band’s dynamic, but the bigger-picture uncertainty of their musical future in a pandemic-tilted world. “We’ll ride whatever wave that comes our way,” he assures. “We just can’t control what kind of wave that is.”

No Matter Where It Goes From Here Tracklisting:

John

Can’t Keep Up

Pigs

Roadie’s Circles (feat. Peter Rowan)

Spirit of ‘94

Home and the Banjo

My Hometown

Paddlewheels

Clamp’s Chute

Today, 24-year-old Colter Wall, whose dusty baritone voice and deep well of stories are almost single-handedly carrying traditional western music into the future, released his new self-produced album. About the album, Wall said, “these songs are punchier than I am.” Giving credit where credit is due however, Wall is no slouch on the ranch. As any new cattleman would, he adds to his herd, as he does his musical legacy with.

Already, Associated Press has praised Wall’s distinctive voice and Apple Music Canada added the new album to their 10 Albums You Must Hear This Month (August). The 10-track ode to the themes and labors of western life picks up where his last album left off, with a reverence for his “working cowboy kin” and a whole mess of cowboy songs. Fans can now hear or purchase the much anticipated Western Swing & Waltzes and Other Punchy Songs here, from La Honda Records/ Thirty Tigers.

Along the Blanco River bank, outside the small town of Wimberley, Wall rounded up his band, hot off a North American tour, to lay down these ten new songs at Yellow Dog Studios, deep in the heart of Texas. From his previous recording sessions with Dave Cobb at the helm, Wall began to take in what it meant to produce a record; the decision making, risk-taking, and band-leading all learned along the way. With Western Swing & Waltzes, it was Wall’s turn to take the reins. His band. His choices. And the finished product is diverse and effortlessly cool, with an extra log or two on the fire.

Songs like “High & Mighty,” cowboy poet and rancher Lewis Martin Pederson III’s ode to a legendarily tough bronco, showcase Wall’s well-curated and hard-working touring band—Patrick Lyons (pedal steel, dobro, mandolin), Jake Groves (harmonica), Jason Simpson (bass), and Aaron Goodrich (drums); joined by Emily Gimble on piano and Doug Moreland on fiddle—while others like Wall-penned “Talkin’ Prairie Boy” feature just Wall’s voice and guitar. However arranged, there’s an earnestness to these songs, roughly half of them written by Wall and half by Wall’s direct influences and fellow purveyors of honest, hard-earned tunes for the prairie and beyond.

In addition to the release of Western Swing & Waltzes, Wall just released another live performance video as part of his new series, “The Bunkhouse Sessions.” Shot in a bunkhouse on the ranch of Wall’s friend and actor, Beau Smith, the video features the songwriter seated by a bedroll and coffee maker just in front of Ray McGuffin and Tom Ryan paintings which hang on the plywood interior wall of the bunkhouse. Watch “High & Mighty” here and catch up on all five Bunkhouse Sessions episodes here.

Wall’s name has been appearing everywhere in the lead up to Western Swing & Waltzes and Other Punchy Songs. From underground music blogs to a feature with the legendary outdoor brand, Filson, to a broad swath of celebrity fans. Recently, comedian and podcast magnate Joe Rogan dubbed Wall “legit as f***” and NASCAR driver Bubba Wallace name-dropped Wall in his recent GQ feature. Longtime fan Jason Momoa just featured Wall’s music exclusively in a gone-viral video about restoring his wife, Lisa Bonet’s, first Ford Mustang. Needless to say, Wall’s voice and songs have attracted fans from all walks of life and his new record was only just released.

Western Swing & Waltzes and Other Punchy Songs Tracklisting:

Western Swing & Waltzes

I Ride An Old Paint/Leavin’ Cheyenne

Big Iron

Henry and Sam

Diamond Joe

High and Mighty

Talkin’ Prairie Boy

Cowpoke

Rocky Mountain Rangers

Houlihans at the Holiday Inn

Imagine a world in which Eve unashamedly consumed the forbidden fruit in the Garden of Eden, biting into knowledge and sharing it with all the world. Feminist folk ensemble Ruby Mack imagine themselves direct descendants of that particular Eve. Named for Massachusetts’ Pioneer Valley’s prominent Ruby McIntosh Apple, Emma Ayres (Vocals/guitar), Abbie Duquette (bass uke), Zoe Young (guitar/vocals), and Abs Kahler (fiddle) question what it means to be a woman, and in the case of Kahler, move in and out of the label with ease on their new album Devil Told Me. Throughout Devil Told Me, out October 23rd, Ruby Mack offers new perspectives on old stories, from societal norms to Greek mythology. The first glimpse into Ruby Mack’s Devil Told Me storytelling comes in the form of “Machine Man,” which Kahler calls “ an ode to the blue-collar workers, the skilled laborers, without whom the fabric of the lives we live would surely unravel.” This week, Farce The Music premiered “Machine Man,” praising Ruby Mack’s “unabashed harmonies and pictorial lyricism.” Fans can hear this first single here and pre-order or pre-save Devil Told Me ahead of its release date at this link.

Through Ruby Mack’s collectively unique lens, folk songs start to emerge cast in a new, different light than those that came before. In the song “Breadwinner,” for example, the group flips the script about gender roles in a relationship, expressing their wish to be a breadwinner as a woman. “I wanna be your breadwinner / Let me feed you, let me feed you now,” the group sings in heart-stopping four-part harmony. The lullaby-esque “Milktooth” is a quiet anthem about shedding societal expectations, to become fully one’s self. It uses the idea of a milk tooth, or baby tooth, as a metaphor for attachment to a childhood based perspective. “It’s about rejecting the ways in which we are initially told who we are and what we are” explains Ayres “Always fighting in this civil war/ Since the devil told me I was born a girl”, they sing.

Ruby Mack credits the magic of the Massachusetts area they call home with inspiring their musical journey. “There’s such an amazing culture of folk music in the valley”, says Kahler, “and we’ve been inspired by so many queer folk artists here.” “I definitely found my identity as a musician in this place”, adds Duquette. “The support encouragement I found in the area made me feel like I too could be an artist.”

Recorded in an old converted church with engineer Andrew Oedel of Ghost Hit Recording, Devil Told Me has a decidedly live feel. “We really wanted it to have that special magic of a collaborative performance, and the energy we get from singing together,” explains Young. With strong and beautiful vocal harmonies, soothing guitar, and soaring fiddle lines, Ruby Mack have created a collection of songs both confessional and uplifting. In each other and their music the four friends have found a home in which they can question everything that society expects of them, live and express themselves in their true identity, and inspire others to do the same.

Devil Told Me Tracklisting:

Machine Man

Black Hills

Milktooth

Little Bird

For Icarus

Red Rocking Chair

Sing Me

Jane

Odysseus

Breadwinner

All it took was a bit of simple mixology to connect the dots for Marie Borgman and Koda Kerl, better known as the founders of deep-roots-rock outfit Chamomile and Whiskey. One evening Borgman and Kerl, native musicians of Nelson County, Virginia, combined chamomile tea with Evan Williams bourbon whiskey for an evening libation. Upon taste, the duo decided that the combo of chamomile and whiskey perfectly embodied the music they’d been creating—thus, Chamomile and Whiskey was born. Since then, the group has developed a more electric sound, adding members Drew Kimball on guitar, Stuart Gunter on drums, and Marsh Mahon on bass. On October 30th, the band will release their third LP, Red Clay Heart. Produced by Ken Coomer (Wilco, Uncle Tupelo), Red Clay Heart opens with a rollicking backbeat and harmonized guitars that would make Dickie Betts crack a smile. That tune is the album’s first single, “Way Back,” and Americana Highways premiered the accompanying music video yesterday noting, “...this video combines nostalgia with a heightened universal feel — we all miss ‘way back when.’” Filmed in the band’s favorite Charlottesville bar, The Whiskey Jar, Kerl reminiscences, “I guess this one comes from being in a small town scene for a long time and thinking about how much I used to care about things that don’t matter so much to me anymore,” says Kerl about “Way Back.” “I felt it would be a good song for our new lineup… more electric guitar, slightly tongue in cheek and a little “f*** it.” Fans can hear “Way Back” now at this link and pre-order or pre-save Red Clay Heart right here.

The album continues with “Dead Bird,” a tune penned by a friend of the band’s, Robert St. Ours of the Hackensaw Boys. “To me he’s as good as it gets,” says Kerl. “This one just seemed to fit well with the group of songs we had and we were happy to put it on the album.” “Never Live Up” is followed by the part-guidance, part-lament, all hopped-up rock and roll of “Triumph” before giving way to the haunting “Alright.” This song’s chorus says it all—“It’s gonna be alright. Or maybe it won’t. You carry on, you make it through. Unless you don’t.”

Before the album’s end, a pair of songs come along which deal with more than rowdy crowds and lives off-the-rails. Both “Another Wake” and “Heartbreak (Luke’s Song)” find Chamomile and Whiskey dealing with the feelings that come along after great loss; the former a follow-up to the tragic events that took place in Charlottesville, Virginia, in August 2017. “I wrote this song just a few days after August 12, 2017, when a bunch of nazi’s and white supremacists came to town and one of them drove a car into a crowd full of peaceful protesters…some of them close friends of ours.” says Kerl. “Multiple people were hurt and Heather Heyer was killed. It was an unbelievably tragic few days for us, Marie’s sweet cousin Nicole had passed away and our friend Ro had died. I was walking back from Ro’s wake on August 13th and downtown Charlottesville felt like a war zone. It was the second wake I’d been to there in a short time. I remember thinking that there is nothing more universal or human than the pain of losing loved ones. I wondered if the small minded, awful people that had come to Charlottesville could ever see that and what might have caused them to live such sad and ignorant lives.” “Heartbreak (Luke’s Song)” gives an almost positive spin on the “slow beautiful heartbreak” of life. Written for the band’s friend Luke who Kerl calls a “one-in-a-million” character, “Heartbreak (Luke’s Song)” closes the album with an intimacy hardly captured on records before now. Kerl recalls, “I did one take of this song in the studio and (producer) Ken said ‘take this shot of whiskey and do it one more time.’ I did and that’s what went on the record. I know that Luke would approve.”

“Koda's ability to sing about the dark side of his city and home, and to be able to put you in that moment, is a very special talent. You don't feel like you are listening to a song, as much as, that you are standing with him,” praises Coomer. He adds, “Then add Marie's sweeping bow on the violin, which takes me instantly back to my time I recorded with Dylan's one time collaborator Scarlet Rivera. All of this held down by Stuart's groove. It makes you want to listen closer. I have a career where an artist or a band will come into my life, and then exit almost as quickly as they entered. I felt like I had known them from the moment they walked through my studio door.”

Over the course of Red Clay Heart, Chamomile and Whiskey once again prove their ability to distill the ups and downs of life into song without ever being too earnest, too heavy, or too light. With stomping rhythms, slow burn songs, and the musicianship to carry it all, the band—and this album—are poised to bear a torch for roots, rock, and Americana music well into the next chapter.

Red Clay Heart Tracklisting:

Way Back

Dead Bird

Never Live Up

Triumph

Alright

Hard Time Honey

Another Wake

Best of the Worst

Heartbreak (Luke’s Song)

All of the greats were ahead of their time; Archimedes, Nikola Tesla, The Beatles. The Grateful Dead meshed string band music and rhythm & blues to create an entirely new scene and the Rolling Stones carried a rock and roll torch into stadiums and onto television screens worldwide, but in the world of Americana music and Texas’s cosmic outlaw country, there was one group telling old stories and rallying new fans well before those genres even had a name—Asleep at the Wheel. On October 31st, ACL Presents: 50 Years of Asleep at the Wheel, a special retrospective of the band’s appearances on public television’s beloved Austin City Limits program will premiere nationwide on PBS. From performing on the series’ very first episode to modern-day collaborations with legends like Willie Nelson and Lyle Lovett (in total, the band has appeared on eleven episodes), Asleep at the Wheel have woven a 50-year thread through Texas and American music history, and Austin City Limits played a quite the part in it. Fans can experience the journey right from the beginning this Halloween when ACL Presents: 50 Years of Asleep at the Wheel airs; more information including a full broadcast schedule is available at acltv.com.

ACL Presents: 50 Years of Asleep at the Wheel is only the kickoff of a coming year-long celebration of the band’s five-decade milestone. This past week, Asleep at the Wheel’s fearless leader and founder Ray Benson took part in “Thriving Roots,” AMERICANAFEST’s virtual conference, announcing the coming special and screening an hour-long interview and documentary produced by the Texas Music Office for all digital festival attendees to enjoy. Additionally, Benson and Asleep at the Wheel are currently being featured in the Country Music Hall of Fame’s Outlaws and Armadillos exhibit and as part of the Whitliff Collection at Texas State University’s museum.

Fans, new and old, should stay tuned in to asleepatthewheel.com in the coming months because Benson and Asleep at the Wheel are just getting started with their big celebration.

ACL Presents: 50 Years of Asleep at the Wheel setlist:

“The Letter That Johnny Walker Read” - 1976

"Ain’t Nobody Here But Us Chickens” - 1978

“Get Your Kicks on Route 66” - 1996 

"Roly Poly" ft. The Texas Playboys - 1993

“Hesitation Blues” ft. Willie Nelson - 2009

“Nothing Takes The Place of You” - 1976

“Blues for Dixie” ft. Lyle Lovett - ACL Hall of Fame 2015

“Let Me Go Home Whiskey” - 1976

“After You’ve Gone” ft. Willie Nelson, Freddy Powers, and Johnny Gimble - 1981

“I Can’t Give You Anything But Love ”- 2015

“Boogie Back to Texas” - 1988 

“Milk Cow Blues” - 2015

“Miles and Miles of Texas” - 1996, 2002, and 1980

“Choo Choo Boogie” - 1978, 1988, and 1996

“Pancho and Lefty” ft. Willie Nelson - 2009

“Take Me Back to Tulsa” ft. The Avett Brothers and Vince Gill - 1996, 2015, 1978, and 1976

“Cotton Eye Joe” - 1980

With a piercing, honest voice and a penchant for telling gorgeous, heartbreaking stories, Bella White is showing the world just how well a Canadian does “high and lonesome” on her debut album, Just Like Leaving, available everywhere as of Friday, Sept. 25.

Born in Calgary, Alberta, to a family with deep roots in the Blue Ridge Mountains of Virginia, 20-year old White is no newcomer to bluegrass or American roots music, having been raised by the sounds of Monroe and His Bluegrass Boys and Doc Watson from before she could walk. At 18 years of age, White took her childhood bluegrass education to Boston’s ever-burgeoning acoustic and roots music scene and began crafting her coming-of-age debut; a nine-song collection exploring the angst of a modern teenager with timeless and universally relatable language.

Rolling Stone praised White’s songwriting on the album’s second single, “Hand Of Your Raising,” calling the track “Sublime Appalachian heartbreak,” and Glide noted her “Fresh approach to tradition” on the bluegrass-tinged “Not To Blame.” Just Like Leaving can be streamed in entirety here.

With Just Like Leaving, White is emerging as not only the newest star student of the bluegrass genre but a poignant songsmith, gentle and wise beyond her years. White’s ability to translate a modern experience to an old sound is seamless and compelling and on full display on her stunning debut album. More information can be found at bellawhitemusic.com.

More than 50 artists and musicians are coalescing around Democratic candidate for U.S. Senate Marquita Bradshaw, who made history as the first Black woman to win a statewide party nomination in Tennessee.

On Tuesday, October 20th, Nashville native William Tyler—with the help of fellow musicians Tristen, Erin Rae, Margo Price, Robyn Hitchcock and Emma Swift, Roseanne Cash, Caitlin Rose, and many more —will take to the airwaves in support of Bradshaw’s campaign. The telethon, hosted by Third Man Records, hopes to build on Bradshaw’s already snowballing momentum. 

“I see in Marquita Bradshaw's campaign not only a stark and inspiring contrast to the old con job style GOP candidates Tennessee continues to elect, but an actual inspiring and galvanizing individual who not only ideates change—she lives it,” says Tyler, who spearheaded the upcoming Musicians For Marquita Telethon live stream.

Bradshaw sent shockwaves across the state when she beat her opponent, James Mackler, and his campaign budget of $2.1 million in the August Democratic Primary with her $8,420 grassroots-raised budget. A single mom from South Memphis, and career environmental activist and organizer, Bradshaw speaks to the hearts and needs of people across party lines, and the well-being of Tennessee & the U.S. as a whole. 

Music fans are invited to join in support of Bradshaw by attending the telethon via YouTube live stream on October 20th at 5 PM Central. Find out how to be more involved in Bradshaw’s historic campaign at marquitabradshaw.com.

Who: Third Man Records along with 50+ artists partner with Marquita Bradshaw's Historic Grassroots Campaign for U.S. Senate

What: Musicians For Marquita: A Telethon hosted by Third Man Records

When: Tuesday, October 20, 2020 beginning at 5 PM Central

Where: YouTube live stream—link to be released 24 hours before the stream begins. Follow @thirdmanrecords on Instagram for updates. Click here to donate and RSVP.

In true Sally & George fashion, the Nashville-based folk-rock duo had already set out on an international tour when the world shut down in March. Also known as upright bassist Shelby Means, a former member of GRAMMY-nominated bluegrass band Della Mae and guitarist Joel Timmons of Charleston, South Carolina’s roots-rock outfit Sol Driven Train, Sally & George spent a month quarantining at their last-for-now tour stop on St. Thomas in the U.S. Virgin Islands before heading back to Nashville, moving out of their apartment and loading up their touring van to live in full-time, waiting to weather the storm. On October 30th, fans will be able to hear what they’ve been working on in the meantime; a brand new full-length album aptly titled Take You On A Ride. The album’s first single “Fish For Free,” premiered via DittyTV, and yesterday, American Songwriter premiered “Fave Wave,” praising the song’s “uplifting, joyful vibe that makes you want to take a drive to your happy place with the windows down and your favorite person next to you.” Fans can now listen to each exclusive premiere at the respective links above and can pre-order Take You On A Ride at this link.

After “Fish For Free,” Take You On A Ride continues with “Molini.” Surf-y guitar arpeggios and bowed upright bass give way to a stomp and clap verse which tells the story of a friend of Timmons’s who called off her engagement at the last minute. He wrote the uplifting song—which features Charlie McCoy on harmonica—to show his support for her brave decision. “Evacuate” comes next, a reggae-tinged tune born of a moment when Means was stuck in California, car-less and under wildfire evacuation orders. Timmons added verses about a similar scenario in the Virgin Islands, after two Category 5 hurricanes struck one week apart. Charleston musicians Ward Buckheister and Big Hair from the reggae group the Dubplates contribute skanky horns and dubby vocals, respectively.

“Listen Sister”—a co-write with Means and Melody Walker of the band Front Country—delves into the judgment, jealousy, and peer pressure which tend to tear women apart from each other with strong conviction. “I believe, and Melody helped me put into words, that women are capable of strength and compassion,” says Means. “We can draw from a deep well of forgiveness in order to make amends, move forward, support our sisters, and defend our sisterhood from things that might try to tear it apart.” The result is a building swirl of compassion, forgiveness, and a wonderful string arrangement complements of Kristin Weber with Larissa Maestro on cello. Take You On A Ride closes with “That’s My Wife,” a sweet, finger-picked guitar and Hawaiian steel with a wholesomely hilarious origin. As Timmons tells it, “One night at Dee’s Country Cocktail Lounge in Madison, Tennessee, an older, drunker gentleman leaned into me and confessed, ‘The most beautiful woman in the world just went into the bathroom. When she comes out, I’m gonna talk to her.” When Means emerged from the bathroom moments later, Timmons proudly delivered the album-ending chorus, “That’s My Wife.”

Sally & George began recording Take You On A Ride last summer in Laramie, Wyoming, at Thunderground Studios, the same studio where they had previously started the sessions for Tip My Heart. Thunderground is an “old-school” recording facility with nary a computer monitor on the premises. “We like to give the recordings a live feel, so we typically play the songs together, either bass and guitar, or bass and drums, and cut the vocals live together also, just to give it that interaction in-the-moment so that the magic really happens,” explains Timmons. For now, the duo is back in Laramie, waiting out the Pandemic. “It’s a really disorienting time in terms of where we put our energy, but we’ve got this art, we’ve been working for years and we really want to be able to put it out into the world,” says Timmons.

“After all of this work we are right back where we started, waiting for the world to get back on track,” they muse. “It really does feel like some kind of wild ride."

More info can be found at sallyandgeorge.com.

Take You On A Ride Tracklisting:

Fish For Free

Molini

Evacuate

Repeating Song

Sally’s Gone

Listen Sister

Fave Wave

Thank U (4 Breaking My Heart)

Intervention

Keepin’ Time

That’s My Wife

Over the past 30 years, Larry Keel has been praised by fans and critics alike for his energetic live performances and award-winning flatpicking skills. He is a prolific songwriter and multi-instrumentalist who has appeared on nearly two dozen albums, including 12 that he produced himself, and has collaborated with everyone from Bill Monroe to Billy Strings. Today, he is proud to announce his anticipated new solo album American Dream. Set for release on November 6, Keel single-handedly produced, recorded, and wrote each of the 10 tracks on the album, a project that was predominantly created during quarantine this past spring. This influence is evident in the album’s first single,“Try”, which is premiering exclusively at JamBase today. Keel says “Try” is about his personal approach to figuring out life’s mysteries and challenges, saying, “Big concept, simple approach: all you gotta do is try.” American Dream can be pre-ordered here. 

Reminiscent of Jerry Garcia’s solo album Garcia, Keel plays each instrument on every track of American Dream, giving listeners a unique opportunity to hear the acclaimed acoustic guitar player showcase his mandolin chops, banjo licks, upright bass thump and power on electric guitar. While some tracks are rooted in Keel’s classic bluegrass style, others veer towards poppy folk rock, a couple of tunes are dripping in moody psychedelia, and some have more of a gritty,  old-time stomp like the single “Try”.

Lyrically, the songs on American Dream are dynamic. Some were inspired by Keel’s experiences as a touring musician living life on the road, while others were galvanized by the events that were taking place at the time—including the COVID-19 pandemic and the global protests against systemic racism. On title track “American Dream”, Keel acknowledges his position as a white man and how he’s consistently listening and learning. In the song’s opening line, he clearly states what he does not want to be as a man (I don’t wanna grow up to be another angry old white guy / self-important, and all wrapped up in his white lie), and then proclaims what he is attempting to be: an empathetic, moral and positive person, always striving to do better and aiming to serve the greater good.

“I consider this album to be a culmination of my deepest and most sincere thoughts, up to now. In spite of the turbulent times happening when I wrote most of these songs, I felt really centered and energized to just say exactly what was on my mind through lyrics and music,” Keel explains. “For me, this was a positive experience in starting a conversation through this recording. Hopefully it resonates with someone out there.”

This month, Keel will be on tour in Virginia with Sam Bush Band, Travis Book & Andy Falco, and Frank Solivan & Dirty Kitchen; next month, he will be in South Carolina at Charleston Pour House. All shows will conform with local regulations and Covid-related safety measures.

American Dream Track Listing: 

1. American Dream

2. The Best of Man

3. Mother Nature

4. Long Way Round

5. So Black and White

6. Precious Times (Aby’s Song)

7. Try

8. Old Friends

9. Old Man Kelsey’s

10. Mars’ Cry

See Larry Keel Live: 

Oct. 16 – Roseland, VA – Devils Backbone (with Sam Bush Band)

Oct. 23 – Roanoke, VA – 5 Points Music Sanctuary (with Travis Book & Andy Falco)

Oct. 24 – Round Hill, VA – B Chord Brewing Company (with Frank Solivan & Dirty Kitchen)*

Nov. 28 – Charleston, SC – Charleston Pour House 

* Album release show 

Today, looking forward to the release of Medium Rarities, their brand-new full-length album of unreleased songs spanning the band’s decade-long career, The Wild Feathers have dropped another sneak peek with “Fire.”  Showing the group's sonic growth with its understated verse arrangement, sparkling production, and arena-ready chorus, “Fire” represents The Wild Feathers’ most recently-written songs on their new compilation album of B-sides, covers, and rarities, out November 20th.

“‘Fire’ is one of those songs that was  just easy to write. It rarely happens, but when it does it’s really about just holding on and not letting it get away from you,” explains vocalist/guitarist Ricky Young. “I just sat down and started playing it and wrote it in about 45 minutes. I definitely came back and made tweaks, but it was there in 45 minutes. The band dug it so we recorded it and I’m really happy how it turned out.” For fans who can’t wait to hear the band perform “Fire” on stage, OurVinyl just released a special live session video from East Nashville’s American Legion Post 82. Watch the OurVinyl session right here. Medium Rarities can be pre-ordered now at this link. A vinyl pressing of Medium Rarities will be available exclusively through Magnolia Record Club.

In early 2020, just weeks before pandemic swept the globe, The Wild Feathers were kicking off a brand new chapter—fully independent, no more label contract or team, soaring free of the weight of the industry on their backs. Then, the universe pulled the ripcord. When their major tour with Blackberry Smoke was canceled in March, the band—Ricky Young, Joel King, Taylor Burns, Ben Dumas, and Brett Moore—found themselves with unexpected time to reflect on their career so far. Medium Rarities is what came from those reflections. King, whom Dumas dubs the band's "archive master," started poking around hard drives of old music, and the idea of a rarities compilation began to take shape. The album, set for release on November 20th, is composed of those B-sides, covers, demos, and other nuggets King and the band culled from The Wild Feathers’ vault.

"Medium Rarities opens up the possibility for future volumes," Young says.  "We thought it was a cool thing to do for ourselves, and especially for our fans. We’ve always been one of those bands that talks about having a true catalog, by every definition: live albums, box sets, double albums, b-sides, and rarities albums—being music fans, and that’s what we are, that’s what you want from artists you like. You want anything you can get your hands on. This is one more step we’ve accomplished."

Medium Rarities Tracklisting: 

1. Blue

2. Heartbreak

3. Marie

4. Almost Cut My Hair

5. Fire 

6. Goodnight

7. My Truth

8. To Be Gone

9. Lose Yourself

10. Guitar Man

11. After the Bottle’s Gone

The Wild Feathers will finish out 2020 with a handful of live-streaming concerts and private events, including public dates with Blackberry Smoke as well as a handful of headline shows of their own. They're currently at work on material for a new album and plan to release new music in early 2021.

Husband and wife Seth and China Kent are well on their way to adding new life and complexity to the concept of the “family band.” The Kents, better known as Colorado-based duo Alright Alright, have been hard at work creating orchestral-folk for the open-minded and poetry for the broken-hearted with their new album, Crucible. Full of contrast—between Seth and China’s vocal stylings, organic and synthesized instrumental tones, and the very real ups and downs that come with day to day life—Crucible tests the limits of genre and experiments with boundaries, something that Ben Wysocki (The Fray) leaned into and expanded upon in his role of producer. Yesterday, American Songwriter premiered Crucible’s second single, “Trans Am,” praising the duo’s “decision not to retreat in the safety of folk music’s purposefully polished string plucks, angelically harmonizing vocals, and lush drapes of billowy reverb.” Fans can hear “Trans Am” here and pre-order Crucible ahead of its October 23rd release at this link.

“This song was a journey in writing,” says Seth Kent about the songwriting process of “Trans Am.” “For as long as I can remember since moving to Denver, and up until late last year, there has been a yellow, early 80’s car—I actually think it was a Camaro rather than a Trans Am—sitting on the north side of I-70 in the Colorado town of Georgetown. It barely ever seemed to move. Naturally, I fell into an unhealthy love with the beast over the years and was tempted to pull over and leave a note on it saying I wanted it.”

“Seth nailed it with this song, and all I really have to say about it is that I think it’s brilliant,” adds China. “The skillful melding of humor and angst and cleverness and yearning gets me every time.” The idea of the song came together after Wysocki encouraged Seth to give himself permission to write a funny song amongst some of the heavier material on Crucible, but like other light-hearted songs from the likes of John Prine or Randy Newman, “Trans Am” also carries a deeper, more meaningful message. “I think in the end the reality in the song is true for all of us. Sometimes we feel like we need a break or an escape. Adulting is hard, there is a bit of nostalgia of a past we never had. For a bit of fanciful flight, these obsessions can be healthy and give us some hope and joy, but if we let that pull on our hopes too hard we will spiral into false fantasies. Reality is still with us.”

In other people’s lives, the car is a metaphor, able to be replaced with any object or desire worth obsessing over, but around where the Kents live, the “Trans Am” is a real deal, in-the-flesh local legend. “It’s like a landmark around here,” says hen I talk about it and when we play this song live in Colorado, someone almost always comes up to us to say, ‘I know that car!’ It has since disappeared from its parking spot, sadly.”

“Having said that,” Kent feels the need to add, “If you know who owns this car and where it disappeared to, I do actually want to buy it..."

