Electric Blue Yonder Reflects on Recent East Coast Run July 3, 2019 15:57

Photo by Duncan O'Boyle

Interview by T-Bird: Staff Writer for Live & Listen

The band Electric Blue Yonder has been around for a handful of years, and has created a reputation for intimate songwriting showcases as well as raging shows in the River Region and beyond lately. We recently sat down with guitarist/vocalist Johnny Veres to discuss some of the most recent shows and plans for upcoming singles and a full-length album.

What is the lineup of the band?

Johnny: I’m Johnny Veres, I sing and play electric guitar. My wife Beth sings and plays acoustic. Russell Thomas Bush plays electric bass and upright, and Sam Pittinos plays drums as our core band, but sometimes we bring in other players and grow to the show. We also scale back to a 3 piece (upright, acoustic, and electric) so we can go from an intimate songwriter experience to a rocking show on the right stage. 

Electric Blue Yonder is fresh off a tour of the East Coast. Can you tell me about some of the highlights from that tour?

Johnny: This is tough. There’s a good story in every moment of the tour.

We started by playing in a cave at a bar called Rattle Snake Saloon, which was surreal in so many ways. We half expected the chicken wire screen across the stage but thankfully they sell draft beer in styrofoam cups. Our friend Jimmy Teardrop joined us for this and the Cloverdale concert series dates just before he set out on a tour with Alex Williams. He’s a monster guitar player. It was great to hear his take on some of our music.

We played a Sofar show in NoHo at this spot called Recess that sells “hemp infused sparkling water” and everything was neon pink and blue with cloud lights on the ceiling. It felt like that room was designed for our band.

Our Sunday show at Toad in Cambridge was maybe the most memorable. We played Boston the night before and had some time to explore, so I showed Beth and Russell some of our dear friend Andrew’s old stomping grounds and went to lunch at a restaurant he had taken me to years ago. We headed over to load into the venue without much expectations for a rainy Sunday evening, but were pleasantly surprised by a bustling crew of locals doing a record swap style party where folks brought their own records and took turns playing their favorite songs. It was rad. Everyone was so warm and welcoming, and suddenly it didn’t feel so dreary. We even ran into someone that plays bagpipe for a certain Boston based group.

On top of that we met Steve Morse, a long time contributor to music at the Boston Globe and current Rock History teacher at Berklee College of Music. Steve regaled us with old industry tales, a sharp wit, and as he put it “beer on NYT’s dime.” He also wrote us these words about our music:

"I went on a whim but became a devoted fan after seeing them. They played a meditative mashup of trippy folk-rock psychedelia, cut with a raw, Alabama flavor befitting their roots. Captivating harmony vocals and skilled, almost Nick Drake-like guitar fills complete the picture. Would love to see them again."

That one felt really good.

We caught up with an old friends in Philly, saw sprinkles of family, and other beautiful humans along the way. We also played maybe the most raucous show in Americus, Georgia with our good friend and Blues player, Neal Lucas. Small town shows are great because the people that attend really care and are excited to have guests in their city. We were described as “post punk beach boys” there as well, which we totally dig. EBY always feels the love there!

Lastly, we finished up in Tuscaloosa with a friend opening that just blew our socks off, Patrick O’Sullivan. Druid City Brewing is another spot that feels like family when you’re there.

Speaking of Tuscaloosa, you and Beth just played Black Warrior Songwriter Festival there this past weekend as well?

Johnny: We did. It was awesome to get to rep EBY in a format that we don’t often get to. We’ve been told that we’re like a star peg between a square and a round hole. We don’t quite fit in either, so sometimes it’s difficult to know where to place in festivals like these. These folks had an open mind and didn’t care about “genres” so I think we all had fun together. 

Do you have plans for a full-length album?

Johnny: We are working on our full length in the studio now and targeting an early fall release date.

Will it be pressed to vinyl or available to stream?

Johnny: We will definitely put it out on all digital media platforms, and vinyl will be in the future. We have our first vinyl single release coming out this summer so be on the look-out for that as well!

Do you have plans for single releases?

Johnny: There’s one more late summer before the album drops, and we just put out “Bluster” a few weeks back.

What platforms are you available on?

Johnny: All the digital ones!

When/where is your next tour planned?

Johnny: We are booking a run out to Oregon and back over September and part of October. If everything goes as planned, this will be a super special tour. If you want us to come to your town hit us up!

Do you have any shows coming up in your hometown of Montgomery, AL?

Johnny: Our next date in town is at Commerce Beer Works with Kyle Kimbrell 7/6 at 10pm (Doors at 9).

Stream Electric Blue Yonder's "Bluster" here:

One More Saturday Night with Dead & Company in Atlanta July 1, 2019 14:03

Over the past fifty years, the city of Atlanta has played host to countless moments in Grateful Dead history. When looking back over the band’s illustrious career, it’s no surprise that tickets were in such high demand on Saturday night. The blazing summer heat was met with an equally hot ticket, as Dead & Company made their annual visit to Cellairis Amphitheatre at Lakewood over the weekend. It’s always extra special returning to this venue for any Dead related project, as I experienced my first “Dead show” here on the Wave The Flag tour in 2004. While the roster has evolved and some songs might have a slightly different sound, the fact that we’re still able to gather and celebrate this music with nearly 20,000 people is truly remarkable.

When this band came together in the fall of 2015, many of us didn’t know what to think. The “Fare Thee Well” shows were a very recent memory, and I’m not sure that anyone ever expected to see John Mayer playing lead guitar alongside Bobby, Billy, and Mickey. What the Deadhead nation has witnessed since then has been nothing short of magical. The six-piece now has nearly five years under their belt, and Mayer, Oteil Burbridge, and Jeff Chimenti have proven to be the perfect combination for this interpretation of the Grateful Dead.

The band came out of the gate with guns blazing on Saturday night. “Scarlet Begonias” and “The Music Never Stopped” made for a beautiful pairing. “Alabama Getaway” proved to be one of the more rockin’ moments of the night. Weir has always done a phenomenal job with the Johnny Cash catalog, and “Big River” was certainly on point. It’s always a treat to hear “West LA Fadeaway,” even if D&C’s rendition is slowed down just a bit. Weir appeared the play the first few notes of “He’s Gone” before quickly aborting, switching guitars, and allowing Mayer to lead the way through a killer “Tennesee Jed.”  The first set would end just as strong as it started, as “Bird Song” worked its way in and out of “Loose Lucy” before coming back in full force.

The sun was finally starting to set, and the band returned to the stage after a lengthy set break. An extended jam eventually led us to “The Other One,” which would then segue into a surprising stand alone “Franklin’s Tower.” Mayer led the band through “Crazy Fingers” in impressive fashion. Any time I’m fortunate enough to hear the “Lady with a Fan” > “Terrapin Station” combo is a very special occasion. This particular performance was perfect in every way. They eventually made their way back to “The Other One” before unleashing Hart & Kreutzmann for “Drums” > “Space.” The rest of the band returned to stage and eventually hit the opening notes of “Althea,” the song which led Mayer to discover the Dead’s music. Weir then performed one of the more coveted Garcia ballads in “Standing on the Moon,” before “One More Saturday Night” ended the set in proper fashion.

