lund: Right This Time | ALBUM REVIEW
Comfort zones are generally lovely places to be. They’re warm, predictable, and, well, comfortable, But sometimes, you just know there is something more for you out there. When the longing for that change surpasses the fear of making that change – that’s where the magic happens.
Right This Time, the debut LP from Asheville-based outfit lund, captured that magic in each of its 10 sparkling gems. After a decade on the management and booking sides of the music industry, classically-trained singer and songwriter Nicole Lund knew the stage was where she was meant to be, and decided it was time to follow that path.
From the grungy grooves of opener “Paper Tiger,” to the contemplative longing of closer “Something’s Gotta Give,” the album is a portrait painted with the vibrant strokes of soulful, blues rock-tinged Americana.
Lund’s fierce, smoky vocals are reminiscent of greats like Susan Tedeschi and Bonnie Raitt, and the band’s studio personnel boasts a who’s who of movers and shakers largely affiliated with the Tedeschi Trucks Band. Produced by Tyler “Falcon” Greenwell, a drummer and more who supports TTB in the studio and on the road, this record takes listeners on a journey that, while at times is poignantly heart-wrenching, is a helluva fun listen. Right This Time is right for this time.
Listen to Right This Time by lund:
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All photos of lund are by Sandlin Gaither
THE EARLY MAYS: PRETTIEST BLUE EP | ALBUM REVIEW
There’s beauty in simplicity, a sentiment perfectly illustrated in Prettiest Blue, the new EP from Appalachian folk duo The Early Mays. However, don’t misunderstand—simplicity doesn’t mean “simple.” In the first notes of opener “The Ballad Of Johnny Fall,” Emily Pinkerton’s banjo finger-picking constructs an intricate foundation, supported by the deep resonance of guest collaborator Nicole Myers’s cello. Together, their driving, minor-key intensity creates an ominous quality, juxtaposed with the delicate vibrato of Ellen Gozion’s gentle voice. Three elements to build a song – simplicity? Yes. Simple? Not even close.
It also is worth noting that while The Early Mays’ music is steeped in the Appalachian folk tradition, the sentiment is absolutely modern. For example, the structure of “The Ballad Of Johnny Fall” is based on murder ballads of yore. Here, The Early Mays push back against the historical misogyny of the genre, and place the power with the abused woman in this story – however, fate intervenes before she takes matters into her own hands.
In the Pinkerton-penned “On A Dying Day,” inspired by the shores of Lake Michigan, the waves offer redemption to the weary narrator, with the banjo echoing the motion of the rolling water. “On a dying day when the dunes roll down, I’m gonna wear these waves like a wedding gown. Gonna wear these waves over all my skin, in the only place that will take me in,” she sings.
The band dips into their influences with the final three tracks on the EP; in the instrumental “Shakin’ Down The Acorns,” a tune by West Virginia Music Hall of Fame royalty The Hammons Family, reminds us of the Celtic origins of Appalachian music. Pinkerton’s buoyant fiddle dances around the warmth of Gozion’s harmonium and Myers’ cello. They take a page from The Carter Family with “Bury Me Under the Weeping Willow” and “My Home’s Across the Blue Ridge Mountains” to finish the EP. Even after a cursory listen, it’s impossible to overlook the care and respect that went into recording these songs, which are, simply put, timeless.
Listen to Pretties Blue by The Early Mays:
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All Photos of The Early Mays by Kristi Jan Hoover
PREVIEW: BYRD’S CREEK MUSIC FESTIVAL 2022
Get Ticket Information For The 2022 Byrd’s Creek Music Festival Here
With summer weather taking hold, there can be no doubt that music festival season is on its way. With it, comes the 2022 edition of the Byrd’s Creek Music Festival in Crossville, Tennessee. While many festivals conjure images of being stuck in big crowds, standing in long lines, and putting in miles rushing from stage to stage, Byrd’s Creek serves as a relaxing alternative for lovers of Americana, folk, bluegrass, and traditional country music. Hosted by Jason Kemmer, and run by his family and a few friends, Byrd’s Creek eschews the corporate feel of modern music festivals and provides a laid-back option to hear some stellar live music.
