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KASHENA SAMPSON: TIME MACHINE | ALBUM REVIEW
Reflection, perspective, and determination are at the heart of Time Machine, the second album from Nashville’s Kashena Sampson. That description, coupled with the unsurprising saturation of COVID-era songwriting inspiration, would make one think that her record likely comes from soul searching that has been thrust upon us over the last year and a half. Perhaps it’s ironic that the tracks for Time Machine were mastered prior to Sampson’s life being turned upside down in early 2020—first by the tornado that decimated her source of income bartending at Nashville’s Basement East and later by the devastating impact the pandemic had on the music industry. In reality, her album is all about dealing with codependency, finding a way to move on, and growing from life experiences. However, it may also be possible that Sampson has the most apt album title of all time for a collection of songs that inspire discovery and resolve, almost as if her songwriting senses knew this was a record we would need in 2021.
Photo By Laura E. Partain Fittingly, no song embraces the theme of Time Machine better than its title track. Over a gentle acoustic guitar riff and a piano melody, Sampson looks upon the past and finds that many dreams are simply delusion in disguise. However, she doesn’t approach this wisdom in a state of melancholy. Instead, she finds strength while embracing reality.
Sampson, a familiar face behind the bar for many of us Nashville concert-goers, may be one of the most visible examples of the grit that it takes to persevere in an industry where talent, exposure, and quality songs often still mean hours of work tending bars, waiting tables, or pushing paperwork to keep the dream alive. The slow-build folk-country-rocker, “From the Outside,” paints a vivid picture of the dichotomy between the pure joy the artist gets from performing clashing with the struggle behind the curtain. The addition of the ominous guitar and Sampson’s wonderful use of inflection in her vocals drives home the song’s turmoil.
Time Machine may dole out a healthy dose of introspection but never feels heavy. Part of this is due to the fact that Sampson packages her biggest emotional punches in her words yet keeps the music upbeat enough that you never feel mired in melancholy. However, it also benefits from bright, hopeful tracks like, “Little Spot of Sun.” As Sampson preaches about seeking out and embracing the good side of any moment, the song lays down a classic country vibe that would feel right at home on your father’s VHS tapes of the Grand Ole Opry. Somehow the track feels like its being played on vinyl…even if you’re cheating and listening on Spotify.
There are little surprises throughout the album to keep your interest. You’ll have to listen to put together all the pieces that add up to her vision. There’s the opening cover of Shocking Blue’s “Hello Darkness.” Here Sampson goes more groovy country rock with vocals that inspire comparison to when Margo Price kicks up the tempo. A more notable twist comes late in the album with, “The Black Sea.” The track feels like a bard’s tale reimagined as a building rocker. Sampson showcases her vocal power, adding a dramatic pageantry that would make Nick Cave take notice.
Her 2017 album, Wild Heart, gave most of us our first chance to hear Sampson’s traditional, country-soul sound. While she had been performing for several years on the cruise ship circuit, Wild Heart was something distinctive and distinctly her own. Time Machine has many of the elements of Kashena Sampson’s prior work, most notably her classic vocals with the range to carry a world of lyrical emotion. However, it shows clear progression as well—a maturity in both lyrical crafting and smart production.
Connect with Kashena Sampson:
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Images of Kashena Sampson by Laura E. Partain
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MCP ON LOCATION: BYRD’S CREEK MUSIC FESTIVAL – DAY 3
With the first two days of the 2021 Byrd’s Creek Music Festival already behind us, it was hard to believe that we were almost to the end of our first festival of the year. We were certainly excited for the day’s lineup, but sad that it was almost time to go home.
Sunday at Byrd’s Creek ended up being a day of adaptability. It also highlighted the family atmosphere that embodies what’s special about this event—something that’s often hard to describe while writing about it.