After the “Scarlet Begonias” opener, many wondered if and when we would hear “Fire on the Mountain.” Fortunately, the band returned for the encore and Burbridge finally had his chance to shine on lead vocals. Walking out of the venue, I felt that familiar since of gratitude that can only be achieved by these unique musical journeys. While I was lucky enough to stumble across the Grateful Dead’s music at a young age, it was just after the passing of Jerry Garcia. The reality that I’m able to be a part of this experience so many years later is something I'll never take for granted. These are moments that I’ll cherish for as long as I live, and hopefully, there will be many more Grateful nights to come.

Exit/In Announces Tribute to Phish, Grateful Dead, & Allman Brothers June 26, 2019 12:08

We advise you to expect the unexpected at this show. With the musicians on hand and the endless options of these three catalogs, this is sure to be a special occasions with all kinds of surprises. Tickets are on sale now and can be purchased for $10 in advance by clicking here. Stay tuned for further information and details on this special occasion! 

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Watch Travers Brothership perform The Allman Brothers Band's "Black Hearted Woman" here:

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Navigating the New Orleans Heart with Mike Doussan May 31, 2019 10:18

Interview by Brett Hutchins: BrettOnBands.com

What does it mean to be New Orleans? The city’s magnetic pull will forever grip outsiders, but what’s it like to survive as a native son, steeped in a scene brimming with free thinkers and constant communal revelry?

For roots rocker Mike Doussan, it means finding purpose.

Raising a family and the suicide of his brother forced his hand in finding his, but through the mentorship of his drummer son August and his focused work on mental health, it’s obvious that this is a musician determined to make his work matter.

It’s a busy week for Doussan, with the release of his new record Yesterday’s Troubles and release parties at The Maple Leaf in New Orleans and Paradise Bar on Pensacola Beach. Luckily, he was able to squeeze us in to chat about his new focus, the necessity of honesty in songwriting, and the camaraderie of the New Orleans music scene.

Mike Doussan’s story is intrinsic to the human condition. There’s pain and pleasure, grit and grace, but much like the city of New Orleans and music itself, true beauty rises from chaos. His songs are proof.

When did you start playing and why?

Mike: I started playing guitar when I was 8. My dad played and I remember always loving when he plugged in and cranked up his Strat through his Peavy Stereo Chorus 212. One day I asked him to teach me and that was it. I never looked back. I remember the first lick he taught me was the signature lick from Derek and the Dominos “Layla.” I was hooked after that.

What was the a-ha moment of knowing you could make this a full-time gig?

Mike: I was 23 or 24 when I started getting out into the clubs and sitting in with bands around New Orleans. Eric Lindell was one of the cats I would sit in with and we became pretty close. We both lived in Algiers Point so it was easy for us to get together and jam, or walk the dogs, or hit the local bars for the happy hour drink specials and free mini tacos. One day he called me up to play an acoustic duo gig with him on a boat. I agreed and loaded up my guitars in his purple PT Cruiser to head to the gig. We ended up in the parking lot of the Empire boat launch, a long ways away from where I had imagined this gig would be, and when we arrived, he informed me we wouldn’t be needing the guitars.

At this point I was a little nervous, but went along without question. We boarded a shrimp boat and idled out into the bay under the late night sky. After hauling in the nets after the third drop, sorting through hundreds of shrimp, and a handful of beers, I asked Eric why he told me we had a gig only to take me shrimping. He said, “I took you out here to get you away from everything you know and tell you to quit your job and play music.” About 6 weeks later, I quit my job in construction and started booking my band full time.

Talk about the grind of the New Orleans music scene. It seems like there is a balance in the city between musical camaraderie and healthy competition for gigs.

Mike: I’ve never felt competition in the New Orleans scene. From day one I was welcomed by well-seasoned musicians to share their stages.  I still feel that same camaraderie and I feel it’s my duty to extend that camaraderie to the younger cats coming up in the scene.

Compare being a songwriter to being a sideman. Is it easier to throw all of yourself out there when it’s stuff you’ve written?

Mike: I believe my passion for playing doesn’t discriminate between my own songs or someone else’s. Of course, I may have a stronger connection to something I’ve written, but I like to put all I have into everything I do.

With the new record, has it been a conscious effort to move to a more folky Americana style and if so what prompted that?

Mike: For my last two records, Sin or Salvation and Yesterday’s Troubles, I’ve made a conscious effort to let the songs be what they are. I’m not trying to fit in any genre. A lot of my writing comes out with a kind of folky feel to it, which I think is natural to a guy writing with an acoustic guitar, but I have so many different influences that are showcased on these last two records, you’d be hard pressed to fit it in a box.

What’s the secret to balancing family life with the rock and roll?

Being present. You have to be present for both the family and the music. It gets tough at times, but you can’t phone either of them in. They both deserve everything you have to offer. I couldn’t do it without my wife, Maggie, who has been so understanding and supportive of what’s demanded of me as a musician. And my kids are supportive too. It’s important to me to be able to show them that you can follow your dreams and do what you want to do to make a living.

What’s it like watching your son August grow as a drummer?

Mike: Watching August grow as a drummer has been a trip. He has such a natural, round pocket. Doug Belote, who is the drummer on Yesterday’s Troubles, compared him to Jim Keltner (Traveling Wilburys, Eric Clapton, Bob Dylan.) It’s funny hear such high praise directed towards a 7 year old, but he backs it up behind the kit. He’ll be sitting in with us on the Paradise Inn Release Parties in Pensacola Beach.

If he only had one drummer he could listen to to learn from, who would it be?

Mike: He’s sleeping now and feel that I can’t answer that for him.

Whether it’s being so involved with August or your work with mental health after your brother’s suicide, it seems like you’ve tapped into the higher power of music. Was there a specific point when you realized your music had the potential to do something important?

Mike: It started before both August’s birth and my brother’s death. I remember hearing the Ryan Adams' Heartbreaker record and being blown away by the honesty in his songwriting. That record influenced some of the writing for Sin or Salvation. Over the years, I’ve tried to harness that brutally honest approach and hone my craft to reflect that. It just so happens that August was born and Brett died on the journey. Those experiences have definitely led to deeper thought and expression. The song has been such an important part of my therapy and I’m lucky to be able to express myself in such a universal art form. I know there are a lot of people out there suffering, and for some, a song might be the only thing they can relate to, so I try to include messages of hope in my music, and hope is what the theme of the new record is all about. Yesterday’s Troubles are gone.

When it comes to mental health, how does music help us?

Mike: Music can help us in so many ways! A song from our youth can remind us of good times, or certain people or places, and bring up happy memories. It can also help us grieve hardships or losses in our lives by allowing us to connect to a songwriter that has experienced similar pain. Being able to write songs that I can channel my experiences through and have them mean something to others is something I will forever be grateful for.

What unique challenges does the typical musician face in staying healthy mentally?

Mike: A lot of musicians, like most artists, face so many factors daily that can make it a struggle to stay mentally healthy. For one, the typical pay for a musician is pretty low. That alone can lead to a poor diet, less than adequate housing, lack of health insurance, etc. Being constantly in a bar scene can lead to increased alcohol consumption which is a well known depressant. It’s also common for drugs to run in the same circles as musicians.

There’s also the possibility of rejection that we face daily. A lot of gigs that you are basically forced to take to make ends meet are for crowds that could care less if you are there playing music or not. So you’re over there in the corner, playing your heart out, trying to make some sort of connection with just one person in the room and there’s not so much as a golf clap at the end of your songs. When you combine all of these factors with drugs and alcohol used as coping tools, it’s very easy for a musician’s mental health to deteriorate quickly.