Byrd’s Creek always curates a lineup loaded with veteran headliners, rising talent, and a ton of new acts to discover. For 2022, the lineup is topped by International Bluegrass Music Hall of Famer, Del McCoury. Also topping the bill are bluegrass-meets-honkytonk favorites, Town Mountain; the outlaw-folk of Lost Dog Street Band; and pop-bluegrass legends, The Travelin’ McCourys. It also includes the boisterous string bands Old Salt Union and The Fumblebuckers; rising folk star Bella White; and the return of a few Nashville artists, Chelsea Lovitt and Mose Wilson.
The 2022 dates are July 7 through July 10, with the 7th being a special event for Friends of the Farm ticket holders and the main event starting on the 8th. Tickets are on sale now and it’s not hyperbole to say it’s one of the best values you’re going to find. General admission for Friday through Sunday is only $129.00 plus fees and tax which includes a car parking/camping spot. There are also VIP, RV camping, and Friends of the Farm options. This festival is special because it’s intimately sized. If you want to make sure you have your 2022 tickets to the Byrd’s Creek Music Festival, you can look at the options here.
Mother Church Pew first visited the festival in 2018 and returned last year. You can check out our past coverage of the Byrd’s Creek Music Festival and see what it’s all about by clicking on the photos:
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MARY SIMICH: HOW DOES ONE BEGIN | ALBUM REVIEW
Some of the most memorable movie soundtracks are the ones where the music sets the mood. It’s our human nature to try to link new experiences with the familiar. Perhaps that’s why listening to How Does One Begin, the recently released debut album from Mary Simich, makes the mind envision hearing the record paired with a dark western, a surreal thriller, or even artsy noir.
Produced by King Khan and released through Ernest Jenning Record Co., the twelve-track record takes classic country-western and gives it a haunting edge. Simich’s dusty vocals on, “Problems of Your Past,” feels like a time capsule from the bygone days of country music. However, the dark chords and plaintive delivery reminds us of more modern takes on the genre ala Orville Peck. “How Do You Wanna Die,” and “Don’t You Cry,” blend rockabilly elements into their throw-back country sound. “In These Times,” blends elements of oldies pop with a musical pairing that reminds you of a calliope’s melody. You can easily envision its part-soothing-part-unsettling aura playing behind wild scenes in a film like Fear and Loathing in Las Vegas, Natural Born Killers, or The Big Lebowksi.
Not all the tracks take Simich’s voice down a smoky path. On the title track, “How Does One Begin,” she showcases a more classic vocal quality and the music itself almost feels like a standalone because it genuinely feels upbeat. A blend of rockabilly and doo-wop influences lets it draw comparisons to some of Logan Ledger’s works or The Everly Brothers. Simich’s ability to hit the high notes on “How Does One Begin” will likely make the listener hungry to hear Simich explore her range on future albums.
Pop culture always likes to return to the past. Retro is cool and on How Does One Begin, Mary Simich certainly gives us a healthy dose of throwback country-western and oldies-pop vibes. However, it’s not yet another album that simply copies sounds from the past. Rather, like a good movie soundtrack, the album draws us in with what we know but allows our minds to drift to unexpected places.
Listen to How Does One Begin by Mary Simich:
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Photos of Mary Simich by FABIAN FiOTO
ERIKA LEWIS: A WALK AROUND THE SUN | ALBUM REVIEW
These days, there’s a whole lot of noise out there, so when you hear something special, it’s a refreshing feeling and you know it immediately. That’s exactly what happens as soon as you hit “play” on “A Thousand Miles,” the opening track on A Walk Around The Sun, the new LP from Asheville, NC-based chanteuse Erika Lewis.
Lewis dances between the lines of genre—from classic country laced with yearning pedal steel in songs like “If You Were Mine,” “Love Song,” and the twinkling “Thief And A Liar,” to hip-shaking sass and swagger in mid-century rock n’ rock in tracks like “Loser” and “Unsatisfied,” all unified by her otherworldly vocal stylings.
Recorded and engineered by analog wizard Andrija Tokic at his Nashville studio The Bomb Shelter, produced by The Deslondes’ one and only John James Tourville, and with a bevy of Nashville’s finest in the credits—Dennis Crouch, Jack Lawrence, Megan Coleman, Billy Contreras, Kyshona, and more, along with contributions from Lewis’ Tuba Skinny bandmate Shay Cohn, Lewis and company created nothing short of sonic magic.