Crucible Tracklisting:

Over The Edge

Are We Gonna Make It

Don’t’ Worry

Trying To Be Free

Missouri Calling

Left But Not Arrived

Trans Am

Some Dreams

Mercy

Muscatine

Champagne

The Country Soul Songbook Summit is a four-day music festival and conference created by artists taking place on the world-wide-web October 15th - 18th. The Summit will feature performances, curated conversations, interactive workshops, and joyful re-imaginings of the Country-Americana canon. 

Performances and conversations by Amythyst Kiah, Rissi Palmer, Pura Fé, Leyla McCalla, Rev. Sekou, Lavender Country, Kamara Thomas, Birds of Chicago, Cary Morin, Lilli Lewis, Karen & The Sorrows, Kandia Crazy Horse, Loamlands, Joy Clark, Geronimo Collins, Brian Farrow, Gangstagrass, Luis Rodriguez, J.Rees, Dusky Waters, Taylor Crumpton, Shirlette Ammons, Will Darity, Alice Gerrard, Molly Sarlé, Marcus K. Dowling, Charles L. Hughes, Phil Cook,  Blue Cactus, Nana Grizol, Lee Bains + more.

THIS IS WHAT YOUR MAMA’S COUNTRY MUSIC LOOKS LIKE -- a sampling of the exciting conversations that will be taking place at the Summit:

Establishing Black Country in Black Pop Culture: Journalists and Tastemakers In Conversation - Country music's recent explosion of Black stars with crossover potential begs one question: could this be the moment where a sustainable spot in the Black mainstream emerges for Black creatives in country music? Between writer Taylor Crumpton, artist/author Kandia Crazy Horse, podcaster/tastemaker Geronimo Collins, and moderator Marcus K. Dowling, the knowledge and awareness are present to answer this question in this hour-long conversation.

Indigenous Voices: In Conversation with Pura Fé - Legendary artist, singer and activist Pura Fé, of Tuscarora Indian Nation, in conversation about art, songwriting, lineage, and the Land we share.

Ancestral Healing: Ode to Lavender Country - In the journey of inclusion and representation, we must search out and honor those that came before us!  We are excited to celebrate the life and career of queer country artist and elder Patrick Haggerty and his groundbreaking band ‘Lavender Country.’ 

Imaginary Chasm: The History of “Genre Defined by Race” in the Music Industry - Join Lilli Lewis, of Red Hot Louisiana Records and  Charles L. Hughes, author of “Country Soul: Making Music and Making Race in the American South” as they unpack how the music industry used and still uses race to define genre, and how this continues to restrict access and opportunities available to BIPOC and LGBTQUIA artists.

90’s Country Was Pretty Gay - The Neon Boots Podcast + members of The House of Coxx  Drag Fam get together to discuss the coopting of queer and BIPOC culture in mainstream country music videos of the 90’s. 

Crack Graham: SONG Power Hour - Join southern artists Nana Grizol / G-Clef / Loamlands / Lee Bains and more in the fight w/ SONG Power to take down Lindsey Graham, break up the power of the right and organize towards a South Carolina where Black, Brown, rural, LGBTQ, and working class South Carolinians can live free from fear.

How to Use Country Music to Organize White People for Racial Justice - Karen Pittelman of Karen & the Sorrows looks at how country music has been co-opted by the right wing, and talks to organizers, musicians, and historians about how we can take it back for our own agenda.

ABOUT CSSB AND THE SUMMIT
Country Soul Songbook is an online community platform celebrating under-represented voices in Country and Americana music. CSSB’s mission is to center and support historically marginalized artists as instigators of transformation in the spaces and hierarchies that have worked against their best interests.

We know that the music and culture we have come to know as Country, Soul, and Americana share history within a multi-racial, multi-identity, American soup.  Our community is coming together to celebrate what we know this music can be: equitable, integrated, truth-telling, and future-minded. 

Summit happenings include performances, panels, workshops and curated conversations brought to you by a colorful array of creatives and cultural activists. Beginning with land recognition, we’ll take a four day journey through the hearts and minds of Black, Indigenous, Queer, Southern, Spiritual, Working Class contributors to the Country / Soul / Americana community. 

The CSSB Summit is a call for gathering and engaging in vital conversations and accountability practices within our community and the music industry at-large. We will not only be engaging artists that are marginalized within the country music genre, but also those that have profited from systemic exclusion of these artists by asking them to engage with us and become co-signers of the CSSB project. 

Everyone that shares a love for Country & Americana music-- how it’s inspired, how it’s created, who it’s for, and where it's going, are invited to attend. We invite all people to register at our website and join us in raising the voices that are the bones of this music.  See y’all soon.  

In the first few months of a worldwide pandemic, bluegrass-rockers The Steel Wheels took to their own home studios—in some cases pieced a home studio together—and got to work. Recording more than 60 songs when all was said and done, the group landed on a concept unlike any waters they’d waded into before; they called it “Distance Together.” Conceived by The Steel Wheels’ lead singer and songwriter, Trent Wagler, the project became an avenue for fans of the band to commission works and send musical greetings to their loved ones. The initiative sparked a surprisingly impactful and intimate songwriting process, with Wagler setting the personal stories of fans to song and verse. Some songs were written for individuals, some for friends and families—many were specific to a time and place—and some were commissioned for weddings and anniversaries or to commemorate a lost loved one or the completion of a life's work. At the end of the process, The Steel Wheels—Brian Dickel, Trent Wagler, Jay Lapp, Eric Brubaker, and Kevin Garcia—were left with some of the most heartfelt, inspiring material they’ve ever written, and the result shines through on Everyone A Song, Vol. 1, a brand new 9-song album to be released on November 20th.

Today, The Boot premiered Everyone A Song, Vol. 1’s first single, “The Healer,” which came to life as a song to celebrate the retirement of a physical therapist’s 38-year long career. Before making it onto the album, “The Healer” was used during a socially distanced retirement party as a special gift to commemorate an amazing career. “As the family recalled stories from [the subject’s] life, it was clear that her healing skills were not limited to the workplace,” recalls Wagler. Like every other tune on the album, the song’s lyrics and melody reflect the love and admiration that encircle the celebrated. Fans can listen to ‘The Healer” now at this link and pre-order Everyone A Song, Vol. 1 right here. Additionally, on Friday, Oct. 16th, the band will join The Boot’s online community via Facebook Live to play a few songs from the new record, including the first single “The Healer,” at 8pm central.

The process behind this new album has been further documented in an accompanying podcast, We Made You A Song. Each episode dives into the creation of a single song on the album, serving as an in-depth audio liner note. Wagler interviews the band as well as the actual subjects of each song to give a rare glimpse into the creative process and what it means for someone to have their experience distilled into melody and rhyme. We Made You A Song is distributed by NPR and WMRA.

Everyone A Song, Vol. 1 was born out of a desire to close the distance created in the midst of the Covid-19 shutdown. “Maybe I was dreaming of being an essential worker,” says Wagler. “It made me ask the question: what’s essential about music? It’s the connection. The understanding. The beauty and magic of melodies that transcend us with the words that say, ‘You there, I see you, and you see me, and doesn’t it feel good to not be alone in the world?’ That’s what art has to offer. Especially right now. And planting real stories right in the middle of it kind of pushed aside any other pretense or distraction about being cool or whatever.”

Everyone A Song, Vol. 1 Tracklisting:

My Name is Sharon

The Healer

Don’t Want To Come Back Down

The Man Who Holds Up The World

Water And Sky

Florida Girl (Work For It)

Lucy

Genevieve

Family Is Power

On the heels of their critically acclaimed pair of 2019-2020 releases, Portland-based roots rockers Fruition have just released another two-pack of their signature sound; a two-track single featuring “For You,” a fan favorite from Broken at the Break of Day, and a brand new song, “Stand With You,” a direct message to those continuously on the front lines of the fight for racial equality in the United States. To help further the cause, a portion of the proceeds from the streams and sales of “Stand With You” will be donated to Color Of Change, the nation’s largest online social justice organization. “I believe that the most powerful things we humans can do in our lives are not things that benefit us personally, but things that help many,” says Fruition guitarist and “Stand With You” songwriter, Jay Cobb Anderson. “The power of giving is unmatched by anything I can think of. And the most valuable gift one can give is themselves. Their time and energy. Their commitment to help, learn, and change. And to truly change oneself for the better is what we must do to change the world for the better. Just like all journeys begin with one step, all changes begin with one action.” Fans can listen to “Stand With You” and “For You” now at this link.

With a slinky 6/8 time signature groove and a bottleneck slide guitar that wouldn’t be out of place on an Allman Brothers album, Fruition—Anderson on guitar, piano, and vocals; Kellen Asebroek on Mellotron and vocals; Mimi Naja on vocals and mandolin; Jeff Leonard on bass; and Tyler Thompson on drums—ease into the first, Naja-led verse of “Stand With You”—the entirety of which was recorded remotely from five different cities in four different states, though one would never notice. The band tightens everything up and a pulsing piano and pizzicato strings make the bed for Anderson’s earnest lyrics; “I hear your cries, and I’ll be there by your side, my friend.” By the time the verse loosens back into it’s swinging feel, the band completes their promise of support and allyship; “Though I will never understand the struggles that you’ve been through, I will do all I can and I’m gonna stand with you.”

“In a world filled with information/misinformation that seems all too divisive, I hope that this song inspires those who hear it to try to sympathize with another’s struggle, and to take a step in the direction of change for compassion, justice, and unity,” says Jay Cobb Anderson. “That’s not only what this song is about, but what this life is all about, in my humble opinion. We hope you enjoy ‘Stand With You.’”

More About Fruition: Fruition’s latest album, Broken at the Break of Day, may be hard to categorize, yet it feels complete because of their dedication to honesty as well as harmony. Influenced equally by acoustic music and rock ‘n’ roll, the Portland, Oregon-based band is composed of Jay Cobb Anderson (guitar, vocals), Kellen Asebroek (piano, guitar, vocals), Jeff Leonard (bass), Mimi Naja (mandolin, guitar, vocals) and Tyler Thompson (drums). Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Since that time, they have opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest. Broken at the Break of Day is the companion release to the band’s exceptional Nov. 2019 release, Wild as the Night.

Kicking off with a blaze of harmonized electric guitars sounding like when the Allman’s Elizabeth Reed checked into the Eagles’ Hotel California, Ward Davis’s new album Black Cats and Crows doesn’t waste a second on formalities. Out November 20th on Thirty Tigers, Black Cats and Crows is triumph on all fronts. A muscly country-rock record filled with murderous story songs, heartbreaking vulnerability, and that unmistakable voice—Davis’s weathered croon, barrel-aged then left out in the sun—are all brought to life through Davis’s and producer Jim “Moose” Brown’s care for their craft and disdain for sterility. Yesterday, Rolling Stone premiered “Black Cats and Crows,” the album’s title track and first single calling it, “an ominous piano ballad in which Davis questions why the deck is stacked against him." Fans can listen to “Black Cats and Crows” now at this link and pre-order Black Cats and Crows here.

Without listening to a note of Black Cats and Crows, the company kept in the liner notes alone—co-writers Cody Jinks, Kendell Marvel, and Shawn Camp—will tip off any discerning music fan on how respected Davis is as a songwriter. Of course, his own songwriting history precedes him too, having written tunes for the likes of Willie Nelson, Merle Haggard, and Trace Adkins. “This is my coping mechanism. I know music is a coping mechanism for a lot of people,” Davis says. “It’s important that it’s crafted well, but it’s also important that it’s honest so that people can relate to it and get something out of it.” But it’s not just songwriters that have taken notice. Among the world class musicians who took part in the recording of Black Cats and Crows, a name not too often thrown around in the world of country music appears; Anthrax’s Scott Ian, who guested on the ominous murder ballad, “Sounds of Chains.”

In addition to the guitar-driven tunes, several songs on Black Cats and Crows also remedy the often-overlooked role of piano in outlaw music. A fine pianist who shrugs off any praise of his own playing, Davis looks up to the slip-note stylings of master Floyd Cramer. “He would do these little flickers with the keys that aren’t complicated but really create a sound,” Davis says. “I mimic him a lot.” Kicking off with piano and fiddle, “Threads” lays a weary heart bare, while the beautifully written “Good to Say Goodbye” traces the push and pull that ensues when it’s time to go. “Good and Drunk” is a lesson in songwriting, heartbreaking and real. “That was a hard one to write,” Davis says. “It was a bad day. I came home from a tour with Sunny Sweeney, and my ex-wife had packed up everything and put the boxes in the garage. I was sitting there alone, hungover, wanting a whiskey drink, and I realized I didn’t know where the whiskey was. But I had my legal pad out. So, I started writing this song.”

Davis mines his own worries and pain for a song without ever forgetting the other person who will eventually listen to it. “I want people to know these songs mean something to me,” he says. “I hope they mean something to them. Maybe they’ll hear something that’ll make them feel better.”

Black Cats and Crows Tracklisting:

Ain’t Gonna Be Today

Black Cats and Crows

Threads

Sounds of Chains

Get To Work Whiskey

Colorado

Book Of Matches

Heaven Had A Hand

Where I Learned To Live

Papa And Mama

Lay Down On Love

Nobody

Good To Say Goodbye

Good And Drunk

Feminist folk ensemble Ruby Mack imagine themselves as direct descendants of Eve. Not in the traditional story’s sense, but in a timeline in which she unashamedly consumed the forbidden fruit in the Garden of Eden, biting into knowledge and sharing it with all the world. Named for Massachusetts’ Pioneer Valley’s prominent Ruby McIntosh Apple, Emma Ayres (Vocals/guitar), Abbie Duquette (bass uke), Zoe Young (guitar/vocals), and Abs Kahler (fiddle) question what it means to be a woman, and in the case of Kahler, move in and out of the label with ease on their new album Devil Told Me, available digitally today. Throughout Devil Told Me, Ruby Mack offer new perspectives on old stories, from societal norms to Greek mythology. Devil Told Me can be purchased or streamed right now at this link.

Devil Told Me has already earned praise from critics for it’s soulfully executed and fiercely motivated message. AudioFemme described album single “Jane” as “soulfully capturing the love and loss associated with the LGBTQ experience,” and Farce The Music praised Ruby Mack’s “unabashed harmonies and pictorial lyricism” on “Machine Man.” American Songwriter touched on both Ruby Mack’s inseparable rapport with each other as well as their liberating and encouraging songwriting qualities on “Milktooth,” saying “As much a ‘coming out’ song as it is a song of empowerment, ‘Milktooth’ has the makings of a gay closet door opener, much like Bronski Beat’s ‘Smalltown Boy’ or Erasure’s ‘Hideaway’ was for boys,” before noting that “the support and care they project in this song to those who might be at the coming-out crossroads is their way of paying it forward.”

Through Ruby Mack’s collectively unique lens, folk songs start to emerge cast in a new, different light than those that came before. In the song “Breadwinner,” for example, the group flips the script about gender roles in a relationship, expressing their wish to be a breadwinner as a woman. “I wanna be your breadwinner / Let me feed you, let me feed you now,” the group sings in heart-stopping four-part harmony. The lullaby-esque “Milktooth” is a quiet anthem about shedding societal expectations, to become fully one’s self. It uses the idea of a milk tooth, or baby tooth, as a metaphor for attachment to a childhood based perspective. “It’s about rejecting the ways in which we are initially told who we are and what we are” explains Ayres “Always fighting in this civil war/ Since the devil told me I was born a girl”, they sing.

Ruby Mack credits the magic of the Massachusetts area they call home with inspiring their musical journey. “There’s such an amazing culture of folk music in the valley”, says Kahler, “and we’ve been inspired by so many queer folk artists here.” “I definitely found my identity as a musician in this place”, adds Duquette. “The support encouragement I found in the area made me feel like I too could be an artist.”

Recorded in an old converted church with engineer Andrew Oedel of Ghost Hit Recording, Devil Told Me has a decidedly live feel. “We really wanted it to have that special magic of a collaborative performance, and the energy we get from singing together,” explains Young. With strong and beautiful vocal harmonies, soothing guitar, and soaring fiddle lines, Ruby Mack have created a collection of songs both confessional and uplifting. In each other and their music the four friends have found a home in which they can question everything that society expects of them, live and express themselves in their true identity, and inspire others to do the same.

Devil Told Me Tracklisting:

Machine Man

Black Hills

Milktooth

Little Bird

For Icarus

Red Rocking Chair

Sing Me

Jane

Odysseus

Breadwinner

It’s not often that a single person has both BAFTA and American Songwriter’s Bob Dylan Songwriting Contest awards on their bookshelf at home, but then again it’s not often that an anomaly like Rod Abernethy comes along. Southern folk troubadour, master acoustic guitarist, and award-winning composer for film, TV, and video games, Abernethy is now adding to his vast catalog of works with a brand new full-length album, Normal Isn’t Normal Anymore—available everywhere February 5th, 2021. Produced by Grammy-nominated producer Neilson Hubbard (Mary Gauthier, Kim Richey, Glen Phillips), Normal Isn’t Normal Anymore is a mixture of guitar virtuosity and world-class songwriting, most of which happened on Abernethy’s last year of touring. Yesterday, American Songwriter premiered the album’s first single, “Another Year,” dubbing it, “A message as poignant as it is heartwarming...this idea of unity, so valuable and necessary in these times of polarization and strife, is so beautifully done.” In “Another Year,” Abernethy tells real-life stories of everyday people, the personal challenges they face, and how we all need help from each other to get through those challenges. “With the passing of both my parents in recent years, I’ve gotten to know the importance of having friends and family around you,” says Abernethy. “To put it simply, on the streets we may look different but alone we all look the same.”

Abernethy’s knack for songcraft spans from making sense of the heavier bits of life to finding excitement in the mundane day-to-day; the latter being greatly apparent in the rollicking “Birds In The Chimney” and the former in “My Father Was A Quiet Man.” “Birds In The Chimney” is an on-the-nose depiction of the time Abernethy discovered a nest of baby birds above his fireplace. “I looked up the chimney with a flashlight and saw a nest about halfway up. About two weeks later a choir of chirping happening all the sudden, like a birdie rock festival,” Abernethy recalls. “This went on for 2 weeks. Then all the sudden they were gone…” The album also features two of Abernethy’s lively, intricate guitar instrumentals like “Over The Fence,” a rollicking six-string instrumental adventure about the family coonhound who jumps the fence and roams the downtown area for hours. With star performances from some of Nashville's finest including Will Kimbrough on guitar, it should be noted that Normal Isn’t Normal Anymore is just as much about musicianship as it is songwriting, and neither take the back seat to the other.

“My Father Was A Quiet Man” dives quite a bit deeper into Abernethy’s personal past. Spurred on by a dream about his old man, “My Father Was A Quiet Man” is a poignant and loving tribute to his father and reminding listeners how much a father can care for his family without using words to tell them. “About two years ago around the holidays, I had a dream that my dad called me on the kitchen phone in my childhood house. It was a wall hanging phone with the long coiled cord. My dad was talking a lot, like a teenager…funny thing was he never really talked that much in real life,” says Abernethy. “We had a great talk on the phone, he asked me how I was doing and how the family was getting along. It was so unlike him, but I’ll never forget the call.” This dream stirred up memories of his father’s voice booming when it was time to sing hymns in church, having the intuition to buy Abernethy his first guitar, and being the strength his family needed when Abernethy’s brother passed away. In Abernethy fashion, his retelling of these memories is a heartfelt tribute to his father, but he also looks inward at himself as a father and towards the future when his son will be a father too.

When it’s all said and done, Normal Isn’t Normal Anymore ties together all of Abernethy’s talents in a way where no one thing is ever singled out; a perfect dish where the sum of its ingredients is greater than its already delectable parts.

Normal Isn’t Normal Anymore Track Listing:

1. Just Around The Corner 

2. It’s Always Something 

3. Whiskey & Pie 

4. My Father Was A Quiet Man 

5. Birds In The Chimney  

6. When Tobacco Was King 

7. Normal Isn’t Normal Anymore 

8. Changing 

9. Just Get In The Car 

10. Another Year 

11. Over The Fence 

12. Oxford Town 

“I want to work towards a new southern strategy because my South is a South for all people,” says Nashville recording artist and proud Kentucky native Kelsey Waldon. The next step forward in Waldon’s mission for progress and equality in her beloved homeland is to release her new EP, They’ll Never Keep Us Down, a collection of timeless yet timely cover songs. Today, NPR/World Cafe premiered the EP’s first single, “Mississippi Goddam.” With the help of guest vocalists Adia Victoria and Kyshona Armstrong, Waldon tackles this Nina Simone classic with a swirling, angry, country-ish feel, rekindling Simone’s fire from when the song was written after white supremacists killed four young girls in the 1963 bombing of a Black church in Birmingham, Alabama. NPR/World Cafe’s Bruce Warren commented, “There’s an electrical, pulsing change in tempo compared to Simone’s original, yet the cutting message remains the same. With Victoria and Armstrong adding their voices to this version, along with Waldon, makes an already powerful song even stronger.” Watch the lyric video here.

The B-side of “Mississippi Goddam”—also released today—is the EP’s title track, Hazel Dickens’ “They’ll Never Keep Us Down”; a power-to-the-people traditional bluegrass burner with refrains like “They’ll never shoot that union out of me” and “Your welfare ain’t on the rich man’s mind.” Hear both “They’ll Never Keep Us Down” and “Mississippi Goddam” now right here.

Fans can pre-order and pre-save They’ll Never Keep Us Down at this link ahead of its November 20th release. Additionally, Waldon will be releasing two different, limited edition, colored vinyl versions of They’ll Never Keep Us Down; proceeds from the red vinyl will benefit Hood to the Holler, a non-profit organization aiming to end racial injustice in Kentucky and beyond, and the blue vinyl will benefit Appalachian Citizens’ Law Center, who represent coal miners and their families on issues of black lung and mine safety. Both vinyl editions can be pre-ordered here.

“This song [Mississippi Goddam], which showcases racial injustice as well as the enduring fight and fear that the Black community has had to endure in this country for centuries, still rings true decades later,” says Waldon. “Today in 2020, as we push for progress, sometimes it still feels like we are going backwards.” It’s that backsliding of progress that drove Waldon to revisit this host of powerful songs; from Neil Young’s “Ohio” to Billy Taylor and Dick Dallas’s “I Wish I Knew How It Would Feel To Be Free”—which features Devon Gilfillian—to Waldon’s late friend, mentor, and record label founder John Prine’s “Sam Stone.” They all share a strong common thread; accepting the need for change and what it means to push for it. Waldon’s view on the matter is cut and dry, with no room for interpretation; a call to conversation with her fellow southerners who may not yet think along the same lines. “This is about listening to someone else's perspective,” says Waldon. Overall, They’ll Never Keep Us Down burns bright and hot; a torch in the night for those who’ve not yet seen the light and a friendly beacon for those who are already on their march to achieving justice for all.

They’ll Never Keep Us Down Tracklisting:

1. The Law Is For Protection Of The People

2. Ohio

3. Mississippi Goddam feat. Adia Victoria & Kyshona Armstrong

4. Sam Stone

5. They’ll Never Keep Us Down

6. With God On Our Side

7. I Wish I Knew How It Would Feel To Be Free feat. Devon Gilfillian

All it took was a bit of simple mixology to connect the dots for Marie Borgman and Koda Kerl, better known as the founders of deep-roots-rock outfit Chamomile and Whiskey. One evening Borgman and Kerl, native musicians of Nelson County, Virginia, combined chamomile tea with Evan Williams bourbon whiskey for an evening libation. Upon taste, the duo decided that the combo of chamomile and whiskey perfectly embodied the music they’d been creating—thus, Chamomile and Whiskey was born. Today, the band released their third LP, Red Clay Heart. Produced by Ken Coomer (Wilco, Uncle Tupelo), Red Clay Heart has already earned a host of critical praises from the likes of American Songwriter who said, “Overlaid in the current context of 2020, Chamomile and Whiskey delivers a careful balance between grim social commentary and uplifting old-time nostalgia,” and Cowboys & Indians who called album single “Dead Bird” a “knockout brew of a song that makes you feel like maybe you’ve been drinking some of that moonshine-y tea that gave the band its name...it starts out nice and civilized and then comes on nice and strong.” Fans can stream or purchase Red Clay Heart right now at this link.

Red Clay Heart opens with a rollicking backbeat and harmonized guitars that would make Dickie Betts crack a smile. “I guess this one comes from being in a small town scene for a long time and thinking about how much I used to care about things that don’t matter so much to me anymore,” says Kerl about “Way Back.” “I felt it would be a good song for our new lineup… more electric guitar, slightly tongue in cheek, and a little “f*** it”–read more here via his in-depth interview with The Daily Progress. The album continues with “Dead Bird,” a tune penned by a friend of the band’s, Robert St. Ours of the Hackensaw Boys. “To me he’s as good as it gets,” says Kerl. “This one just seemed to fit well with the group of songs we had and we were happy to put it on the album.” “Never Live Up” is followed by the part-guidance, part-lament, all hopped-up rock and roll of “Triumph” before giving way to the haunting “Alright.” This song’s chorus says it all—“It’s gonna be alright. Or maybe it won’t. You carry on, you make it through. Unless you don’t.” Glide Magazine noted that, "The beat will get your toes tapping, while the vocals are measured in such a way that you feel every word."

Before the album’s end, a pair of songs come along which deal with more than rowdy crowds and lives off-the-rails. Both “Another Wake” and “Heartbreak (Luke’s Song)” find Chamomile and Whiskey dealing with the feelings that come along after great loss; the former a follow-up to the tragic events that took place in Charlottesville, Virginia, in August 2017. “I wrote this song just a few days after August 12, 2017, when a bunch of nazi’s and white supremacists came to town and one of them drove a car into a crowd full of peaceful protesters…some of them close friends of ours.” says Kerl. “Multiple people were hurt and Heather Heyer was killed. It was an unbelievably tragic few days for us, Marie’s sweet cousin Nicole had passed away and our friend Ro had died. I was walking back from Ro’s wake on August 13th and downtown Charlottesville felt like a war zone. It was the second wake I’d been to there in a short time. I remember thinking that there is nothing more universal or human than the pain of losing loved ones. I wondered if the small minded, awful people that had come to Charlottesville could ever see that and what might have caused them to live such sad and ignorant lives.” “Heartbreak (Luke’s Song)” gives an almost positive spin on the “slow beautiful heartbreak” of life. Written for the band’s friend Luke who Kerl calls a “one-in-a-million” character, “Heartbreak (Luke’s Song)” closes the album with an intimacy hardly captured on records before now. Kerl recalls, “I did one take of this song in the studio and (producer) Ken said ‘take this shot of whiskey and do it one more time.’ I did and that’s what went on the record. I know that Luke would approve.”

“Koda's ability to sing about the dark side of his city and home, and to be able to put you in that moment, is a very special talent. You don't feel like you are listening to a song, as much as, that you are standing with him,” praises Coomer. He adds, “Then add Marie's sweeping bow on the violin, which takes me instantly back to my time I recorded with Dylan's one time collaborator Scarlet Rivera. All of this held down by Stuart's groove. It makes you want to listen closer. I have a career where an artist or a band will come into my life, and then exit almost as quickly as they entered. I felt like I had known them from the moment they walked through my studio door.”

Over the course of Red Clay Heart, Chamomile and Whiskey once again prove their ability to distill the ups and downs of life into song without ever being too earnest, too heavy, or too light. Koda and Marie spoke in-depth with local paper C-VILLE Weekly earlier this month, calling their new album "more Southern rock-inflected than previous efforts." With stomping rhythms, slow-burn songs, and the musicianship to carry it all, the band—and this album—are poised to bear a torch for roots, rock, and Americana music well into the next chapter.

Red Clay Heart Tracklisting:

Way Back

Dead Bird

Never Live Up

Triumph

Alright

Hard Time Honey

Another Wake

Best of the Worst

Heartbreak (Luke’s Song)

Over the past 30 years, Larry Keel has been hailed by fans and critics alike for his energetic live performances and award-winning flatpicking skills. He is a prolific songwriter and multi-instrumentalist who has appeared on nearly two dozen albums, including 12 that he produced himself, and has collaborated with everyone from Bill Monroe to Billy Strings. Today, he is proud to share his anticipated new solo album American Dream. Predominantly created during quarantine this past spring, Keel single-handedly produced, recorded, and wrote each of the 10 tracks on the album. The album has been spotlighted by a variety of outlets, including The Bluegrass Situation, JamBase, American Songwriter, Bluegrass Today, and No Depression, who said, “American Dream finds Keel honestly exploring — even wrestling — with his place in the wider world...an impressive LP that feels like a culmination of his experience and expertise.” American Dream is available today, order it here.

Reminiscent of Jerry Garcia’s solo album Garcia, Keel plays each instrument on every track of American Dream, giving listeners a unique opportunity to hear the acclaimed acoustic guitar player showcase his mandolin chops, banjo licks, upright bass thump and power on electric guitar. While some tracks are rooted in Keel’s classic bluegrass style, others veer towards poppy folk rock, a couple of tunes are dripping in moody psychedelia, and some have more of a gritty, old-time stomp like the lead single “Try”.

