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CALEB KLAUDER & REEB WILLMS: GOLD IN YOUR POCKET
The moment you press play on Gold In Your Pocket, the forthcoming LP from acoustic country duo Caleb Klauder & Reeb Willms, out November 15th via Free Dirt Records, you know you’re in for 45 minutes of pure delight.
Klauder and Willms’ music deftly blends traditional country, bluegrass, Cajun, and old-time styles. Recorded in Louisiana and Tennessee, the album is awash in the sounds of those roots music hubs.
With their work, the pair’s goal is to uplift – they consider country music their “soul music,” a unique take on the often sorrowful tones and subjects of country music. For example, album opener “He’s Gone,” penned by Klauder, was inspired by the loss of one of Klauder’s childhood role models. What could be a heartbreaker of a track instead pays tribute to a life well-lived, “a legend that needed no folklore.” They acknowledge a massive earthly loss while rejoicing that heaven is gaining a gem of a character.
In Willms’ “Same Little Heart,” she reminisces about her homeplace, growing up on her family’s farm in Douglas County, Washington. “The dry, dusty, expansive quiet of that place is in my blood and so is the salt of the earth nature of the folks that I come from,” she explains about the song. “Common sense, dry humor, hard work, and coming together are things to live by. I can feel dust in my teeth, and the palpable quiet and overwhelming heat and stillness of a summer day as a little girl, the sweetness of twilight, the brilliant colors that come across the sky as the heat of the day eases into evening.”
Another standout (which is hard to do when you’ve made an album of standouts) is “Shame, Shame, Shame,” which Klauder says is a song for the liars out there, who sadly, are around every corner. This jaunty track is good, finger-wagging, dancehall-ready fun – a two-stepper’s dream.
The title track is an encouragement anthem for those in your life who may need a little extra moral support. In glorious harmony, the duo sings, “I’ll be gold in your pocket, I’ll be water in your well, I’ll be sunshine in your daydream, I’ll be your victory bell.” “Too Far Gone” keeps us twirling across the dancefloor while Willms’ “Faraway Skies,” a wistful campfire song, makes us pull our dance partners in close for a waltz across the sawdust.
Gold In Your Pocket is a brilliant take on perspective – yes, there is sadness, loss, and heartbreak all around us, and Klauder and Willms encourage us to honor our experiences, those hard things that make us who we are. We learn from them, and we (hopefully) become better versions of ourselves. We build community and use those experiences to find common ground and connections with other people. This is exactly what the world needs and Caleb Klauder & Reeb Willms meet the moment. Beautifully.
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AMY ANNELLE: THE TOLL | ALBUM REVIEW
There are songwriters who excel at creating atmosphere in their music, and then there are those who can summon entire ecosystems by blending word and sound. In her new album, The Toll, out on August 2nd, Austin-based artist Amy Annelle weaves the poetry of lived experience into music that feels almost physically tangible.
A fine example of this skill is album standout “East Texas Son,” a song that could be either about a real person or a set of rigid beliefs. In it, Annelle warns of the “hurricanes a-ragin’” and “thunder in the breeze,” as fiddler Beth Chrisman’s wobbly violin strokes create an air of uncertainty. There is something literally thunderous simmering in the background, the arrangement ominous, then full of sunshine in the next measure. One can almost smell the rain and see the clouds gathering on the horizon.
In wistful opener “Pull Tabs and Broken Glass,” featuring backing vocals from another brilliant craftsperson, Jolie Holland, the yearning in Annelle’s voice beautifully conveys the song’s sentiment – one of remembrance. Inspired by continually finding pull tabs from old cans and glass from broken windows in her yard, uncovered during every rain storm. she conjured a dream of what might have been, imagining the lives previously carried out in the house she now calls home – conversations between friends gathered on the porch, and old radio playing – “behind each broken window, there lies a broken dream,” she sings. It aches in the best kind of way.
Artist Photo of Amy Annelle – Credit Philip Rogers Annelle explores hard truths and big questions in this collection of songs, like the high price of following your dreams, what happens when you reach the end of the road, and how love can be astonishing and devastating at the same time. She delivers these messages in such a uniquely beautiful way; while the subjects are deeply poignant, the listen never feels heavy or overwhelming. With her co-producer, Cooper McBean of The Devil Makes Three, she’s forged this work without the use of fussy production techniques or other studio trickery. Even more confirmation that Annelle is doing exactly what she was born to do.
Listen to The Toll by Amy Annelle:
You can also purchase The Toll on vinyl along with other Amy Annelle merchandise online here.
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ROBERT’S WESTERN WORLD 25TH ANNIVERSARY PARTY
One of the biggest parties on Nashville’s famous Broadway strip (that we’ll admit we’re going to) is happing Monday August 5th! Robert’s Western World is one of the last bastions of traditional country music in the Nashville honky-tonk scene. You’re going to want to come out to see this star-studded lineup!