Stream Mike Doussan's new album Yesterday's Troubles here:

Purchase Mike Doussan’s new record ‘Yesterday’s Troubles’ at  MikeDoussanMusic.com starting Friday, May 31st.

Hog Days of Summer Will Feature North Mississippi Allstars & More May 23, 2019 10:11

Elaine Cole Releases Debut Single "Blame It on the Roses" May 20, 2019 23:17

Elaine Cole recently debuted her first independent single, “Blame It on the Roses”. This sort-of love ballad, or tune of trial was written entirely by Elaine, and recorded with the acclaimed John Mailander (fiddle), Cory Walker (banjo), Jake Stargel (guitar); mastered by Austin Lee, all in their hometown of Nashville, TN.

Elaine Cole (born Rachel Paschket) began her musical career as a child, singing in church choirs and music camps in her hometown of Franklin, Tennessee. Shortly after moving to southern California as an adolescent, Elaine's vocal abilities recieved recognition in the forms of a Macy Award as well as an Outlook Award, both for best overall vocal performance, as a result of vigorous theater and vocal trainings.

After spending early high school years studying in a musical theater environment at OCHSA, Elaine took her musical knowledge and applied to her southern roots. This bred a rabid appreciation for bluegrass and roots music, prompting her to join The Stolen Faces, where she would recreate the vocal abilities of Donna Jean Godchaux in a touring Grateful Dead tribute.

From singing with Elizabeth Cooke, Allen Thompson, and Todd Snyder, to starting her own band with Bradley Rosen (The Stone Hollers), Elaine has followed her passion of delving into the Americana. Elaine released her first solo original effort, "Wait For Rain EP" in August 2017. She is now working towards her newest solo effort, "Blame It on the Roses", a single produced with the help of some friends.

Stream "Blame It on the Roses" here:

Circles Around The Sun Proves the Hype is Real in Atlanta May 9, 2019 19:50

Big Friendly Takeover Tour Kicks off Friday at Avondale Brewery May 8, 2019 12:15

Photo by Craig Baird: Home Team Photography

Three of Alabama's hottest rising acts will join forces at Birmingham's Avondale Brewing Company on Friday night. Winston Ramble, Little Raine Band, and Taylor Hunnicutt will kick off what is sure to be a special tour, which also includes stops in Asheville (NC), Atlanta (GA), Montgomery (AL), and Mobile (AL). These three bands are certainly no strangers to one another, as their roots run deep across the greater Birmingham area. Based on what we've seen in the past, we should expect numerous collaborations throughout all three sets. 

This has been a busy year, to say the least, for all three of these bands thus far. Winston Ramble continues to draw impressive crowds across the southeast, while having recently completed multiple successful runs out to Colorado. Their most recent single, "1000 Miles," alludes to the band's increasingly busy tour schedule and is more than worthy of an addition to your latest playlist. Back in early March, Little Raine Band released Dreamwalker, their first full length album since 2016. As expected, they have been grinding across the southeast in support of the release, which is one of our favorites of 2019. You can check out a detailed review of the entire album by clicking here. Taylor Hunnicutt has been one of Birmingham's brightest rising stars in recent years, and she sure seems bound to break out in 2019. You simply can't look away when she starts singing, and her "supporting cast" is as strong as any. Click here to check out her latest feature on al.com.

Click Here: Purchase tickets to the Avondale Brewery show!

As an added bonus, Friday night's show in Birmingham will feature an opening set from Atlanta's Bird Dog Jubilee. If you're planning on heading over to the brewery, you definitely don't want to miss these guys. If that wasn't enough, you can walk across the street to Saturn and catch LUTHI, The Pearl, and Dirty Lungs immediately after the music ends at the brewery. Long story short: Avondale is the place to be on Friday night.

We took a few minutes to chat with members of Winston Ramble and Little Raine Band to learn more about their vision for this tour. See below for a few quotes from the conversation. Click here to purchase your tickets to see all three bands on Friday night in Birmingham.

“There’s nothing quite like playing music on the road with people you love. We’re all close friends and love making music together, so this is kind of like a family vacation in a way.. We’ve thrown around this idea for a while now and it’s awesome to see it finally come into fruition. There’s really no telling what you could expect from this tour, we have some fun surprises in store, other than that we know it’s going to get rowdy!” - Davis Little of Little Raine Band

"This run has been a long time coming, and I know we're all excited to make it happen. We've been lucky enough to share the stage with each other many times The Avondale show was so much fun last year, and we had to take it on the road. If I could pick any bands to travel and play with, it'd be these two. We love the music these two bands make and love the people who make it. Expect a show full of a many genres, original music, re-imagined covers, and collaborations. It'll be a damn good time." - Justin Oliver of Winston Ramble

Check out the official promo video for the BFT tour here:

Universal Sigh Releases New Single "Snow Dunes" May 3, 2019 09:51

Athens, GA - Metamorphic rock band Universal Sigh released a new single "Snow Dunes" on Tuesday, April 30th. This upbeat track features lively guitars and reminiscent lyrics inspired by the might of nature and the wisdom of hindsight. It was recorded with producer Tomas Uribe in several studios around Atlanta, GA. "Snow Dunes" marks the first studio release from Universal Sigh in three years and is the initial of several releases on the horizon in 2019.

Universal Sigh maintains a busy touring schedule averaging over 100 shows per year and will celebrate the release of “Snow Dunes” with a headlining appearance at Aisle 5 in Atlanta, GA on May 3rd following the Shaky Knees Music Festival.

Additionally Universal Sigh curates and hosts their own 2-Day Music and Arts festival called “Sigh In July” in Athens GA. The multi-day event showcases national, regional, and local talent to inspire consciousness and foster musical community. The 5th Annual Sigh in July will take place at Live Wire Athens on July 26th & 27th.

Steam Universal Sigh's "Snow Dunes" here:

Official Bio: Universal Sigh

Universal Sigh is set for high gear in 2019 and beyond. Their unique “metamorphic rock” compositions are rooted in quintessential groove that delves into an epic, cinematic, psychedelic jazz journey. Their soulful melodies reflect peaks and valleys of emotion and their harmonious improv sparks fascination in their listeners. This year will be a very productive year for the band boasting several single debuts and the release of the band's second full-length album.

Based out of Athens, GA these southern rockers have been bringing the heat across the country since 2013. In the past 2 years, the band has shared the stage with Leftover Salmon, Papadosio, Twiddle, Pigeons Playing Ping Pong, Spafford, The Main Squeeze, The Werks, Aqueous, Naughty Professor, The Jauntee, Cycles and more. The quartet regularly tours between the southeast and Colorado and produce their annual Sigh in July Music & Arts Festival every summer.

The band name Universal Sigh signifies a common thread that links everyone to life – the breath. Music, like breath, provides connection, awareness, and brings you into the present moment. Each breath and song is a simple reminder that we are all connected and reliant on each other in this journey through life.

Nostalgia vs. the Now: 25 Years with The String Cheese Incident April 30, 2019 10:44

Photo by Dylan Langille: ontheDL Photography

Interview by Brett Hutchins: BrettOnBands.com

Ten years ago, The String Cheese Incident took a chance on me.

As naive senior at Florida State, the dread and uncertainty of post-graduation was met with one sure thing - my absolute need to be involved in music. Resumes flew out to damn near every record label, booking agency, and publicity firm in the country.

One returned the email.