Lyrically, the songs on American Dream are dynamic. Some were inspired by Keel’s experiences as a touring musician living life on the road, while others were galvanized by the events that were taking place at the time—including the COVID-19 pandemic and the global protests against systemic racism. With the title track "American Dream," Keel narrates from the point of view of a child who, though young and inexperienced in life, asserts very clear standards for himself and for society. In the song’s opening line, he clearly states what he does not want to be as a man (I don’t wanna grow up to be another angry old white guy / self-important, and all wrapped up in his white lie), and then proclaims what he is attempting to be: an empathetic, moral and positive person, always striving to do better and aiming to serve the greater good.

“I consider this album to be a culmination of my deepest and most sincere thoughts, up to now. In spite of the turbulent times happening when I wrote most of these songs, I felt really centered and energized to just say exactly what was on my mind through lyrics and music,” Keel explains. “For me, this was a positive experience in starting a conversation through this recording. Hopefully it resonates with someone out there.”

Keel will tour throughout the Southeast throughout 2020, and has a handful of dates already on the books for 2021. All shows will conform with local regulations and Covid-related safety measures.

See Larry Keel Live: 

Nov. 13 + 14 – Live Oak, FL – Suwannee Live 

Nov. 21 – Earlysville, VA – Festy 2020

Nov. 28 – Charleston, SC – Charleston Pour House

April 9 + 10 – Olympic Valley, CA – WinterWonderGrass Tahoe *

May 28 + 29 – Augusta, GA – Papa Joe’s Banjo-B-Que Music Festival

June 27 – New Martinsville, WV – Back Home Festival

July 10 – Snowshoe, WV – 4848 Festival *

Aug. 27 – Pelham, TN – The Caverns *

Sept. 18 – Berryville, VA – Watermelon Park Festival *

* with Keller and the Keels

“It was paramount that we practiced restraint, to not abandon tradition in the name of originality,” says singer and songwriter Pony Bradshaw of the recording process on his new album, Calico Jim. “‘Less glamour, more nutrients’ was something I reminded myself of every morning over coffee before heading to the studio.” That thought process aided in Bradshaw’s commitment to not overshadowing the stories he’d set out to tell; stories about the relationship between man and nature and about a region and community connecting with its history and its pasts which come to life through Bradshaw’s powerful, earnest voice. Part Southern gothic, part North Georgia storybook tales, Calico Jim will appeal to fans of impeccable, character-based storytelling and minimally and thoughtfully produced Americana music. Yesterday, American Songwriter premiered the album’s first single and title track, “Calico Jim,” calling it “raw and real while also being irresistibly toe-tapping.” Fans can hear “Calico Jim” now right here and pre-order the full Calico Jim album at this link.

“When I decided to bring Calico Jim to life, I had a strong notion of where I wanted to record it and who I wanted to involve in its making. I wanted friends to play on it, certainly, and I wanted their friends to play or work on it, too,” remembers Bradshaw. He and his friends—Cody Ray on guitars and lap steel, Aaron Boehler on bass, Paddy Ryan on drums and percussion, Philippe Bronchtein on pedal steel and Hammond organ, Casey Collis on fiddle and banjo, and Jason Weinheimer & Zachariah Reeves at the mixing board helm—met up at Fellowship Hall Sound recording studio in Little Rock, Arkansas, and let each song lead them to its final destination and incarnation. Recording to tape, Bradshaw and the band left their egos at the door and dove into the work that drives his everyday life. “There’s a certain hard-earned knowledge, a fastening of spirits, gained from toiling with friends,” says Bradshaw. “In the trenches, glasses clinking, wore slap out, but wholly content.”

The brotherhood developed over that week in Little Rock is easily heard on Calico Jim. During the sessions, the band shared a big, old gothic house near the Arkansas River, just a few miles from the studio. “Every evening before falling asleep sapped from the laboring, I turned on the Andy Griffith Show, a program that settles the soul and readies it for a good night’s rest.” Bradshaw and the band returned to the studio each new day, well-rested and ready to get their hands dirty recording songs like “Dope Mountain” and “Sawtoothed Jericho.” The former opens with the line “We took to stealing copper wire / Stashed in a laurel slick down by the old mine” and chronicles life in a post-mining town with sharp, tin-type detail, and the latter has a nuevo-bluegrass feel full of Bradshaw’s signature imagery and commanding vocals; both drenched in an inescapable feeling of authenticity. A dusty truth that Bradshaw has no problem sharing with the world.

“My ultimate aim was for this to be a true record of an experience, a capturing of sound and sweat and intention. A human artifact,” recalls Bradshaw. “To bring it into the physical world was essential. I wanted it to live and breathe, to die, to get lost, and then found. I hope that’s what’s heard when it’s spinning in your living room or playing through your car speakers on your way to work. I hope you can hold it in your hands and feel the life we put into it, and I hope you feel it wasn’t in vain or a waste of your time.”

More About Pony Bradshaw: James Bradshaw lives in North Georgia with his family, where he writes songs, tends the yard, and raises children. After a long stint of being unsettled, he arrived home in the southern Appalachian mountains to do his life’s work. A natural-born dissenter, he focuses on housekeeping with his wife and believes work is a form of prayer.

“Good work uses no thing without respect, both for what it is in itself and for its origin. It uses neither tool or material that it does not respect and that it does not love. It honors nature as a great mystery and power, as an indispensable teacher, and as the inescapable judge of all work of human hands. It does not disassociate life and work, or pleasure and work, or love and work, or usefulness and beauty. To work without pleasure or affection, to make a product that is not both useful and beautiful, is to dishonor God, nature, the thing that is made, and whomever it is made for.” – Wendell Berry 

For five years running, musician/author/playwright/activist Steve Earle has been gathering a group of world-class friends and performers for a one-night-only concert which raises money for The Keswell School, an educational program for children and young adults with autism. On December 13th, with the help of Luck Productions and City Winery, Earle’s 6th annual John Henry’s Friends benefit concert is going virtual, expanding its audience, and making the annual fundraiser a world-wide affair. With 100% of donations going to The Keswell School—an institution, near to Earle’s heart at which his son and the event’s namesake, John Henry, is a student—a host of world-renowned musicians have accepted their invitation to participate. Performers include Steve Earle & The Dukes, Emmylou Harris, Graham Nash, Jackson Browne, Lucinda Williams, Jason Isbell & Amanda Shires, and many more. A full list of artists can be found below and more information, including how to donate, can be found at luck.stream/johnhenrysfriends.

“Well, 2020 has pretty much sucked so far,” said Steve Earle. “It’s been tough on everybody, including those of us in the performing arts, who, after all, depend on the patronage of live audiences for our very livelihood. Therefore, I’m especially grateful that some of my favorite people have come together against all odds to support a cause that is near and dear to my heart, the Keswell School. Since we’ve been doing these shows, they are always my favorite day of the year…good music, good friends, and a good cause. This year’s performers are alumni, one and all, and I’m eternally grateful to each and every one for suiting up and showing up in the hour of our school's greatest need."

As mentioned, all donations raised through the live stream will go directly to The Keswell School, an educational program for children and young adults with autism. Founded in 2002 on the belief that children diagnosed with ASD can live full and productive lives as integrated members of their communities, The Keswell School provides educational, therapeutic, and supportive services for children diagnosed with ASD and their families. The Keswell School challenges students to accomplish in aspects of school life and prepares them for the fullest possible engagement in the world. The strong bond between Keswell students and their teachers and therapists is rooted in the School's commitment to meeting students at their individual levels of development.

6th Annual John Henry’s Friends Lineup:

Steve Earle & The Dukes

Emmylou Harris

Graham Nash

Jackson Browne

Lucinda Williams 

Jason Isbell & Amanda Shires

Josh Ritter

Matt Savage

Shawn Colvin

The Mastersons

Warren Haynes

Today, after a string of critically-acclaimed single releases accounting for millions of Spotify streams and an album of haunting cover tunes, Nashville-based, mood-altering singer and songwriter Molly Parden returns with a brand new EP, Rosemary. Rosemary’s six tracks—the largest collection of songs Parden has released since her 2011 debut Time Is Medicine—weave effortlessly between worlds of pop, folk, string-scapes, and warbly lo-fi filters to make a tidy bed for Parden’s gilded voice and heart wrenching songs to melt into.

Ahead of its release, Rosemary received accolades from the likes of Forbes, who said of Parden’s patient writing process, “This slow creative philosophy serves her; the kind of emotional work that must be done in an album such as Rosemary cannot be expedited,” and Paste, who shared Parden’s “Kitchen Table” video, saying “‘Kitchen Table’ has the lush, unhurried sway of a Faye Webster (whose backing band Parden once played in) tune and the delicate vocals of your favorite indie-folk singer.” In addition to adding Parden to their list of 40 Best New Bands Of 2020, Stereogum also suggested that “if called upon, she could just as easily become a fourth member of boygenius or ghostwrite for Natalie Prass,” and Gorilla vs. Bear called “Who Are We Kiddin” an “effortless, timeless-but-unmistakably-modern union of swooning R&B, heartfelt indie-folk, and twinkling, string-laden classic pop.” With critics already on board, now it’s the fans’ turn to finally get a taste of Parden’s patiently crafted and awaited Rosemary. To stream or purchase, please follow this link.

Rosemary is rich with light-handed touches from Parden and producers Juan Solorzano and Zachary Dyke. From the throbbing electric piano chords and reedy horn flourishes of “Who Are We Kiddin’” to the slow burn of “These Are The Times,” the care taken to present each song in its most pristine form is on the same focal plane as the songs themselves. “The guys and I set out to make each song sound as beautiful, sad, and lonely as the day I first sang them,” says Parden. “Precise sounds with intentionality and plenty of space,” she calls it. “These Are The Times” closes out Rosemary with the same intimate pulse in which “Feel Alive Again” begins it—Parden calls the latter “a hymn” and “a plea for peace.” “I Know You Can” may be the single-most devastating song Parden has ever shared with the world. “This song depicts the crippling heartache that I felt following the ending of a relationship that I thought would last the test of time,” recalls Parden. “These were moments of bittersweet tenderness as I tried to let go of everything. I couldn’t listen to this song without crying for months.” Her sentiment comes across deeply clear in the pleading chorus: I know you’re strong enough to be my man. You may think you can’t. But I know you can.

For all its unapproachable beauty, the heart of Parden’s music is humble and profoundly human. They are songs that remind us that heartbreak isn’t simply another marketable human emotion, but is more like a familiar place—a sacred space within all of us. It makes listening to Rosemary feel like falling into a dream or a distant memory; a beautiful reminder of something we’ve known all along.

Rosemary Track Listing

1. Feel Alive Again 

2. Kitchen Table   

3. Who Are We Kiddin’  

4. I Know You Can   

5. Within A Dream 

6. These Are the Times  

Kicking off with a blaze of harmonized electric guitars sounding like when the Allman’s Elizabeth Reed checked into the Eagles’ Hotel California, Ward Davis’s new album Black Cats and Crows doesn’t waste a second on formalities. Out today on Thirty Tigers, Black Cats and Crows is triumph on all fronts. A muscly country-rock record filled with murderous story songs, heartbreaking vulnerability, and that unmistakable voice—Davis’s weathered croon, barrel-aged then left out in the sun—are all brought to life through Davis’s and producer Jim “Moose” Brown’s care for their craft and disdain for sterility. Ahead of its release, Black Cats and Crows garnered praise from No Depression who said “Davis’ skills as a songwriter were defined long before this record through his work with others, but his soulful vocals and multi-instrumental capabilities allow him to shine as a performer as well,” and Rolling Stone, who noted that the new album “highlights Davis’ introspective songwriting and his evocative piano stylings.” Fans can stream or download Black Cats and Crows right now at this link.

Without listening to a note of Black Cats and Crows, the company kept in the liner notes alone—co-writers Cody Jinks, Kendell Marvel, and Shawn Camp—will tip off any discerning music fan on how respected Davis is as a songwriter. Of course, his own songwriting history precedes him too, having written tunes for the likes of Willie Nelson, Merle Haggard, and Trace Adkins. “This is my coping mechanism. I know music is a coping mechanism for a lot of people,” Davis says. “It’s important that it’s crafted well, but it’s also important that it’s honest so that people can relate to it and get something out of it.” But it’s not just songwriters that have taken notice. Among the world-class musicians who took part in the recording of Black Cats and Crows, a name not too often thrown around in the world of country music appears; Anthrax’s Scott Ian, who guested on the ominous murder ballad, “Sounds of Chains.”

In addition to the guitar-driven tunes, several songs on Black Cats and Crows also remedy the often-overlooked role of the piano in outlaw music. A fine pianist who shrugs off any praise of his own playing, Davis looks up to the slip-note stylings of master Floyd Cramer. “He would do these little flickers with the keys that aren’t complicated but really create a sound,” Davis says. “I mimic him a lot.” Kicking off with piano and fiddle, “Threads” lays a weary heart bare, while the beautifully written “Good to Say Goodbye” traces the push and pull that ensues when it’s time to go. “Good and Drunk” is a lesson in songwriting, heartbreaking and real. “That was a hard one to write,” Davis says. “It was a bad day. I came home from a tour with Sunny Sweeney, and my ex-wife had packed up everything and put the boxes in the garage. I was sitting there alone, hungover, wanting a whiskey drink, and I realized I didn’t know where the whiskey was. But I had my legal pad out. So, I started writing this song.”

Davis mines his own worries and pain for a song without ever forgetting the other person who will eventually listen to it. “I want people to know these songs mean something to me,” he says. “I hope they mean something to them. Maybe they’ll hear something that’ll make them feel better.”

Black Cats and Crows Tracklisting:

Ain’t Gonna Be Today

Black Cats and Crows

Threads

Sounds of Chains

Get To Work Whiskey

Colorado

Book Of Matches

Heaven Had A Hand

Where I Learned To Live

Papa And Mama

Lay Down On Love

Nobody

Good To Say Goodbye

Good And Drunk

In early 2020, just weeks before pandemic swept the globe, The Wild Feathers were kicking off a brand new chapter—fully independent, no more label contract or team, soaring free of the weight of the industry on their backs. Then, the universe pulled the ripcord. When their major tour with Blackberry Smoke was canceled in March, the band—Ricky Young, Joel King, Taylor Burns, Ben Dumas, and Brett Moore—found themselves with unexpected time to reflect on their career so far. Medium Rarities, a brand-new full-length album of unreleased songs spanning the band’s decade-long career, is what came from those reflections. King, whom Dumas dubs the band's “archive master,” started poking around hard drives of old music, and the idea of a rarities compilation began to take shape. The album, released today, is composed of those B-sides, covers, demos, and other nuggets King and the band culled from The Wild Feathers’ vault. Ahead of its release, Medium Rarities garnered critical praise—from Garden & Gun, who praised the band’s “unique blend of country, Southern rock, Americana, and roots–centric pop,” to WMOT, who’ve been there along each step of the Wild Feathers’ journey, to The Bluegrass Situation’s exclusive album preview. American Songwriter gave the album 4.5/5 stars, saying, “With the well done Medium Rarities, the Wild Feathers prove that they’re absolutely on track...it boasts some of the best-recorded performances of their entire career.” Medium Rarities can be now purchased or streamed now at this link. A vinyl pressing of Medium Rarities is available exclusively through Magnolia Record Club.

Tonight, November 20th at 8pm Central, The Wild Feathers will take the stage at Nashville’s new Brooklyn Bowl venue to celebrate the release of Medium Rarities. Through a special live stream on fans.live, the show will be streamed worldwide for a pay-what-you-want ticket price. More information, including ticket options, can be found at this link.

Medium Rarities opens with “Blue,” a Dave Cobb produced cover of the Jayhawks’ classic from Tomorrow the Green Grass, The Wild Feathers’ version of “Blue” sticks close to the original but with the band’s signature harmonies—reminiscent of The Band or Tom Petty and the Heartbreakers—expanding beyond the existing vocal melody. “I can’t remember not being in love with the Jayhawks,” says Young. “Melody is by far the first thing that draws me to a song and they just can’t help but pull you in and it’s just effortless.” This song is the first on Medium Rarities not just because it’s a rock and roll kick-off for the ages, but because the album is sequenced chronologically and “Blue” was recorded near the very beginning when the band was looking for a record deal. “Interscope wanted to hear what we could do harmony wise and we thought that song would be the perfect example of what we thought we were capable of,” remembers Young.

“Fire,” “Goodnight,” and “My Truth” round out the middle of the compilation. All three tracks are new material written in the lead-up to the band’s plans to explore a new era of the Wild Feathers. “Fire,” in particular, shows the group's sonic growth with its understated verse arrangement, sparkling production, and arena-ready chorus. The harmony-drenched “My Truth” has its roots in a recent writing retreat the band took together, and the song's lyrics (“I've been looking for the answers / I can't find them on the news”) connect a personal relationship to current events. Unlike the rest of the songs, produced by the likes of Dave Cobb and Jay Joyce, the Wild Feathers produced these new tracks together as a band.

Standout b-side “Marie” is a laid-back front-porch rocker about a songwriter who doesn’t have much or all that he promised, and his songs are all that he may leave behind; its vulnerable lyrics are punctuated with chiming acoustic guitar and twangy electric riffs. Young wrote “Marie" during sessions for the band's self-titled debut album, and admitted to being surprised that the song didn't make the final tracklist. “It's one of my favorites," he says. “I'll always play it if I do a solo show or anything like that. I'm really glad it's made it onto this record.”

“Medium Rarities opens up the possibility for future volumes,” Young says. “We thought it was a cool thing to do for ourselves, and especially for our fans. We’ve always been one of those bands that talks about having a true catalog, by every definition: live albums, box sets, double albums, b-sides, and rarities albums—being music fans, and that’s what we are, that’s what you want from artists you like. You want anything you can get your hands on. This is one more step we’ve accomplished.”

Medium Rarities Tracklisting: 

1. Blue

2. Heartbreak

3. Marie

4. Almost Cut My Hair

5. Fire 

6. Goodnight

7. My Truth

8. To Be Gone

9. Lose Yourself

10. Guitar Man

11. After the Bottle’s Gone

The Wild Feathers will finish out 2020 with a handful of live-streaming concerts and private events, including public dates with Blackberry Smoke as well as a handful of headline shows of their own. They're currently at work on material for a new album and plan to release new music in early 2021.

“I want to work towards a new southern strategy because my South is a South for all people,” says Nashville recording artist and proud Kentucky native Kelsey Waldon. The next step forward in Waldon’s mission for progress and equality in her beloved homeland is releasing her new EP, They’ll Never Keep Us Down, a collection of timeless yet timely cover songs; from Neil Young’s “Ohio” to Billy Taylor and Dick Dallas’s “I Wish I Knew How It Would Feel To Be Free”—which features Devon Gilfillian—to Waldon’s late friend, mentor, and record label founder John Prine’s “Sam Stone.” The EP’s title track, Hazel Dickens’ “They’ll Never Keep Us Down” is a power-to-the-people traditional bluegrass burner with refrains like “They’ll never shoot that union out of me” and “Your welfare ain’t on the rich man’s mind.” They all share a strong common thread; accepting the need for change and what it means to push for it. “Today in 2020, as we push for progress, sometimes it still feels like we are going backwards.” It’s that backsliding of progress that drove Waldon to revisit this host of powerful songs, all of which can be streamed or purchased right now at this link.

Additionally, Waldon is releasing three different, limited edition, colored vinyl versions of They’ll Never Keep Us Down; proceeds from the red vinyl will benefit Hood to the Holler, a non-profit organization aiming to end racial injustice in Kentucky and beyond. The blue vinyl will benefit Appalachian Citizens’ Law Center, who represent coal miners and their families on issues of black lung and mine safety, and the green vinyl will benefit women veterans in the Lexington VA Health Care System. All three vinyl editions can be ordered here.

Singles-wise, JamBase shared Walden’s in-studio performance video of “Sam Stone” on Veteran’s Day and NPR/World Cafe premiered the EP’s first single, “Mississippi Goddam.” With the help of guest vocalists Adia Victoria and Kyshona Armstrong, Waldon tackles this Nina Simone classic with a swirling, angry, country-ish feel, rekindling Simone’s fire from when the song was written after white supremacists killed four young girls in the 1963 bombing of a Black church in Birmingham, Alabama. NPR/World Cafe’s Bruce Warren commented, “There’s an electrical, pulsing change in tempo compared to Simone’s original, yet the cutting message remains the same. With Victoria and Armstrong adding their voices to this version, along with Waldon, makes an already powerful song even stronger.” Overall, They’ll Never Keep Us Down burns bright and hot; a torch in the night for those who’ve not yet seen the light and a friendly beacon for those who are already on their march to achieving justice for all.

On Saturday, November 21st, Waldon and Arlo McKinley will take to the outdoor stage at Nashville’s famed venue, The Basement, as part of Oh Boy Records’ Friendsgiving & Food Drive. Benefitting Second Harvest Food Bank, the socially-distanced outdoor concert has long been sold out, but donations can still be made to Second Harvest in honor of Oh Boy Records at this link.

Waldon recently curated a playlist for part of Oxford American’s annual music issue. Entitled “Women of the Rural Blues,” Waldon’s playlist includes choice cuts from Ola Belle Reed, Hazel Dickens, and many more. “The music on this playlist is what I would consider to be part of the foundation of what we know as ‘country’ music today,” says Waldon. “What is the rural blues, one might ask? It’s the country blues, the mountain blues, the Delta blues, the hillbilly blues...it is country music.” Check out Waldon’s playlist as well as seven others from southern musicians and writers right here. 

They’ll Never Keep Us Down Track Listing:

The Law Is For Protection Of The People

Ohio

Mississippi Goddam feat. Adia Victoria & Kyshona Armstrong

Sam Stone

They’ll Never Keep Us Down

With God On Our Side

I Wish I Knew How It Would Feel To Be Free feat. Devon Gilfillian

In the first few months of a worldwide pandemic, bluegrass-rockers The Steel Wheels took to their own home studios—in some cases that meant piecing together a home studio—and got to work. Recording more than 60 songs when all was said and done, the group landed on a concept unlike any waters they’d waded into before; they called it “Distance Together.” Conceived by The Steel Wheels’ lead singer and songwriter, Trent Wagler, the project became an avenue for fans of the band to commission works and send musical greetings to their loved ones. The initiative sparked a surprisingly impactful and intimate songwriting process, with Wagler setting the personal stories of fans to song and verse. Some songs were written for individuals, some for friends and families—many were specific to a time and place—and some were commissioned for weddings and anniversaries or to commemorate a lost loved one or the completion of a life's work. At the end of the process, The Steel Wheels—Brian Dickel, Trent Wagler, Jay Lapp, Eric Brubaker, and Kevin Garcia—were left with some of the most heartfelt, inspiring material they’ve ever written, and the result shines through on Everyone A Song, Vol. 1, a brand new 9-song album which was released today. Fans can purchase Everyone A Song, Vol. 1, or pre-order a vinyl pressing right now at this link.

The Steel Wheels’ far-out concept for Everyone A Song, Vol. 1, could’ve easily gone awry, but fans and critics alike have so far agreed that the boys really stuck the landing. No Depression praised the new release saying, “The album’s nine songs form a cohesive whole of touching, personal stories set to The Steel Wheels’ sympathetic backing...they’ve found a way to not only bring their music closer to their fans but to bring their fans closer to each other,” and American Songwriter credits “the imaginative, empathetic craft of their resident songwriter, Trent Wagler” and the band’s 15 years of partnership and intuition as the ingredients that gave these songs shapes and a life of their own.

The process behind this new album has been further documented in an accompanying podcast, We Made You A Song. Each episode dives into the creation of a single song on the album, serving as an in-depth audio liner note. Wagler interviews the band as well as the actual subjects of each song to give a rare glimpse into the creative process and what it means for someone to have their experience distilled into melody and rhyme.  We Made You A Song is distributed via WMRA. Everyone A Song, Vol. 1 was born out of a desire to close the distance created in the midst of the Covid-19 shutdown. “Maybe I was dreaming of being an essential worker,” says Wagler. “It made me ask the question: what’s essential about music? It’s the connection. The understanding. The beauty and magic of melodies that transcend us with the words that say, ‘You there, I see you, and you see me, and doesn’t it feel good to not be alone in the world?’ That’s what art has to offer. Especially right now. And planting real stories right in the middle of it kind of pushed aside any other pretense or distraction about being cool or whatever.”

Everyone A Song, Vol. 1 Tracklisting:

My Name is Sharon

The Healer

Don’t Want To Come Back Down

The Man Who Holds Up The World

Water And Sky

Florida Girl (Work For It)

Lucy

Genevieve

Family Is Power

“I always wanted to make a record that would live in somebody else’s world the way a Joni Mitchell record does in mine,” says Sarah Buxton about her new EP, Signs Of Life. “I always felt like Joni Mitchell and Stevie Nicks were my older sisters, walking with me, lifting my chin up and saying, ‘You got this.’” While Buxton may not be a household name just yet, she’s long established that kind of musical relationship with a hilariously long list of Nashville’s most popular and prolific artists, contributing her songs and her voice, oftentimes together, to records from the likes of Miranda Lambert, Dierks Bentley, Harry Connick Jr., Blake Shelton, Keith Urban, Martina McBride, and many others. Today, Buxton shares her voice and her songs with the world with the release of Signs Of Life, her first solo album in almost a decade. Pre-release, CMT premiered “Little Bit Better” off of Signs Of Life, saying that “it sounds like the song almost wrote itself,” and American Songwriter praised the EP saying, “Signs Of Life is the sonic unraveling of all of those things she had worked so hard to tie off as she ‘grew up.’ Buxton explores death, love, marriage, and the ways we need each other, like a tender but fierce friend willing to share what she’s learned.” Today, fans can now stream or purchase Signs Of Life at this link.

“I feel like a huge theme in my life is learning how to love myself, listen to myself, observe myself, and accept myself,” says Buxton. “I used to have people I would go to for answers, but now, I’m trying to lean a little bit more on my own intuition.” Her intuition is the heart of this new collection of songs, beating deeply and freely, open and honest. For Buxton, Signs of Life is part of a bigger commitment to holding on to what matters and letting go of what we thought we needed but don’t. “It takes courage to grow younger in your heart as you’re getting older, and to not just close off,” Buxton says. “It takes a lot of shedding, too. There is a lot of grief in these songs. It’s been a time of growing up for me—but it’s also a return to who I was.”

Whether writing songs or making music, a common thread of giving, receiving, and growing weaves throughout her work. “Pleasure, fun, and connecting with people—that’s when I make the best music, and when I’m the most happy,” she says. Recorded at Daniel Tashian’s studio—Tashian is also Buxton’s bandmate in Nashville’s beloved songwriter supergroup Skyline Motel along with Kate York and Ian Fitchuk—Signs of Life is a gorgeous product of the balance Buxton has mastered; chemistry with brilliant friends in support of her own confident vision. Tashian and Fitchuk contributed their part to the multi-instrumentalist chemistry along with a host of A-list musicians, including session guitar wizard, Tom Bukovac.

The amalgamation of all of Buxton’s qualities is what makes her light shine so bright; her magnetic thoughtfulness, honesty, perspective, and songcraft. When they all meet in a room with instruments and microphones and the tape starts rolling, that’s when the lightning gets bottled to share with the world. The result, Signs Of Life, is sure to find the home with listeners as Buxton dreamed up; integral and ubiquitous in their every day like her Joni or Stevie. “Instead of being the artist’s, the song becomes yours when you listen to it—your song about your life.”

Signs Of Life Tracklisting:

Some Things Don’t Change

Only The Truth

Signs of Life

Like I Need You

By Myself

Little Bit Better

As the cold, gray winter months set in, LGBTQ+ roots music non-profit Bluegrass Pride is gearing up to stoke the fire and warm the cider with Fireside Pride, an online, winter- and holiday-themed celebration. Hosted by emcee Marlene Twitty-Fargo and featuring performances by Ani DiFranco & Zoe Boekbinder, Leyla McCalla, Mary Gauthier, AJ Lee & Blue Summit, Stephanie Anne Johnson, and a non-religious holiday sing-along led by Nate Lee, Fireside Pride will bring all parts of the BGP community together on December 5th, beginning at 3pm PST and running until 6:30pm PST. A full schedule can be found below.

The event can be streamed via the Bluegrass Pride Website, their Facebook page, or their YouTube channel. Admission to the party can be accessed in the form of a suggested donation of $10, but a statement from BGP reads: “If you’re a part of the Bluegrass Pride family, or if you’re just here to enjoy the show, we’re suggesting a $10 donation. But, if you’re able, please give generously – and consider giving to Bluegrass Pride monthly as we continue to support artists and our community all year round!”