Mose Wilson & Friends
The first surprise of the day was the unfortunate cancellation of one of the acts. However, that couldn’t put a damper on a festival with a campground loaded with musical talent. Pulling together musicians from across the festival setlists, Mose Wilson returned to the stage for an Americana and classic country jam session including members of the West King String Band, Hannah Juanita, Chelsea Lovitt, and more.
Check out more on Mose Wilson in our coverage of Day 1 of Byrd’s Creek 2021
Sad Daddy ft. Melissa Carper
Earlier this year, the award-winning Arkansas bluegrass band (that’s not entirely a bluegrass band), Sad Daddy, announced that they were working on their first album since 2016’s Fresh Catch. The setlist included their hit, “Mountainside,” a country-classic styled number from band member Melissa Carper’s recent solo album, and an encore with fan-favorite, “Bigboned & Buttugly.”
Connect with Sad Daddy:
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Connect with Melissa Carper:
Website | Facebook | Instagram | YouTube | Spotify | Bandcamp
Momma Molasses
Dusty vocals and traditional country storytelling took center stage as the Byrd’s Creek Music Festival welcomed Bristol’s Momma Molasses. Showcasing a talent for making new music sound vintage, the band played several tracks from their album Anthems From A Broken Heart as well as the latest single, “C-A-R.” Momma Molasses had the audience swaying along to her combination of classic country-western swing and soul-grass sounds.
Connect with Momma Molasses:
Website | Facebook | Instagram | YouTube | Spotify
If Birds Court Fly
In a weekend rich with full-acoustic sets or minimal instrumentation, Virginia’s If Bird’s Could Fly brought a welcome change up with the hum of electric bass and rhythm led by a full drum set. This added an alt-country edge to their soulful folk performance. The set featured a mix of songs from their recent album Long Gone Songs, as well as their 2012 record, Ghosts.
Connect with If Birds Could Fly:
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The Rainstorm – As in a real, actual storm.
Fortunately, the festival had eluded several storms that had come through the region throughout the weekend. Unfortunately, the odds of probability were no longer in our favor, and we finally were caught by a solid downpour. Normally, this wouldn’t even make it into a festival recap; however, what happened next highlighted the family feel of Byrd’s Creek.
Inside the event barn located on the festival grounds, sound equipment was already being set up so that we wouldn’t have to miss the night’s headliner, Sierra Ferrell. With the vendors having closed, festival owner Jason Kemmer fired up some catering sized grills. Hot dogs and sausages were made available for free to the soaking wet festival crowd in a gesture you don’t see at…well, any other festival. As more people came to the barn, early arrivals helped set up additional chairs. Pretty soon everyone was inside, fed, and ready for more great music.
Sierra Ferrell
The event barn, in many ways, made the perfect setting for the post-rain Sierra Ferrell concert. The rustic, classic instrumentation fit so well echoing in the rafters of the well-appointed barn. Her beckoning vocals matched the intimacy created by the dimmed lights and seated crowd—like a sepia-toned scene out of an old movie where the road-tested troubadour holds the townsfolk in rapt silence. Of course, the spell was put on hold between each song as the appreciative audience roared with applause after favorites like “Jeramiah,” “Why’d You Do It,” and many more from her now released album Long Time Coming.
Connect with Sierra Ferrell:
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End of Day 3 of the 2021 Byrd’s Creek Music Festival…And a look at upcoming events at Oaklawn Farms:
We may not have been ready for the weekend to end, but it was unfortunately time to head back to the real world. This edition of Byrd’s Creek Music Festival checked all the boxes: plenty of high-quality roots music, a fun return to live performances, and a promise of more great events in the future!
During the festival, it was announced that the Oaklawn Farms, the home of Byrd’s Creek, will be hosting a fall concert series. Called Music at the Manor, it refers to the once-beautiful estate house on the grounds which owner Jason Kemmer is restoring to its former glory. The shows run from September 15th to October 6th on Wednesday evenings. The lineup includes Bella White, Kelly Hunt, Logan Halstead, and The Local Honeys. Ticketing is donation based—pay what you can to support the show—and can be purchased here.
