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.
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.
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:
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.”
Show Information
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.
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.
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.
The Sully Band – “When The Battle Is Over” Feat. Rebecca Jade
Sully Band Photo by Steve Sherman
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.
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.
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.
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.
Out of the driveway, onto the highway/The day has finally come/Feeling so strong after waiting so long/I know we’re gonna get there from here
Lyrics from “Blue Sky” by The Imaginaries
“Blue Sky,” by Oklahoma’s The Imaginaries, is actually about their literal trek to start the band. However, the lyrics sync perfectly with the band’s path to their recent show at Nashville’s The Basement. The husband-and-wife duo, comprised of Shane Henry and Maggie McClure (supported by full band), used their time well, giving fans a broad taste of their musical offerings and their journey.
It has indeed been a tale worth telling about challenges, perseverance, and a lot of love. The question is where to start. The concert was of course filled with songs from their recent self-titled album. The release itself was met with several challenges including a health crisis and the financial impact of COVID closures. The pair used the time of isolation to their advantage, making music videos and promoting their new songs. As the crowd listened to the intensity of the opener, “Geronimo,” tapped toes to the follower, “Thinking ‘Bout You,” and bathed in the couple’s harmonies on, “Trust Falling,” these relatively new songs already felt like classics because we’ve listened to them so many times. Later in the show, it was impossible not to feel hairs rise as Henry fiercely strummed the opening chords to their epic single, “Walking on a Wire.”
With you by my side/As we watch the world go by/All I need in this life/Is you and the blue sky
However, the night wasn’t just about the present. As they shared, the self-titled LP holds a gateway to the band’s past. Near the end of the set, while the crowd nodded along to the infectious rhythm, the duo played the first song they wrote together as The Imaginaries, “There Will Come a Day.” Continuing to reflect on their history together, they quickly followed with the swaying, soulful sounds of their latest release, “You Already Know,” originally written together by the couple for their wedding. The crowd applauded as McClure shared this story, along with the fact that the couple just celebrated their 10th anniversary. Throughout the night, the bond between the duo was palpable, adding deep authenticity to their oft-romanticized lyrics.
Mile after mile, turning the dial/To a small-town serenade/Smilin’ in silence, Each state line reminds of/Just how far we came
Together, The Imaginaries have made it to the other side and are back on the road sharing their new music across the country. This show at The Basement was the final stop on the current tour leg that has kept them traveling for two months and taken them over 15,000 miles. Fortunately for us, they didn’t show any signs of slowing down. As the band prepared to close the set, Henry only had to play a few sticky blues notes on his guitar for everyone to know their hit single, “Revival,” was on its way. By the end of the song, its big, foot-stomping beat was firmly implanted in our heads. The song’s message of new beginnings made for a fitting end to the story…for now.
No matter what happens, I know we’ll be fine/We’re writing this story one page at a time.
Even the familiar can become eerie when bathed in shadow. Tall Tales & Fables, the third release by Nashville’s Haunted Like Human, takes classic folk themes down a haunting, southern gothic path, thanks to its oft-ominous instrumentation and lyrical exploration of dark places.
While the honed musicianship may be the first thing you notice, the duo, comprised of Cody Clark (multi-instrumentalist and singer-songwriter) and Dale Chapman (lead singer, lyricist), keeps your attention thanks to the lyrical detail throughout the twelve-song track list. With topics ranging from mental health, good battling evil, challenges the LGBTQ+ community faces in finding acceptance, and leaving the past behind, the pair explore a lot of emotional ground. Its notable that the group takes on the challenge of parsing through so many timely issues yet keeps the album consistent and flowing.
Album opener, “September,” serves as a preview of the harmony-heavy focus of the record. Chapman and Clark’s timing are on point, making sure the paired voices build on each other and meld as a collective thought. However, it’s with the increased pep of the second track, “Ohio,” that the album takes off. Well-placed touches of fiddle, a jaunty beat, and judicious use of Clark’s harmonies spin the longing tale. It’s on the fourth track, “Run Devil Run,” that the real gothic tones of the album shine through as the classic battle between good and evil looks to a mysterious female force as the champion. This trio of songs sets the tone for the remainder of the record.
Other highlights include the return to a more banjo folk sound on “Bruised Feet;” the dark exploration of forbidden love on “Whistling Tree;” and the haunting “Ghost Towns.” Although the entire album relies on the duo’s woven vocal harmonies, the minimalist album closer, “Things Fall Apart,” does the best job of letting the vocals shine.