Earlier this year, in the fresh wake of the pandemic, Bluegrass Pride found itself in the same position as many of the talented musicians with whom they work; facing the cancellation of an entire season of events. They said goodbye to their San Francisco Pride float and marching armada, the annual Bluegrass Pride Concert that follows the parade each year, their annual Portland events, and their inaugural Nashville celebration, too. But BGP wasn’t satisfied with an empty calendar and a clean slate, without events, gatherings, and music. Furthermore, they understood that LGBTQ+ and Black, Brown, Indigenous, and Asian musicians and creators have been disproportionately impacted by the economic devastation of the pandemic, so BGP knew they had to adapt their mission to meet folks wherever they’re at during this time.

In June, Bluegrass Pride carried off their first-ever Porch Pride: A Bluegrass Pride Queer-antine Festival, a digital program featuring more than 10 hours of live music over what would have been Pride weekend, and raised over $22,000 for their artists. BGP also pivoted their annual LGBTQ+ Musicians Showcase online during IBMA’s Virtual World of Bluegrass, featuring five acts of bluegrass, folk, and old-time from around the world during the conference. And, in October, they began a monthly livestream series that features creators and artists from the Bluegrass Pride family.

“Time and again, our audience has shown up for Bluegrass Pride and our mission, despite all of the barriers thrown our way by 2020!” say Executive Director Kara Kundert. “We’re asking you to show up again for our musicians and our community. Musicians know how hard the winter months can be, when opportunities dry up seasonally, as the weather changes -- and this year, flu season and returning indoors will inevitably increase COVID transmission and close off more gig and work opportunities for artists. Now is such an important time to give!!”

All profits from Fireside Pride will be shared evenly between the artists playing the festival and Bluegrass Pride. BGP is a 501(c)(3) non-profit organization; these funds will go towards supporting their ongoing, year-round operations, allowing BGP to continue hosting paid performance opportunities for artists during these uncertain times, while also investing in long-term resources that will benefit both musicians and fans beyond the pandemic (such as the forthcoming Safe Venue Directory), helping to create a safer, more inclusive bluegrass community for all.

“Thank you for your continued support!” the organization adds. “Whether you’re a Bluegrass Pride veteran, a chance passerby, a longtime donor, or a curious newbie, we’re so pleased to have you as part of Bluegrass Pride. We hope you enjoy Fireside Pride (safely!) with your friends, loved ones, and families and we cannot thank you enough for helping to spread the word about Bluegrass Pride, Fireside Pride, and the important work of making bluegrass a place for everyone.”

What: Fireside Pride

When: December 5, 3:00pm - 6:30pm PST

Who: Ani DiFranco & Zoe Boekbinder, Leyla McCalla, Mary Gauthier & Jaimee Harris, AJ Lee & Blue Summit, Stephanie Anne Johnson, and a Holiday Sing-Along with Nate Lee. Presented by Bluegrass Pride, hosted by Marlene Twitty-Fargo.

Full schedule (in PST):

3:00 PM Holiday Sing-Along with Nate Lee

3:30 PM Stephanie Anne Johnson

4:00 PM AJ Lee & Blue Summit

4:30 PM Mary Gauthier & Jaimee Harris

5:00 PM Leyla McCalla

5:30 PM Ani DiFranco & Zoe Boekbinder

Texas and Americana music pioneers Asleep at the Wheel aren’t going to let the year end without one last digital hurrah. On December 19th, bandleader Ray Benson and crew will dust off the carols, spike the eggnog, and proceed to boogie—holiday style—with a very special 90-minute live stream concert dubbed Merry Texas Christmas, Y’all! The band will take the stage at the “Texas North Pole,” playing fan favorites as well as choice cuts from their three previously released Christmas albums. The festivities will begin at 7 pm CST on December 19th, and post-show, the special will be on-demand streaming until Santa makes his rounds. For more information and to purchase a ticket, please follow this link. One ticket will allow streaming on one device.

In addition to tickets, exclusive holiday bundles including VIP Zoom meet and greets with Ray Benson and Katie Shore, Asleep at the Wheel Christmas cards, autographed CDs, tote bags, and more are available now right here, powered by Friendly Sky.

What else has the Asleep at the Wheel been up to this year? In October, the band teamed up with Austin City Limits and PBS for ACL Presents: 50 Years of Asleep at the Wheel, a special retrospective of the band’s appearances on the beloved program. From performing on the series’ very first episode to modern-day collaborations with legends like Willie Nelson and Lyle Lovett (in total, the band has appeared on eleven episodes), Asleep at the Wheel have woven a 50-year thread through Texas and American music history, and Austin City Limits played a quite the part in it. Fans can experience the journey right from the beginning with ACL Presents: 50 Years of Asleep at the Wheel; more information including a full broadcast schedule is available at acltv.com.

About Asleep at the Wheel: The stars aligned in 1970 when three friends Ray Benson, Lucky Oceans, and Leroy Preston moved to Paw Paw, West Virginia (it’s not a made-up place, you can look it up). It was there that their dream of forming a band began after a mutual friend gave them access to his uncle’s cabin on an apple orchard just outside of town. The three friends began to—quite literally—woodshed and found others who would join them in their mission to play old-style roots/Americana music. This was long before the genre even had a name. After a trip to the outhouse, Lucky lived up to his name and suggested the band be called Asleep at the Wheel and so it was to be for the next 50 years.

Since inception, Asleep at the Wheel has received 10 GRAMMY® Awards, was cited by the Country Music Association as 1976 Touring Band of the Year, and were given the 2009 Lifetime Achievement Award by the Americana Music Association. They have released 31 albums and charted more than 20 singles on country charts. Billboard commented on the band’s catalog most succinctly: “Everything this act has ever released is simply spectacular.”

For the last three-quarters of a century, in the world of bluegrass music, one thing has always been certain; the cream rises to the top. And it didn’t take long for International Bluegrass Music Association Award-winner Justin Moses to rise to his now prestigious status as one of the finest multi-instrumentalists in acoustic music. On January 22nd, Moses’s pickin’ prowess and songwriting skills will be on full display with his release of Fall Like Rain, a new self-produced full-length album on Mountain Fever Records. Featuring Moses on vocals and a slew of stringed instruments—from flat-top six-string and Weissenborn guitar to mandolin and banjo—Fall Like Rain not only sheds light on his many talents, but on the skill and perseverance it takes to piece them all together to create the final product. Fans can pre-order a signed copy of the album at this link and pre-save or pre-order the album digitally right here.

Prior to the album’s release, critics doted over a number of early singles and they’ve all performed well on Bluegrass Today and Roots Music radio charts with the album’s title track reaching number 1. The Bluegrass Situation called “Taxland,”— which features Moses’s wife of three years and acoustic superstar in her own right, Sierra Hull—“a melody that is all at once careening wildly towards its end and impossibly, impeccably clean,” and Bluegrass Today premiered “Between The Lightning and The Thunder,” a track featuring Moses’s former bandleader during his time in the Dan Tyminski Band, Dan Tyminksi. The level of talent filling out these songs’ arrangements speaks highly of the respect Moses carries in the acoustic music community. Del McCoury, Shawn Lane, Stuart Duncan, Bryan Sutton, Cody Kilby, Barry Bales, Michael Cleveland, Jason Carter, Jerry Douglas, and more can be heard between the album-opening Eric Clapton cover, “Fall Like Rain,” and its tenth and final track, “Locust Hill.”

Moses began his musical journey at the age of six after becoming interested in the mandolin. He first started to hone his skills playing in his family's band as a child. Since then, he's toured with bands such as Blue Moon Rising, The Dan Tyminski Band, Ricky Skaggs & Kentucky Thunder, Blue Highway, and The Gibson Brothers. In his two-year stint with Tyminski, he realized an early dream of playing the Grand Ole Opry for the first time and recorded the 2009 IBMA Album of the Year and Grammy-nominated album, Wheels. In 2018 and 2020, Moses was the recipient of the IBMA’s Resophonic Guitar Player of the Year award. Moses has appeared on stage or in studio with a diverse swath of artists including Alison Krauss, Del McCoury, Garth Brooks, Emmylou Harris, Brad Paisley, Joe Diffie, Jerry Douglas, Vince Gill, Bruce Hornsby, Peter Frampton, Rosanne Cash, Dwight Yoakam, and Barry Gibb.

Moses has performed on prominent national shows such as The Late Show, Conan, The Today Show, and Grand Ole Opry LIVE. He performed alongside Hall of Famer Ricky Skaggs on the CMA Awards in 2018 and appeared with an all-star cast of artists on the PBS special Country Music: Live at the Ryman in conjunction with Ken Burns' Country Music documentary in 2019. That same year, the Country Music Hall of Fame and Museum honored Justin by featuring him as a part of the American Currents exhibit.

For more information, please visit http://www.justinmoses.com.

Fall Like Rain Tracklisting: 

1. Fall Like Rain (4:24)

2. Taxland (3:28)

3. Between The Lightning and The Thunder (feat. Dan Tyminski) (3:17)

4. Walking To Lebanon (3:50)

5. Wise & Born (2:49)

6. My Baby’s Gone (feat. Del McCoury) (3:13)

7. Looking For A Place (feat. Shawn Lane) (3:19)

8. Watershed (3:00)

9. U.F.O. (3:09)

10. Locust Hill (2:44)

The origins of American music are rife with sounds and styles from all reaches of the globe, but over the last century or so, the roles have somewhat reversed themselves with blues, jazz, and mountain music being re-dispersed and re-interpreted by musicians worldwide. Enter resonator-playing, foot-stomping Cristina Vane. Born in Italy to a Sicilian-American father and a Guatemalan mother, Vane grew up between England, France, and Italy, and was fluent in four languages by the time she moved to her fathers’ native United States to attend university at 18 years old. Unlike most of her contemporaries in the music industry, Vane has a taste for pre-war American blues from the likes of Skip James, Robert Johnson, and Blind Willie Johnson. Add a splash of slow western waltzes and haunting Appalachian melodies for good measure and she’s tapped in to the very well from which rock and roll sprung.

Vane’s debut full-length album, Nowhere Sounds Lovely, explores the depths of her new home’s musical history from her unique perspective without ever sounding like a re-hashing of old tricks. Out April 2nd, Nowhere Sounds Lovely flows naturally from the album-opening slow-burn blues of “Dreamboy” to the clawhammer banjo driven lament of “Will I Ever Be Satisfied.” Yesterday, American Songwriter premiered “Badlands,” the album’s closing track–a haunting and visceral nod to the Dakota’s rocky, windy plains–noting, “Like a young Bonnie Raitt, Vane sings from both her voice and her supple, bluesy guitar playing almost simultaneously–her sound as earthen as the South Dakota landscape…” “Badlands” can be streamed now at this link.

After spending almost four years in Los Angeles, Vane began to feel stagnant, and decided that it was time to take her music on the road. During that time she had built up a solid following on Instagram, so she reached out to her network of fans for help in booking a tour. An outpouring of support ensued, and she was able to book a five month cross-country tour, playing at small bars, breweries, coffeeshops, and clubs, in peoples backyards, through these connections. She crashed with friends, kind strangers, or slept in a tent. “My favorite part about traveling across the country was reclaiming my American heritage, which was very difficult to figure out.” she explains. “Anywhere I went I had my anthropological hat on, watching how people talk and interact. There were new places that sometimes felt totally familiar and sometimes completely foreign. Each pocket of the country has its unique flavor, and discovering the musical stylings that go along with that really informed this record. I knew virtually nothing about country, old-time, and bluegrass music until I ventured to the American South, but seeing those different musical traditions on a local level was inspiring.”

After completing her successful five-month-long touring campaign, Vane relocated to Nashville where she hoped to find a larger community of like-minded musicians. Working with Grammy-award winning drummer and producer Cactus Moser (Wynonna Judd) on Nowhere Sounds Lovely was assurance enough that she’d come to the right place. “When it came to the album, I wanted it to be a reflection of who I am, not just of the old music that I’ve come to love”, she explains, “and I’m essentially a rock kid who is obsessed with old music.” Moser also played drums on the record and his style “has some grit and some rock, mixed with these really awesome references to traditional roots music,” says Vane. The album was engineered by Rodney Dawson, and also features bass player Dow Tomlin, fiddle player Nate Leath, and pedal steel player Tommy Hannum. These musicians imbued her blues rock sound with tinges of country and old time for the first time in her career, reflecting the expansion of her own musical palette over a summer of touring.

Vane’s perspective on American music is a decidedly unique one, but absolutely an authentic one; pieced together through sights, sounds, and experiences just like the pioneers of the music she so dearly loves. If Nowhere Sounds Lovely is any indication, Vane’s ability to carry the torch of her forebearers is strong—and she’s just getting started.

Nowhere Sounds Lovely Tracklisting:

Dreamboy

Dreaming Of Utah

The Driving Song

Heaven Bound Station

Prayer For The Blind 

Satisfied Soul

Travelin Blues

What Remains

Will I Ever Be Satisfied

Wishing Bone Blues

Blueberry Hill

Badlands

“If we don’t hold on, we’re lost,” says singer, songwriter, and revered guitarist John Smith, speaking on the meaning behind his song “Hold On”. The tune embodies a thread of hopefulness in a blanket of bad news; a thread that runs throughout his new full-length album, The Fray. Out March 26th, The Fray finds Smith writing his sixth album, grounded from his usually-busy touring schedule, and reeling from a cascade of even worse news in his personal life; wading through it all with a defiant positivity. “It’s been a hell of a year, but I feel I’ve created my most honest work as a result—and as a necessity,” says Smith. “A lot of these songs are about accepting that life is hard, but just holding on and trying to enjoy it anyway.” Today, Fretboard Journal premiered “Eye to Eye” off of The Fray, describing it as, “A gorgeous new album...beautiful, introspective and loaded with great guitar tones.” A pulsing plea for understanding which was co-written with Americana mainstay Sarah Siskind and features Grammy-nominated multi-instrumentalist and songwriter Sarah Jarosz, “Eye to Eye” is a shining example of Smith’s ability to deliver a tough conversation wrapped in uplifting verse and melody. Fans can listen to “Eye to Eye” right now at this link and pre-order or pre-save The Fray ahead of it’s March 26th release right here.

Smith co-produced The Fray with long-time friend and producer Sam Lakeman at Peter Gabriel’s Real World Studio. Calling on an all-star band—pianist Jason Rebello (Sting, John Mayer), bass player Ben Nicholls (Seth Lakeman, Nadine Shah), Drummer Jay Sikora (Paolo Nutini) and Jessica Staveley-Taylor of The Staves—Lakeman and Smith honed an honest sound not unfamiliar to existing fans; a focus on the songs as well as the beautiful way in which Smith picks and plucks them. Not allowing a global pandemic to prohibit collaboration, Smith’s guests on the album recorded remotely and sent their contributions digitally over international borders—Sarah Jarosz, Courtney Hartman, The Milk Carton Kids, and Bill Frisell from the Americas and Smith’s frequent touring partner Lisa Hannigan via a virtual studio session in Dublin.

Throughout The Fray, Smith touches on not just his own emotional turmoil experienced over the past year, but also his observance of the pain of those around him. But it’s Smith’s stubborn optimism that shines through and differentiates his experiences and songs from his influences and contemporaries. His traits of holding onto hope, forgiving transgressions, and reckoning with his place in a world which doesn’t always reciprocate are not only necessary for Smith to deal, they’re contagious to anyone who finds themselves in similar situations, adrift in the wind. For those who echo that sentiment, from experience, Smith shares his message on The Fray; “If we don’t hold on, we’re lost.”

More About John Smith: Smith was born in Essex and raised on the Devon seaside. Known for his intimate songwriting, his honey-on-gravel voice, and pioneering guitar playing, he has spent the last fifteen years touring internationally and has amassed over 40 million streams on Spotify. As a session musician, he has played guitar with artists as diverse as Joan Baez, David Gray, Joe Henry, Lianne La Havas, and Tom Jones.

The Fray Tracklisting: 

1. Friends

2. Hold On

3. Sanctuary

4. Deserving

5. The Best Of Me (feat. Bill Frisell)

6. Star-Crossed Lovers (feat Lisa Hannigan)

7. To The Shore

8. Eye To Eye (feat Sarah Jarosz)

9. Just As You Are

10. The Fray (feat. The Milk Carton Kids)

11. She's Doing Fine

12. One Day At A Time

What if longtime friends Jim Brunberg and Ben Landsverk came clean about the fact that their bevy of instrumental theme songs and film soundtracks—including the New York Times’ famed podcast The Daily, Cheryl Strayed’s Dear Sugar Radio, and many indie film scores—were only half of the story? Well, there’s no need to get rhetorical, because the day has come for Brunberg and Landsverk, known collectively as the Portland-based duo Wonderly, to share their other side with the world. Today, the band released a brand new EP, Story We Tell Volume 1; five new songs—including a deeply groovy appreciation of legendary skyjacker D.B. Cooper, a soulful tribute to self-care featuring Portland soul legend Ural Thomas, and an ELO-meets-Elliott-Smith bop about a troubled dude named Steve—each accompanied by their own epic, narrative music videos that expand and embellish on Wonderly’s sonic storytelling. Ahead of Volume 1’s release, the Portland Tribune dubbed Wonderly “storytellers extraordinaire,” while Glide Magazine called the duo “two seasoned songwriters attempting to surprise, delight, and outdo each other at every turn.” Yesterday, Vortex named the duo’s recent single “Bayocean” the PDX Song of the Week – listen via KINK FM. Read more about Wonderly here and stream or purchase Story We Tell Volume 1 at this link.

Wonderly’s self-produced songs benefit from a deep affection for music across genres and decades. Their rich and ambitious vocal harmonies, forged by years of friendship and collaboration—whether backing up some of their greatest musical idols like Smokey Robinson, Van Dyke Parts, and Kristin Hersh, or in more recent collaborations with luminaries like Liz Vice, Laura Gibson, and Laura Veirs—drives the pair’s broad collection of stories home with soul and style. While both men have spent time in nationally touring acts, their recent work and community activism have kept them closer to home. Brunberg helms the beloved club Mississippi Studios in Portland, produces and co-hosts a podcast (Roam Schooled) with his two daughters, and tends to a working farm outside of Portland. Landsverk is active in Portland’s indie scene as a session musician and musical director and he’s the co-founder and leader of the prolific drop-in pop choir Low Bar Chorale.

The duo’s eclectic, creative backgrounds shine when combined as Wonderly. When Brunberg and Landsverk head into the studio to record, whether for their own songs or for a film score—with their instrumental work, the duo sounds equally at home making epic symphonic soundscapes, twangy Americana, and bubbly pop—they tend to let their musical imaginations run wild. “What we really like to geek out about is combining genres,” Brunberg says. “We might aim for Gillian Welch if she were plopped down in the middle of an early 1968 Beach Boys session—what would she do? We consciously try to defy categorization, and keep the arrangements fresh.”

On Story We Tell Volume 1, and its companion Volume 2 EP to be released later in 2021, Wonderly is in truly fresh form. This is two seasoned songwriters attempting to surprise, delight, and outdo each other at every turn. If they tell a few stories in the process, that’s what makes it Wonderly.

Story We Tell Volume 1 Track Listing:

1. Hey Steve

2. Ain’t That A Bitch

3. November, 1971

4. Bayocean

5. Please Please You

In the fifty-seven years since Bob Dylan released his career-altering folksong, "The Times They Are A-Changin'," the times he sang of did seem to change. But now, in another period of national unrest, a President refusing to concede defeat or peacefully transfer power, and a renewed fire for justice in the long-fought battle for civil rights, Nitty Gritty Dirt Band's new version of Dylan's classic sounds more poignant and insistent than ever before. “I’ve been a fan of Bob Dylan’s since I was a teenager, living in California,” says NGDB founding member and lead singer Jeff Hanna. “I was fortunate enough to see him sing “The Times They Are A-Changing” in concert the year the song was released: 1964.” Today, JamBase shared NGDB’s star-studded version of Dylan’s classic. Beginning today, “The Times They Are A-Changin’” is available for “name your price” purchase on the band’s Bandcamp page with all proceeds going to Feeding America. On February 8th, the song will become available on digital service providers with those proceeds also going towards Feeding America’s cause. More information can be found at nittygritty.com.

Amidst the compounding, pleading verses of Scottish ballad by way of Greenwich Village, the Dirt Band's distinguished musical guests—Jason Isbell, Rosanne Cash, The War And Treaty, and Steve Earle, all of whom are no strangers to writing and singing their beliefs on record, each step to the microphone to contribute a verse with Isbell also adding slide guitar—carry the same tone and energy in their voices as the song's writer did almost six decades ago; an unfortunate but earnest reaction to the all too evident parallels between now and then. “It moved me deeply then and that hasn’t changed,” Hanna notes. “The lyrics are as relevant today as they were when Dylan wrote it. Maybe even more so.” 

Produced by Ray Kennedy, “The Time’s They Are A-Changin;” was collectively recorded up and down the east coast. John Leventhal recorded his wife, Rosanne Cash’s vocals in their New York City home studio and Steve Earle contributed his verse via the world famous Electric Lady Studios in Greenwich Village. In Nashville, NGDB and guests joined Kennedy in his Room & Board Studio. Rounding out the already outstanding cast of characters on this track are all of the current members of NGDB—Jeff Hanna (lead vocals and acoustic guitar), Jimmie Fadden (drums), Bob Carpenter (accordion), Jim Photoglo (electric bass), Jaime Hanna (electric guitar), and Ross Holmes (fiddle and mandolin)—as well as Fred Eltringham (Sheryl Crow, The Wallflowers) on additional drums and Nashville songwriting legend—and Jeff Hanna’s better half—Matraca Berg on harmonica and harmony vocals. “We’ve got great admiration for all of these folks, not only as artists, but more importantly, as people,” says Hanna.

For more information, please visit Nittygritty.com and Feedingamerica.org.

Before the pedal steel sneaks in, with a flurry of Telecaster picking and an earnest, pure country voice, The Shootouts’ new album Bullseye doesn’t waste time getting to the point; they’ve done their homework. Equal parts vintage Nashville, Texas swing, and Bakersfield bravado, The Shootouts’ sophomore album draws heavily from the music on which the band’s members were brought up, packaging all of country music’s classic subgenres in their modern, signature sound. Produced by former BR459 lead singer Chuck Mead, Bullseye shows The Shootouts mining their roots and expanding the territory they explored with their debut album, Quick Draw. The songs invoke a wide array of country music’s most important contributors, lassoing the band’s classic influences and bringing them straight into the present.

On April 30th, The Shootouts will release Bullseye via Soundly Music, but Wide Open Country just premiered a video for the album’s first track, “Rattlesnake Whiskey,” a live staple and fan favorite from the band’s catalog that’s finally being immortalized on record. Fans can watch the video for “Rattlesnake Whiskey” at this link, pre-order or pre-save Bullseye right here, and get a glimpse of the album’s eleven other songs via The Shootouts’ album preview video. To find more information on The Shootouts and to purchase all-new Shootouts merchandise—including limited edition, colored vinyl—visit shootoutsmusic.com.

When the band scheduled their recording sessions for March 2020, producer Mead said they had no idea that a tornado would rip down his street in East Nashville three days before starting, or that a worldwide pandemic was about to really kick in while they were in the studio. “In the face of all that, these folks came into the studio with good humo and tenacity and proceeded to kick major ass,” Mead said. With Mead at the helm, The Shootouts—Ryan Humbert (lead vocals, guitar), Emily Bates (backing vocals), Brian Poston (lead guitar), Dylan Gomez (drums), and Ryan McDermott (bass)—got to work laying down songs like “Here Come The Blues,” an upbeat California country tune about the reckoning of loneliness and longing, “Everything I Know,” a galloping “High Plains” anthem told from the perspective of a lovesick fool, and “Saturday Night Town,” another rowdy live show staple beloved by Shootouts fans.

While Bullseye is packed with rollicking barnburners that are just flat-out fun, some of its finest moments come from songs that evoke the heartfelt authenticity that has always been at the core of country music. “Another Mother,” not only evokes this sense of emotion but also celebrates one of the sources of Humbert’s passion for country music: his mother, who passed away unexpectedly in 2018. The lyrics are a moving, honest reflection on her impact, while also challenging listeners to never take family relationships for grante. “Forgot to Forget,” written by longtime Shootouts sideman Al Moss, is a classic “tear in my beer” country breakup song with sweeping pedal steel and rich Hammond organ emphasizing the heartbreaking lyrics.

Most of all, The Shootouts’ mission with Bullseye was simply to create an album that puts a smile on listeners’ faces—music that helps them escape from the difficult times they’ve recently faced. “For everyone’s sake, this needed to be a fun record,” Humbert said. “We’re living through a time where people are suddenly out of work, have lost loved ones, and have been experiencing unimaginable stress on a daily basis. Even if it’s just for 30 minutes, we want them to take a break, crank it up, and enjoy themselves.”

Bullseye Track Listing: 

1. I Don’t Think About You Anymore 

2. Rattlesnake Whiskey

3. Another Mother

4. Hurt Heartbroke 

5. Bullseye 

6. Here Come The Blues 

7. Everything I Know  

8. Waiting on You  

9. Missing The Mark 

10. I Still Care 

11. Forgot to Forget  

12. Saturday Night Town

A Southern folk troubadour, master acoustic guitarist, and award-winning composer for film, TV, and video games, it’s not often that a renaissance man like Rod Abernethy comes along. Today, Abernethy is proud to add his new full-length album Normal Isn’t Normal Anymore to his vast catalog of works. Produced by Grammy-nominated producer Neilson Hubbard (Mary Gauthier, Kim Richey, Glen Phillips), Normal Isn’t Normal Anymore is a mixture of guitar virtuosity and world-class songwriting, most of which happened on Abernethy’s last year of touring. The album has received praise from fans and critics alike, including The Wall Street Journal, who complimented his “impressive guitar-picking,” No Depression, and Americana Highways, who said, “What’s instantly likable are the voice and compositions that gel perfectly with originality turns of phrases that create clever appetizing moments. This may be one of the year’s best already. He’s a vivid, expressive artist.” Normal Isn’t Normal Anymore is available today, click here to purchase. 

Tonight at 7pm Eastern, Abernethy will perform a special album release show from Asheville’s new multi-versed music space Citizen Vinyl via livestream—for more information and to RSVP, click here. 

On lead single  “Another Year,” which American Songwriter dubbed, “A message as poignant as it is heartwarming...this idea of unity, so valuable and necessary in these times of polarization and strife, is so beautifully done,” Abernethy tells real-life stories of everyday people, the personal challenges they face, and how we all need help from each other to get through those challenges. “With the passing of both my parents in recent years, I’ve gotten to know the importance of having friends and family around you,” says Abernethy. “To put it simply, on the streets we may look different but alone we all look the same.”

Abernethy’s knack for songcraft spans from finding excitement in the mundane day-to-day to making sense of the heavier bits of life; the latter being apparent in “My Father Was A Quiet Man” and the former in the rollicking “Birds In The Chimney.”

“My Father Was A Quiet Man” dives quite a bit deeper into Abernethy’s personal past. Spurred on by a dream about his old man, “My Father Was A Quiet Man” is a poignant and loving tribute to his father and reminding listeners how much a father can care for his family without using words to tell them. “About two years ago around the holidays, I had a dream that my dad called me on the kitchen phone in my childhood house. It was a wall hanging phone with the long coiled cord. My dad was talking a lot, like a teenager…funny thing was he never really talked that much in real life,” says Abernethy. “We had a great talk on the phone, he asked me how I was doing and how the family was getting along.  It was so unlike him, but I’ll never forget the call.” This dream stirred up memories of his father’s voice booming when it was time to sing hymns in church, having the intuition to buy Abernethy his first guitar, and being the strength his family needed when Abernethy’s brother passed away. In Abernethy fashion, his retelling of these memories is a heartfelt tribute to his father, but he also looks inward at himself as a father and towards the future when his son will be a father too—watch the official music video, which features n assortment of touching family photos, via The Bluegrass Situation.

“Birds In The Chimney” is an on-the-nose depiction of the time Abernethy discovered a nest of baby birds above his fireplace. “I looked up the chimney with a flashlight and saw a nest about halfway up. About two weeks later a choir of chirping happening all the sudden, like a birdie rock festival,” Abernethy recalls. “This went on for 2 weeks. Then all the sudden they were gone.” BTRToday commented on the track, “Abernethy’s masterful guitar picking and poetic folk chanting combined with a lively melody captures a wholesome moment when it feels like sweetness is hard to come by. The entire world seems like it’s up in flames, but this moment Abernethy shared with a family of birds captured in song provides us a drop of desperately needed honey.”

The album also features two of Abernethy’s lively, intricate guitar instrumentals like “Over The Fence,”  a rollicking six-string instrumental adventure about the family coonhound who jumps the fence and roams the downtown area for hours. With star performances from some of Nashville's finest including Will Kimbrough on guitar, it should be noted that Normal Isn’t Normal Anymore is just as much about musicianship as it is songwriting, and neither take the back seat to the other. Country Standard Time reviewer Jim Hynes noted both, saying, “Such a gifted writer and talented guitarist...his are not only well-crafted songs; they are important, provocative messages that need to be shared.”