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AJ LEE AND BLUE SUMMIT: I’LL COME BACK LP | ALBUM REVIEW
Bluegrass music has spanned centuries; its ability to penetrate the soul and send shivers down the spine only contributes to its staying power. In their brilliant new LP I’ll Come Back, Bay Area roots powerhouse AJ Lee and Blue Summit thrust their musical flag into the grassy landscape, coming back to the style they love the most. This theme is laced throughout the album, from its title to standout tracks like “Back To Bluegrass,” where the group wears their collective heart on their musical sleeve as they pay homage to their roots.
Led by award-winning mandolin prodigy Lee, who began her professional career at the ripe old age of seven when she joined Palo Alto family band the Tuttles, (formed by Tuttle patriarch Jack with his children Molly, Sullivan and Michael as members) Blue Summit begins the adventure with the sassy swagger of album opener “Lemons and Tangerines.” The was song purportedly inspired by a grafted fruit tree in Lee’s San Jose backyard, though the tree could easily be a lyrical metaphor for a lover. Either way, Lee’s silky vocals are accentuated by gorgeous, sun-drenched harmonies, with Chad Bowen holding down the rocking low-end, as Sullivan Tuttle and Jesse Fichman provide texture with their respective guitars allowing Jan Purat’s fiddle to sing.
In the playful turns of “Something Special,” a love song that eases the listener into the band’s interpretation of the traditional, Purat steps into the spotlight and delivers as his fiddle swells and swirls, dancing with Lee’s twinkling mandolin licks supported by strong harmonies swelling in the background. Lee leans on the storytelling aspect of the genre in “Monongah Mine,” relaying the gut-wrenching tale of a mining accident in 1907 West Virginia. Most of the miners were immigrants; she tenderly sings of the heartbreak and loss of hope as miners were trapped in the depths of the earth, declaring “There’s no American Dream in mine number six.”
With “Put Your Head Down,” a barn-burner awash in minor chords, the momentum moves like a freight train into “Faithful,” a Flatt and Scruggs-style heartbreak-oriented yet playful romp that keeps the energy headed towards the rafters. After the instrumental “Rodney Dangerfield,” a track penned by fiddler Purat and well-suited to sawdust-covered dance floors, we’re introduced to “Magdalene,” written from the perspective of a woman in love with another woman, ending the album on a wistful note.
Throughout the album’s 11 tracks, each member’s mind-blowing talent is showcased as the band delivers tight yet expansive jams, making the listening experience a joy from cover to cover. With I’ll Come Back, AJ Lee and Blue Summit powerfully propel the genre forward, their influences of country, soul, swing, rock, and rock on full display as they deftly weave their contribution into the tapestry of the bluegrass tradition.You can listen to I’ll Come Back by AJ Lee and Blue Summit on Spotify, or even better, purchase it from the band.
Connect with AJ Lee and Blue Summit:
Website | Tour Dates | Facebook | Twitter | Instagram | YouTube | Spotify
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MCP ON LOCATION: BYRD’S CREEK MUSIC FESTIVAL – DAY 2
Sunrise at Byrd’s Creek Music Festival brought with it the promise of a day packed with Americana, bluegrass, and traditional country music. At the risk of a spoiler: it didn’t disappoint!
As the sound of bacon sizzling in the campsites gave way to the distant hum of the festival’s stages coming to life, there was a distinct feeling of anticipation throughout the grounds.
The Hill Country Devil
At the main stage inside the festival village, the crowd had already gathered to take in the enjoyably depressive sounds of The Hill Country Devil. The project of singer-songwriter Hayden Allen Karchmer, The Hill Country Devil is a self-described “scumbag troubadour.” The crowd soaked in the honest song crafting on his hits including, “Rats Get Fat,” and, “New Kind of Lonely,” and met him with a roar of applause following his cover of, “Greengrass,” from Tom Waits. His painfully exposed lyrics were powerful enough to create a delightfully dreary musical cloud to fight back the sun’s rays.