Throughout its 11 beautifully crafted gems, A Walk Around The Sun takes listeners on an emotional journey; longing, grieving, and reckoning with the past intensified by the urgency surrounding the album’s creative origins. Lewis was dealing with a diagnosis requiring surgery that could end her career; after encouragement from a friend, she decided to make an album in case it was her last chance to do so. In this gorgeous testament to grace and perseverance in the midst of harrowing circumstances, Lewis steps into the spotlight – and outshines it.
Listen to A Walk Around The Sun by Erika Lewis:
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All photos of Erika Lewis, including social media featured image are by Sarrah Danziger
SUSAN CATTANEO: ALL IS QUIET | ALBUM REVIEW
Over the last couple of years, movement slowed, and when we slow down, it makes sense that our observations and perspectives change. It becomes easier to notice even the smallest things. Who else out there noticed birds singing louder than ever without the constant assault of noise from industry?
And, when things are quiet, it’s easier to hear the truth. Boston-based, award-winning artist (and professor at Berklee College of Music!) Susan Cattaneo’s All Is Quiet was written in this reflection and stillness.
Each of the album’s nine tracks is a moving, beautiful distillation of the human condition. Cattaneo writes of being creatively muted in the album’s title track, and uses this album to emerge from that silence.
Cattaneo has a knack for metaphor-making, as evidenced in album single, “Time + Love + Gravity.” The song is inspired by a physicist friend who told her that time moves slower in space because there’s no gravity. She took that concept a step further, pondering the idea that when you’re caught in the pain of love’s gravity, it definitely seems like time moves slower. She explores the complicated relationships between mothers and daughters in “Borrowed Blue,” and points out that it takes pressure and patience to turn a rough rock into a beautiful jewel in “Diamond Days.”
Cattaneo’s silky vocals flow over delicate instrumentation, her ocean-sized depth produces songs that break your heart in the best kind of way. She reminds us that it’s in the tough times that we really find out who we are.
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ALI SPERRY: “HOPE” MUSIC VIDEO PREMIERE
Beloved Nashville songwriter and yogi Ali Sperry released her fantastic new LP, In Front Of Us, today; brimming with lush textures and poignant, thought-provoking lyrics, this 10-track Laurel Canyon-esque effort is not to be missed. We’re thrilled to premiere a video for one of the album’s tracks, “Hope,” featuring guest vocals from Jill Andrews and inspired by Emily Dickinson’s poem that begins, “hope is the thing with feathers.”
“I am an eternal optimist,” Sperry told us. “Sometimes that is one of my shining qualities and there are times when it is to my detriment, but I cling to it like a survival skill. If I can access hope, I’m ok. I have reason to move forward. I also recognize that some of this ability to be hopeful comes as a result of privilege. I have never had to truly fear for my safety or security or my life.”
In the past year or so, this theme has been at the forefront of Sperry’s attention, and found her calling on hope, hope that change is possible, “that people–including myself–can be and do better,” she says. Not only on the global scale but on a personal scale for Sperry and her husband/producer, Jamie Dick.
“Throughout the course of making this record, every month that went by I was hoping against hope to have conceived a child. For any woman who has lived through this, there is a cycle of hope and disappointment that takes hold where the flicker of hope is at times as vulnerable and delicate as a tiny bird in a storm,” she reveals. “When I sat down to write this song, I imagined it being sung in a church, in harmony, with the big bold acoustics of tall ceilings and stained-glass windows and something inexplicably sacred. This was the only song on the record I played guitar on, and it was an extra special honor to be playing ‘with’ (even though we recorded separately) Audley Freed, the result of which evokes in my mind an image of several people sitting around in a circle strumming guitars. I also love singing with Jill Andrews any chance I get and am so grateful to have her voice alongside me in this one.”
In “Hope,” we get a stripped-down version of a beautiful song—punctuated by the color red, Sperry stands alone with her guitar and a microphone and gives us an intimate glimpse into her deepest self.
Without further ado, please enjoy the premiere of the music video for “Hope” by Ali Sperry:
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All photos of Ali Sperry, including featured image by Fairlight Hubbard
PREVIEW: THE ACCIDENTALS – ALBUM RELEASE SHOW
The Accidentals will be celebrating the release of their new EP Time Out Session #2 on March 13, 2022 at Nashville’s City Winery with special guests Kim Richey, Beth Nielsen Chapman, and Maia Sharp.