A day after graduation, I made the trek from Tallahassee, FL to Boulder, CO for an internship at SCI Fidelity Records. I was quickly rocketed into a world gloriously foreign to me, where all are welcome and the most different of people and styles are free to come together. The music of the String Cheese Incident did for me what it has done for people around the world and even the band members themselves. It forged seemingly impossible connections through the simple act of being open to adventure.

Bassist Keith Moseley chats here about the band’s 25 years, the communal spirit behind the band and its fans, and how the city of New Orleans inspires the band in front of this week’s JazzFest after-parties. It’s a conversation that points to the immense ways that music can transcend time and boundaries of all kinds.

Congrats on the 25th anniversary. Do you feel old?

Keith: Every day. It’s a serious milestone to reflect on and live with the fact that we’ve been a band for 25 years. We’re beating the odds and all staying healthy. I feel like we are making the best music ever together, too. It’s a special feeling.

I’ve read a lot of interviews where you speak about staying in the moment. How do you keep focused on that when there is so much nostalgia in the air this year?

Keith: The moment on stage? Part of being present with the band is how much new material we’ve written and recorded in the last few years. It feels like the band is going through a renewed sense of growth. To execute those songs onstage, you really have to be mindful and present. There’s no auto-pilot when you’re playing brand new songs. You have to remain super engaged up there in trying to play them the best you can.

Your music has created life-changing memories for thousands of folks. How does the band avoid the pressure of feeling like they need to replicate past experiences for some of their veteran fans?

Keith: There is definitely some expectation of the band every time we hit the stage. Some of that results in pressure to live up to the past, but we view it more as a responsibility to our fans and our past than pressure. This band, the music we make, and this scene we curate is big and important, more so than any one of us. It’s showing up and playing your role in this bigger thing. It’s all encompassing in that way. Sometimes you get that liftoff where the whole physical experience can take on importance for people.

When you guys were playing ski bars in the beginning, was there ever any thought into how big this could be?

Keith: It was hard to see how big it could go. 25 years and traveling worldwide with this music is a big deal. It’s hard to imagine, although the connection was very real on a smaller scale. We did get to those points of playing music quickly in those small bars. It got magical quickly. Getting that feeling and knowing we’re doing something emotional and powerful is a unique experience. Getting into those moments of absence is a special place I like to get to whenever I can.

I’ve chatted about Cheese with strangers in as faraway lands as Thailand. The community truly is worldwide. What makes your fans so special?

Keith: Our fans in general are an open-minded adventurous spirit as a group. They’re open to our wild palate of music and diverse ideas. That’s the type of people I want to hang out with.

Are there things the guys do, either musically or otherwise, that surprise you even after all this time?

Keith: Musically, we’re so familiar with each other, but surprises do still happen. I feel really fortunate to play with such amazing and spirited fellows. They’re a great group and it’s always an adventure. Personally, it’s fun, too. We’ve all been friends for a long time. Travis starting a family was a big surprise. We didn’t see that coming. But as an example, that’s been an amazing growth experience for him and it’s brought a lot of joy to his playing.

How organic is the current writing process? I’d imagine it helps a ton having your own studio space.

Keith: The Sound Lab has really gotten our focus and writing in place. We can come directly off the road and everything’s already set up to go. It’s been super inspiring. The process of writing is different for everyone. Lots of times we get together and band mates bring in songs that are complete or nearly complete. It’s just a matter of how we are going to put our group touch on it. Other times, it’s a group writing process where we’ve got a jam or a groove we’ve played before and want to revisit to build into an actual song.

It’s nice to have a studio space where we can come together and not be on the clock. It sure beats paying tons of money to be put on deadlines and have songs put together in x-amount of time. It helps us to be able to spread out the process between the writing and then shift into rehearsal head space.

Photo by Jordan Kirkland: Live & Listen

How has family life and time passing in general affected the band’s songwriting?

Keith: Where you’re coming from in life is always going to have a big effect on your output when you’re writing. A lot of us are feeling mature in a lot of ways these days, with kids leaving home and moving on. Some of the guys have younger kids. Different chapters in your life affect songwriting in different ways. When there is a deeper well to draw from, it’s bound to yield positive results. That well gives you time to reflect and comment based on things you’ve seen. I’m excited about the material the band’s putting out. We’re still getting better and that alone is super exciting.

Are there any surprising lessons you’ve learned from music that you take into your everyday life?

Keith: Not many surprising, but lessons continue to reveal themselves, the most basic being that what you get out of it is a reflection of what you put into it. That remains true on so many levels.

What goes into preparations for shows these days with the weekend runs?

Keith: We’ll usually try to come up with a setlist before the run and pass that along via email to give everyone a chance to throw their input in. We’ll have a little time to prep on it and then we’ll rehearse and try to go over some of the stuff we haven’t hit in a long time or rehash the newer tunes. We have been rehearsing a lot though, which has been fun. There’s a lot of pre-planning, but there is always the chance we might ditch the setlist or call an audible here and there.

Does the time in between shows make it more difficult to build more momentum into the improve spaces?

Keith: That’s a continuing discussion with the band. Was it better when we were on the road playing five, six nights a week? The band certainly gets into a unique space when you’re doing intensive touring. Just by the virtue of all that time together, you get to a different space in the playing.

The flipside is that it can be a burnout being out for long stretches. Attacking things like we are right now gives us time to come in refreshed and looking forward to the gig, plus giving us rehearsal time at home. There are pros and cons of every way of doing these things.

The crowd comes in fresh and excited, as well.

Keith: Yeah, people are pumped to come to New Orleans. We had a big weekend in St. Louis after not being there in forever. It’s been a great run of shows this Spring, and I think we’re on a great trajectory.

I’ll be shooting over for those New Orleans shows. How will the shows with guests be structured? Full shows? Full sets? Just a few songs?

Keith: Just a few songs most likely.

What’s the communication like with these guests beforehand?

Keith: We’ll have a point person in the band assigned to each guest. They’ll reach out and get an idea of the tunes they can do, and then we’ll have some rehearsal with them day of show.

You guys have a pretty cool history with New Orleans all the way back to the early days. What makes New Orleans so special for the band?

Keith: We’ve all just been attracted to the vibe of the city and the musical richness of the city for a really long time. Before I had ever been to New Orleans, I was fan of its music. The Meters, the Neville Brothers, Dr. John.

We did some early gigs at the Maple Leaf mid to late 90s. It’s such a small room, but it was awesome soaking up the vibe. We’d see as many shows as we could see as well. I have great memories of seeing a late night Gatemouth Brown show. CJ Chenier and Buckwheat Zydeco come to mind as well. So we get pumped just coming to New Orleans.

Stream SCI's 1997 Maple Leaf Show with 2019 featured guest Anders Osborne here:

One last question and it might be the big unanswerable, but what’s next for the band after this anniversary run?

Keith: More of the same in a way. We’re going to hit it hard this year. There’s still some unannounced shows on the horizon for the remainder of the calendar year we’ll bust out soon. We look forward to getting out some unreleased music we’ve been working on in the Lab and a few more tracks that are going to trickle out and perhaps package that as an album. We’re on a great path as far as recording and creating music, and playing some great destination venues. We’ll look forward to more of that.

Great. I appreciate the time, Keith. It’s impossible to overstate how important the band’s music has been for me. It truly changed the trajectory of my life.

Keith: Thanks so much. It’s happened that way for a lot of people. It’s been a huge influence on all of us, too. We’ve all met our best friends, wives, and all kinds of people through this community. Thanks for being a part of it. We appreciate you.