Connect with The Hill Country Devil:
Website | Facebook | Instagram | Spotify
Adeem the Artist
Over at the festival’s Dogwood Stage, Knoxville’s Adeem the Artist had just finished tuning and was ready for a set in the sun. Playing several songs from the recently released album Cast Iron Pansexual, Adeem didn’t miss any opportunity to share some cynical wit—both between and in each song. The set also included the best (maybe only) song about Weigel’s convenience stores, a reference true to Adeem’s Marble City home.
Connect with Adeem the Artist:
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Matt Heckler
One of the best parts about the Byrd’s Creek Music Festival is the intimacy of the sets. It feels like you’re surrounded by old friends sitting around a campfire or watching an artist play a house show. This was highlighted during the early afternoon set by Matt Heckler. There’s something special about seeing an artist who has toured with bands such as Devil Makes Three, Lost Dog Street Band, and Flogging Molly in a setting where people felt comfortable making requests—and the artist responded. Heckler’s set featured his brand of dark Appalachian bluegrass but included several extended fiddle interludes which merged classic violin influences into the mix. He was met with a roar of applause when he played crowd-favorite, “Blue Eyes Dancing,” and several of his songs inspired people to clap along—with a few even dancing through a brief mid-set downpour.
Matt Heckler 2021 
Connect with Matt Heckler
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Jennifer Jane Nicely
Classic country & western honky-tonk vibes returned to Byrd’s Creek Music Festival when Jennifer Jane Nicely took the Dogwood Stage. With a setlist exploring most of her tracks from her Depending on the Light EP, Angels, Demons, Red-Tail Hawks and many of her prior singles, Nicely pulled the crowd into her songs, thanks to the slightly twangy, aching inflection of her vocals.
Connect with Jennifer Jane Nicely:
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Chelsea Lovitt
Back at the festival’s main stage, Nashville’s Chelsea Lovitt gathered an all-star band to give her meaning-loaded rocking country a lighter honky-tonk feel. Songs like, “If I Had A Dollar,” and, “Beanstalk,” from her recent album, You Had Your Cake, So Lie in It, still didn’t pull any punches, but thanks to the fiddle playing of Nate Leath, the harmony/background vocals from Audrey MacAlpine, and the pedal steel from Will Ellis, the set had a buoyancy that was perfect for the end of a hot afternoon.
Connect with Chelsea Lovitt:
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Hannah Juanita
Over nine hours of music had already come and gone on Saturday of Byrd’s Creek Music Festival, and they weren’t done giving us classic country songs just yet. With the sun set and the stage lights coming to life, Nashville’s Hannah Juanita shared several of her songs from her recent album Hardliner—a record full of traditional country sounds and strong lyrical narratives. With her own Patsy Cline and Loretta Lynn influenced honky-tonk numbers filling the air with two-step vibes, it felt like we were right at home in our favorite western bar.
Connect with Hannah Juanita
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Lost Dog Street Band
It was now time for the evening’s headliner and the start of the late-night party. The festival crowd made their way to the Byrd’s Creek mainstage for the emotionally hard-hitting roots music of the Lost Dog Street Band. The audience bathed in the band’s painfully honest lyrics, nimbly strummed acoustic guitar riffs, and intimate fiddle accompaniment. Dark, brooding melodies like, “Terrible and True,” were balanced by still-pensive, yet more jaunty numbers like their hit, “September Doves,” during their thoughtfully curated set.
Connect with Lost Dog Street Band:
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West King String Band
Once again, the festival knew we would need some high-energy music to keep us going strong into the late-night sets. They didn’t have to look further than the fast-picking stylings of Nashville by way of St. Augustine, West King String Band. Not quite newgrass—more folk grass—WKSB put on a set that was high in classic bluegrass influences, but felt modern and relaxed. Featuring well-picked mandolin solos merged with rambling acoustic guitar and plucked bass, the band performed several songs fans knew well from both Staring At The Sun and Achin’.