Quick Details About The Robert’s Western World 25th Anniversary Block Party:
Robert’s Western World is taking over the stretch of Lower Broadway between Fourth and Fifth Avenues just outside of the venue for the celebration. The festivities are free, family-friendly, and will begin at 10:00 am CT, with bands and special guests performing until 11:00 pm CT between two stages. Click HERE for more event information.
About Robert’s Western World:
Robert’s Western World, nestled in the heart of Nashville’s famous (and sometimes infamous) Lower Broadway, is more than just a honky-tonk; it’s a living piece of country music history. Located on the bustling strip, this iconic venue has been a beloved haunt for both locals and tourists alike, offering an authentic Nashville experience since its doors opened in the early 1990s.
Stepping into Robert’s Western World is like taking a step back in time. The venue exudes a retro charm with its neon lights, vintage signs, and walls adorned with memorabilia. The atmosphere is warm and welcoming, making it a perfect spot for anyone looking to immerse themselves in the rich musical heritage of Nashville.
The heartbeat of Robert’s Western World is undoubtedly its live music. The venue boasts a lineup of talented musicians who perform traditional country, rockabilly, and honky-tonk tunes seven days a week. It’s a place where you can catch seasoned performers and rising stars alike, all delivering high-energy performances that keep the crowd dancing and singing along.
But it’s not just the music that draws people to Robert’s Western World; it’s also the food and drinks. The venue is famous for its signature menu item, the Recession Special, which includes a fried bologna sandwich, chips, and a PBR for just a six bucks. It’s a simple yet satisfying meal that perfectly complements the laid-back vibe of the place. If fried bologna isn’t your thing, we can vouch for the grilled cheese–especially with a side of onion rings. The bar offers a wide selection of beers and cocktails, ensuring that there’s something for everyone to enjoy. Just be careful, the $2.50 bottles of Miller High Life don’t cost very much, but they do add up quickly in other ways.
What truly sets Robert’s Western World apart is its dedication to preserving the spirit of traditional country music. In a city that constantly evolves, on a strip that has fully embraced top-40 pop country, this venue remains a steadfast guardian of Nashville’s musical roots, providing a haven for those who appreciate the timeless sounds of country and honky-tonk. Whether you’re a die-hard country music fan or just looking for a fun night out, Robert’s Western World always promises an memorable experience.
Robert’s Western World stands in the shadow of the Mother Church of Country Music, the Ryman Auditorium – the original home of the Grand Ole Opry. In the early 90s, honky tonk entrepreneur Robert Wayne Moore opened Rhinestone Western Wear in the former Sho-Bud Steel Guitar Company building, which evolved into internationally-renowned live entertainment venue Robert’s Western World. On August 5, 1999, Moore decided to pass the torch and sold the business to musician JesseLee Jones.
By purchasing Robert’s Western World in 1999, Jones, together with his wife, Emily Ann, has fulfilled his life-long dream of being a business owner and musical performer in America, on a mission to keep traditional country music alive.
The story of JesseLee Jones and Robert’s Western World is one that we often share with our friends and family…and anyone we meet while at the establishment. It’s a true story of the fabled American Dream. From his humble, and at times troubled, beginnings in Sao Paulo, Brazil, Jones was influenced by an eclectic repertoire of musical styles. After discovering old-time gospel, traditional country, and rockabilly music, he set his sights on a music career in America. Jones immigrated to the U.S. in 1984 and found himself starting his new life in Peoria, Illinois. Robbed of his belongings on a Greyhound bus on his first day in the country, and unable to speak the language, he was taken in by a family associated with his church. Jones worked hard babysitting, cooking, doing household chores, and delivering newspapers, in exchange for room and board.
Jones moved to Nashville in the early ’90s and set about the hard work of making a name for himself in Music City. Moore recognized Jones’ potential and booked him to play Robert’s Western World in the spring of 1995. Robert’s house band at the time, BR-549, called Jones the “Brazilian Hillbilly,” and he became known as Brazilbilly. Since then, the band has gained much popularity and recognition playing as the house band at Robert’s Western World for the past 29 years, performing a regular Friday and Saturday night set.
Robert’s Western World Owner And Performer JesseLee Jones About Robert’s 25th Anniversary Block Party Lineup:
The schedule boasts guests like roots icons The Del McCoury Band, Rhonda Vincent & The Rage, and Asleep At The Wheel’s Ray Benson. The lineup also features appearances from several of Robert’s house bands including The Cowpokes, with special guests David Ball, Ruby Leigh, and Logan Ledger; outlaw country artist Sarah Gayle Meech and The Meech Boys, with special guests Chuck Mead and Nikki Lane; the Wendy Newcomer Band with special guests Carlene Carter with Chris Casello, Jimmy Fortune, and the French Family Band; John England & the Western Swingers with special guests Brennen Leigh and Ranger Doug (Riders In The Sky), and Pork McElhinney and Dave Cox.