Ready for Festival Season: Catching up with SunSquabi April 28, 2019 18:51

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Photo by Chester Pink

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Spring time is without a doubt one of the most exciting, critical times of the year for any nationally touring act. Festival season is shifting into full gear, and countless artists are preparing to take the stage in the hopes of blowing the minds of their loyal fans and, hopefully, picking up some new followers along the way. Just over a week ago, many of my favorite acts gathered at Atlanta's Centennial Olympic Park for the annual SweetWater 420 Festival. This year's lineup was as impressive and diverse as ever, and honestly, I'm still trying to digest everything that went down.

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After several years of listening and watching from afar, I finally had a chance to catch one of my favorite electronic funk acts: SunSquabi. We actually sat down to discuss their latest tour, the new album (Instinct), festival season, and much more prior to their set. See below for the full conversation with Kevin Donohue (guitar/keys/production),  Josh Fairman (bass), and Chris Anderson (drums) and make sure to keep an eye out for these guys this summer!

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You guys recently completed a big spring tour. Now you're here in Atlanta as you kick off festival season. How have things been going overall? Any highlights? 

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Kevin: It's really been phenomenal, since all the way back to October. We've been traveling to different parts of the southeast. All up and down the northeast and over to the west coast. It's tough to say what the highlights would be. It's been a very consistent and strong tour all the way through. 

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Josh: We played our first show in DC. It was a packed, sold out show, which was really cool. 

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Chris: In Boston, we got to play with my little brother on violin. That was a big highlight for me. It's pretty special to get to play with family. 

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Kevin: It was great getting back out to Seattle and northern California. We hadn't been up that way in about two years, so it was great seeing all of the fans in that area. We played Los Angeles for the first time: sold out. We played San Diego for the first time: sold out. It's crazy to see the growth and love. 

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Josh: It was the best tour we've ever had. For sure. 

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That's amazing. Keep that momentum rolling right into festival season. So you released a new album, Instinct, earlier this year. How was this recording experience different from those in the past?

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Kevin: I think the meat of it is really cool. We did a lot more live recording, which gives it a really unique sound. All three of us were able to play in the studio together and feed off of the improvisation we came up with on tour. These ideas would evolve night by night. We were able to come home and live record these ideas instead of writing them from scratch, which we had done more of in the past. A few of the songs still developed that way, but the meat of it had a really fresh feel to it. 

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Josh: It's also the first full length record that I've played on.

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Kevin: That's right. First full length with Josh. A lot more analog synths. Been doing a lot of production techniques that we're just learning this year. Using less mics and taking a more minimalistic approach with the electronic sounds as well. Just using what you need to get the juice out of certain sounds that you want. 

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Chris: We did a lot of songs that came to us through improvisation. Everything evolved from there. We got a lot out of the entire process. It was a really fun recording experience. 

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From what I've heard, one of the next things we can expect is a remix on a Lettuce tune. Is that something you can elaborate on?

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Kevin: Absolutely. It will be released as soon as we complete the finishing touches. We have some killer artwork that Mike Tallman did for us. I'm expecting that it will be released during mid to late May. We've been working on it for about a year and a half. We got the samples from Adam Dietch (drummer from Lettuce) a while back. He's a really good friend of ours in Denver. 

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It's been one of those things where you're chipping away at this project for a while. It was essentially finished about a year ago. They asked us to hold off until the entire LP remix was finished. We decided we would play it live and keep making it doper. We've continued to add little things to it. It's a super crazy, psychedelic track. I think putting off the release was actually a blessing. It's given us another six months to refine it. 

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Check out SunSquabi's "Night Moth" here:

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It's funny how things work out sometimes. Which Lettuce track is this again?

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Kevin: It's called "The Love You Left Behind." It's got these great female vocals in it and a lot of great guitar playing.

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Josh: Lettuce is collectively one of our favorite bands. They're definitely an inspiration to us. 

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Kevin: Working with them directly was pretty special. Hopefully we'll be able to play some more shows with those guys in the future. 

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That would make for a hell of a pairing. There wouldn't be a dull moment on a Lettuce / SunSquabi bill. 

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Kevin: We like to think so too. (laughs).

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Getting back to the topic of festival season. You guys are playing Bonnaroo this year. That's obviously a big deal. Camp Bisco and Summer Camp are also coming up. 

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Kevin: We're stoked to play three sets at Summer Camp this year. 

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Chris: There's also Disc Jam up in New York. 

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Kevin: I'm really excited about getting back to Summer Camp. I think we were there for six years in a row. Last year, we did Electric Forest instead, which was awesome. Summer Camp brings together a lot of our closest friends. 

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Chris: It was one of the first festivals we ever played back in...2012?

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Kevin: There's a little bit of a different feel with not playing there last year. We're coming back this time around, and we get to play three sets. 

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Josh: I'm also really excited for ARISE Music Festival. It's basically the highest we've ever been billed on a festival. It's right at home in Colorado, so that's our big summer play for the hometown people. 

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Chris: We're playing The Werk Out Festival in Ohio. That's gonna be a really fun one. There are a couple more announcements coming as well. 

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Well you've obviously got two big sets coming up this evening. First, you get to play a prime time set this evening here at SweetWater 420 Festival. Then you're heading over to Aisle 5 for an afterparty that's been sold out for weeks. How do you formulate the setlists on a day like today. What's the strategy with the festival set versus the late night set?

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Kevin: Honestly, it's different every single time. We've had a pretty crazy 24 hours getting down here. We'll take this whirlwind of energy and channel it directly into the music. Take that energy and turn it into something constructive for everyone. I think we're gonna play pretty loud, fast, and hardcore today. We're a little pissed off (laughs). You know what I mean? We will probably write the setlist shortly after we finish this interview. 

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For the late night set, we won't really worry about that until we get there. We're gonna play what we want to play today. No repeats ever, obviously. Even though, it's a much smaller club. There are going to be a lot more people here. We try not to let too many outside factors play into the set. Just play what we're feeling at the moment. That feels like the most genuine approach, when you're put on a platform of a festival. Be yourself.

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Josh: With the late nights, we tend to have more sit-ins and experimental jams.

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Are there any confirmed guests for the Aisle 5 show tonight? 

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Kevin: We've talked to a few people. [Michael] Menert is in town, so I think he's gonna stop by and do some free styling. We've been doing that with him for years. It's crazy. The late nights are always fun. We tend to get pretty loose. We've been looking forward to this day for a while now.

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Check out a few shots from SunSquabi at 420 Fest via Ryan Lewis:

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Adam MacDougall of Circles Around the Sun: A Band Beyond Description April 24, 2019 13:58

Words by Josh Hettermann

Photo by ontheDL Photo

Not long into a conversation with Adam MacDougall, the keyboard aficionado who has played with The Black Crowes and The Chris Robinson Brotherhood, he remarked, “This is without a doubt the most serendipitous band I’ve ever been in.” It takes a deeper understanding of Circles Around the Sun, the outfit MacDougall was referencing, to fully comprehend that statement.

The group, popularly referred to as CATS by fans and industry professionals alike, assembled in 2015 and recorded Interludes for the Dead, which was broadcasted at the set break of the 5 Grateful Dead 50th anniversary shows that year. Joined by his CRB bandmate Neal Casal and veteran musicians in bassist Dan Horne and drummer Mark Levy, MacDougall and the group recorded what he readily admitted, “Wasn’t really an album... but more a reflection on iconic Grateful Dead tunes that were danceable and fun.”