Connect with West King String Band:
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End of Day 2 at Byrd’s Creek Music Festival
Eight bands and twelve hours of music later, it was time to call an end (at least for us) to the second day of the 2021 Byrd’s Creek Music Festival. As we walked back to our campsite, we could tell that there was still music and a heck of a good time going on at the Dogwood Stage. However, we needed to be ready for another great day of Americana music still coming our way.
Read About Day 1 of the 2021 Byrd’s Creek Music Festival
Connect with Byrd’s Creek Music Festival:
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NATHAN EVANS FOX: “Carolina Boy” Premiere
This Friday, singer/songwriter Nathan Evans Fox is set to release “Carolina Boy,” the first single from his newly announced, upcoming album Wasted Love.
Today, Nashville-by-way-of-North Carolina (and a few points in between), troubadour Nathan Evans Fox presents Mother Church Pew with the premiere of “Carolina Boy,” the first track from his forthcoming album Wasted Love. Synthesizing his Appalachian upbringing, his early training as a hospital chaplain, and his collection of road worn memories as an artist, Fox creates music that comes with a unique blend of sounds and perspectives. That continues with this latest release.
“This is mostly autobiographical except for the parts that may incriminate me or anyone I know,” Fox shares about the new song. Indeed, there’s a distinct honesty in Fox’s voice as he sings the track’s contemplative lyrics.
“This song,” Fox continues, “spells out the complicated relationship I have to my hometown. No matter how much I love the hills of North Carolina, leaving my hometown meant making better decisions instead of falling into well-worn pitfalls. The tag ‘stick to beer’ comes from a conversation I had with my mother a few years ago when we were discussing why I didn’t see myself moving back to my hometown.”
“Carolina Boy” is instantly relatable, connecting with the listener both emotionally and musically. Fox’s conflicted relationship with his childhood home is a sentiment that comes through with his gifted songwriting and is a feeling that many of us share. The song features a traditional country sound where acoustic gets a back glow of electric guitar and a dusty drumbeat, but also links to our love of introspective folk in the vein of John Hiatt. It all fits well with Fox’s “cosmopolitan country” description of his style—full of country notes, but willing to reflect on cultural, religious, and political strife.
Mother Church Pew fans can join Nathan Evans Fox as he ruminates about where he’s from…and how far he’s come now with this early premiere of “Carolina Boy.”
CONNECT WITH NATHAN EVANS FOX:
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Photos of Nathan Evans Fox taken by Alys Barrow
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MCP ON LOCATION: BYRD’S CREEK MUSIC FESTIVAL 2021 – DAY 1
Music festivals are back! With the live entertainment world reopening, there’s no shortage of options to start making up for lost time. However, we’re all still trying to find that balance between keeping ourselves safe and “getting back to normal.”
Ready to get the Americana party started, but mindful of the apprehension that we all have, Byrd’s Creek Music Festival stuck a perfect balance for this 2021 festival season. A unique lineup of rising and established talent, capped ticket sales to keep everyone safe, and a neighborly festival scene that welcomed us out of our sheltered lives.
Mother Church Pew first made the short trip from Nashville to Crossville, Tennessee for the Byrd’s Creek Music Festival in 2018. Enticed by an expanded roster of bluegrass, Appalachian folk, and honky-tonk country artists, we were excited to make it our first stop of the year. While the attendance was intentionally small, the festival itself has shown tremendous growth. There are now two stages allowing for even more music.
Arriving at the festival grounds in early evening, we did an expedited campsite setup to get to the music ASAP.
Anna Kline
Fortunately, we arrived in Byrd’s Creek’s “music village” just in time to watch Anna Kline. A vet of the roots music scene, many of you will know Kline from her most recent project, Swift Silver. The air was full of swampy blues as she belted out, “Come On Home To Yourself,” somehow packing even more emotion into it than the album version. Her set also included some surprises by way of an unreleased song dedicated to her father, a Townes Van Zandt cover, and a guest appearance from Linda Jean Stokely of The Local Honeys. The set was the perfect mood-setter for a weekend of great music.