On Tall Tales & Fables, Haunted Like Human struck the perfect balance between recognizable folk music themes that draw you in and gothic diversions that keep your ears alert. Quality storytelling is matched with fine fiddle playing, nimble banjo strumming, refined guitar work, and smartly restrained percussion to craft an album that garners repeat listens—both for enjoyment and to capture the full tapestry of the work.
Oftentimes, “place” pays a large role in an artist’s sound and style—for example, when you think about the blues, the Mississippi Delta, Memphis, or Chicago usually come to mind. And, when thinking of bluegrass, images of the verdant Appalachian Mountains or the rolling hills of Kentucky dance through the imagination. For Australian prodigy Angus Gill, who recently released his new bluegrass LP The Scrapbook, “place” is straight from the heart.
The Scrapbook is a brilliant example of how the pandemic forced us to become more creative in how we, well, create. Gill assembled a star-studded lineup to bring his vision to life while 2500 miles away from his collaborators. Throughout its 11 tracks, the album takes the listener on a rollicking adventure full of intricate musicianship, wit, and a gamut of emotion. The album begins with “Always On The Run,” an energetic tune full of bright banjo licks that playfully intertwine with guitar and fiddle. Gill shows us his tender side with tracks like “Samson,” a song about bullying with a sweet resolution, and “Whittling Away,” a duet with grassy icon Jim Lauderdale inspired by the struggles Gill’s mother endured and strength she displayed when wrestling with the decision to move her mother to an assisted living facility.
Gill’s charm and cleverness come through in album tracks “Let’s Have A Drink (To Not Drinking Again),” a high, lonesome waltz performed with award-winning songwriter Jerry Salley, and in title track “The Scrapbook,” where he walks us through the pictures on the pages of his grandmother’s keepsake album.
In “Heartquake,” we get an ample dose of traditional grass as the song moves at a lightning pace, leaving the listener breathless in time to receive haunting, hymn-like album closer “Forget Me Not,” an a cappella beauty featuring exquisite four-part harmonies.
With The Scrapbook, Gill’s plethora of talents are in the spotlight; he amply proves he’s not only a prodigious creator, but a gifted storyteller that puts his heart on the line in every turn of phrase.
After a brief hiatus, we’re pleased to bring you a new update for the The Pew Playlist! 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 tracks. (And make sure to connect with the artists on social media!)
Angela Perley – “Here For You”
Photo of Angela Perley by Lindsay Jordan.
Like countless other artists, Columbus, Ohio native Angela Perley was set to tour in celebration of her 2019 LP 4:30when the reality of COVID-19 brought everything to a grinding halt. Written and produced by Perley, the “Here For You” is a different kind of love song – being here for and taking care of yourself. With its slinky psychedelia and reverb-laden riffs, Perley delivers an amplified pep talk in her timeless voice, giving us an electrified taste of the album to come. Climb into the convertible, roll the windows down, and crank it to 11.
“I was halfway to Houston when I broke down,” sings Alicia Stockman in her wistful break-up song “Halfway To Houston.” The track appears on the Utah-based singer/songwriter’s forthcoming LP These Four Walls, produced by MCP fave Mary Bragg -its smartly-crafted lyrics and unfussy accompaniment provide an expansive space for Stockman’s emotive and angelic vocals to shine.
Photo of Spencer LaJoye by Whitney Wilson and Hannah LaJoye Photography
Violinist and vocal loop artist Spencer LaJoye recently released “Breathing,” the latest track from their forthcoming EP Remember The Oxygen, out November 5th. The song is a powerful and moving story of LaJoye learning to “breathe my own air again, so to speak,” says the Boston-based folk-pop songcrafter of the track’s inspiration. “When I remembered to breathe my own oxygen rather than meeting and anticipating everyone else’s needs first, I learned a lot of things (for one: I am not a girl. Oops!). It’s the story of me grabbing my own oxygen mask.” LaJoye’s pure, crystalline vocals deliver their truth in the most heart-wrenchingly vulnerable way as they offer experience proudly for the whole world to hear.
Charles Wesley Godwin channels the grit of his West Virginia upbringing into his music, using his strong vocals to gently deliver character-driven, stories of the everyman. Relatable, smartly crafted, and poetic, “Strong” is an anthem of encouragement and perseverance, wrapped in lush textures that dance across a sonically cinematic landscape.
Listening to Australian folk artist Naomi Keyte’s new single “Greenhill” is unexpected sunshine a cloudy day, a daydream on a quiet afternoon, or blowing on the fluffy white seeds of a dandelion. It’s the sound of possibility. Written during lockdown, “Greenhill” Is a love song to a home and what’s inside that makes it special. Keyte’s style brims with airy, acoustic grace, and reminds us that there is beauty all around us.