When it’s all said and done, Normal Isn’t Normal Anymore ties together all of Abernethy’s talents in a way where no one thing is ever singled out; a perfect dish where the sum of its ingredients is greater than its already delectible parts. 

Normal Isn’t Normal Anymore Track Listing:

1. Just Around The Corner 

2. It’s Always Something 

3. Whiskey & Pie 

4. My Father Was A Quiet Man 

5. Birds In The Chimney  

6. When Tobacco Was King 

7. Normal Isn’t Normal Anymore 

8. Changing 

9. Just Get In The Car 

10. Another Year 

11. Over The Fence 

12. Oxford Town

You might have seen The Local Honeys open for Colter Wall or Tyler Childers. If not and you’re behind, start with the double-side single they released today on La Honda Records. “Way down in the hole where he earns his pay, it’s dark and unforgiving. Digging this coal and digging his grave, he’s dying to make a living.” Talk about direct, “Dying To Make A Living,” along with its double-single counterpart “Octavia Triangle,” pulls no punches in painting a grim, realistic picture of life lived working underground. Sonically, this double-single from The Local Honeys represents two sides of old-time music— one led by phase-shifted electric guitar and the other by clawhammer banjo, both a beautiful complement of the other. Both tracks were released today via La Honda Records (home of Colter Wall, Vincent Neil Emerson) and can be purchased or streamed right here. Hear more about the origin of “Dying To Make A Living” and “Octavia Triangle” from The Local Honeys in this behind the scenes video.
 
In Their Own Words: “‘Dying to Make A Living’ is a song we first heard a few years ago from Rich & the Po’ Folks at the Seedtime on the Cumberland festival in Letcher Co., Kentucky. They were performing a traditional adaptation of the song, written in 2006, by WV Hill and AJ Mullins of the band Foddershock in Southwest Virginia. The song is a prime example of the continued collaborative nature within this region. Traditional music is an evolving art form, living and breathing in generations as they come and go. This song is an honest and brutal commentary of the working men and women dying to make a living at the expense of their bodies to power the world outside of Appalachia.”
 
About the song “Octavia Triangle” (which is a reference to the Octavia coal mine): “It’s a constant blessing to learn from your heroes. Jimmy McCown* taught me/us this heart-wrenching ballad that his Mother wrote in Pike County, KY many years ago. A tragic story of love and coal, this song means more to me/us than most and paints a haunting scene of regret in the coalfields of Kentucky.  Jim left this world a better place in 2020, before the release of this song. We are honored to have had him as a friend, mentor, and inspiration to share and teach the traditional music that makes us.”
 
*“Octavia Triangle” features Jimmy McCown in what was likely his last recording.
 
More about The Local Honeys: Since then their specific sound of Appalachian music has grown, along with a fan base of music enthusiasts and proactive culture. A tour with Tyler Childers in early 2020 was followed up by a fun, yet controversial album The Gospel. With two records at their back, The Local Honeys set a standard for the preservation of old-time, hillbilly music, and the contemporary influences that inspire their songwriting. The Local Honeys have true charisma, and on stage, there’s no doubt they are headline artists.
 
As buzz continues to build for The Local Honeys, despite a pandemic-deadened 2020 tour schedule that included shows at the biggest folk festivals around, they signed with songwriter haven, La Honda Records, home to country & Western heavy hitters Vincent Neil Emerson and Colter Wall. A recent summer show with the Kennedy Center for the Performing Arts highlighted continued focus and output, including new songs from the two women.

 
If there’s any doubt, there won’t be for long. When they sing their songs, play their banjo, their fiddle, those guitars and boxes, the rhythms in their toes, you will know The Local Honeys are from Kentucky. Their names are Montana and Linda Jean, and they’re here to talk about suffering. They are here to get you through this.

Diehard fans and musicians alike have long shared myths and legends about the late-greats amongst themselves, but it’s rare for any of those tall tales to be corroborated. Rare, but not impossible. Enter Without Getting Killed or Caught, a remarkable documentary film about the mythical, complicated relationship between legendary songwriters Guy Clark, Susanna Clark, and Townes Van Zandt, and the art it inspired; a film with enough charm to create new fans of Clark and his music and enough depth to appease long-time followers. Without Getting Killed or Caught—which will make its virtual World Premiere at the 2021 SXSW Film Festival March 16-20—was produced and directed by longtime Americana music producer and executive Tamara Saviano and filmmaker Paul Whitfield. The film was originally scheduled to debut at SXSW in 2020 before the pandemic shuttered the festival, and for those not already attending SXSW 2021, stay tuned for additional information on public screenings with Kessler Presents, YETI, SiriusXM Outlaw Country, and more. A trailer for Without Getting Killed or Caught can be viewed now at this link and more information can be found at Withoutgettingkilledorcaught.com.

Without Getting Killed or Caught is the true story of Guy Clark, the dean of Texas songwriters, who struggles to write poetic, yet indelible songs while balancing a complicated marriage with wife Susanna, and a deep friendship with singer-songwriter Townes Van Zandt, on whom Susanna forged a passionate dependence. Clark, who died in 2016, wrote and recorded unforgettable songs (“L.A. Freeway,” “Desperados Waiting for a Train”) for more than forty years. His lyrics and melodies paint indelible portraits of the people, places, and experiences that shaped him, and no one inspired Guy more than his wife, painter, and songwriter Susanna Talley Clark, and their best friend, fellow songwriter Townes Van Zandt.

Narrated by Academy-Award winner Sissy Spacek, Without Getting Killed or Caught follows Guy, Susanna, and Townes on their journey from obscurity to reverence: Guy, the Pancho to Van Zandt’s Lefty, struggling to establish himself as the Dylan Thomas of American music, while Susanna pens hit songs and paints album covers for top artists and Townes spirals in self-destruction after writing some of Americana music’s most enduring and influential ballads. Based on the diaries of Susanna Clark—the film tells the saga from Susanna’s point of view—and Saviano’s 2016 book Without Getting Killed or Caught: The Life and Music of Guy Clark, which No Depression called “an intimate, affectionate, sometimes sad, often hilarious, and vibrant chronicle of one of our most memorable artists.”

Saviano, a longtime figure on the Americana scene, as a journalist, artist manager, and Grammy-winning producer, wrote the film with Bart Knaggs. She had the complete cooperation of Clark, who sat for numerous interviews on and off-camera. Without Getting Killed or Caught (the title comes from “L.A. Freeway”) also offers poignant reflections from Clark’s closest friends and musical allies, most prominently Rodney Crowell, Steve Earle, Vince Gill, Verlon Thompson, and Terry and Jo Harvey Allen, as well as record executive Barry Poss.

The film makes excellent use of Clark’s songs, family photographs and archives, vintage film footage, and radio talk shows on which Clark appeared solo and in tandem with Van Zandt. But the real emotional zing comes from Susanna’s pained remembrances, culled from her private journals and secret audio diaries, as well as taped conversations that Susanna made of the trio and of the “salon” that regularly gathered around them—all serving as witnesses to this seemingly fated intersection of love, art, and tragedy.

More information available at Withoutgettingkilledorcaught.com and on Facebook.

For a songwriter who can produce such magical, poignant, and moving songs, it’s probably no coincidence that Scott Sean White now makes his home in a place called Poetry, Texas. Like Guy Clark and Lori McKenna, White is a writer’s writer. “Some songwriters spend precious time struggling to find their truth and make it rhyme,” says fellow Texas troubadour and songwriting legend, Jack Ingram. “Others just pick up their guitar and tell it. Scott Sean White is one of the others.” Ingram is just one in a long list of songwriters and artists who praise White’s songcraft—Nashville Songwriters Hall of Fame members Tom Douglas, Tony Arata, and Doug Johnson are all outspoken fans as well. “I think God gives us art to penetrate the scar tissue on our hearts to make us feel something again,” says Douglas. “[White] uses artistry and craft for that very purpose.” Needless to say, they are all thrilled to see White send his tunes off for the world to hear.

On April 23rd, White will release his debut full-length album Call It Even; an unadulterated eleven song collection of tunes in which White soulfully invests himself with each new song, delivering them in his life-worn, warm, and vibrant vocals that compel listeners to feel exactly what he’s feeling. Today, Cowboys & Indians premiered the album’s first single, “Dad’s Garage And Mama’s Kitchen,” a vivid and nostalgic portrait of the yin and yang of mom and dad. In the article, Cowboys & Indians writes “If you don’t mind your heartstrings being tugged at and maybe a few tears rolling down your cheeks, you’ll surely appreciate the sentimental and strong new song.” Watch the video for “Dad’s Garage And Mama’s Kitchen” at this link and pre-order or pre-save Call It Even right here.

Call It Even is chock full of every-day-life crafted into song. The jaunty “Crazy ‘Til It Works” illustrates White’s canny ability to tell a tale filled with serendipitous twists and turns to find the just-right word or phrase to describe the unexpected character of life. One day, banging around on his guitar, “not even trying to write a song,” White came up with this line about a couple who gets “married by Elvis in a drive-thru chapel in Vegas.” As he recalls, “It was interesting. I thought to myself, ‘Hmmm, I wonder what that’s about?’ Sounded like a cool, crazy couple who probably didn’t have a chance in hell of making it. So I started running down that road, telling this couple’s story as it unfolded in my head.” White and Jared Hard ended up finishing this bluegrass rambler about just that and the ways that some of the stuff we do in life seems crazy at the time but ends up working.

The lush spaciousness of “Humankind”—with its gospel-inflected piano—movingly tells the stories of two people for whom human kindness provided a balm for their pain. The idea for the song came from White’s co-writer Helene Cronin who saw a hashtag—#Humankind—on the internet. On the day they wrote the song, he says, “she had an idea about how to set it up with something like ‘nothing helps human pain, like human... kind.’ We ended up adjusting that wording by the time we got done but that was the thought that sparked it all. It is one of my most favorite songs my name has ever been on. And possibly...the most impactful.”

Even though Scott Sean White tells his own stories of heartbreak and hope in his emotionally riveting songs, he’s telling everyone else’s stories, too, and in every one of his songs, there’s a glimpse at the ways that everybody’s lives have sometimes fallen apart and been stitched together again by the silver threads of love

Call It Even Tracklisting:

Call It Even

Crazy But True

Crazy ‘Til It Works

Humankind

Dad’s Garage And Mama’s Kitchen

The Broken Part

Famous

Leaves, Branches, and Trunks

Right Reasons (For Kaiya)

God’s Not Me

When I Go

With her new album, The Waylon Sessions, the prolific and wide-ranging Shannon McNally set out to revisit the songs and spirit of Waylon Jennings, a legend with whom she’s always had an ongoing fascination. “I have always loved his defiantly existential but immediately accessible common man’s music and how it boogies,” says McNally. But her collection of tunes ended up being not so much a tribute as it is a recontextualization; a nuanced, feminine rendering of a catalog long considered a bastion of hetero-masculinity.

That’s not to say McNally has a softer, gentler take on Jennings’ songs—in fact, just the opposite. Over and over again, she manages to locate a smoldering intensity, a searing hurt buried deep within the music’s deceptively simple poetry, and she hones in on it with surgical precision on this new album, which features special guests like Jessi Colter, Buddy Miller, Rodney Crowell, and Lukas Nelson. “The world has changed a lot since these songs were first recorded,” says McNally. “I have never heard a woman sing any of them, but these tunes are poignant and relevant to me and to women in general right now. As a songwriter, bringing a song to its full potential so that a larger or different audience can connect is all I’ve ever cared about.”

American Songwriter provided the very first glimpse into The Waylon Sessions with the premiere of “I Ain’t Living Long Like This feat. Rodney Crowell,” the Jennings’ Crowell-penned hit which first appeared on What Goes Around Comes Around in 1979. Hear McNally’s take on “I Ain’t Living Long Like This” here and pre-order or pre-save The Waylon Sessions at this link ahead of its May 28th release via Compass Records in partnership with Blue Rose. Additionally, McNally is scheduled to perform at the Ryman Auditorium in Nashville on February 13th as a guest of The Allman Family Revival – A Sonic Celebration of Gregg Allman’s Life and Legacy. For more information, to purchase a live stream ticket, or to check on the availability of limited in-person tickets, please visit ryman.com.

When Blue Rose’s founder, Joe Poletto, asked McNally the question every artist wishes they could hear when it comes to making a record, “What would you do if you could do anything?” McNally didn’t even need to think before she answered. “An Album of Waylon.” “What Waylon Jennings brought to country music is what country music needs right now, and that unapologetic and vulnerable sense of self are what women are tapping into artistically right now as the industry evolves,” says McNally. “Because of the nature of this business, I’ve spent most of my life moving through a man’s world. I love men and I accept them for the complex critters they are, but when #MeToo started unfolding, I was hearing all these powerful stories and remembering all my own experiences, and I realized just how much of myself I’d been suppressing to get by. The system and the ways I’d learned to survive in it were cracking wide open, and suddenly I felt this freedom I’d never felt before.”

McNally knew that assembling the right band would be essential to capturing Jennings’ mix of laid back charm and swaggering bravado, so she called AMA-winning guitarist Kenny Vaughan (Marty Stuart, Lucinda Williams) to help her assemble a team that included drummer Derek Mixon (Chris Stapleton), pedal steel legend and longtime Jennings bandmate Fred Newell, Texas keyboard mainstay Bukka Allen (Robert Earl Keen, Jerry Jeff Walker), and bassist Chris Scruggs (Marty Stuart, Charlie Louvin). Working live and raw, they tracked sixteen songs in just five days, relying on instinct and intuition to guide their decisions at every turn. As brilliant as the band’s performances are, it’s McNally that breathes new life into the music here, tackling the tunes with an honesty and a maturity that transcends genre and gender. She doesn’t swap pronouns or couch her delivery with a wink; she simply plays it straight, singing her truth as a divorced single mother in her 40’s in all its beauty, pain, and power.

“My goal wasn’t to force anything onto the music that wasn’t there already,” explains McNally. “There’s a feminine perspective hidden somewhere inside each of these songs. My job was to find a way to tap into that and draw it out.” The result is that rare covers record that furthers our understanding of the originals; an album of classics that challenges our perceptions and assumptions about just what made them classics in the first place.

The Waylon Sessions Tracklisting:

I’ve Always Been Crazy

You Asked Me To - feat. Buddy Miller

Out Among The Stars - feat. Jessi Colter

You Show Me Yours And I’ll Show You Mine - feat. Lukas Nelson

Black Rose - feat. Buddy Miller

This Time

I Ain’t Living Long Like This - feat. Rodney Crowell

I’m A Ramblin’ Man

Mammas Don’t Let Your Babies Grow Up To Be Cowboys

Help Me Make It Through The Night

We Had It All

With a dancing, melodic bassline and whistling Hammond organ complement, Ervin Stellar’s new single “Love Is Love” could slip in unnoticed on Dylan’s Blood On The Tracks if it wasn’t for his smooth, intimate vocal delivery on the opening line: “I loved a woman who loved a woman. Whatcha think about that?” A tune that will certainly warrant a relisten to catch each impeccably crafted line, “Love Is Love” is a shining example of how to pull off a balancing act of being earnest, lighthearted, and virtuous—all within a four-minute window of time. As far as its meaning, this artist believes the title and lyrics say all there is to say. Today, Folk Radio UK premiered “Love Is Love,” praising the track by declaring that it “has classic written all over it.” Folk Radio UK also nodded to the “hints of Dylan circa 1965, with a melody reminiscent of Don’t Think Twice, It’s Alright,” adding that “the melody fits well for an equally easy-going number.” Hear “Love Is Love” right now right here and pre-save Ervin Stellar’s new EP, Nothing To Prove, ahead of its March 26th release date at this link.

Ervin Stellar is the public persona of Andrew Jordan, who moved from New York to Nashville following his 2018 album, The Moment. That relocation is referenced in the first line of Nothing to Prove’s title track, setting up a series of musical snapshots that encompasses three original songs and two well-chosen covers—all of which are executed in a hard-to-pin-down mix of organic tones and greasy grooves, whether or not a full-band treatment is involved. His sound is a reflection of his youth in Southern Michigan, where his mother preferred country on the radio while his dad enjoyed playing jazz records at home. “Elements of that have crept into my sound now,” he says. “I like tapping into it, the subliminal pulse. Much of the arrangements are electric, but the foundation of it could just as well be unplugged, lights out.”

In addition to his three outstanding originals on Nothing To Prove, Jordan included covers of Jonathan Edwards’ “Shanty” and John Fogerty’s “Who’ll Stop the Rain.” Jordan recalls hearing “Shanty” every Friday afternoon on the radio in Grand Rapids, Michigan, and decided to work it up after realizing it fit the lockdown vibe. As for “Who’ll Stop the Rain,” Jordan slows down the tempo of the Creedence Clearwater Revival original, though the message resonates as much as ever.

Jordan self-produced and self-mixed the entire project to make sure he achieved his desired sound. “With all of these tracks, I knew exactly where I wanted to take the song. I knew which musicians to pull in and the instruments to apply to each.” The hugely diverse pool of musicians he tapped included Russell Carson (Ricky Skaggs and Kentucky Thunder), Martin Wenk (Calexico), and Nashville recording artist Michaela Anne; all contributing their unique talents for Jordan to weave into the fabric of Nothing To Prove. “I guess the satisfaction of self-producing is that I get to carry that whole journey through, from writing the song to sitting back and listening to the master recording and saying, ‘Yep, that was the vision, it’s here.’”

Nothing To Prove Tracklisting:

Nothing To Prove

Love Is Love

Who’ll Stop The Rain

S.O.S.

Shanty

Bluegrass Pride, a 501(c)(3) dedicated to uplifting LGBTQ+ folks in American roots music, invites the public to join them for a special Valentine’s Day edition of their monthly livestream series, Live With Bluegrass Pride. On Sunday, February 14, 2021 at 1pm PST / 4pm EST old-time musicians, multi-instrumentalists, and educators Rachel Eddy & Em Hammond will lead Bluegrass Pride members and fans in a beginner-friendly jam-along of queer-centered love songs to celebrate the occasion. Viewers will be able to watch via BGP’s Facebook page, YouTube channel, and website.

Live With Bluegrass Pride benefits each month’s featured artists as well as supporting the ongoing work of Bluegrass Pride! The virtual event is free to attend, but there is a suggested $25 donation. DONATE HERE.

Launched in the fall of 2020 after the smashing success of Bluegrass Pride’s flagship virtual event, Porch Pride, Live with Bluegrass Pride is a periodic livestream series celebrating LGBTQ+ folks and their allies in bluegrass, old-time, country, and beyond. Most months, viewers enjoy songs and casual conversation from the Bluegrass Pride family of artists and bands, but on occasion, we want our shows to include YOU! So on February 14, BGP and featured musicians Rachel Eddy (they/them) & Em Hammond (they/them) will also display lyrics, chords, and simple instructions so that anyone can play along and enjoy a beginner, slow-jam flow. As a holiday celebrating traditional and consumerist ideas of love and romance, BGP realizes that Valentine’s Day can leave queer folks feeling erased, left out, and isolated. As such, BGP has purposefully created this space for queer folks and roots music fans from all across the country and around the world to join the music, fellowship, and celebration of queer, non-binary, non-heteronormative love!

What: Rachel Eddy & Em Hammond #LiveWithBluegrassPride! 

When: February 14, 2021 at 1pm PST / 4pm EST

Who: Nonbinary old-time musicians and educators Rachel Eddy & Em Hammond, and you – Bluegrass Pride members, fans, and viewers who will be joining in and jamming along.

RSVP here: fb.me/e/41D1i5qf6

Looking back on a twelve-month span between her son’s first birthday and the loss of her father, award-winning singer and songwriter Amy Speace culled eleven new songs directly from her depth of personal experiences—childhood memories, coming of age in New York City, and losing a parent while learning to become one—to create her new full-length album, There Used to Be Horses Here; out April 30th on Proper Records/Wind Bone Records. While many of the subjects on the album are heavy, There Used to Be Horses Here isn’t a sad record. Instead, it’s a direct reflection of that year in Speace’s life, propelled by a playwright’s eye for detail, a performer’s gift of vocal delivery, a poet’s talent for concise writing, and the extraordinary musicianship of collaborators, The Orphan Brigade. The end result is a sum much greater than its parts; a calling card for fans and critics alike to ask themselves whether Speace still fits only into the folksinger box she’s long been placed in—or perhaps, with this new album, she deserves to be seen in a new light.

Available today, the album’s second single “Shotgun Hearts” speaks to and celebrates Speace’s time in New York City. “A year ago I was playing a show in NYC and found myself walking the same path as my younger self from 20 years prior thinking of the days and nights when I was just starting out as an actress and a songwriter—riding the subways late at night—when everything felt sparked with desire,” says Speace. The second verse, colored with sweet nostalgia, transports listeners to the heart of the Lower East Side. 

Delancey and Broome and a bottle of single malt scotch 

There were holes in that night to fall in where the spin wouldn’t stop 

We wandered the cobblestone streets in our costume sin 

Late for our lovers and lying about where we'd been

Fans can hear both singles now right here and pre-order or pre-save the album at this link.

Previously, Rolling Stone premiered a music video for the album’s first single and title track, “There Used to Be Horses Here,” calling it “melancholy but gorgeous,” and noting that the video’s vivid imagery of a picturesque farm and its beautiful occupants serve “as a metaphor for all that we lose to both progress and the passing of time.” Speace laments, “During the last week of my father’s life, I drove [the road on the way to her parent’s house, past a farm she’d grown to love] and the farm had been sold, gutted for condos, and the horses were gone. I wrote this song very quickly after he died, the loss of both the horses, my childhood, my parents’ house, and most acutely, my father all tied to the images in this song.” SiriusXM’s The Village also debuted the single this morning with an exclusive interview. Click here to listen.

In its most powerful moments, There Used to Be Horses Here sets Speace’s majestic voice to symphonic arrangements, yet her songwriting remains intimate and emotional. As a fan and friend of the Nashville band The Orphan Brigade, she invited its three members—Neilson Hubbard, Ben Glover, and Joshua Britt—to collaborate as songwriters and co-producers, inspired by their persistent rhythms and sweeping sonic palette. Remembering her vocal sessions, Speace says simply, “While I was singing over what those guys were playing, it made me feel like I was flying.” Speace observes that every vocal performance on the album is the first or second take, and that the musicians in the room are finding their way in the moment. The approach sums up her goal as a producer: “You need to make sure you press ‘Record’ while musicians are fumbling, because while they’re trying it out is when the magic happens. You should never let anything be perfect.”

There Used to Be Horses Here is an album and exhibition of songcrafting that Speace is immensely proud of. “The best songs I have written have been since my son was born when I thought I was going to lose all creative powers to mothering—and it didn’t happen,” she says. “It kicked it into high gear and made me think, ‘I may not have much time left on the planet. Maybe I should just get to the point.’” When There Used to Be Horses Here winds down to its end, listeners will look back over the eleven-song journey to see Speace’s knack for vibrant storytelling and ability to capture hardship in beautiful detail on display; her craft sharper and more meaningful than ever before.

There Used to Be Horses Here Tracklisting:

Down the Trail

There Used to Be Horses Here

Hallelujah Train

Father’s Day

Grief is a Lonely Land

One Year

Give Me Love

River Rise

Shotgun Hearts

Mother is a Country

Don’t Let Us Get Sick

On May 7th, Smoke from the Chimney, a nine-song album of never-before-heard Tony Joe White tunes, will be released on Easy Eye Sound. Produced by Dan Auerbach and rounded out by Nashville’s most seasoned studio musicians, Smoke from the Chimney started out as a number of unadorned voice and guitar demos from White’s home studio before being transformed into full band arrangements harkening back to the albums he recorded in the late 60s and early 70s in Nashville and Muscle Shoals—just as he was emerging as an internationally recognized songwriter and recording artist.

It takes a keen eye and a steady hand to restore something great from the past; to take the time to examine, catalog, and care for every last task without resorting to bolt-on mail-order parts and cheap paint. What was always great deserves that extra care and attention to detail, and when the time came for White’s son and manager Jody White to revisit his dad’s catalog of unreleased songs, he knew Auerbach was the one to make them shine once more.

Yesterday, NPR/World Cafe gave fans their first listen of “Boot Money,” a gritty, thumping ode to keeping a little bit of extra scratch hidden away. Of “Boot Money” and the album as a whole, Bruce Warren of World Cafe wrote, “For Tony Joe fans, these songs and the stories they tell, are some of his best. It’s hard to conceive that these were songs that didn’t make it on previous albums.” “Boot Money” comes accompanied by an animated video from director Robert Schober which colorfully places White and Auerbach in the recording studio to kick off the tune before following along while White lives out the song’s storyline. "As someone who grew up in Louisiana and the Panhandle,” says Schober, “it was a pleasure working on video paying homage to a legend of the southern airwaves." Fans can see the video for “Boot Money” at this link and pre-order or pre-save Smoke from the Chimney right here.

In the last 10 to 15 years of his life, White would preserve new compositions or revisit older tracks in his home studio with only a guitar—usually his Fender Stratocaster—and that inimitable voice. Most of that material would ultimately wind up on his late-career albums. But when an unproven song didn’t make the cut for a release, or if he couldn’t get another artist interested, the song stayed right where it was as Tony Joe moved on to other things. This dismissal was not a reflection of the song’s quality; in fact, it meant quite the opposite, as he would often reserve his best material for other artists.

After his father’s death in 2018, Jody started transferring those multitrack home recordings to digital files. Looking back on the moment he unearthed the demo of “Smoke from the Chimney,” he recalls a mix of happiness, gratification, and shock. As he continued to find other songs that didn’t make an album, he moved the material into a separate folder. Within a year, those select recordings would evolve into Smoke from the Chimney. Jody says that even in those basic tracks, that definitive Tony Joe White groove instantly stood out. “He always finds a tempo and a pocket that is exactly right. And it’s a little bit different than anybody else would choose themselves,” he says.

Ever since meeting Tony Joe backstage at an Australian music festival in 2009, Auerbach sought to make a record with him. For nearly a decade, Jody tried to line up session time for them but Tony Joe demurred. “For one reason or another, my Dad would never just want to go into a studio and write with somebody, or go work with somebody,” Jody says. “He liked to do it at his place, and his way, and it turned out how it turned out, you know what I mean? So, this album really all worked out perfectly. He was making these tracks for Dan all along, but we just didn’t know it.”

Auerbach agrees. “Jody and I had been talking about this record for so long, and it didn’t happen for a reason,” he says. “It’s because it wasn’t supposed to happen. I was in a nervous cast of characters until the last few years, and if you’d given it to me any earlier, it wouldn’t have been right. I felt like all these people on the record were the right people and they laid in there behind Tony Joe. It felt really magical when we were making it happen.”

“These songs feel like a collection to me and they all seem to work together, in a weird way, even though they’re so different,” says Auerbach, who is releasing the album on his Easy Eye Sound label. “There’s some heartbreaking ballads and some really raunchy carnal blues. But it all works together like scenes of a movie.” The cast of musical characters brought in by Auerbach to accompany White’s guitar and vocal recordings includes legendary keyboardist Bobby Wood (Elvis Presley, Dusty Springfield, Wilson Pickett), Nashville pedal steel ace Paul Franklin, next-generation guitar hero Marcus King, and Grammy and ACM award-winning fiddler Stuart Duncan, just to name a few.

Jody believes that his father would love the way Smoke From the Chimney turned out. “I feel like it’s validation that Tony Joe was one of the greatest of all time,” he says. “That he could make something so potent, even so late in life, is something that not many people can do. I think it’s going to make people who loved him already love him even more.”

Smoke from the Chimney Tracklist:

Smoke from the Chimney

Boot Money

Del Rio, You’re Making Me Cry

Listen to Your Song

Over You

Scary Stories

Bubba Jones

Someone Is Crying

Billy

More About Tony Joe White: Across five decades as a performer and storyteller, Tony Joe White—a.k.a. “The Swamp Fox”—left an indelible mark on American music. His catalog offers indisputable classics such as “Polk Salad Annie” and “Rainy Night in Georgia,” and his songs have been recorded by Ray Charles, Kenny Chesney, Waylon Jennings, Tim McGraw, Willie Nelson, Elvis Presley, Dusty Springfield, and Tina Turner.

Esther Rose’s homespun brand of country music has drawn comparisons to legends like Hank Williams, modern trailblazers like Rilo Kiley, and a host of other luminaries in between, but those who are doing the comparing always make note: she’s got her own thing going on. Rose’s innate ability to reflect on her own feelings, to not cast blame, and to keep a smile while doing so brings a spark to her music that sets it apart from her contemporaries and influences alike. On March 26th, Rose will release How Many Times, her third full-length album and second with Father/Daughter Records. Today, Wide Open Country highlighted Rose’s third single, “Good Time.” The idea for the song came at the tailend of a 15+ hour solo drive from Wisconsin to New Orleans. She was stopping off in Nashville for a GemsOnVHS shoot, arriving into Music City with her Subaru on the back of a tow truck thanks to mechanical issues—and because she’s a songwriter with a keen eye for the daily—the irony and symbolism was not lost. The chorus, part lament and part acceptance, has an anthemic quality—a shoulder shrug that almost feels hopeful when Rose sings it.