Anna Kline 2021 
Connect with Anna Kline (As Part of Swift Silver)
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Mose Wilson
Later, on the same stage, Byrd’s Creek welcomed Nashville’s Mose Wilson. Brining a touch of Music City’s honky-tonk life to Crossville, Wilson played a toe-tapping mix of originals like his, “Tennessee Rag,” and covers like a string-bending jam on Del McCoury’s, “Rain & Snow.” As the final glow of the sun finally set, Wilson’s playing even inspired some dancing in front of the stage.
Connnect with Mose Wilson:
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John R. Miller & the Engine Lights
After a short walk to the main stage, we found earnest Americana artist John R. Miller had pulled the full festival crowd from the campgrounds to hear his set. Only a few songs in, it was already clear why Miller counts Tyler Childers among his fanbase. Honest storytelling lyrics met country-tinged roots influences on songs such as, “Shenandoah Shakedown,” as the Byrd’s Creek crowd nodded along in enjoyment.
Connect With John R. Miller:
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The Fumblebuckers
With late-night upon us and a touch of exhaustion setting in, I was worried that it would already be an end to the first night back at a music festival. However, Cookeville’s The Fumblebuckers always play with the energy of a double cup of coffee. Feeling refreshed, I joined the Byrd Creek crowd enjoying the stand-up bass thumping, banjo picking, guitar bluegrass jam. A band that doesn’t need an excuse to bring the musical party, they fed off the crowd’s energy, picking into the early hours of the next day.
The Fumblebuckers 2021 Connect with the Fumblebuckers
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End of Day 1 of Byrd’s Creek Music Festival 2021
Resisting the urge to stay up even later, it was time to recharge for a packed schedule of music coming up on second day of the Byrd’s Creek Music Festival. During the short walk back to the campsite, there was only way to summarize the day: thank goodness live music is back!
Watch for our coverage of Day 2 of Byrd’s Creek coming soon!
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TAYLOR SCOTT BAND: LIVE AT ACME FEED AND SEED
There’s plenty of music on Nashville’s lower Broadway–just not a lot that grabs the attention of a folk, Americana, and roots rock blog. However, if you wade through the sea of honky-tonks blasting Journey covers and peddle taverns bumping rap beats, you’ll find a few places where the focus is still on quality bands with original songs. Enter the Taylor Scott Band (TSB), a Colorado outfit that blends blues, rock, soul, and even a few country influences. Having informally caught a couple of their sets over the last few years, I knew it was worth it to head down to Acme Feed & Seed to watch the show.
It only takes a few notes to realize that TSB’s sound is classic. There’s a distinct throwback quality to the band’s music—but it’s nuanced. The longer you listen, the more influences come to mind. It’s easy to fixate on the comparisons to Duane and Devon Allman. Afterall, TSB certainly captures the bluesier side of Duane and the rocking elements of Devon. However, you’ll also note the hints of soul in his vocals akin to Warren Haynes’s Gov’t Mule days. It’s a combination that guarantees a funky evening of music.
Putting his excellent guitar skills to good use, Taylor Scott led the band through two sets that spanned well over two hours. The musical connection between keys player John Wirtz and Scott makes for memorable jams, but the whole group impressively fed off each other for a slick presentation that still felt loose and free.
TSB describes their style as “opti-misery,” highlighting the depth hidden under the current of rock. Indeed, as the Acme crowd listened to the roster of original songs, TSB often masked contemplative lyrics with driving guitar solos and funky rhythms that inspired toe-tapping instead of sadness.