With their Time Out EP series, folk-pop outfit The Accidentals take a literal “time out” from their full-length record releases. Enlisting the wisdom of some of the world’s most celebrated tunesmiths—like Kim Richey, Tom Paxton, Beth Nielsen Chapman, Maia Sharp, Dar Williams, Peter Mulvey, and more—The Accidentals seek to build a musical and relational bridge between generations of songwriters. The band firmly believes that in our disjointed and disunified world, connection, collaboration, and community forge the path to healing. And, with their Time Out project, The Accidentals are practicing what they preach.
What To Know About The Accidentals
This Nashville-by-way-of-Northern Michigan power trio’s lyrical prowess, musical mastery, and ethereal harmonies are seemingly delivered from the heavens directly to our ears. Their latest release, Time Out Session #2, is a six-song master class in creative teamwork—from gentle folk to indie rock, the band has beautifully covered their bases. The Accidentals have been on tour for the last week promoting the EP, with special guests and collaborators Richey, Nielsen Chapman, and Sharp, performing in the round. City Winery is the perfect listening room atmosphere for what is sure to be a not-to-miss event.
About Their New EP Time Out Session #2
If Time Out Session #1 was “an anthem for how to fix a broken America” (Rolling Stone), then Time Out Session #2 is the manual. The Accidentals are bridging differences in generations and backgrounds to create unforgettable musical alliances. “These songs are honest and vulnerable and they were written in a safe space with songwriters, that through this process of co-writing, we have come to call friends,” says Katie Larson.“ As producers and engineers on this project, Katie and I tried to stay out of our own way and just serve the songs, not over think it–leave space for the story,” adds bandmate Sav Buist. “I think we did that.”
The concert will take place on Sunday, March 13 at City Winery in Nashville. Doors open at 5:30pm and the show begins at 7:00pm. For tickets and show details, click HERE and you can click HERE for VIP package information.
Listen To Time Out #2
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More From The Accidentals
ARTIST FEATURE: MAGGIE ROSE — 2021 IN REVIEW
An album release this last August and a fall tour stretching across the US for several months would be a full year’s work for most artists—especially with the cautious re-opening of the world in 2021. However, this is just part of what Nashville soul and Americana artist Maggie Rose has accomplished this year. In a year where many of us found challenges mustering creative energy, Rose has used nearly every moment to add her mark to the musical world.
For a proper start, we need to go all the way back to January 5th when she launched her Salute the Songbird podcast. With over 30 episodes so far in the series, Rose has hosted a remarkable mix of rising and prominent artists while carrying out the podcast’s mission of, “host[ing] candid conversations with her female musical heroes about their lives in and out of music, challenging the status quo, and changing the game for those coming up behind them.” Past guests have included Ruby Amanfu, Martina McBride, Micky Guyton, Valarie June, Brandi Carlile, Yola, and many more.
At the same time she was growing her new podcast, Rose started giving us early cuts from her then recently-announced album, Have a Seat. While it is common practice to release several singles working up to an album release, Rose partnered with photographer/videographer Ford Fairchild as director and Jared Rauso/Bolo Brothers on production to create a music video trilogy that showcases her from different perspectives. Featuring the singles “What Are We Fighting For,” “Have a Seat,” and “For Your Consideration,” the videos were all exceptionally shot, with “Have a Seat” being added to our companion rock blog’s (East of 8th) YouTube playlist.
We’ve compiled the video trilogy into a playlist for easy viewing:
Maggie Rose’s Have a Seat Album
At first listen, Have a Seat might sound like a strange fit for an artist who has played over 80 times on the iconic stage of country music, The Grand Ole Opry. Strong influences of soul, rock, and even some pop are featured throughout. However, that’s just your brain being nearsighted and forgetting about the fusion of genres that make up the history of country and Americana music. Go into any self-respecting, traditional honky-tonk and numbers from Ray Charles and Percy Sledge will be included in the rotation. Likewise, artists too numerous to mention, both past and present, have injected blues rock swagger into the tome of country music. Perhaps, upon further reflection one might wonder why we don’t have more albums like Have a Seat being created by current artists playing the Opry. However, these musings may be moot. We don’t have to label a record’s sound to appreciate it.
The record is loaded with classic soul sounds thanks to its finely pedigreed support. Production was handled by Ben Tanner of the Alabama Shakes at the iconic FAME Studios in Muscle Shoals, AL; instrumentation gets a boost thanks to bassist David Hood of the Swampers (session musicians who played with the likes of Aretha Franklin and Etta James); and guitarist Will McFarlane who has recorded with Bonnie Raitt and Levon Helm, among others.