The response from the hundreds of thousands of fans both at the shows and those streaming at home was influential in the band’s decision to pursue further musical exploration together. Acknowledging this, MacDougall quipped, “So whenever everyone was sitting there packing their bongs or making cocktails or whatever at set break, we were strapped on to the back of those shows. It was huge.” After cutting their teeth with a few live performances in the following year, the foursome reconvened at Castaway 7 Studios in Ventura, CA in 2018 to record their sophomore album Let it Wander.

The record is not an enormous departure from Interludes for the Dead, but it most certainly displays the band’s growth as a cohesive unit and their desire to create a more original sound. If Interludes was a rhythmic dip in a tide pool, Let it Wander is a journey into the waves and depth of the ocean.

Touching on the serendipity that MacDougall referenced earlier, a notable track from the record is “A Song for Chuck,” which features a toast from the legendary Public Enemy frontman Chuck D, who records at the same studio. Chuck stopped by while Circles was laying down one of their rhythms for the new album and liked the sound, so studio head JP Hesser asked him if he wanted to come back and add his voice to the track’s intro. Chuck happily obliged. Despite whatever title for the track the band had in mind, “A Song for Chuck” just fit better. Such is the benefit of recording instrumentals.

Let it Wander was released to universal acclaim and has coincided with the band’s steady rise as a major player in the current live music scene. When speaking of this success, MacDougall credited the group’s potentially risky decision to open for the tour de force that is Greensky Bluegrass for a dozen shows in early 2019. “You don’t open shows to make money... but once we saw some of the venues we would be playing (with Greensky), like the Beacon in New York, we couldn’t turn it down.” A highlight of that stretch of shows, undoubtedly, was when Adam and CATS’ guitarist Neil Casal sat in with Greensky at the iconic Tabernacle in Atlanta.

The success of that stretch lead Circles Around the Sun to book their first major headlining tour, starting this Saturday in Austin at Antone’s Nightclub. While this two month tour will hit many of the similar Southeastern markets that the group played with Greensky, it also includes new markets, “Like Texas... which is scary!” It also includes a stop at the up and coming Aiken Bluegrass Festival in South Carolina, where they will join fellow Greensky tour opener Cris Jacobs Band as one of the only non-bluegrass bands on the lineup. MacDougall doesn’t see this as a challenge, though, stating, “If we can make people dance for a few hours, that’s all we really care about.”

Adam MacDougall has an enviable enthusiasm about being a part of this band. “I get to play with really great friends and great people. I’ve known Mark forever and Dan is an incredible bass player, and Neal and I have built a musical language for almost a decade now.” Circles Around the Sun is undoubtedly one of the hottest acts in the current live music scene. “This is my retirement plan,” said a laughing MacDougall. “I could easily sit back in an easy chair with this band for as long as people will have us.” He better get comfortable in that chair... Circles Around the Sun have only just begun to rise.

Check out Circles Around the Sun's "One for Chuck" here:

10 Reasons Not to Miss SweetWater 420 Festival April 18, 2019 01:33

10. There's some serious after shows to choose from. Killer late night sets across the city.

• Not quite ready to call it a night after the headliner? No problem. The afterparties surrounding this year's festival are as strong as you'll find anywhere. Terminal West will host Ghost Light on Friday night and Billy Strings on Saturday. Aisle 5 will host Voodoo Visionary on Thursday, Higher Learning on Friday, SunSquabi on Saturday, and Knower + Nate Wood Four on Sunday. Additional afters shows we're keeping an eye on include Bird Dog Jubilee & Schema at Cotton Club (downstairs at the Tabernacle) on Friday and Runaway Gin "Make Phish Evil Again" at The Loft on Friday.

Here's a quick video recap from the 2018 festival:

Check out the full weekend schedule and map out your weekend below!

Year Two of Ghost Light: An Interview with Tom Hamilton April 16, 2019 13:47

Interview by Jordan Kirkland: Live & Listen

Photo by Donna Winchester: DonnasPics

In preparation for Ghost Light's upcoming run through the southeast, we recently sat down with guitarist / vocalist Tom Hamilton to learn more about what what we can expect from the band in year two, their recent album release, and much more. With scheduled performances in Nashville (4/16), Asheville (4/17), Charleston (4/18), Atlanta (4/19), and Charlotte (4/20), southern jam fans have plenty of options. The tour continues on April 24th at Zydeco in Birmingham, and you can enter to win a pair of tickets by sharing this interview from the Live & Listen Facebook page. See below for our full conversation with Tom, and make sure you don't miss out on this run!

Let's start off by talking about your personal journey. You've toured the country and been involved with a number of projects. How would you describe the journey thus far?

Tom: Yeah man. It's been a long go, I guess. I started playing at bars when I was twelve, and I just turned forty. That's a good amount of time. It's funny. Starting that early, there was never really an option. There was no "plan B," so to speak. This is just what you do, because you love to play music. Starting in middle school, I was a student with a part time job. On the weekends, I played concerts. It's always been like that. Up until about four years ago, I always had a job as well. It's something I did because I loved to do it. 

With my first band, Brothers Past, that was a college experience. I lived with a bunch of dudes. It was like living in a frat house. None of us knew what the fuck we were doing...with any of it. That was a van full of 21 to 24 year old kids with no internet or iPhone. We had an atlas and a van. It was just like, "Ok...I guess we're gonna drive to fuckin' Cleveland today!" That kind of fell apart unfortunately, or I guess fortunately, because I'm ok with where I am now. I love being in a band. I've always enjoyed that comradery and the hang in general. It's something I've always been super into. 

Clearly. Things have obviously come a long way since then. Joe Russo's Almost Dead has really taken off. I'm sure that's been a bit of a game changer for you personally. How much have things changed since then?

Tom: Hmm...I don't think things have changed personally. You're talking to me right now. I'm in Columbus, Ohio at a 300 person venue that I've played a bunch of times over the course of my life. I've been on the road for four weeks. I'm in a van with five other people. This could be April 11th 2019. This could also be April 11th 2001. There's not that much of a fucking difference. 

The JRAD thing has been amazing. You're right. It's provided so many opportunities and has made it more feasible, or maybe more comfortable, to do what I'm doing right now. I'm still doing the same shit though. I still have the same goals. I started Ghost Light last year, and fortunately, my experience over the years and the entire organization has allowed us to grow a lot in our first year of existence. It hasn't changed my goals, which are to be in a band with a group of people that is based around original music. 

That's what I like to do. I like to make interesting records. I feel like I've stuck to my guns, you know? When I was a kid, in my mid-twenties, someone asked me to take a gig with this band that just wasn't my cup of tea. It wouldn't have been something that I believed in and enjoyed. I would have just done it for the money. I turned it down, and at the time, I was fucking poor. I had been living on Joe Russo's couch for the better part of four years. I had changed my residence to a couch in The Disco Biscuits' studio in Philadelphia. I was sleeping on that couch or in my car, so it's not like I was in a position to be picky about gigs. I didn't want to just do something for the money. My buddy thought I was crazy. I told him the only gig I'd ever consider doing that wasn't my music was something related to the Grateful Dead. That's how I started listening to and playing music.

So when the JRAD thing came together, I was all about it. I love the Grateful Dead. That music is a part of my DNA and a part of my existence. I've been lucky that I've been able to get to this point. I'm not fucking Bono or anything. I'm just a working musician, but I'm able to make a living doing it. I can look in the mirror everyday because I got here doing what I wanted to do. I didn't have to take a bunch of bullshit gigs that I didn't believe in, and there's a small sense of satisfaction with that. 