Since a blues rock band is a change for Nashville’s lower Broadway, it’s fitting that they hooked the crowd early with, “Salted Watermelon,” a song about embracing being different. As the night continued with food orders and drink trays bustling around the room, TSB did an impressive job of keeping the crowd engaged, especially with the undeniably fun guitar solos. As they played through songs like the hit, “Somebody Told Me,” and touched on a few covers from legends like Dr. John and Curtis Mayfield, Scott’s electric guitar never rested. As I watched, I realized that it’s his effortlessness in playing extended and complex solos that sets TSB apart from other the acts mentioned above. Devon Allman will literally shred in your face whereas Scott stoically enthralls the room without breaking a sweat.
The Acme audience also got an early listen to TSB’s latest single, “Bleeding Out.” The recorded version of the song hits hard on the funk and seemed built for high-energy live performances. The band didn’t disappoint, turning it into a raucous blues rock jam session. The new track adds a bit of Stevie Wonder-styled soul to TSB’s mix of complex influences, that surely left the Acme crowd looking forward to see what direction TSB takes on their next album.
Connect with Taylor Scott Band:
Website | Facebook | Twitter | Instagram | YouTube | Spotify
Listen To Taylor Scott Band:
Learn more about Acme Feed & Seed Nashville:
Website | Facebook | Twitter | Instagram | Acme Radio Live
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PREVIEW: THE GRAND OLE OPRY RETURNS TO BONNAROO 2021
For 95 years, the Grand Ole Opry has shared live country music across the airwaves of American radio. Celebrating its 20th year, The Bonnaroo Music and Arts Festival is known for its curation of an eclectic musical lineup. On September 2nd, 2021, these two iconic institutions will join forces in Manchester, Tennessee, marking the Grand Ole Opry’s third show from Bonnaroo.
As with all Grand Ole Opry shows, the Bonnaroo crowd can expect outstanding talent including both household names and artists on the rise. Topping the bill for this year’s show is Australian-born, Chet Atkins-inspired protégé, and world-class guitarist, Tommy Emmanuel. He is joined by Grammy-nominated, Blues Music Award-winner, and founding Carolina Chocolate Drops member, Dom Flemons. Fans of top-40 country will also recognize Opry member Chris Janson’s name from his hit, “Buy Me A Boat,” among many from his award-winning career.
The 2021 Bonnaroo Grand Ole Opry lineup also welcomes Grammy-nominated alt/rock, roots music phenom Amythyst Kiah; rock and soul singer/songwriter Maggie Rose; solo artist/musician and lead guitarist for Foo Fighters, Chris Shiflett; The Travelin’ McCourys; the Opry Square Dancers; and Country Music Disc Jockey Hall of Fame member and Opry announcer, Bill Cody.
Mother Church Pew can’t wait for this year’s Grand Ole Opry show from Bonnaroo 2021. We hope to see you on The Farm!
Go to Bonnaroo.com for more information on the lineup, tickets, VIP experiences, and more.
Grand Ole Opry at Bonnaroo will be heard at opry.com and wsmonline.com, Opry and WSM mobile apps, and the show’s flagship home, 650 AM-WSM.
Check out Mother Church Pew’s coverage of the Grand Ole Opry at Bonnaroo 2019:
And check out the memories from the Grand Ole Opry’s Bonnaroo debut in 2018:
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THE PEW PLAYLIST: NEW MUSIC FOR JULY 30, 2021
Welcome to The Pew Playlist, a roundup of new music 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!)
The Accidentals – “Go Getter”
The Accidentals’ new single “Go Getter” is a breezy Sarah Jarosz-meets-The Sundays kind of track about not getting bogged down in the details. Delicate harmonies and well-placed pizzicato make this smooth song flow. Be sure to check the accompanying goat-tastic music video.
Photographer Credit: Loren Johnson Website | Facebook | Twitter | Instagram | YouTube | Spotify
Birdtalker – “Better Days”
One of our longtime favorites, Nashville-based indie/folk outfit Birdtalker, is making a much-anticipated return with their new single “Better Days.” With goosebump-inducing harmonies and bright strings, “Better Days” gently pulses with hopeful optimism. We can’t wait to hear more.