It’s a good time 

Having a real good time  

It’s a real good time for bad timing, amen

Previously, Forbes premiered “How Many Times,” noting, "When one hears Rose’s exuberant vocal flourish at the end of 'How Many Times,' it’s possible to forget that the word 'pain' appears in every preceding verse." Forbes continues, "Once her songs are released, they belong to the listener, just as much as they belong to Rose. It’s why the 'groovy' dancehall arrangements work. A listener can hear the song differently moment-to-moment: a call for either commiseration or communal dance."

The wide swath of support for Rose’s new album—everyone from Pitchfork to NPR Music to today’s Wide Open Country stamp of approval—futhers the point that Forbes made with the premiere of the album’s title track: these songs belong to the listener.

Fans can listen to the first three singles and pre-order or pre-save How Many Times right here.

To Rose, How Many Times, written over the course of two years—including three moves, the end of a relationship, and countless tour dates—is an album symbolizing an awakening. She says, “It’s not really just about feeling better, it’s about feeling it, whatever it is.” While some may look outward and lament over hard times and bad luck, Rose turns inward. Instead of blaming an ex for failing to juggle her reactions on “My Bad Mood,” she examines her own blind spots where she hopes to improve as a partner. When her car’s engine blew up during an impulsive “pitstop” in Nashville, she wrote “Good Time” not to rue misfortune, but to toast her own recklessness. After losing her nerve and fleeing a New Year’s Eve date by bicycle half an hour before midnight, she immediately penned “Are You Out There,” confronting her fear of letting go and moving on. “I don’t grapple with fate,” says Rose. “I accept my bad luck and my good luck equally.”

With the integrity of Dean Johnson, Faustina Masigat, and Kiki Cavazos serving as primary influences, Rose expands her alt-country sound into a blossoming world of folk pop, rustic americana, and tender harmonies. “They’re the holy trinity of songwriter magic,” she says, “and when I listen to them I feel like I can explore my own heartache.” Creative touches add detail throughout the album. Rose uses a 1962 Gibson ES-120T, her first semi-hollow body electric guitar, to play unplugged for a distinct tone. On “Mountaintop,” she includes a blustery voice memo recorded at the summit of Mount Philo, an homage to the field recording in a Bright Eyes song she holds dear. From “Coyote Creek” to “Without You,” Rose’s compelling voice is ferried masterfully by the musicians that join her: Matt Bell on lap steel, Max Bien Kahn on electric guitar, Dan Cutler on upright bass, Cameron Snyder on drums, and Lyle Werner on fiddle. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs.

Overall, it’s Rose’s way of handling life that singles her out in a crowd of other singers and songwriters. Her positive attitude is uplifting while never seeming too earnest and her heavier moments never crash the party. Her trials of moving through and reflecting on both adversity and beauty are present across the record, and her voice delivers an honest and open window into her heart with graceful dexterity. While comparisons to the musical greats are flattering, Rose is on her own path, marching to not just the beat of a different drum, but to a big brass band in her very own parade.  

On Earth Day 2021, Colorado’s favorite multimedia nonprofit, eTown, will be receiving quite the 30th birthday gift; an induction into the Colorado Music Hall of Fame.

Launched on Earth Day in 1991, eTown has grown into a widely respected internationally syndicated radio show—airing on more than 300 stations worldwide—while sticking to its mission to help create a socially responsible and environmentally sustainable world through its musical, social, and environmental programming.

On April 22nd, eTown will be inducted into the CMHOF during a virtual concert and celebration honoring eTown’s 30th b’Earthday.

"We’re honored that eTown is being inducted into the Colorado Music Hall of Fame. We’ve been working hard for thirty years to bring great music to our audience,” says eTown Founder and Host Nick Forster. “What Helen and I started back in ’91 has lasted longer and grown more than we ever imagined, and it means so much to be recognized by the Colorado Music Hall of Fame.”

Additional event details, including the lineup of performers and how to watch the live stream, will be announced in March. For more information on eTown, please visit etown.org.

Leading up to the event, fans are encouraged to revisit eTown’s podcast and video archives, including the treasure trove of finale collaborations like Margo Price and Swamp Dogg covering John Prine’s “Sam Stone” or Che Apalache and Aoife O’Donovan putting a bilingual spin on Cat Stevens’ “Peace Train.” A collection of eTown finales can be found at this link and the entire eTown video archive is available right here.

Wilkesboro, North Carolina - The Wilkes Community College Foundation is pleased to announce its first annual MerleFest Mega Raffle in support of scholarships at WCC. Net proceeds from the raffle will directly support the Presidential Scholarship and the WCC SAGE Fellows program. The Mega Raffle includes over $127,000 in cash and prizes with drawings held every 2 minutes during a virtual drawing on Tuesday, May 11, from 7:00 p.m. to 8 p.m. Eastern. Tickets are $100 each and will go on sale on the website on Monday, March 1, 2021, at 12:01 a.m. Only 2,500 tickets will be sold. Each ticket purchased entitles the ticketholder to two entries into the drawings. For more information on the benefactors, official contest rules, prize list, or to purchase tickets, please visit www.merlefest.org/megaraffle.

MerleFest, presented by Window World, is scheduled to reconvene September 16-19, 2021 on the campus of Wilkes Community College in Wilkesboro, North Carolina. 

Sometimes a song idea lands softly or inconspicuously, and sometimes it strikes a writer like a bolt of lightning, or in Miles Gannett’s case a string of mid-travel tornadic storms. That’s how Gannett ended up in Meridian, Mississippi, one night on a trip back from visiting his hometown of Lafayette, Louisiana. “When the weather got bad enough, we decided to pull off to the nearest city to find food and wait out the storm, and the closest city happened to be Meridian.” His pit stop turned to discovery, then to inspiration, and finally to song. “Meridian”—the first track on Gannett’s debut solo album of the same name—paints a waltzing, pedal-steel steeped picture of beauty in disrepair; of a city that was once grand and of the kindness of its current-day residents. Today, Glide Magazine premiered “Meridian,” saying, “Gannett’s warm vocals carry listeners on shimmering waves of pedal steel through various musical landscapes.” Hear “Meridian” now right here and pre-order or pre-save the entire Meridian album ahead of its April 16th release date at this link.

Produced by Gannett and Frank Marchand (Frank Solivan and Dirty Kitchen, We Banjo 3), Meridian is one part country and western, one part bluegrass—members of the Seldom Scene, Fred Travers and Ron Stewart, play all over this record—and one-part roots-rock; seasoned, simmered, and garnished with a dose of psilocybin mushrooms. A pinch of overdriven guitar and a dash of latin percussion in the occasional tune round out a unique, cosmic foundation from which Gannett tells his stories.

“The Lucky Ones” features a jangly lead guitar solo on the instrumental bridge that floats over a lush bed of pedal steel; the music itself creates a palpable sense of nostalgia, a look back to days before the world got just a little too complex. “It’s sort of a nostalgic song,” says Gannett. “It’s about being a kid or a teenager before the internet and technology became so much a focus of our lives.”  In “Persuasion,” the narrator tries to persuade his true love who is “promised to another” to run away with him. “I was looking for a title, and my wife was reading Jane Austen’s novel Persuasion; she suggested the title based on its courtship theme and persuasive tone.”

The bluegrass scamper “Spores on Grass” lights off with sprightly fiddle runs that are chased around by skittering banjo and mandolin runs. “It’s a psychedelic bluegrass gospel song,” says Gannett. “I modeled it on Hank Williams’ ‘I Saw the Light’ and the Clancy Brothers’ whiskey songs.” Gannett demonstrates his songwriting depth and breadth in the spacious meditations “Dark Time” and “Maria Sabina.” The latter floats over a Mariachi country river of sound that flows around rivulets of British psychedelic folk. “It’s a tribute to the Mazatec wise woman Maria Sabina, a healer to whom the psychedelic movement owes a great debt; she paid a great price for her kindness to Western seekers of the ‘magic mushroom,’” Gannett says, “and I wanted to share her story.”

Today, Gannett’s music honors the contours of traditional music even as he continues to innovate freely and ingeniously within those contours. “I’m always adding elements that might be considered irreverent or blasphemous. I always try to build on old music, but I am not making museum music.”

Meridian Tracklisting:

Meridian

The Lucky Ones

Thunder River, Tumbling Down

Persuasion

Let’s Have Each Other for a While

Short Haired Willie

Give and Take

Spores on Grass

Screw Loose

Dark Time

Long Burning Bridge

Maria Sabina

Without Getting Killed or Caught is the true story of Guy Clark, the dean of Texas songwriters, who struggles to write poetic, yet indelible songs while balancing a complicated marriage with wife Susanna, and a deep friendship with singer-songwriter Townes Van Zandt, on whom Susanna forged a passionate dependence. Clark, who died in 2016, wrote and recorded unforgettable songs (“L.A. Freeway,” “Desperados Waiting for a Train”) for more than forty years. His lyrics and melodies paint indelible portraits of the people, places, and experiences that shaped him, and no one inspired Guy more than his wife, painter, and songwriter Susanna Talley Clark, and their best friend, fellow songwriter Townes Van Zandt.

Today, the team behind the film has announced a number of additional screenings beginning on March 23rd. All of the events will include a 90-minute showing of the documentary—available to view during the allotted screening time—followed by a 20-minute discussion with special guests. All showings will be priced at $25 and are scheduled on a variety of days and times to fit all viewers’ daily schedules. A full list of screenings is below and more information, including where to purchase tickets, can be found at www.withoutgettingkilledorcaught.com/tickets.

Without Getting Killed or Caught virtual screening schedule: (All screenings powered by Seer.)

Tuesday, March 23 @ 7 PM Eastern: Kessler Presents, discussion with Rodney Crowell.

Thursday, April 8 @ 7 PM Eastern: YETI Presents, discussion with Brennen Leigh & Noel McKay.

Friday, April 16 @ 9 PM Eastern: YETI Presents, discussion with Sarah Jarosz.

Sunday, April 18 @ 1 PM Eastern: SiriusXM Outlaw Country Presents, discussion with Steve Earle.

Thursday, April 22 @ 7 PM Eastern: YETI Presents, discussion with Andrew Combs.

Sunday, April 25 @ 1 PM Eastern: American Country Countdown with Kix Brooks Presents, discussion with Kix Brooks.

Upcoming in-person screenings:

Wednesday, May 19 @ Laguna Gloria, hosted by Austin Film Society and The Contemporary Austin. Tickets will be available at www.austinfilm.org

Thursday, September 9 @ Acorns & Antlers Songwriters Festival in Boone, NC. More information available at www.facebook.com/antlersandacornsboone

Without Getting Killed or Caught—which will make its virtual World Premiere at the 2021 SXSW Film Festival on March 18th at 10 AM CST and can be watched by badge holders at any time throughout the duration of the festival—was produced and directed by longtime Americana music producer and executive Tamara Saviano and filmmaker Paul Whitfield.

Narrated by Academy-Award winner Sissy Spacek, Without Getting Killed or Caught follows Guy, Susanna, and Townes on their journey from obscurity to reverence: Guy, the Pancho to Van Zandt’s Lefty, struggling to establish himself as the Dylan Thomas of American music, while Susanna pens hit songs and paints album covers for top artists and Townes spirals in self-destruction after writing some of Americana music’s most enduring and influential ballads. Based on the diaries of Susanna Clark—the film tells the saga from Susanna’s point of view—and Saviano’s 2016 book Without Getting Killed or Caught: The Life and Music of Guy Clark, which No Depression called “an intimate, affectionate, sometimes sad, often hilarious, and vibrant chronicle of one of our most memorable artists.”

Saviano, a longtime figure on the Americana scene, as a journalist, artist manager, and Grammy-winning producer, wrote the film with Bart Knaggs. She had the complete cooperation of Clark, who sat for numerous interviews on and off-camera. Without Getting Killed or Caught (the title comes from “L.A. Freeway”) also offers poignant reflections from Clark’s closest friends and musical allies, most prominently Rodney Crowell, Steve Earle, Vince Gill, Verlon Thompson, and Terry and Jo Harvey Allen, as well as record executive Barry Poss.

The film makes excellent use of Clark’s songs, family photographs and archives, vintage film footage, and radio talk shows on which Clark appeared solo and in tandem with Van Zandt. But the real emotional zing comes from Susanna’s pained remembrances, culled from her private journals and secret audio diaries, as well as taped conversations that Susanna made of the trio and of the “salon” that regularly gathered around them—all serving as witnesses to this seemingly fated intersection of love, art, and tragedy.

More information available at Withoutgettingkilledorcaught.com and on Facebook.

Summing up The Accidentals in a concise, one-sentence description is nearly impossible. From the indie-folk-punk sound of their live show to the deep Americana strings on their soon to be released TIME OUT EP, you can’t put this band in a box. Yes, band members Sav Buist and Katie Larson are well-accomplished classical musicians, but at the same time, they have no problem picking up an electric guitar and bass to join fellow multi-instrumentalist Michael Dause in their full-blown indie power trio. Yes, they tour in rock clubs and play world-renowned festivals, but they take time out to teach workshops and inspire young, budding musicians across the country. Yes, they’ve played strings for international superstars like BTS, but they also back up jam-band mainstay Keller Williams in their side-project The Keller Williams Accident. One thing above all is certain; The Accidentals live and breathe music. And in the midst of quarantines, protests, marches, political division, and unprecedented uncertainty, Buist, Larson, and Dause continually do what they do best; create. On May 7th, the fruits of their lockdown labor will be available for all to devour on TIME OUT (Session 1). A five-song EP of all-new co-written material, TIME OUT features songwriting collaborations between The Accidentals and renown songwriters that Buist says, “Were among our earliest influences, their songs inspired us to try our hand at songwriting.” She’s talking about songwriters Kim Richey, Dar Williams, Maia Sharp, Tom Paxton, and Mary Gauthier & Jaimee Harris​.

Today, Under The Radar took time to chat with The Accidentals in conjunction with premiering the music video for “Wildfire,” noting that, “...rather than simply falling into nostalgia, the band looks to the future, hoping for the promise of new life and offering a simple hand of comfort.” Fans can watch the video at this link and listen to “Wildfire” right here.

“​Wildfire” was co-written virtually over Zoom with singer-songwriter ​Kim Richey (Trisha Yearwood, Radney Foster, Brooks & Dunn​). Cindy Howes at Club Passim in Cambridge, Mass., asked Buist to assist Richey on an upcoming event, after a livestreaming tutorial Buist published garnered attention from the media and independent venues. What started out as an introductory Zoom session would soon blossom into a friendship and a song for the times. The chorus: “Who knew we were drunk on borrowed time... waiting on a wildfire?” captures the overwhelming yearning to turn back time, to have one more day of normal. In the beginning of March 2020, the band was on their way to South By Southwest Music Festival in Austin, Texas, after a whirlwind 23-show tour. They were told to turn around in Arkansas and head home. It was no longer safe to keep touring.

“We didn’t see it coming. We were moving through life at breakneck speed, worried about ‘getting there’ instead of being present in the journey,” says Buist. “When the road came to a hard stop and everything went quiet, we realized the extent of what we had lost. It was devastating. We drove back to Nashville, packed some things and quarantined together in Northern Michigan. Our industry shut down completely. For the first time in eight years, we didn’t have anywhere to be. We found ourselves reaching out to each other in that process of navigating the isolation. We ended up collaborating with these incredible writers because for the first time in eight years we all had time. These songs might not have happened otherwise. We wanted to somehow capture the idea that even after all of this unbelievable heartbreak, some beauty can still come from it. TIME OUT​ is a healing anthem for us, and we hope it is for you too.”

To keep up with The Accidentals and stay-tuned for more 2021 music releases, please visit theaccidentalsmusic.com​.

Time Out (Session 1) Tracklisting and Co-writers:

Might As Well Be Gold (Maia Sharp)

Night Train (Dar Williams)

Wildfire (Kim Richey)

Anyway (Tom Paxton)

All Shall Be Well (Mary Gauthier & Jaimee Harris)

“This is high art right here —cotton field disco perfection, the first generator in the county. The chorus on this song may be the best chorus of all time,” says Shannon McNally of Waylon Jennings’ “Black Rose”—a Billy Joe Shaver-penned tune she just cut with Buddy Miller for her new album, The Waylon Sessions.  “‘The devil made me do it the first time, the second time I did it on my own.’ Talk about the fight for good and evil and staring the devil down at the crossroads.” The grooving, lazy two-step feel of the original is magnified in McNally’s new version, accented by blasts of harmonica and Miller’s slinky baritone guitar. Today, Relix premiered the “wry, playful video” for “Black Rose,” noting that it “complements McNally’s warm, winning take on the tune."

“I wanted the video to have some levity and to capture the original intent of the song, which I’ve always interpreted as good-natured but risky,” says McNally, who dreamt up an elaborate backstory for the song’s short film and its characters. “I envisioned my character somewhere between Gina Davis and Woody Harrelson on the set of the Barney Miller show. It was quite liberating really. I like the image of the open cell door and the notion that essentially I’m policing myself, because isn’t that what the dance of acting right is all about?” Fans can now watch the video for “Black Rose” at this link and pre-order or pre-save The Waylon Sessions ahead of its May 28th release on Compass Records right here.

In addition to releasing The Waylon Sessions in 2021, McNally will be performing with Terry Allen & The Panhandle Mystery Band at ACL in late Nov. of this year, and at The Paramount in Austin in Jan. 2022.

With The Waylon Sessions, McNally set out to revisit the songs and spirit of Waylon Jennings, a legend with whom she’s always had an ongoing fascination. “I have always loved his defiantly existential but immediately accessible common man’s music and how it boogies,” says McNally. But her collection of tunes ended up being not so much a tribute as it is a recontextualization; a nuanced, feminine rendering of a catalog long considered a bastion of hetero-masculinity. That’s not to say McNally has a softer, gentler take on Jennings’ songs—in fact, just the opposite. Over and over again, she manages to locate a smoldering intensity, a searing hurt buried deep within the music’s deceptively simple poetry, and she hones in on it with surgical precision on this new album, which features special guests like Jessi Colter, Buddy Miller, Rodney Crowell, and Lukas Nelson. “The world has changed a lot since these songs were first recorded,” says McNally. “I have never heard a woman sing any of them, but these tunes are poignant and relevant to me and to women in general right now. As a songwriter, bringing a song to its full potential so that a larger or different audience can connect is all I’ve ever cared about.”

McNally knew that assembling the right band would be essential to capturing Jennings’ mix of laid back charm and swaggering bravado, so she called AMA-winning guitarist Kenny Vaughan (Marty Stuart, Lucinda Williams) to help her assemble a team that included drummer Derek Mixon (Chris Stapleton), pedal steel legend and longtime Jennings bandmate Fred Newell, Texas keyboard mainstay Bukka Allen (Robert Earl Keen, Jerry Jeff Walker), and bassist Chris Scruggs (Marty Stuart, Charlie Louvin). Working live and raw, they tracked sixteen songs in just five days, relying on instinct and intuition to guide their decisions at every turn. As brilliant as the band’s performances are, it’s McNally that breathes new life into the music here, tackling the tunes with an honesty and a maturity that transcends genre and gender. She doesn’t swap pronouns or couch her delivery with a wink; she simply plays it straight, singing her truth as a divorced single mother in her 40’s in all its beauty, pain, and power.

“My goal wasn’t to force anything onto the music that wasn’t there already,” explains McNally. “There’s a feminine perspective hidden somewhere inside each of these songs. My job was to find a way to tap into that and draw it out.” The result is that rare covers record that furthers our understanding of the originals; an album of classics that challenges our perceptions and assumptions about just what made them classics in the first place.

It’s been 30 busy and productive years since the launch of the world-renowned radio show turned full-blown multimedia nonprofit eTown. In honor of 30 years of great live music paired with social and environmental programming, eTown is throwing a party for the ages, honoring both its 30th birthday and eTown’s induction into the Colorado Music Hall of Fame.

On Earth Day 2021, April 22nd, eTown’s 30th b’Earthday Celebration will air via live stream and feature performances from Los Lobos, The War and Treaty, Lyle Lovett, Bob Weir, Sam Bush, City and Colour, and Raquel Garcia. Former U.S. Senator and environmental advocate, Tim Wirth, will join for the conversation portion of the livestream. For more information on the b’Earthday Celebration including lineup additions, how to become a supporter of eTown, or to check out past shows and performances, please visit eTown.org.

"Helen and I started eTown in '91 determined to try something new, to make a different kind of show, one that mixed music and message,” says eTown Founder and Host, Nick Forster. “It took us a while to find our voice and our place in the media landscape, but over the last three decades, we've not only presented—and played—a ton of remarkable live music, we've also shared really inspiring conversations and stories of ordinary people doing extraordinary things on behalf of our shared environment.”

Before eTown, Nick toured and recorded for decades with IBMA Entertainers of the Year and Grammy nominees Hot Rize, amongst others, while Helen Forster made her mark as a co-owner and producer of the world famous Telluride Bluegrass Festival, while also performing herself.  This husband and wife team have taken everything they’ve seen, felt, and learned about music, the environment, and humanity and put it into practice through 30 years of remarkable eTown shows.

“It's hard to imagine a forum where Pops Staples, President Jimmy Carter, Atmosphere, Willie Nelson, Jane Goodall, Kacey Musgraves, James Taylor, Billy Strings, and a thousand more have come together on behalf of a few big ideas: that we're all connected, that music reinforces that connection, and that we can all do something to fight climate change and social and racial injustice,” says Nick.

eTown Co-Founder Helen adds, “The reality is that eTown has always appeared bigger than it is. We're just a handful of people who made something remarkable almost every week for a long time."

Join Nick, Helen, and the rest of the eTown crew and community on April 22nd to celebrate their amazing milestone in the only logical way: engaging song and conversation.

WHAT: eTown’s 30th b’Earthday Celebration

WHO: Los Lobos, The War and Treaty, Lyle Lovett, Bob Weir, Sam Bush, City and Colour, Raquel Garcia, Interview Guest Tim Wirth, and more

WHEN: April 22nd, 2021, at 6:30 pm Mountain Standard Time

WHERE: eTown.org

After a long and patient wait to return to the stage, a couple of the jam-world’s favorite pickers are setting out on a month’s long journey to bring the music to the people. Beginning April 5th, Railroad Earth front-man Todd Sheaffer will be joined by multi-instrumentalist Chris Thompson of Coral Creek for a tour of outdoor shows—beginning at Station 26 Brewing in Denver before circling through more of Colorado, Arizona, Southern and Northern California, and up to Oregon before finishing up back where they started. These intimate shows feature the songs that have made Railroad Earth one of the hottest tickets on the Newgrass and Jamband festival circuit, presented by Sheaffer in a solo format with instrumental accompaniment by Thompson on guitar, bass and dobro. Each show will include two sets of original music, with Thompson kicking off the evening followed by Sheaffer performing solo and with accompaniment. A full list of dates and links to purchase tickets is below. Please visit liveoutfront.com/todd-chris-spring-tour for more information.

For fans wanting to host the shindig of the century, Todd and Chris are booking safe, socially-distanced private gatherings along their tour route and beyond via Live Out Front. For more information or to contact the duo please visit liveoutfront.com/host-a-show.

April 5, 2021 - Station 26 Brewing - Denver, CO || TICKETS

April 6, 2021 - Coda Brewing - Golden, CO  || TICKETS

April 10, 2021 - Wibby Brewing, Longmont, CO || TICKETS

April 11, 2021 - The Sweet Spot - Colorado Springs, CO  || TICKETS

April 13, 2021 - Walter Station Brewing - Phoenix, AZ || TICKETS

April 14, 2021 - Charlie’s House - Phoenix, AZ || TICKETS

April 15, 2021 - Jerome, AZ || PRIVATE

April 17, 2021 – Kevin’s ShinDig – San Diego, CA || TICKETS

April 19, 2021 - Great Change Brewing, Bakersfield, CA || TICKETS

April 20, 2021 - Shanty Shack Brewing, Santa Cruz, CA || TICKETS

April 21, 2021 - Dying Breed Brewing, Oakdale, CA || TICKETS

April 22, 2021 -  Two Rivers Cider - Sacramento, CA || TICKETS

April 23, 2021 - Moe’s BBQ - Tahoe, CA || TICKETS

April 29, 2021 - The Old Farm House - West Linn, OR || TICKETS

April 30, 2021 - Rosebud Cafe - Scappoose, OR || TICKETS

May 1, 2021 - Rosebud Cafe - Scappoose, OR || TICKETS

May 6, 2021 - 10 Mile Music Hall – Frisco, CO || TICKETS

May 7, 2021 - Baker’s Acres - Steamboat, CO || TICKETS

May 8, 2021 - McAwesome Ranch, Castle Rock, CO || TICKETS

Washington native Beth Whitney dwells in her songs, exploring every note and phrase, turning them inside out, and pulling the listener into her own journey as an intimate partner; sharing in her joys, her grief, her wonder, her gratitude. Sometimes her songs soar with a hymn-like spaciousness that swirls and spirals upward and transports us in flights of wonder; sometimes her songs echo with a rhythmic cadence that digs into the messiness of our daily lives, going to ground in search of the deep-rooted love that helps us grow. On May 28th on Tone Tree Music, Whitney will share her new album Into the Ground with the world. In what turned out to be an ideal follow-up to 2017’s The Wild Unrest, Whitney shifted her perspective ever so slightly to create Into the Ground. “On [The Wild Unrest] I was looking outward at the world around me,” she recalls. “On the new album, I am looking into the soil. Let’s look into that soil and see what’s happening. Soil is so complex.” With the partnership of producer and mixer Brandon Bee and engineer Matt Terjeson, Whitney’s new collection of songs lands effortlessly on beds of organic and orchestral—and at times overdriven and rhythmic—production; never coming close to overpowering the songs and the voice singing them.

Today, American Songwriter premiered “Two Sons,” the third single from Into the Ground, following “In Another Life” and “Wild Horse.” American Songwriter wrote, “Reimagining the beloved parable in a modern, Americana setting, Whitney’s understated arrangement beautifully serves the winder theme...the video and the song unite to express a timely message of celebrating those who were lost, but now are found”—read the article and listen here. “Somehow over my lifetime, this idea of home has become more familiar, and more foreign, all in the same cosmic breath,” says Whitney of “Two Sons.” “I suppose many of my songs thread-in an underlying search for someone or somewhere that would take me in. This desire to be fully known and embraced is so strong in us and yet so difficult to realize. ‘Two Sons’ is a parable Jesus told and one I’ve never forgotten.” Fans can pre-save “Two Sons” now at this link.

“Wild Roses,” the track that opens Into the Ground, floats in sparsely with thrumming cello and humming vocals; Whitney throaty hums twine around the deep tenor of the bass circling deeper and deeper with a steady cadence. The vibrating gyrations of the song create a mesmerizing, haunting, wraithlike atmosphere, carrying us to places below the surface of our lives. Whitney “wrote ‘Wild Roses’ last winter and had no idea it would be so fitting for the year to come. We are so often unaware of what is happening just under the ground...that a wintery meadow can look like a barren field when really, the soil is busy brewing underneath to be rich and ready to sustain life. I think it's been a season of digging into the ground for wisdom, acknowledging needed work and healing, and hopefully planting healthier things for tomorrow.” Spare, fingerpicking guitar creates a lush sonic bed on which Whitney lays down her tender vocals on “Two Sons.”

“Wild Horse” rides along a jazz-pop vibe that evokes the skittering free-spiritedness of the title animal; the song moves with the passionate spaciousness of a show tune, so it’s no coincidence that the song came to life when Whitney was commissioned by the Seattle International Dance Festival to collaborate on a performance with the dancer Elise Meiners. Banjo rounds open “In Another Life,” a ringing, rhythmic stride that captures our vacillation between looking forward and letting go and looking back and holding on. Whitney wrote the song to express “any unlamented lament because even if the path we’re on is a beautiful one, one that we'd choose again and again; a grief deferred can keep us captive. It can keep us from bringing our whole selves into right now, and I don’t want to do that.” The brisk “Whole Heart” rides on waves of swirling guitars and keyboards as it defiantly resists her heart being torn apart by grief and facing whatever comes with her whole heart. The scampering bluegrass rounder “Huckleberry” percolates with light and love, while the gorgeously languorous “Thunder” unfurls steadily into the heart of grace and beauty. “This song,” says Whitney, “came in one of those early sacred mornings when everyone is still asleep and the world seems almost clear for a moment. This song is a prayer really and the chorus has words from a hymn written centuries ago.” The album closes with a hymn to gratitude and love, with echoing lines that circle around each other in a drenching chorus of praise; no matter what obstacles life throws in her path, Whitney sings, she assured that those who love her have illuminated her path back to their arms.