Photo by Craig Baird: Home Team Photography

I can imagine so. So more specifically, Ghost Light is entering year two now. You guys have covered a lot of ground thus far. Packing out venues from day one. How has this experience been for you thus far, and what stands out the most when looking back on year one?

Tom: Oh man. It's been really interesting. The response has been crazy...and heartwarming. It's really nice that people are taking a chance on coming out and seeing this band. I feel like most of the reaction has been very positive. Those people seem to enjoy it and are likely to come back again. That's a nice feeling, because there's a lot of stock in the tribute thing right now. It's nice to know that people are still open minded enough to come check out a new original band that isn't playing Grateful Dead or Phish tunes. 

That's gotta be encouraging, especially considering that this is a brand new band performing new original material. A lot of people are coming out and giving you guys a chance without having a whole lot of familiarity with the band's catalog. 

Tom: Absolutely. I'm really proud of our management team. They've done an amazing job getting our live material out there into the ether and consciousness of the listener. Whether it's through live recording on Archive.org or video clips, it's been great to see the positive reaction. People are willing to pay their hard earned money to see us play. There's only so many people and only so much money people have to spend. When someone chooses to spend that time and money on us, it's a pretty special feeling.

It's been about three weeks since the release of the band's debut album, Best Kept Secrets. The band ultimately decided to release two singles prior to the full album release. What do you feel are some of the positives and negatives of releasing a new album in the modern digital era?

Tom: Honestly, I think it's all positives. You're putting out an album. You create a piece of art, that is ideally something that really matters. It's part of being a creative person. I've never taken that lightly. I love albums, but I do realize that, in some ways, it is the less desired form of consumption. That doesn't mean you stop cutting albums though. There are plenty of people that still appreciate it. So yeah, I think it's all positives man. I look at as a piece of art, a statement, and piece of yourself. It's a very important landmark in your life. I look back on my life and career thus far, and the albums reflect my experiences. They're great chapters. It's a really exciting thing for me. 

Absolutely. I'm sitting here looking at Spotify right now. The first single you released was "Best Kept Secrets," and it's already sitting with 72,000+ streams. The various streaming networks certainly give you the ability to reach a wide audience quickly, which is valuable.

Tom: Yeah...it's all good man. Even if people don't like it, I'm cool with it. As long as it's out there. 

You mentioned that you're a few weeks in to a three month tour across the country. What habits and patterns have you developed over the years to keep a sound mind and body while living on the road?

Tom: Oh man. That's a great question. I try not to take anything too personally. We're out here, and we have a mission. We're out here to make this music and present ourselves to the masses. Personally, I just try to keep my eye on the ball. Obviously, the hang is important. Having fun is important. At the end of the day, I try to keep my head on straight. Be conscious of what the goal is. There are days off, and someone might want to go for a hike. Maybe it's best for me (and best for the show) if I just chill and recharge the batteries. Maybe going for a hike is the best thing another day. Being self aware and always trying to do what's best for the three hours you have to put everything out on stage, you know?

That makes sense. I know that you take a lot of pride in keeping things fresh and putting on a unique show every night. How does each set play out with preparation vs. improvisation?

Tom: It's one of my favorite parts of the process. We don't ever have a setlist. We have a song list, maybe eight songs, that we know we want to play. We just go out there, play, and figure it out as the show unfolds. As we're walking on stage, we'll decide on a starting point. That's about the extent of the planning. Whatever happens happens. We try to have strong communication on stage, and if someone brings the band to a certain song, then that's where we go. We get there, play that tune, and keep moving. 

Photo by Donna Winchester: DonnasPics

What is the band's approach towards covers? Is there much focus on keeping a fresh rotation?

Tom: Here and there. Personally, I don't care that much about it. I get my fill playing covers with JRAD. With Ghost Light, we try to throw in some covers to keep things fresh. I try not to give too much credence to that shit. A lot of the blogs out there focus on when a band plays a certain cover. Why not give more coverage to their original music, you know? (laughs). Personally, I try not to put too much weight into the cover thing. We have some cool ones on the list that are certainly outside the box. We do an 80's Kinks song and a Shins tune. Those aren't covers that a lot of people in our scene are going to expect. 

I like that approach. It's always refreshing to hear a cover that hasn't been done a million times. 

Tom: Yeah man. We like to try some different things and throw in a few deep cuts. 

Before we wrap things up, I was curious to know how you're balancing things out between JRAD and Ghost Light. How do you see the calendar playing out for the rest of 2019?

Tom: Honestly, balance isn't really a luxury that I have. JRAD does 40 shows a year, and that's that. Ghost Light is probably going to do 80 to 100. That's what you have to do to grow a band and build something new. 

That's almost half the year already.

Tom: Yeah...it's a lot of fucking time (laughs). To quote The Godfather Pt. 2, "this is the business we have chosen." I don't know man. I've just always tried to work as hard as I can. Put your head down, dig in, and do the job. Good things will happen. They might not happen right when you want them to. I would have rather had this kind of success when I was in my twenties, and not have to wait 'til my late thirties, but it still came. I believe it's because I work very hard. I think that's a truth that anyone would try to deny. It is what it is. 

Balance is something I'll worry about in a few years. Maybe when I get to fifty, I'll try to find some balance. At the moment, I love the JRAD thing so much. I love the hang. I love that music. With Ghost Light, we're building something here that people are reacting to. I'm responsible for my bandmates as much as they're responsible for me. I need to work as hard as I can to make sure that their careers are as successful as mine, if not better. There's a lot that needs to happen, but balance isn't really a part of it for me. 

There's a time and place for everything. It's been a pleasure catching up with you. I really enjoyed interviewing the entire band back in December, but I wanted to make sure we covered some different topics today. 

Second Annual SandJam Brings Massive Lineup to Panama City March 28, 2019 23:08



Press Release via SandJam.com

“We are beyond excited about these headliners,” said SandJam Executive Producer Rendy Lovelady. “Kings of Leon and Third Eye Blind are absolutely huge, and Young The Giant looks like they’ll have their first #1 single when the Festival rolls around.” 

Blurring Traditions and Definitions with Billy Strings March 21, 2019 11:34

Interview by Brett Hutchins: Brett on Bands

Billy Strings sees you on your phone at his show. And he’s about to make you feel weird about it. Coming off the heels of a monster week at Austin’s SXSW festival, the progressive bluegrass guitarist extraordinaire took a breather before his shows at Pensacola’s Vinyl Music Hall and Suwannee Spring Reunion to chat about his endless touring, how he handles rough crowds, and his band’s embrace of the unknown.

Though Billy’s fearless guitar playing boggles minds on its own, he has locked in a unit of mandolin, upright bass, and banjo  that is committed to each other and their crowds in a special way. There’s purposeful playing here, but more importantly, there’s a whole lot of fun - the type of fun that forces you to look at strangers to confirm that yes, we all just witnessed that together. Do not miss this show when it comes to town.

You were immediately surrounded by bluegrass upon birth, but do you think it would have found you if not for your family?

Billy: I wonder. That’s a great question. You could say it’s 50/50. There’s a lot of people born when I was in 1992 that have no idea what the hell bluegrass is. When I think about it, I am grateful to my father for showing me the music. I attribute it to my parents’ influence.

And you still play with him a decent amount, don’t you?

Billy: Absolutely. It’s because of him that I’m out here doing this. I don’t think I would’ve found this bluegrass, at least not to the degree that I’ve fallen in love with it.