The Block Party lineup will also pay tribute to the history of Robert’s before its honky tonk days. From the 1950s until the 1980s, the historic building that houses Robert’s Western World was the Sho-Bud Steel Guitar Company, which made custom instruments for everyone from Yes to The Monkees, and sold Willie Nelson his famous guitar, “Trigger,” in 1969. In tribute, the venue has curated a pedal steel players’ extravaganza called “Wanted for Steelin’: A Salute to Sho-Bud” hosted by Eddie Lange, with special guests Tommy Hannum, Pete Finney, Lynn Owsley, Neil Jones, Leo Grassl, and Carco Clave.
The lineup also includes Robert’s Western World’s legendary Don Kelley Band, along with a Don Kelley Band Guitarists Reunion, featuring former Kelley Band guitarists Brent Mason, Redd Volkaert, Johnny Hiland, Guthrie Trapp, J.D. Simo, Daniel Donato, Porter McClister, and David Graham. This is sure to be one of the highlights of the evening as we always try to initiate newcomers to Robert’s Western World by planning a visit when Kelley’s Heroes is playing. Kelley’s Heroes carries on the tradition of the Don Kelley Band at Robert’s since Don Kelley retired from regular performances at the venue.
And, the celebration would not be complete without a performance from the man of honor, JesseLee Jones, and his band, Brazilbilly. The band has played numerous venues inside and outside of Nashville and has appeared an memorable events. Brazilbilly has toured Europe and South America, hosted many live radio broadcasts of “The Midnight Jamboree” from Ernest Tubb’s Texas Troubadour Theater, played multiple SiriusXM Outlaw cruises, Ameripolitan Awards shows, shared stages with major country music acts, and played many special events, parties, and benefits across the U.S. As for JesseeLee Jones though, the most memorable performance was on a cold 16th of November, 1990 when he led a courtroom of new American Citizens in singing “America the Beautiful” – the day he became a U.S. citizen.
Brazilbilly Performing In Nashville Tennessee In 2017
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WILD PONIES: “DREAMERS” SINGLE PREMIERE
Wild Ponies Photo By Laura Schneider “I’ve always loved the dreamers / the ones who can’t sleep at night / They worry and they wonder/ If they’ll ever get it right / It’s not easy for the dreamers / Wound too loose and hold too tight,” sings country-folk duo Wild Ponies in their spirited new single, “Dreamers.”
Out on Friday, August 2nd, it’s the title track to their forthcoming LP, set for release on August 23rd. We’re thrilled to present it to you, beloved readers, a whole day early.
The duo, otherwise known as Doug and Telisha Williams, are deeply rooted in Nashville, but they build community wherever they go. They’ve released five albums, hosted the long-running Wild Ponies Happy Hour radio show on WSM (the home of The Grand Ole Opry), led nine annual distillery tour Trail Rides for fans and friends, and garnered devoted musical audiences all over the world. Their live shows are super personal and inclusive, and at times, have numbered in the hundreds per year.
Over the last decade, the band has strived to build the life they have dreamed about – with their partner Laura, they’ve become foster parents, and they’ve also had a child, living their own wholesome, American, polyamorous dream.
“But the world won’t change without a dream / So they whisper work and scream / To bring a new dream to the light,” they add. And it’s true – every great idea, every dream, begins with a dreamer. With its enthusiastic, encouraging, twangy vibe, Wild Ponies draw us in, speak directly to our hearts, and let us know that our dreams are possible too.
Without further ado, Mother Church Pew is proud to present “Dreamers” by Wild Ponies:
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SANDY BAILEY: DAUGHTER OF ABRAHAM | ALBUM REVIEW
In her new LP, Daughter Of Abraham, Massachusetts-based artist Sandy Bailey weaves an intricate tapestry of introspection, resilience, and the profound connections that bind us. Through poignant storytelling, thoughtful songwriting, and soulful melodies, she delves into the depths of love, loss, identity, and the complexities of modern existence. As a biracial, working-class, single mother who left a Pentecostal upbringing behind for the freedom to create her art, Bailey had no shortage of experiences from which to mine.