Into the Ground showcases Whitney’s artfulness as a songwriter and her determination as a musician to stare down the chaos in front of her and weave it into something else. She welcomes grief when it is in front of her because she knows what happens when grief is left out to spoil. Whitney looks straight ahead in her music; it’s the reason Into the Ground takes listeners deep into themselves in search of a common humanity. 

Into the Ground Tracklist:

1. Wild Roses

2. Two Sons

3. Wild Horse

4. In Another Life

5. Whole Heart

6. Moonlight

7. Huckleberry

8. Shelter From the Storm

9. Thunder

10. I Go 

11. You Leave a Light On

Del Yeah! DelFest, the beloved genre-spanning festival brainchild of McCoury Music and High Sierra Music is pleased to announce the initial lineup for its 14th annual festival, once again taking place in beautiful Cumberland, Maryland, on Sept. 23-26.

This year, festival hosts The Del McCoury Band and The Travelin’ McCourys will be joined by Old Crow Medicine Show, St. Paul & The Broken Bones, Sam Bush, The Infamous Stringdusters, The Lil Smokies, Della Mae, Cris Jacobs Band, Hot Club of Cowtown, Frank Solivan & Dirty Kitchen, The Broomestix, Rob Ickes & Trey Hensley, Steve Poltz, Sister Sadie, Lonesome River Band, Ghost of Paul Revere, Dre Anders, Twisted Pine, Fireside Collective, The Jakob’s Ferry Stragglers, Crying Uncle Bluegrass Band, Birches Band, Haint Blue, Dirty Grass Players, and The 9th Street Band. As always, Joe Craven, will emcee for the weekend.

In addition to traditional stage sets by these world-class artists, attendees can again expect to see one-of-a-kind collaborations, special guest sit-ins, various tributes to Del McCoury and his musical legacy, and intimate appearances from the aforementioned artists. Delfest will, as usual, be immediately preceded by the 3-day DelFest Academy hosted by The Travelin’ McCourys and other all-star players.

Located along the Potomac River in the scenic Appalachian Mountains, and personally chosen by Del, the Allegany County Fairgrounds in Cumberland, MD (2.5 hours from Baltimore and D.C.) serves as the ideal location for DelFest. The fairgrounds are conveniently located near four major airports and can be easily reached by rail or road. The city of Cumberland, MD, is a welcoming host offering multiple hotel options, a charming downtown, and great amenities that include biking, fishing, and kayaking, as well as a steam train engine and museum, and interesting dining options. Come for the music, and perhaps stay an extra day to explore the area offerings which are well suited for music fans and outdoor enthusiasts alike.

The festival, which typically happens Memorial Day weekend, will make a one-time move to the fall in 2021 to ensure a COVID-safe gathering. Festival organizers are working with local and state health officials to ensure musicians, attendees, and staff are cared for, and will adhere to local, state, and federal safety mandates. COVID-specific protocols will be announced closer to the festival.

For information including camping, parking, partners, and more, please visit delfest.com and follow DelFest on all social platforms. Can’t wait until September for Del-centered goodness? Refresh with and relive the magic of DelFest on the festival’s Youtube page

Ever feel like twenty-four hours isn’t enough time for your 4/20 celebration? Well, you’re in Luck. Team Luck is collecting signatures to petition the U.S government for the “High Holidays” to be celebrated nationally. Luck’s iteration of the High Holidays begins on 4/20, of course, and ends with a celebration of Willie Nelson's birthday, which falls on 4/29. This petition, while slightly in jest, aims to destigmatize Cannabis usage and users, and to broaden the dialogue with Congress re: decriminalization and the many benefits of the Cannabis plant.

Help us: Luck Presents is petitioning the Biden Administration and Congress to make 4/20 to 4/29 the national “High Holidays” in honor of Willie Nelson’s contribution to the Cannabis industry, and to celebrate his birthday. Sign the petition here. More info can be found at high.holiday.

He said it best: Willie Nelson, the unofficial patron saint of weed, said, “I think people need to be educated to the fact that marijuana is not a drug. Marijuana is an herb and a flower. God put it here. If He put it here and He wants it to grow, what gives the government the right to say that God is wrong?”

About Luck Presents: Luck Presents is a rogue cultural collective headquartered in Willie Nelson’s Luck, TX. Anchored by its flagship event, the annual Luck Reunion, Luck Presents creates experiences that embrace our past while cultivating new traditions in American roots culture. 

In honor of 30 years of great live music paired with social and environmental programming, Colorado’s beloved radio show and multimedia nonprofit eTown is throwing a party for the ages, honoring both its 30th birthday and eTown’s induction into Colorado Music Hall of Fame.

Today, eTown announced the addition of Black Pumas, Nathaniel Rateliff, and Sarah Jarosz, to an already stacked lineup of performers for its 30th b’Earthday Celebration on April 22nd—Earth Day 2021. The free-to-attend live stream will feature performances from the aforementioned artists as well as previously announced performers: Lyle Lovett, Bob Weir, Los Lobos, Sam Bush, City and Colour, The War and Treaty, and Raquel Garcia. Former U.S. Senator and environmental advocate Tim Wirth and U.S. Congressman Joe Neguse will join for the conversation portion of the livestream. For more information on the b’Earthday Celebration, how to become a supporter of eTown, or to check out past shows and performances, please visit eTown.org.

eTown was conceived by Nick Forster while on tour in Eastern Europe with Sam Bush & Friends in 1990. Nick, a veteran touring musician with the band Hot Rize and others, fell in love with live radio after being a guest on A Prairie Home Companion, the Grand Ole Opry, and the WWVA Jamboree. After seeing how live music could draw disparate groups together in Eastern Europe only months after the fall of the Soviet Union—and witnessing environmental degradation—Nick was convinced that there could be a radio show that combined live music with conversation about how we live together on this increasingly fragile planet.

Back in Boulder, Nick enlisted his fiancé, Helen, to help get eTown started. Helen, a veteran performer, and singer (and former partner in the Telluride Bluegrass Festival) jumped right in, and the first eTown show was recorded on Earth Day in 1991. Just a few short months later, eTown was launched on NPR, and fans all across the country discovered this one-of-a-kind program.

In the 30 years since then, eTown has evolved and expanded into a full-blown nonprofit, unmatched in its contribution to both music and the environment. Through their radio shows, listeners discover world-class musicians and see and hear once-in-a-lifetime collaborations, and through programs like eTown’s eChievement Award, the same listeners are entertained and educated on the “who, what, why, and how” of preserving our planet for generations to come. Recently, Bruce Joss, president of Surface Creek Animal Shelter in Cedaredge, Colorado, was listening in when RE-volv—a nonprofit that helps other nonprofits go solar—was given the eChievement Award.

"We reached out to RE-volv,” says Joss. “Thanks to the RE-volv program, [a] solar system was installed at no cost to the Animal Shelter. The system is offsetting 296,000 lbs of CO2,  the equivalent of planting 2,200 trees or taking 5,900 cars off the road— all while helping the 330+ animals that come through our shelter yearly.”

eTown supporters share stories like Joss’ all the time, a small token of appreciation for the literal building that Nick and Helen—and countless eTown employees and volunteers—built. So, after 30 years, a celebration for the ages is in order, and all are invited. To read more about April 22nd’s 30th b’Earthday Celebration, please visit etown.org/30.

Today, acclaimed Nashville-based songwriter Molly Parden makes her late night debut on “The Late Show with Stephen Colbert” for their #PlayAtHome series. Watch Parden’s performance of “Feel Alive Again,” the opener to her recent EP Rosemary, here. Released November 13, 2020, Rosemary’s six tracks—the largest collection of songs Parden has released since her 2011 debut Time Is Medicine—weave effortlessly between worlds of pop, folk, string-scapes, and warbly lo-fi filters to make a tidy bed for Parden’s gilded voice and heart wrenching songs to melt into. Purchase or stream the album here.

Rosemary has garnered praise from fans and critics alike, including national outlets that include Stereogum, NPR Music, Gorilla Vs. Bear, SPIN, Paste Magazine, No Depression, Under the Radar, and American Songwriter; regionally, the album has received acclaim from Nashville Lifestyles and Stomp & Stammer, in Parden’s home state of Georgia.

“Just when you thought you didn’t need another pensive singer-songwriter, here comes Molly Parden to gently devastate you. Parden’s Rosemary EP positions her amongst a constellation of young Southern balladeers like Natalie Prass, Julien Baker, and Faye Webster. Her gorgeous arrangements have a dreamy quality.”

— Stereogum

“Molly Parden, a longtime favorite of the NPR pop critic [Ann Powers.] The breakup songs on Parden's new EP are melancholy, but there is a 'dreaminess' to it.”

— NPR

“Exquisite, glowingly nostalgic...it feels like an effortless, timeless-but-unmistakably-modern union of swooning R&B, heartfelt indie-folk, and twinkling, string-laden classic pop.”

— Gorilla vs. Bear

“Rosemary is a collection of delicate songs that illumines the stark fragility of loss and its persistent, unlikely beauty...the album feels so vulnerable that it draws an empathetic engagement with the listener, leaving us sensing the deep pain that produced it. Yet still, the songs throughout Rosemary encircle us with the warmth of Parden’s diaphanous voice.”

 — Louder Than War

“From the lilting orchestration to Parden's intimate vocals (which could be mapped somewhere on a compass rose of Weyes Blood, Bedouine and Angel Olsen), Rosemary ambles through its 6 songs at the same confident, unhurried pace as an early morning walk through the woods. Like so many of us these days, it feels vaguely unstuck from time, and yet, firmly rooted in the present moment.” 

 — Melted Magazine

Since the November release of Rosemary, Parden has dropped a compilation of remixes titled RSMRY RMXS and is featured on The Brook & The Bluff’s new single, “Wallflower.”

Willie Nelson and Luck Presents are proud to announce the first annual cannabis convention, Luck Summit: Planting the Seed which benefits HeadCount’s Cannabis Voter Project. Hosted by Nathanial Rateliff, the multi-day virtual summit seeks to destigmatize, educate, and promote cannabis culture in an informative and entertaining way. During the summit, Luck and fellow cannabis-advocate partners will showcase the cannabis plant through its many lenses including history, science, entertainment, and culture. In addition to panel discussions and keynote speakers, attendees will be treated to musical collaborations, comedy sketches, cooking demonstrations, health-focused activities, and more.

Additionally, team Luck is pleased to announce a partnership with the good folks at HeadCount’s Cannabis Voter Project, an organization that informs, registers and turns out voters who are interested in cannabis policy. “Willie Nelson is a music and cannabis icon, so of course we're thrilled to partner,” says Sam D'Arcangelo, Director of HeadCount's Cannabis Voter Project. “Texas and the rest of the United States are sitting at a cannabis crossroads right now. There's no better time to celebrate how far we've come and have a conversation about where cannabis legalization goes from here." All ticket proceeds from the summit will be donated to the Voter Project to aid in their efforts.

Who is Planting the Seed for? The summit will hold space for honest, stripped down dialogue between industry veterans, casual connoisseurs, activists, artists, and everyone in between. Have something to say or questions about the benefits and opportunities surrounding hemp and cannabis as a commodity, and as medicine? This summit is for you.

What’s on the discussion docket? Civil discourse, building community, legalization through policy amendments, science, de-stigmatization, hemp and cannabis as commodity products and cash crops, taxation that aids the economy, decriminalization and pathways toward freeing non-violent offenders for cannabis convictions, de-stigmatizing cannabis in industries weary of engaging, cannabis history and prohibition, and so much more.

The mission of the Luck Summit is to create a community discussion around destigmatizing, decriminalizing, and legalizing hemp and cannabis in the state of Texas and beyond.

Sign up: Planting the Seed is a donation-based ticketed summit raising money for HeadCount's Cannabis Voter Project. To register or for more information on the High Holidays, please visit high.holiday.

Planting the Seed is the marque event of Luck’s “High Holidays,” a 9 day celebration of the cannabis plant and its many benefits which begins on 4/20 and ends on Willie’s birthday, 4/29. Additionally, Luck Presents is petitioning the Biden Administration and Congress to make 4/20 to 4/29 the “High Holidays'' in honor of the cannabis industry, and to celebrate Willie’s birthday. Sign the petition here. Visit high.holiday for more information.

Luck Presents is a rogue cultural collective headquartered in Willie Nelson’s Luck, TX. Anchored by its flagship event, the annual Luck Reunion, Luck Presents creates experiences that embrace our past while cultivating new traditions in American roots culture.

HeadCount’s Cannabis Voter Project informs, registers, and turns out voters who want to see cannabis policy move forward. We believe cannabis reform is a unique issue with the power to turn large numbers of people into active participants in our democracy.

Festivalgoers and music fans worldwide will be delighted to know that MerleFest, presented by Window World, will officially reconvene September 16-19, on the campus of Wilkes Community College in Wilkesboro, North Carolina. MerleFest, dubbed by Rolling Stone as “the gold standard for bluegrass, Americana, and string music festivals,” is normally held the last weekend of April, but the 2020 festival was canceled due to public safety concerns amidst the COVID-19 outbreak. Officials stressed that this would be a one-time-only move to this fall and they plan to return to the traditional April weekend in 2022.

On June 10th, MerleFest will host the 2021 MerleFest Artist Announcement Celebration live stream. Beginning at 7 p.m. Eastern, the 2021 festival’s full artist lineup will be announced, tickets will officially go on sale, health and safety protocols will be covered, and the show will feature a nostalgic look back at MerleFests past. Be sure to subscribe to MerleFest’s YouTube channel and social media accounts for up-to-date information ahead of the Artist Announcement Celebration.

MerleFest will be accepting entries for the Chris Austin Songwriting Contest (CASC) from April 15 to June 15, 2021. CASC is one of the most acclaimed songwriting contests in roots and Americana music and has a reputation for launching careers as well as drawing attention to important new talent. The contest is split into four genre-based categories including bluegrass, general, gospel, and country. First through third place winners will be chosen in each category at MerleFest 2021, which is set to take place on September 16-19, 2021.

Now in its 29th year, CASC is an extraordinary opportunity for songwriters to have their original songs heard and judged by a panel of Nashville music industry professionals, under the direction of volunteer contest chairperson, Grammy-winning singer/songwriter Jim Lauderdale. Aspiring songwriters may submit entries to the contest at merlefest.org/CASC. All entries will require a $30 fee per entry. All lyrics must be written in English and no instrumental entries will be accepted. The deadline to enter is June 15, 2021. Finalists will be invited to the final round of the competition, which takes place Friday, September 17, during MerleFest. First-place winners will receive $1,000 cash and a performance slot at MerleFest.

“We are extremely proud of the career successes achieved by many CASC alumni. Among these are Gillian Welch (1993), David Via (1997, 2001), Johnny Williams (1998, 1999), Tift Merritt (2000), Becky Buller (2001), Michael Reno Harrell (2003), Adrienne Young (2003), Martha Scanlan (2003), Sam Quinn (2006) and Jeanette Williams (2007),” said Andrea Gimlin, coordinator of MerleFest’s CASC. “More recent alumni include Lara Lynn (2011) and Gary Alan Ferguson (2014). Other recent discoveries from the contest are Melody Walker of Front Country and Joseph Terrell of Mipso. I encourage all songwriters to put the final touches on your masterpiece and submit it to the Chris Austin Songwriting Contest!”

Net proceeds from the contest support the Wilkes Community College Chris Austin Memorial Scholarship. Since its inception, the Chris Austin Scholarship has helped 109 students and awarded over $47,100. For contest rules, how to enter, and more details about the contest, visit merlefest.org/CASC.

MerleFest, presented by Window World, will begin accepting applications from vendors for The Shoppes at MerleFest, as well as artisans and craftsmen who wish to be featured in the Heritage Crafts tent on April 15th. Those interested in participating in The Shoppes at MerleFest or the Heritage Crafts area may download an application and review the rules and guidelines at www.merlefest.org/vendors. MerleFest will accept applications through May 31, 2021.

“I have always loved his defiantly existential but immediately accessible common man’s music and how it boogies,” says Shannon McNally of the man whose timeless music is the subject of her new album THE WAYLON SESSIONS, Waylon Jennings. Upon the album’s completion, McNally’s collection of tunes ended up being not so much a tribute as it is a recontextualization; a nuanced, feminine rendering of a catalog long considered a bastion of hetero-masculinity. “The world has changed a lot since these songs were first recorded,” says McNally. “I have never heard a woman sing any of them, but these tunes are poignant and relevant to me and to women in general right now.”

Last week, Glide Magazine premiered the music video for “I’ve Always Been Crazy,” the unapologetic groover from Jennings’ 1978 album of the same name. “The name Shannon McNally just rolls off the tongue as one of legitimacy: kind of like Reba, Tanya, or Martina. Or perhaps.. kind of like Waylon,” said Glide in their song review, adding “McNally professes a twangy charm that teaches new-school outlaws like Sturgill Simpson, that her voice deserves top of the playlist rotations.” Fans can watch the video for “I’ve Always Been Crazy” right here and pre-order or pre-save THE WAYLON SESSIONS ahead of its May 28th release date at this link.

With THE WAYLON SESSIONS, McNally set out to revisit the songs and spirit of Waylon Jennings, a legend with whom she’s always had an ongoing fascination. Over and over again, she manages to locate a smoldering intensity, a searing hurt buried deep within the music’s deceptively simple poetry, and she hones in on it with surgical precision on this new album, which features special guests like Jessi Colter, Buddy Miller, Rodney Crowell, and Lukas Nelson. “The world has changed a lot since these songs were first recorded,” says McNally. “I have never heard a woman sing any of them, but these tunes are poignant and relevant to me and to women in general right now. As a songwriter, bringing a song to its full potential so that a larger or different audience can connect is all I’ve ever cared about.”

McNally knew that assembling the right band would be essential to capturing Jennings’ mix of laid back charm and swaggering bravado, so she called AMA-winning guitarist Kenny Vaughan (Marty Stuart, Lucinda Williams) to help her assemble a team that included drummer Derek Mixon (Chris Stapleton), pedal steel legend and longtime Jennings bandmate Fred Newell, Texas keyboard mainstay Bukka Allen (Robert Earl Keen, Jerry Jeff Walker), and bassist Chris Scruggs (Marty Stuart, Charlie Louvin). Working live and raw, they tracked sixteen songs in just five days, relying on instinct and intuition to guide their decisions at every turn. As brilliant as the band’s performances are, it’s McNally that breathes new life into the music here, tackling the tunes with an honesty and a maturity that transcends genre and gender. She doesn’t swap pronouns or couch her delivery with a wink; she simply plays it straight, singing her truth as a divorced single mother in her 40’s in all its beauty, pain, and power.

“My goal wasn’t to force anything onto the music that wasn’t there already,” explains McNally. “There’s a feminine perspective hidden somewhere inside each of these songs. My job was to find a way to tap into that and draw it out.” The result is that rare covers record that furthers our understanding of the originals; an album of classics that challenges our perceptions and assumptions about just what made them classics in the first place.

THE WAYLON SESSIONS:

I’ve Always Been Crazy

You Asked Me To - feat. Buddy Miller

Out Among The Stars - feat. Jessi Colter

You Show Me Yours And I’ll Show You Mine - feat. Lukas Nelson

Black Rose - feat. Buddy Miller

This Time

I Ain’t Living Long Like This - feat. Rodney Crowell

I’m A Ramblin’ Man

Mammas Don’t Let Your Babies Grow Up To Be Cowboys

Help Me Make It Through The Night

We Had It All

Only Daddy That’ll Walk The Line*

Waltz Me To Heaven*

*CD/digital bonus track

On tour:

May 1 - Mobile, AL - People’s Room of Mobile

May 2 - Ridgeland, MS - The Ridgeland Fine Arts Festival

May 28 - Nashville, TN - City Winery show and Mandolin live stream 

In honor of 30 years of extraordinary live music paired with social and environmental programming, Colorado’s beloved radio show and multimedia nonprofit eTown is throwing a party for the ages, honoring both its 30th “b’Earthday” and eTown’s induction into Colorado Music Hall of Fame; Founders Nick and Helen Forster recently spoke about both with The Bluegrass Situation, read more here.

This Thursday, on April 22nd, Earth Day 2021, fans new and old are invited to join the party with eTown’s free 30th b’Earthday Celebration, a live stream event featuring all new performances from Lyle Lovett, Bob Weir, Nathaniel Rateliff, Black Pumas, Los Lobos, Sam Bush, Sarah Jarosz, City and Colour, The War and Treaty, and Raquel Garcia. Former U.S. Senator and environmental advocate Tim Wirth and U.S. Congressman Joe Neguse will join for the conversation portion of the live stream.

Colorado Governor Jared Polis recently proclaimed April 22nd, 2021 “eTown Day,” acknowledging the organization’s production of more than a thousand live performances, pioneering efforts in environmental education, and inspiring citizens to become more engaged in their local communities via the eChievement Award, amongst other attributes. Read more here.

To support the plethora of environmental programs and amazing live music, eTown continues to offer, fans can purchase a $50 limited artist edition print on 18×24 3-color print on rainbow foil paper commemorating eTown’s 30 b’Earthday Celebration. Posters are signed and numbered by the artist, Mike Tallman of Add Noise Studios, and are available for sale within the registration link at etown.org/30.

Ahead of the 30th b’Earthday Celebration, the folks at eTown want to encourage a rabbit-hole dive into the show’s extensive audio and video archives. A few recent highlights include last week’s tremendous episode with the legendary Willie Nelson and the inspiring husband and wife duo, The War and Treaty. For a little visual stimulation—and proof that eTown’s history of collaboration is alive and well in this COVID age—check out this cover of the Lennon/McCartney classic “Two Of Us,” featuring Lake Street Dive and Shakey Graves. This and much more of eTown’s archival footage can be found at etown.org/broadcasts.

DelFest, the beloved genre-spanning festival brainchild of McCoury Music and High Sierra Music is pleased to announce additional acts for its 13th annual festival, once again taking place in beautiful Cumberland, Maryland, on Sept. 23-26.

Announced today, festival hosts The Del McCoury Band and The Travelin’ McCourys, will be also joined by Railroad Earth, Béla Fleck My Bluegrass Heart feat. Michael Cleveland, Sierra Hull, Mark Schatz, and Bryan Sutton, Cabinet, the Seldom Scene, Hawktail and Jacob Jolliff Band.

“We are so glad that many acts were able to move with us to this fall, and glad that more friends have agreed to join us. I feel like we've got a little something for everyone here, and the best news is, we aren't quite finished yet,” says Ronnie McCoury of the lineup and fall festival. “I know one thing is for sure, this DelFest is going to mean more to me and my family than any of the previous ones. It's going to be so special (and probably emotional) getting to play our second home again.”

Previously announced artists include Old Crow Medicine Show, St. Paul & The Broken Bones, Sam Bush, The Lil Smokies, Della Mae, Cris Jacobs Band, Hot Club of Cowtown, Frank Solivan & Dirty Kitchen, The Broomestix, Rob Ickes & Trey Hensley, Steve Poltz, Sister Sadie, Lonesome River Band, Ghost of Paul Revere, Dre Anders, Twisted Pine, Fireside Collective, The Jakob’s Ferry Stragglers, Crying Uncle Bluegrass Band, Birches Bend, Haint Blue, Dirty Grass Players, and The 9th Street Band. As always, Joe Craven, will emcee for the weekend.

Tickets are, as of today at 12 PM EST, officially on-sale and music fans are encouraged to act fast. DelFest’s famed Late Night programming will be announced in the coming months.

In addition to traditional stage sets by these world-class artists, attendees can again expect to see one-of-a-kind collaborations, special guest sit-ins, various tributes to Del McCoury and his musical legacy, and intimate appearances from the aforementioned artists. Delfest will, as usual, be immediately preceded by the 3-day DelFest Academy hosted by The Travelin’ McCourys and other all-star players.

Located along the Potomac River in the scenic Appalachian Mountains, and personally chosen by Del, the Allegany County Fairgrounds in Cumberland, MD (2.5 hours from Baltimore and D.C.) serves as the ideal location for DelFest. The fairgrounds are conveniently located near four major airports and can be easily reached by rail or road. The city of Cumberland, MD, is a welcoming host offering multiple hotel options, a charming downtown, and great amenities that include biking, fishing, and kayaking, as well as a steam train engine and museum, and interesting dining options. Come for the music, and perhaps stay an extra day to explore the area offerings which are well suited for music fans and outdoor enthusiasts alike.

The festival, which typically happens Memorial Day weekend, will make a one-time move to the fall in 2021 to ensure a COVID-safe gathering. Festival organizers are working with local and state health officials to ensure musicians, attendees, and staff are cared for, and will adhere to local, state, and federal safety mandates. COVID-specific protocols will be announced closer to the festival.

For information including camping, parking, partners, and more, please visit delfest.com and follow DelFest on all social platforms. Can’t wait until September for Del-centered goodness? Refresh with and relive the magic of DelFest on the festival’s Youtube page.

Luck Presents is proud to announce the lineup for their first annual cannabis convention, Luck Summit: Planting the Seed, which benefits HeadCount’s Cannabis Voter Project. Presented by Rocket Seeds and hosted by Nathaniel Rateliff, the multi-day virtual summit seeks to destigmatize, educate, and promote cannabis culture in an informative and entertaining way. During the summit, which runs virtually April 26-29, Luck and fellow cannabis-advocate partners will showcase the cannabis plant through the lenses of history, science, entertainment, and culture. Matt Bizer, co-founder of Luck Presents, says of the programming, “It was important to us in this first year event that we created a bi-partisan, stigma free conversation around cannabis in its many forms. We truly believe that Willie has been a unifier for so many in his years as both a cannabis activist and humanitarian. With Willie as our landlord we are able to set a stage and a platform for this conversation in a unique way here in Texas and throughout the country.”

Today, team Luck unveiled a highly curated lineup that is both entertainingly enlightening and recreationally educational, a sample of which is listed below. To register or view the full summit schedule, please click here.

Planting the Seed will feature something for everyone—from the cannabis curious to the long-time 420-friendly—on all aspects of the cannabis plant: economics, logistics, agriculture, legalities, legislative approaches, culture, and revenue streams.

A sample of panel topics and speakers is listed below:

Texas State Agricultural Commissioner Sid Miller on Hemp for Texas, a conversation with Lisa Pittman (Zuber Lawler, LLP) and Sid Miller (Commissioner).

Beto O’Rouke: An Argument for Ending the Prohibition of Marijuana, a discussion with former Congressman O’Rouke and Shawn Hauser (Partner, Vicente Sederberg LLP).

Diversity & Equity in the Cannabis Culture.

A fact-based national panel of experts discussing the real numbers of representation in cannabis. This panel will dive into how diverse representation—or lack thereof—impacts the emerging cannabis market.

Moderator: Gaynell Rogers (Treehouse Global Ventures)

Panelists: Opehlia Chong (Consultant), Dr. Janice M Vaghn Knox, Khadijah Adams (Girl Get That Money)

Cannabinoids 101: Delta 9 THC vs CBD. What’s a cannabinoid and will it get me high?

Whether you’re a lifelong fan of cannabis or you’re just dipping your toe into the CBD craze, in this discussion we’ll dive into what actually is a cannabinoid (there are over 160 of them!) and how these different cannabinoids can work in YOUR BODY. From the more popular Delta 9 THC and CBD cannabinoids to newer cannabinoids like Delta 8 THC and CBG, our expert panel is here to touch on all of them, and leave you with a better understanding of how and what to consume to best help your specific needs. Knowledge is power, and cannabis is powerful, so knowing what cannabinoids do will help guide you towards the best experience with this plant.

Moderator: Shayda Torabi (RESTART CBD)

Panelists: Franny Tacy (Franny’s Farmacy), Jocelyn Sheltraw (headset.io), Leah Lakstins (Higher Ed Hemp Tours)

Indica, Sativa, Hybrid: Terpenes: How to control your effects.

Whether you’re a lifelong fan of cannabis or you’re just dipping your toe into the CBD craze, in this discussion we’ll dive into what actually is a cannabinoid (there are over 160 of them!) and how these different cannabinoids can work in YOUR BODY. From the more popular Delta 9 THC and CBD cannabinoids to newer cannabinoids like Delta 8 THC and CBG, our expert panel is here to touch on all of them, and leave you with a better understanding of how and what to consume to best help your specific needs. Knowledge is power, and cannabis is powerful, so knowing what cannabinoids do will help guide you towards the best experience with this plant.Moderator: Shayda Torabi (RESTART CBD)

Panelists: Andrew Marlatt (Pharmlabs Texas), Rachelle Gordon (Cannabis writer), Anita Sommers (M(ASCP), CBD Genie, Cannabis Science Communicator)

Where's The Money? Access to Capital, Opportunities for Investment.

An experienced panel of fund managers and active investors discuss opportunities, resources and reality checks. For entrepreneurs and investors, this panel promises to provide helpful insights for navigating the newly established legal cannabis financial market. 