The album’s theme is clear. Rose is challenging the conflict and intolerance that she has felt growing in society in recent years. Straight to the point, she asks in the album’s highlight single, “What Are We Fighting For?” Her message is one of tolerance, discourse, and understanding. One might not think of this as a controversial idea. However, in the social media age, this may be a bold concept. Just as Rose proudly lets her sound stand out by embracing her soulful side, she doesn’t shy away from sharing her feelings on the need for conversation in our world. While we often (and rightly so) applaud artists for taking a stand, what makes Have a Seat work so well is that we often don’t know the issue that’s causing the divide. It’s not a group of songs that sets out to slay the demons in our society; rather it aims to unite us to find a way to work through any problem we might face. The album, and “What Are We Fighting For” in particular, makes you think of the role of a mediator: no matter the dispute, we can work it out through good faith discussion.
Later in the album, “For Your Consideration” builds on this theme and gives the listener enough room to apply it to more personal struggles. On one hand, Rose’s call for swapping perspectives and understanding the sacrifices of others could easily apply to any issue, no matter how weighty. However, it equally works as a ballad about a one-sided relationship, wishing the other person offered shared respect. The track both starts and ends minimally, allowing the ache in Rose’s vocals to shine through while the middle swells with an R&B groove.
The album also helps itself by never becoming preachy. Rose never claims to have all the answers. Instead, she’s willing to admit that she may be wrong about things—that she may be part of the problem. A slow-dance bass groove and drumbeat introduces us to another gem off the album, “Saint.” As the song transitions from lyrical confessional to an anthem of self-acceptance, Rose gives us a stirring vocal performance while the addition of background singers makes it feel like it’s echoing in the rafters on the wings of a gospel choir.
The soul-rock vibes are thick, but the album is not without some tracks that embrace a more ‘traditional’ country side. The quick-moving, “Do It,” may have flourishes of organ and pack plenty of horns, but the guitar riffs and her lyrical presentation have country roots. Likewise, “Best in Me,” is a straight up throwback ballad that takes us to the days when Trisha Yearwood or LeAnn Rimes dominated the airwaves with their dual hit, “How Do I Live.”
Have a Seat is an album worth several spins in order to appreciate all of the influences merged into Rose’s sound. If you’re not an ‘album person,’ the tracks cover enough sonic and emotional space to find a song for any mood or playlist. This makes it a record well worth exploration by fans of soul, rock, country, Americana…or just good music for that matter.
Maggie Rose’s Have a Seat Tour
As live music returned in the latter half of 2021, Rose set out across the country bringing the new album to life. Mother Church Pew was lucky enough to catch one of the early stops at the Have a Seat album release party at Nashville’s Brooklyn Bowl.
Rose is an artist who dazzles in the spotlight of a live show. It’s difficult to explain how hearing live versions of hits from the album— “Do It,” “What Are We Fighting For,” “For Your Consideration,” and more—is so different. The easiest way to describe it is that you just feel more. That’s not a slight at all on Rose’s recorded performances. Instead, it’s a grasp at quantifying the spark she has on stage.
Some of that comes from the dynamic energy of her longtime live band and collaborators, Them Vibes. You only have to spend about 10 seconds around the band’s iconic Brother Love to get sucked in. Rose and the band not only seemed to know each other’s moves; they’re also seasoned touring vets who know how to put on a show.
However, there’s also a legitimacy in Rose’s performance both as a singer and a songwriter. You can employ a lot of technical magic to make an album like Have a Seat work. However, the excellent sound at the Brooklyn Bowl can be a double-edged sword. It can make real singers sound better and expose studio-hidden shortcomings. At her album release party, there was no doubt that Rose was the real deal as her voice poured tons of emotion into every track. Although I had respected the recording of “What Are We Fighting For” before that night, I was completely hooked on the vocals after hearing the live performance.
But it’s still more than that. At the Brooklyn Bowl show you could tell that Rose felt each word she was singing. Those were her songs. She was proud of them and excited to share them with us. Her energy wasn’t lost on the audience as the crowd moved closer to the stage and people watching from the venue’s upper seating were drawn to the floor to be more engaged in the show.
I started by saying that the show brought the album to life and that is still the best way to describe it. At the Nashville Brooklyn Bowl it felt like we were getting both the raw feelings behind the music and the refined result of Rose’s work.