Connect with Birdtalker:
Website | Facebook | Twitter | Instagram | YouTube | Spotify
Karen Jonas – “Summer’s Hard For Love“
With the release of her new single “Summer’s Hard For Love,” award-winning artist Karen Jonas announced her forthcoming EP Summer Songs and an accompanying autobiographical book of poetry called Gumballs. In “Summer’s Hard for Love,” Jonas relays the heart strain of cultivating new relationships after a breakup, the vulnerability easily felt in each longing note.
Connect with Karen Jonas:
Website | Facebook | Twitter | Instagram | YouTube | Spotify
Strand of Oaks – “Galacticana”
Tim Showalter, who makes music as Strand Of Oaks, announced his forthcoming album In Heaven with the release of single “Galacticana”; this slice of lush, atmospheric, folk-tinged rock conjures daydreams of desert nights lit by galaxies of stars. Perfect for sitting on the car hood, leaning back against the windshield, and pondering the universe.
photo credit: Merrick Ales Connect with Strand of Oaks:
Website | Facebook | Twitter | Instagram | YouTube | Spotify
Sean Rowe – “To Make it Real“
Internationally-acclaimed artist Sean Rowe announced his forthcoming LP The Darkness Dressed In Colored Lights (out October 8th via Fluff & Gravy Records) with the release of his single “To Make It Real.” What starts as the sun-drenched sound of the Laurel Canyon-era music scene in its verses builds into a Radiohead-esque waterfall of energy in its choruses. There’s something about Rowe’s baritone that cuts right to the core, the feeling of heartbreak and reckoning palpable at every turn.
Connect With Sean Rowe:
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ALBUM REVIEW: TALKING TO GHOSTS EP – BY BRIDGET RIAN
When I was a much younger music fan, I always avoided EPs because I wanted a “full album experience.” With time, my eyes have been opened and now I even prefer a thoughtfully crafted EP—a short album that’s made with purpose. On her debut record, Talking To Ghosts, singer/songwriter Bridget Rian uses a tight, 4-track song list to explore her connection to people that she has lost and parts of herself she’s buried in the past.
For an EP with a total run time of just under 18 minutes, Rian covers an impressive span of emotional real estate. She also pulls together a variety of musical influences to give you just the right blend of familiar comfort, yet make you hesitate in comparing it to other records showing up on country and Americana playlists.
On the opener, “Type of Girl,” Rian exposes the nuances of her struggle within societal gender expectations. It has a unique sound that actually took me by surprise the first time I listened. Is it indie pop rock? There’s definitely some Phoebe Bridgers and Julien Baker vibes. Or is it country? You don’t hear pedal steel on indie pop tracks and there’s also notes Ingrid Andress coming through. Honestly, it’s better to worry about where it fits and simply enjoying the song which I think fans of indie pop rock, country, and Americana will do.
The remaining tracks retain Rian’s genre blending sound but go down a more folk-rock-acana path–a little less pop, a lot more folk angst. “Trailer Park Cemetery” starts minimal with a rapid acoustic guitar melody supporting Rian’s clear, yet emotive vocals. However, as Rian contemplates relatable fears—not living life to the fullest; leaving this world alone—it builds with electric guitar and well-placed drum accents.
Album closer, “Funeral,” instantly feels like one of those songs that will follow Rian’s career wherever she goes. The song is an intimate conversation between the artist and her friend lost to addiction. Rian could write ten more albums and “Funeral” will always be requested at one of her shows.
The enjoyment of an album is all about curation. Growing up in the CD era left me owning plenty of discs that had the one song I listened to and 9 tracks of disappointment. In comparison, on Talking To Ghosts, Bridget Rian wraps the listener in a blanket of haunted emotions and doesn’t let you escape.
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Featured Image of Bridget Rian by Libby Danforth