Moderator: Gaynell Rogers (Treehouse Global Ventures)

Panelists: Joyce Cenali (Big Rock Partners), Al Foreman (Tuatara)

How Hemp Helps Around the Farm: Hemp, Animals & Agriculture.

The Nelsons have long rallied support for the American family farmer. No Luck Summit would be complete without a conversation around hemp and its benefits for animals and agricultural practices. We’ll explore the history of hemp usage as animal feed and soil replenishment while diving into the ways hemp is being reintegrated into modern day agriculture practices.

Moderator: Hunter Buffinton (Hemp Feed Coalition) 

Panelists: Dan Hunter (Assistant Commissioner, TX Dept. of Agriculture), Dr. Clair Thunes, Vanessa Snyder (Eurofins Hemp & Botanics), Morgan Ellioit (IND HEMP)

Musical performances by Early James, Devon Gilfilian, Marcus King, Jonathan Tyler, Aaron Lee Tasjan, The Nude Party, and more. 

The genesis of Kentuckian Sam Filiatreau’s new record is one of chance and good fortune. A last-minute house show gig that just so happened to be in front of the right guys—Taylor Meier and Matt Vinson, who were on their way to AAA stardom with their band Caamp—led to a quick friendship and mutual respect which eventually landed Filiatreau the first spot on Meier’s new record label, Gjenny Records. All that to say, none of it would’ve happened if it weren’t for the sheer magnitude of Filiatreau’s songs and the way he sings them; a catchy blend of the lyricism of ‘70s vinyl with the acoustic feel of Appalachian folk music. On June 1st, Filiatreau’s self-titled debut album will be released to the world and a grand circle will be completed. Yesterday, American Songwriter premiered “Wrecking Ball,” an effortless indie-two-step which, in Sam’s words, “is a nod to the old time music I’ve always been so drawn to.” But, like the rest of Filiatreau’s tunes, there’s a clever, quirky depth that might be missed on the first listen. American Songwriter notes, "Without saying too much, the artist’s stripped-back styling elicits a certain unifying nostalgia—even the empty spaces still brim with emotion." Fans can hear the single now at this link.

On the night of their chance encounter with Filiatreau, Meier and Vinson immediately began plotting how to move forward. Thirty seconds into Sam’s set, the two looked at each other across the room in agreeance; we have to do something with this guy. Meier remembers, “Matt walked over and said, ‘We take him to a cabin. I record it. You produce it.” And that’s exactly what came to pass over the course of three days in a cabin near Athens, Ohio. “Taylor, Matt, and I went up there for three days and disassembled this living room and got it the way that we wanted it. We brought a bunch of instruments and worked out the songs there,” says Filiatreau. “I’d sent them some home demos to give an idea of some of the songs we might do. But when we got there, I just started playing songs for them, figuring out which ones were ready. We slept there, then woke up and would hang out if we wanted to. There was a swimming pool so we’d go swimming. Play some songs, take a break. It was the first time I’d been able to take my time, even though three days isn’t a lot of time. We were living with the record.”

In those three days, the trio—Meier played drums and Vinson, bass—expertly crafted eight songs embodying their experience. Filiatreau’s partner, Maggie Halfman, came up on the third day to provide harmony vocals, and just like that, they were done; a decidedly laissez-faire excursion that matched Sam’s approach to writing the album in the first place. “I don’t have a theme, other than it is honest and not trying too hard,” says Filiatreau. “I feel like whenever I’m writing songs or music, I’m trying to find that fine line of doing something well, but also not taking it too seriously. To me, this record feels loose and fun. It feels exactly like the time we had at that cabin, which is cool. I feel like we captured exactly what was going on there.”

Sam Filiatreau Tracklist:

Hold The Door

Wrecking Ball

El Camino

Hold Me

Ashes

Tired

Silver Highway

Fine By Me

“It’s a riff-roaring rock with a sweet side of Southern soul.” That’s how country music’s newest renaissance man Ryan Kinder describes the sound of his debut album Room To Dream, and he’s certainly not wrong. In the age of fitting a mold, Kinder has preserved the influences and nuances which set him apart from the crowd on his road warrior ascent to streaming stardom. Room To Dream leaves distinctive space for the fuzz-laden guitar licks and the feel-good drum programming; Kinder’s signature blend that has attracted droves of fans through exceptional musicianship and electrifying live shows. Yesterday, fans were treated to sneak peeks of two songs from Room To Dream ahead of its July 31st release.

Yesterday, Sounds Like Nashville premiered “Hell Is,” a radio-ready heartbreaker inspired by an argument overheard in a YMCA locker room. Kinder remembers, “I began writing on my Notes app on my phone immediately and brought what I wrote into the session I had that day with Kevin Bard and Clare Dunn.” “‘Hell Is’ brings to life the raw, agonizing emotions that follow a heartbreak,” the Sounds Like Nashville article reads. “With its genre-blurring arrangement, Kinder’s soul-crying delivery is augmented as he recounts his insufferable emotional state.” On the other hand—and further illustrating the ground Kinder covers on Room To Dream—Raised Rowdy shared a video for “Blame,” a huge-sounding, guitar-laden rocker driven along with stomps, claps, and thick background vocals. Raised Rowdy praised the track, stating, “It’s loud, hits hard, and gets your attention from the start,” before claiming, “the track highlights just how powerful his vocals truly are while giving listeners a taste for his range at the same time.” Fans can hear both of these singles now at this link.

Kinder’s “dream” started way back on a family vacation in Destin when he was roused from a backseat nap by his mom’s John Mayer CD. “As a kid, so many things can catch your interest, and they’re fleeting, but this enraptured me. I was locked into these lyrics,” he remembers. “I took the record from her and listened to it and listened to it.” The encounter inevitably led to a switch to guitar class in middle school and hours on hours of learning to play on a borrowed instrument. Eventually, Kinder got his own guitar and started building his momentum by playing local bar gigs before he was of age. His dad would sit by the door with the bouncer while his mother slept in a booth because she worked the early shift of a nursing job.

Things started moving quickly after that. When Kinder enrolled in college in Tuscaloosa, Alabama, he carved out a schedule of going to class on Tuesday, Wednesday, and Thursday, then playing gigs on Thursday, Friday, and Saturday nights. Then on Sunday, he’d drive up to Nashville to write songs with his mentor, Nashville producer Keith Stegall (Alan Jackson, George Jones, Zac Brown Band), and other songwriters before driving back to Alabama on Monday afternoon to start the whole cycle again. A couple of unfortunately short-lived record deals came and went before Kinder secured the opening slot on a huge tour with some of his heroes; ZZ Top and John Fogerty. It was on that tour that Fogerty gave Kinder a piece of advice that’s carried him steadily through to today. “Don’t play to the empty seats,” he imparted. “It took me a couple of days to figure out what he was talking about,” Kinder says, “and it was as simple as playing to the people who are there, who care enough to come early and hear the guy that nobody knows about. I think about that every time I go on stage.”

Today, Kinder is a proudly independent artist and he’s ready to share Room To Dream. “I had a lot of time to figure out what I wanted to do after a certain time in my life, and all these songs came together with different aspects of who I was when I wrote them,” he concludes. “It was a beautiful realization that some of the bad things and not-so-fun situations led to the opportunity for me to have the room to dream, and to really be myself.”

Room To Dream Tracklist:

Something

Hell Is

Room To Dream

Tangled Up

Blame

Southbound

Want

Friends

Jane

Nothing But Time

On May 1, 2021, MerleFest, presented by Window World, will begin accepting online applications for its popular volunteer program. MerleFest is an annual homecoming of musicians and music fans that takes place on the campus of Wilkes Community College in Wilkesboro, N.C. MerleFest 2021 will be held on September 16 - 19, 2021. Volunteers may choose if they would like to work a specific number of days or the entire four-day festival. In exchange for working a four to five-hour shift, volunteers will receive free entry into the festival for that day, free volunteer parking and shuttle, and a 10% discount on camping at the River’s Edge Campground. Those who are interested in volunteering can apply online at merlefest.org/volunteer.

Volunteers are vital to the festival and often travel from around the world, making their work at MerleFest an annual event. However, positions are limited and do fill early, so those interested are encouraged to apply quickly. In addition to being an exciting opportunity to experience a world-renowned festival of music, moments, and memories, the vast network of volunteers who support MerleFest also help make the festival a highly successful fundraiser for Wilkes Community College. Volunteers work on campus and get to enjoy the buildings and gardens that the monies raised through MerleFest make possible.

Denna Foster Parsons, MerleFest’s volunteer coordinator, urges music fans to consider the MerleFest volunteer program. “Volunteering is a great way to give back. Your support is a vital part of what makes MerleFest a huge success. Walking on campus we hope you feel the excitement in the air and know that you are becoming a part of a great cause and an exciting weekend. Making new friends, seeing old friends, and having a memorable experience is what volunteering is all about. At the end of the day, you feel like you have made a difference and been a part of something really special!”

On June 10th, MerleFest will host the 2021 MerleFest Artist Announcement Celebration live stream. Beginning at 7 p.m. Eastern, the 2021 festival’s full artist lineup will be announced, tickets will officially go on sale, health and safety protocols will be covered, and the show will feature a nostalgic look back at MerleFests past. Be sure to subscribe to MerleFest’s YouTube channel and social media accounts for up-to-date information ahead of the Artist Announcement Celebration.

MerleFest, presented by Window World, is now accepting applications from vendors for The Shoppes at MerleFest, as well as artisans and craftsmen who wish to be featured in the Heritage Crafts tent. Those interested in participating in The Shoppes at MerleFest or the Heritage Crafts area may download an application and review the rules and guidelines at www.merlefest.org/vendors. MerleFest will accept applications through May 31, 2021.

MerleFest will be accepting entries for the Chris Austin Songwriting Contest (CASC) from now until June 15, 2021. CASC is one of the most acclaimed songwriting contests in roots and Americana music and has a reputation for launching careers as well as drawing attention to important new talent. The contest is split into four genre-based categories including bluegrass, general, gospel, and country. First through third place winners will be chosen in each category at MerleFest 2021.

Now in its 29th year, CASC is an extraordinary opportunity for songwriters to have their original songs heard and judged by a panel of Nashville music industry professionals, under the direction of volunteer contest chairperson, Grammy-winning singer/songwriter Jim Lauderdale. Aspiring songwriters may submit entries to the contest at merlefest.org/CASC. All entries will require a $30 fee per entry. All lyrics must be written in English and no instrumental entries will be accepted. The deadline to enter is June 15, 2021. Finalists will be invited to the final round of the competition, which takes place Friday, September 17, during MerleFest. First-place winners will receive $1,000 cash and a performance slot at MerleFest.

Equal parts vintage Nashville, Texas swing, and Bakersfield bravado, The Shootouts’ sophomore album Bullseye draws heavily from the music on which the band’s members were brought up, packaging all of country music’s classic subgenres in their modern, signature sound. Produced by former BR459 lead singer Chuck Mead, Bullseye shows The Shootouts mining their roots and expanding the territory they explored with their debut album, Quick Draw. The songs invoke a wide array of country music’s most important contributors, lassoing the band’s classic influences and bringing them straight into the present. "Great songs. Great picking. Great singing,” says Mead. “Bullseye gives it all to you. What more can you ask for?"

Fans can purchase or stream Bullseye right now at this link. To find more information on The Shootouts and to purchase all-new Shootouts merchandise—including limited edition, colored vinyl—visit shootoutsmusic.com. On Wednesday, The Shootouts were invited by the Rock & Roll Hall of Fame to participate in a virtual interview and performance to celebrate the release of Bullseye which can be viewed now right here.

With Mead at the helm, The Shootouts—Ryan Humbert (lead vocals, guitar), Emily Bates (backing vocals), Brian Poston (lead guitar), Dylan Gomez (drums), and Ryan McDermott (bass)—laid down songs like “Here Come The Blues,” an upbeat California country tune about the reckoning of loneliness and longing, “Everything I Know,” a galloping “High Plains” anthem told from the perspective of a lovesick fool, and “Saturday Night Town,” another rowdy live show staple beloved by Shootouts fans.

While Bullseye is packed with rollicking barnburners that are just flat-out fun, some of its finest moments come from songs that evoke the heartfelt authenticity that has always been at the core of country music. But overall, The Shootouts’ mission with Bullseye was simply to create an album that puts a smile on listeners’ faces. “For everyone’s sake, this needed to be a fun record,” Humbert said. “We’re living through a time where people are suddenly out of work, have lost loved ones, and have been experiencing unimaginable stress on a daily basis. Even if it’s just for 30 minutes, we want them to take a break, crank it up, and enjoy themselves.”

Bluegrass Pride, a Bay Area-based non-profit whose mission is to uplift LGBTQ+ musicians and creators in roots music, is proud to announce the second year of their immensely popular virtual festival and fundraising event, Porch Pride, which will take place all month long during June 2021. Over the course of Pride month, Porch Pride will feature performances by folks like Lavender Country, Rainbow Girls, Gangstagrass, Po’ Ramblin’ Boys, Jake Blount, Sunny War, and many more, plus a virtual Bluegrass Pride Brunch and open house, a beginner-friendly jam-along, and so much more. See a full schedule of events below.

In 2020, after the pandemic forced Bluegrass Pride to cancel their in-person, Pride Parade programming, the organization made the pivot online, hosting a two day livestream festival featuring upwards of 12 hours of music that raised more than $23,000 for the LGBTQ+ and allied artists on the lineup. This year, the Bluegrass Pride Board of Directors has expanded that two-day festival into a month-long event, kicking off on June 6th with Lavender Country Live with Bluegrass Pride hosted by critically acclaimed musician, scholar, and Bluegrass Pride board member Jake Blount. On the weekend of June 12, join BGP for their ever-popular, informal brunch gathering, open house, and information session – followed by a beginner-friendly jam-along featuring protest songs and movement music led by Nashville based queer singer-songwriter Luisa Lopez on June 13.

The final two weekends of Porch Pride 2021 will feature two virtual festivals. On June 19, BGP will partner with Brandi Pace and Decolonizing the Music Room on Juneteenth: A Rainbow Revival, a three-hour series of performances highlighting the seminal, trailblazing contributions of Black queer folks and trans folks to the Pride movement – and to bluegrass, old-time, and roots music. Juneteenth: A Rainbow Revival is proud to be a recipient of the IBMA Foundation’s inaugural Arnold Schultz Fund grants.

June 26 and 27 will see a return of Porch Pride proper, this time celebrating Bluegrass Pride’s fifth anniversary and once again featuring two days of live music, performances, songs, and fellowship with our members and fans, culminating in sets from Gangstagrass (June 26) and Rainbow Girls (June 27). See the full lineup below.

Porch Pride is the headline fundraising event for Bluegrass Pride, raising more than $23,000 in its first year. All of the event’s virtual programs are free to view and attend – and will be available to view on our website and channels after air – but we encourage each and every one of our fans, followers, and listeners to donate to support the musicians on our lineups and the ongoing work of Bluegrass Pride. You can support Porch Pride here. You can become a member of Bluegrass Pride here.

Porch Pride schedule of events:

June 6, 2021 at 1pm PDT / 4pm EDT – Lavender Country Live with Bluegrass Pride, hosted by Bluegrass Pride Board Member Jake Blount

June 12, 2021 at 1pm PDT / 4pm EDT – Bluegrass Pride Brunch & Information Session, an informal gathering and Q&A period hosted by Bluegrass Pride Board Members. Open to all members, fans, followers, and folks new to Bluegrass Pride, too.

June 13, 2021 at 1pm PDT / 4pm EDT – Beginner-Friendly Jam-Along with Luisa Lopez, “bring” your instruments and voice to play and sing along with protest songs and movement music. Lyrics and chord sheets provided.

June 19, 2021 at 3pm PDT / 6pm EDT – Juneteenth: A Rainbow Revival, featuring Sunny War, Jake Blount, Yasmin Williams, Faith Nolan, Jackie & Resa, Stephanie Anne Johnson, and Lenworth Poyser. An evening of musical performances curated by Brandi Pace of non-profit Decolonizing the Music Room that will highlight the essential contributions of Black queer, trans, and non-binary folks to roots music and the Pride movement.

June 26 & 27, 2021 at 3pm PDT / 6pm EDT – Porch Pride: 5th Anniversary Celebration. Our headline festival returns celebrating five years of Bluegrass Pride and featuring performances by:

Saturday, June 26:

Mya Byrne

Ben Garnett

Crys Matthews

BOOJUM

Po’ Ramblin’ Boys

Gangstagrass

Sunday, June 27: 

Willi Carlisle

Maddie Witler

Chris Sexton

Hasee Ciaccio & Friends

Stephanie Anne Johnson

Rainbow Girls

In the first few seconds of The High Hawks’ debut single, a flurry of pulsing electric piano, kick drum, and Townshend-esque guitar strums give way to a flat out J.J. Cale groove just in time for the first line to be sung: “If we could just find a highway...might even find a way to make it home.” And thus, The High Hawks take flight. That tune, “Heroes & Highways,” is an appropriate first taste of music from the long-time-coming, feel-good Americana cooperative, naturally expressing the range of which the bands’ members can reach. With close to 150 years of collective experience as professional touring musicians, The High Hawks—Vince Herman  (Leftover Salmon), Tim Carbone (Railroad Earth), Chad Staehly (Hard Working Americans), Adam Greuel (Horseshoes & Hand Grenades), Brian Adams (DeadPhish Orchestra) and Will Trask (Great American Taxi)—have maintained a generation-spanning presence at the forefront of the roots music scene for over two decades. On June 11th, their debut album The High Hawks will be released via LoHi Records.

Fans can watch the video for “Heroes & Highways” now at this link and pre-order or pre-save The High Hawks ahead of its June 11th release right here.

While the term “supergroup” gets thrown around a bit too frivolously, it’s an apt description for these gentlemen who’ve known each other, played in other musical outfits together and sat in with each other’s bands for the better part of the new millennium. But talk to the band members, and you'll find that their reasons for getting together were much more down to earth. “Sometimes you meet somebody and you hit it off, and you feel like, 'Man, I don't want to just look at the cover, I want to read that book,'” says guitarist Adam Greuel with a laugh. “It's a tight-knit music community in our Americana-bluegrass-jam band world. Over the years, we all kept bumping into one another and realizing there was a deep sense of fellowship and kindred spirit. The main impetus to form The High Hawks was really a curiosity about one another, both musically and personally. This band came out of a yearning to hang out.”

Two years ago, when they first convened at guitarist-singer Vince Herman's house in the Rockies, there was no clear road map for where they might go. Greuel says, “We had a run of shows booked in Colorado, and we didn't know what kind of music we were really going to make. Everybody brought a few song ideas along. It was two days before our first show, and that's when a lot of the songs came together and our whole vibe as a band came together. We have shared influences, shared musical vocabulary, but even with that, there was a kind of telepathy that was like, 'Holy moly, not only should we be playing some shows, but let's cut a record too!'” “We went in with zero expectations,” says Carbone. “Once we got together and played the songs we had in mind, it was like, 'Wow, there's something going on here! This is not just a bunch of guys playing some songs. This is a band.'”

Indeed, the baker's dozen of songs that make up their debut have the strong identity and cohesiveness of a band three records into their career. The summery, fiddle-infused opener “Singing a Mountain Song,” with its self-referential line—Soaring like a high hawk across this mountain top—acts as a kind of mission statement for the whole collection. There's a lot of good feeling and optimism in these grooves, from the celestial cowboy vibe of “White Rider” and the revved-up Cash rockabilly of “Bad Bad Man” to the catchy, sauntering “Do Si Do,” which sounds like a great lost Grateful Dead track, the spare emotional cover of Woody Guthrie's “Fly High,” and “Just Another Stone,” a moving ode to love's redemptive power. Throughout, the creative hand-offs between four songwriters and four distinct singers all come together to channel influences from bluegrass to folk to reggae to cosmic Americana into a singular, appealing voice. “These songs wouldn't sound like High Hawks songs if it was just one of us playing them,” Greuel says. “When it all comes together, there's a sound.”

As touring starts to wind back up—a list of the High Hawks’ June tour dates can be found below—the band is ready to get these new, feel-good songs out in front of a live audience. “There's a lot of stuff on this record that's soulful and soul-nourishing,” says Carbone. “That's what I get out of it. So I hope that people who listen will get something similar—a replenishment and a nurturing of the soul.” And that’s something that, after all these years of making music and touring the world, all of the band members are grateful for—as the outro of “Heroes & Highways” exclaims, they “Still got a soul!”

The High Hawks Tracklist:

Singing A Mountain Song

Talk About That

Heroes & Highways

Just Another Stone

When The Dust Settles Down

White Rider

Fly High

Bad Bad Man

Do Si Do

Home Is

Blue Earth

Trying To Get By

Goodnight Irene

The High Hawks On Tour:

June 2 - Pearl Street Brewery - La Crosse, WI

June 3 - The Hook & Ladder Under The Canopy - Minneapolis, MN

June 4 - WIJAM Presents Sol Dance at Jones Park - Appleton, WI 

June 5 - Mackey's Hideout (outdoor stage) - McHenry, IL

June 6 - The High Hawks Invitational @ Long Bridge Golf Course - Springfield, IL

Hailing from Girdwood, Alaska, 18-year-old Ava Earl is no stranger to the beauty and drama the natural world has to offer. But it was diving into the fictional pages of Patricia C. Wrede’s The Enchanted Forest Chronicles that brought her new single “Cimorene” to life. The second of two singles ahead of her forthcoming album produced by JT Nero—one half of Americana-outfit, Birds of Chicago—“Cimorene” began as a sonic Christmas present for her parents, but was revisited, and ultimately finished, after Earl discovered Wrede’s stories during her quarantining. “The book was a sweet love story with a badass feminist female character named Cimorene,” Earl says. “[It was] right up my alley.” The song’s beautiful, winding melodies and organic, subtle instrumentation lend well to the embodiment of Earl’s adapted folk-tale-love-story; one that takes listeners from a ghostly, reverb and tremolo drenched intro and verse into a warm refrain of “I can’t grow old without you, Cimorene.” Today, Underground Music Collective premiered “Cimorene,” calling it “a gorgeous and gracefully finger-picked folk song which aims to take the listener to an ‘enchanted space during a time of collective isolation, nostalgia, and longing.’” Fans can stream “Cimorene” right now at this link.

“Cimorene” is a natural follow-up to the previously released single, “Forever Girl.” Earl told Guitar Girl Magazine about the simple-is-best format she applied to “Forever Girl,” saying that she “recorded this song in my bedroom...sending a voice memo of the song to Steve Dawson (Birds of Chicago), who then laid down the rhythm guitar track. When he sent me back the guitar, I put my vocals on top. I have a small Tascam recorder that I used to record, and I listened to the guitar in one ear and my vocals in the other.” The song, which shines lyrically, benefited from sparse production, as evident in Earl’s emotional vocal delivery.

Previous to these single drops, Earl has written and co-produced three full-length albums which include Am I Me Yet?, her latest project, which was released in July 2018. Am I Me Yet? is a 15 song collection recorded at The Hallowed Halls studio in Portland, Oregon, and features Earl on guitar and vocals, Andy Mullen on guitar and bass, and Anna Tivel on violin. The album was engineered by Hawkins Wright, who is also the album’s co-producer.

An engaging performer, Earl thrives in a live concert setting, drawing audiences in with her music and stories. Highlight performances over the years include opening dates for Maggie Rogers, Rhett Miller, and Tim Easton.

For more information and to stay abreast of Earl's forthcoming album, please visit https://www.avaearl.com

When their tour was abruptly cancelled early last year, The Accidentals—Sav Buist, Katie Larson, and Michael Dause—instinctively turned to the thing they do best; creating. The multi-faceted band has shared stages with legendary musicians across the country and globe, played strings for international superstars like BTS, and backed up jam-band mainstay Keller Williams in their side-project The Keller Williams Accident, but in their Northern Michigan quarantining, they went one step further and asked some of their favorite songwriters to collaborate on new music. Today, the fruits of their lockdown labor are available for all to hear on TIME OUT (Session 1). A five-song EP of all-new material, TIME OUT (Session 1) features songwriting collaborations between The Accidentals and world-renown songwriters that Buist says, “Were among our earliest influences...their songs inspired us to try our hand at songwriting.” Specifically, she’s talking about their songwriting heroes-turned-co-writers: Kim Richey, Dar Williams, Maia Sharp, Tom Paxton, and Mary Gauthier & Jaimee Harris​. Fans can purchase or stream TIME OUT (Session 1) right now at this link.

“We didn’t see it coming. We were moving through life at breakneck speed, worried about ‘getting there’ instead of being present in the journey,” says Buist. “When the road came to a hard stop and everything went quiet, we realized the extent of what we had lost. It was devastating. We drove back to Nashville, packed some things, and quarantined together in Northern Michigan. Our industry shut down completely. For the first time in eight years we didn’t have anywhere to be. We found ourselves reaching out to each other in that process of navigating the isolation. We ended up collaborating with these incredible writers because for the first time in eight years we all had time. These songs might not have happened otherwise. We wanted to somehow capture the idea that even after all of this unbelievable heartbreak, some beauty can still come from it. TIME OUT​ is a healing anthem for us, and we hope it is for you too.”  

TIME OUT (Session 1) Tracklisting and Co-writers:

Wildfire (Kim Richey)

Anyway (Tom Paxton)

Might As Well Be Gold (Maia Sharp)

Night Train (Dar Williams)

All Shall Be Well (Mary Gauthier & Jaimee Harris)

To keep up with The Accidentals and stay-tuned for more 2021 music releases, please visit theaccidentalsmusic.com​.

MerleFest, presented by Window World, is proud to announce the first round of performers for MerleFest 2021, which will take place September 16-19. Tedeschi Trucks (Friday), Melissa Etheridge (Sunday), Mavis Staples (Sunday), LeAnn Rimes (Friday), Sam Bush (Saturday), Donna The Buffalo (all 4 days), Scythian (Thurs., Fri., and Sat. performances), and The Waybacks (Fri. and Sat.) will be joining the annual homecoming of musicians and music fans on the campus of Wilkes Community College in Wilkesboro, North Carolina, in the foothills of the Blue Ridge Mountains. Additional artists scheduled to perform will be announced in the coming weeks. Tickets will go on sale June 10.

Fifty years ago—before Americana or outlaw or cosmic country ever had a name—Ray Benson and his band Asleep at the Wheel were carrying the torch of some of America’s favorite music into the future with fiery live shows, droves of followers, and a mainstream swing sound all their own. Fast forward five decades to find Benson and crew still bearing that torch, albeit with quite a few more fans and albums under their belt. To begin the celebration of its 50th anniversary, Asleep at the Wheel is releasing some new music ahead of a quick jaunt through Texas and Missouri this June—an appetizer of sorts for what’s to come from their momentous anniversary year. On May 28th, the band will release a three-song EP dubbed The Better Times, produced by Benson for Bismeaux Records. Benson takes the lead vocal on the title track, a hopeful original written while riding out the pandemic. Asleep at the Wheel vocalist and fiddler Katie Shore sings “All I’m Asking,” a rousing request to get back together, written by Band of Heathens’ Ed Jurdi and Gordi Quist. Meanwhile, Benson and Shore harmonize on “Columbus Stockade Blues,” a traditional tune arranged in the spirit of Willie Nelson and Shirley Collie’s 1960s version.

Once The Better Times is out in the world, Asleep at the Wheel will be hitting the road to celebrate—not just the EP, but the fact that they’re able to tour again—with a run of shows that will take them from Texas’s legendary Gruene Hall on May 29th, up through Texas to Columbia and St. Louis, Missouri, and back down to College Station to end the run on June 20th. A full list of tour dates can be found below and ticket information can be found online at asleepatthewheel.com/tour.

Additionally, Asleep at the Wheel fans are highly encouraged to stay tuned as the band gets further along into their 50th anniversary year—2021 has more exciting announcements in store.

Catch Asleep at the Wheel On Tour:

May 29 - Gruene Hall - Gruene, Texas

June 3 - Birdsong Amphitheater - Stephenville, Texas 

June 5 - Starlight Ranch Event Center - Amarillo, Texas 

June 6 - Cactus Theater - Lubbock, Texas

June 10 - Rose Music Hall - Columbia, Missouri 

June 11 - The Sheldon - St. Louis, Missouri

June 19 - Buck’s Backyard - Buda, Texas

June 20 - Rudder Auditorium - College Station, Texas

More about Asleep at the Wheel: Founded in 1970, Asleep at the Wheel has been part of the American roots music landscape for more than 50 years. Although the band got its start on a farm in Paw Paw, West Virginia, Asleep at the Wheel became a cornerstone of the Austin, Texas, scene upon its arrival in 1973. Inspired by Western swing and honky-tonk country, the band has received 10 GRAMMY® Awards, was cited by the Country Music Association as the 1976 Touring Band of the Year, and was given the 2009 Lifetime Achievement Award by the Americana Music Association. They have released 31 albums and charted more than 20 singles on the country charts.