In album opener “I Ain’t Your Honey,” Bailey’s soulful voice takes center stage, delivering lyrics that ponder the packaging of intimacy and vulnerability in the age of internet dating. She juxtaposes the peculiar ways we construct our online personas and navigate technology-driven connections against the quest for genuine human interaction. In “Already Down,” she points out the glaring contrasts of modern society – even in her own seemingly educated, free-thinking community, countless folks grapple with addiction, poverty, and divisive ideologies. In the album’s standout, emotive title track, inspired by Bailey’s historic home and its rumored ties to the Underground Railroad, she channels and honors the spirits of her ancestors who may have sought refuge within those very walls. With its slow cadence and swampy guitar licks, the song mimics a former slave’s deliberate pace and treacherous trek to freedom, a testament to the resilience of the human spirit in the face of unspeakable cruelty and injustice.
“Get The Message Through,” a Linda Ronstadt-esque heartstring-tugger, explores the paradox of our hyper-connected yet increasingly lonely society, while “Waiting on Summer” builds on this idea, capturing a yearning for actual human connection. The track, a collaborative effort with friends and loved ones, opens up sonically like a blooming flower in sunlight. Bailey addresses the struggles of addiction in “Bottles of Emptiness,” its empathetic narrative offering hope and encouragement to anyone facing similar battles.
Bailey’s opus takes a whimsical yet lighthearted turn in “Time’s Gonna Come,” a song inspired by a chance encounter with a conversational sparrow. “Like You Loved Me,” originally recorded a decade ago, is a testament to her growth as an artist – its 70s rock-inspired reimagined version features her son’s matured vocals among the chorus of voices at the song’s end.
“Dear John,” a touching tribute to the legendary John Prine, reflects the unity and sense of loss that prevailed during those recent, uncertain times. The journey ends with “Got Nobody,” a celebration of the freedom and independence of singlehood – a refreshing perspective in a world often dominated by tales (and woes) of romantic longing.
Amidst the musical mosaic that is Daughter Of Abraham, Sandy Bailey’s artistry shines. The wisdom and soul in this collection of songs resonate long after its final notes fade.
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FRANCES LUKE ACCORD: SAFE IN SOUND | ALBUM REVIEW
Through the ages, folk music has been a way to share cultural traditions, convey parables, and share stories. From telling tales of chivalry and love to combating fascism and championing civil rights, folk artists have played an integral role in history. With their recent album, Safe In Sound, out now via Two-Dale Records/Tone Tree Music, indie-folk duo Frances Luke Accord weaves the threads of folk past and present into a dreamy tapestry of harmony and poetry.
The journey begins with soft, yet urgent finger-picking and ethereal vocals in “Window.” “Nowhere to run / No time to hide / Open up your eyes / We will not lie / We do or die / While the world goes by,” they sing in goosebump-inducing harmony, imploring us to be active participants in the world. Inspired by the poetry of an Algerian Sufi Sheikh, “Dust To Dust” explores what it is to “be,” while “Sunnyside,” brimming with steady acoustic strums and yearning violin, encourages us to look towards hope, that someday the light will be brighter. “Maria” features delicate banjo rolls under its message about climate change and the fragility of our world.
Later, the band delivers “St. Mary,” an autobiographical story of band member Nicholas Gunty’s near-fatal cycling accident, heavy subject matter delivered in celestial metaphors. “All The Things,” a standout on an album of standouts, earns the band their frequent comparisons to Simon & Garfunkel. Featuring Darlingside’s Don Mitchell on banjo, harmonium, and percussion, “All The Things” is a playful tribute to boundless love.
Gunty and bandmate Brian Powers have created one of the most beautiful albums this writer has had the pleasure of experiencing. Each of the 11 tracks housed within the grooves of Safe In Sound is a multi-faceted, sparkling gem. Whether they’re calling us to action, encouraging us to take care of our world and each other, or contemplating the very fabric of existence, Frances Luke Accord delivers deep and timely messages wrapped in unparalleled acoustic goodness.
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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.
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All photos of lund are by Sandlin Gaither
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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.
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All Photos of The Early Mays by Kristi Jan Hoover
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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.
The Hill Country Devil in 2021 
Chelsea Lovitt in 2021 
Adeem the Artist in 2021 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 Fumblebuckers 2021 
Matt Heckler 2021 
Anna Kline 2021 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:
Sierra Ferrell on Day 3 of the 2021 Byrd’s Creek Music Festival 
Lost Dog Street Band on Day 2 of Byrd’s Creek Music Festival 2021 
Mose Wison Performed Friday and Sunday at Byrd’s Creek Music Festival 2021 
Larry Sparks at the 2018 Byrd’s Creek Music Festival
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MARY SIMICH: HOW DOES ONE BEGIN | ALBUM REVIEW
Photos of Mary Simich by FABIAN FiOTO 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.
Photos of Mary Simich by FABIAN FiOTO 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.
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Photos of Mary Simich by FABIAN FiOTO