New Music and Looking Forward
Unfortunately Rose recently had to make the difficult decision to end the Have a Seat Tour early over her concern for everyone in light of increased COVID cases. However, Rose has continued to create in 2021. Her most recent release is her haunting cover of Carole King’s, “I Feel The Earth Move.”
She still has two stops scheduled at the legendary Grand Ole Opry in 2022 that we hope will safely go on. Meanwhile, her Salute the Songbird podcast continues growing both in its content and audience. Rose may have put together an impressive 2021, but it’s likely to be yet another stepping stone in her expanding presence across the Americana, country, soul, and pop scenes.
Connect with Maggie Rose:
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THE PEW PLAYLIST: NEW SONGS ADDED FOR DECEMBER 13, 2021
Who’s ready for some new and new(ish) music that we may just be catching up on? We’ve got a whole new roundup of tracks added to our Spotify playlist! Please enjoy our curated selection of the latest Americana, folk, alt-country, and bluegrass. (And make sure to connect with the artists on social media!)
Fantastic Negrito – “Rolling Through California” Feat. Miko Marks
GRAMMY Award-winning artist Fantastic Negrito’s funktastic “Rolling Through California” brings attention to the widespread tragedies inflicted by California wildfires, specifically the Dixie Fire of 2021 which burned over 960K acres of land–the largest single fire in California state history. Wildfires have countless repercussions on the environment–wildlife and human casualties and displacement, climate change acceleration, and more. The video, which also features fellow soul powerhouse Miko Marks, is set on a ranch and follows a dejected and exhausted young Black firefighter seeking refuge who eventually finds home with another historically marginalized and overlooked group, the Black Cowboys of America. Never one to shy away from difficult subjects, Fantastic Negrito pushes through the pain and uses his voice and the power of his unique gifts to bring awareness to important issues and inspire us to better understand each other as human beings.
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The Sully Band – “When The Battle Is Over” Feat. Rebecca Jade
If you’re looking for a party in your ears, look no further than The Sully Band’s take on Aretha Franklin’s 1970 cut “When The Battle Is Over (ft. Rebecca Jade),” from their forthcoming LP Let’s Straighten It Out! This San Diego-based, 10-piece, beast of a band, staffed by GRAMMY-winning maestros makes us want to get up and dance. The band provides a most funktastic backdrop while frontman (and national tv/radio host Bob “Sully” Sullivan) trades licks with the soulful Rebecca Jade. “When the battle is over, who will wear the crown?” the lyrics inquire, and we’re pretty sure The Sully Band will walk away with that prize.
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The Lumineers – “A.M. Radio”
We’ve had a soft spot for stomp-and-holler folk outfit The Lumineers since “Ho Hey” back in 2012. The band recently release “A.M. Radio,” a track from their forthcoming fourth studio LP (or “fourthcoming”…see what we did there) Brightside due out January 14. With its yearning and intimate verses that progressively crescendo into a powerful ending, we’re treated to that signature sing-along quality that we love from our favorite Lumineers tunes.
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Sad Daddy – “Charlie Pickle”
Rootsy quartet Sad Daddy (Brian Martin, Joe Sundell, Rebecca Patek, Melissa Carper) announced their forthcoming LP Way Up In The Hills (out January 28th) with the release of lead single “Charlie Pickle.” The track is about an old timer who embodies the phrase “dance like no one is watching.” With that in mind, Sad Daddy used footage from their fans who recorded themselves doing everything from buck dancing and clogging to the moonwalk and the mashed potato. The heartwarming video is hilarious, and is the perfect complement to this brilliant song. We think Charlie Pickle would definitely be proud.
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Mike Legere – “Love Songs (In Fear Of Dying Penniless)”
Have you ever felt like an outsider looking in? Like you’re alone in the midst of grief and heartbreak? Toronto-based artist Mike Legere wrote a song about it called “Love Songs (In Fear Of Dying Penniless), but don’t let that title scare you away–this song features Legere’s 60s-era folk-singer style vibrato against muscular rock n’ roll. It’s a juxtaposition of sound, and we just love those kinds of tunes. The video illustrates that feeling of isolation, where all the players are separated in different camera shots, with a little madness thrown in for good measure. It’s also kind of comforting to feel all alone…together.
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Please make sure to follow the Pew Playlist on Spotify!
Sad Daddy Band Photo By Annemarie Sundell
Sully Band Photo by Steve Sherman