Was there ever any pressure in being labeled a protege?

Billy: No. Never. In fact, my parents never pushed me either way. It was more like I wanted to play because my dad was so cool.

Looking at your writing, there’s a lot of darkness in your lyrics, but glimmers of hope shine through. Where does that hope come from?

Billy: Man, that’s a good question, too.  Waking up everyday and seeing the sun. Seeing my friends, and hoping for the best. Obviously, you can plan for the worst. It’s positivity. I got a lot of negativity, too, with what I write about. I write about poverty and substance abuse. It’s where I grew up - Small Town America. I write about little tiny towns with little tiny high schools, where kids are snorting pills off their desks.

That authenticity comes through. There’s also an anti-authoritarian, almost us vs. them vibe to a lot of your lyrics and the music backs it up. Where does that sort of writing come from in songs like “On the Line” and “Dealing With Despair”?

Billy: I don’t think of myself as being separate from animals. It is us vs. them, them being people who are in charge and people who are raping the planet. Government and mines and money, and all this fake bullshit instead of what’s really here on a beautiful planet that we’re all living on together. I have strong feelings about the direction of humanity.

As you’re reaching more people, do you find that what you are doing is more purposeful? It sounds like you are on a mission to spread that positivity. Is that on purpose?

Billy: Absolutely. I see how music affects people. They come out to our shows, have a good time with their friends, and smile. That’s important for a lot people who work all week - to just let go. It’s important for me too. When I look out and see somebody get lost in the music and it looks like they’re having a blissful experience, that’s the greatest compliment anyone could ever give me. That’s what satisfies me in a way, knowing that I am spreading positive energy and light.

How much of that energy in the crowd affects you guys on stage?

Billy: 110%. I sometimes think of it that I am only as good as the audience. I can only play as well as the audience can play that night. If people are really into the music and interested in what we’re doing, I can and will play my best. The more that people are into it, the better I play.

How do you power through it when the crowd isn’t as engaged?

Billy: That’s part of being a pro. You have to face those days. There are ups and downs. There are days where you’re playing a nice arena and the next day you’re going to be explaining to some drunk dude why he can’t play your guitar during setbreak.

That’s really happened?

Billy: Oh yeah. Or the harmonica guy - why he can’t come up and play with you. Sorry man, but no.

How do you keep up with the number of shows you’re doing with how physical you are up on stage? It has to take its toll.

Billy: I’m glad someone noticed! I was worried that nobody cared about my well-being. No man, I’m really lazy now that I have so many gigs. Whenever I’m not on stage, I just want to relax and totally zen out as much as I can because I give all my energy to the tour and performances. Sometimes, I stay home from the carnival just so I can relax.

Paul Hoffman from Greensky Bluegrass joked that you never turn down gigs. Do you?

Billy: Ha! Never! No, I don’t have much to do these days with that part of it. I’ve released all control onto my team. Sometimes, I’ll say, hey we really want to do this gig or do we really have to do this gig, depending on what it is.

Do you find any limitations with the current acoustic format as far as sounds you might want to be making but can’t because of the instrumentation?

Billy: These are good questions. Good job. Maybe a little bit. I’m always hoping for this bigger sound, but it is just us four up there. So maybe sometimes if I’m up on stage, I’m just dreaming about this big sound, but it’s just us four up there going “plinky plinky plink”. Maybe I’m just pretending like we have a big sound and trying to come across that way. I do love playing electric guitar, and I do love playing loud, so maybe someday, I will do some gigs with a rock band, but it’s never going to be the main focus.

So if it happens, you envision it being a separate entity?

Billy: Yeah, a side project, or you might see “Billy Strings Electric” on a festival bill. For the most part, this progressive bluegrass is what we’re doing.

Along those same lines, psychedelia has obviously had a huge impact on your sound, but how has it affected your  approach to playing and the intention behind it?

Billy: It makes me want to be less mechanical and technical and be more spiritual and soulful. I want to reach deep into my soul and pull out emotions and have them regurgitated through my guitar. That’s what it’s about. And also the freedom of it. Getting into the Grateful Dead and stuff like that. Studying Jerry taught me a freedom in music that I didn’t learn in bluegrass. Bluegrass is really structured and you have your set solos and everyone takes their turn. There are fiddle tunes where everybody knows the melody and where they go. Rarely are we 100% purely jamming - just reading each other’s emotions and going for it. So I’ve found out that I really like doing that more and more now. I really like trying to play stuff where we don’t really know what the hell we are doing, but it sounds cool.

A lot of what you just said there, I think, also speaks to Col. Bruce’s influence on you, even if it was after he passed. Is that the case?

Billy: He’s one of the greatest at those things that I’m talking about. Everything’s out there in the ether. The music. The weirdness. The sounds. The emotions. They’re all out there. You have to reach out there and grab them and spit them out of your guitar somehow. It’s a weird energy thing. People like Col. Bruce and other improvisational jazz players tap into this other realm and spit it out. I don’t really know how to explain it because I don’t fully understand it myself.

It’s obvious the crowd feeds off of how you embrace that unknown.

Billy: We know just as little about what we’re going to do next than what the crowd does.. We’re just as surprised when we land something.

Are you able to take in any shows as a spectator?

Billy: Not as much as I’d like to because usually when I am at a show, I am working in some way. I don’t go to many concerts. Something in the back of my head lately has been telling me that I need to go see more shows as a stress reliever. I want to go see Tedeschi Trucks Band again,  along with so much other good stuff going on right now.

Do you ever see people talking in the middle of your shows and if so, what’s the Billy Strings way of telling them to shut the fuck up?

Billy: Play some really weird shit on my guitar and stare directly at them. I do that sometimes if I see someone just looking at their phone. I will play a bad note, something that sounds like shit, just so that person’s like, “Wait, what?!”. And then they’ll notice I’m staring right at them and they’re like, “Oh, fuck, I am busted.”

Called out by the man.

Billy: Totally. I’m not going to get on the mic and tell people what to do, but I’ll play that weird stuff until they notice.

Last question - are you linking up with fiddler John Mailander at Suwannee Spring Reunion?

Billy: Oh, shit!

He’s there all weekend.

Billy: He reached out to me and I am an asshole.

I wouldn’t complain if you made that happen.

Billy: You just reminded me is what you did, that I need to make that happen. So yes, and thank you for the reminder.

An In-Depth Look at Little Raine Band's 'Dreamwalker' March 19, 2019 16:15

Words by Jordan Kirkland: Live & Listen

The state of Alabama has long played an integral role in the development of American music, most notably blues and country. The groundwork of a rich musical culture was laid in the early 20th century, and the resulting influence can be felt more than ever today. This culture continues to serve as a hotbed for diverse, vibrant music from across the musical spectrum. Somewhere between the realm of jazz and psychedelia, you'll find Birmingham's Little Raine Band, who have been grinding across the Southeast for the better part of a decade. 

It's been nearly four years since the release of Liveheart, LRB's first full length album. As you might expect, the band has accumulated an arsenal of new originals since 2015. To the excitement of many, rumors of a new release began circulating over the last year. These rumors became a reality on March 8th when the band released their sophomore album, Dreamwalker. While live recordings have their own unique appeal, there's nothing quite like hearing those studio cuts for the first time. It's always exciting getting your hands on an album you have anxiously awaited, and Dreamwalker was worth every minute of anticipation.

This album has the feel of a concept piece, ultimately telling a story as one track leads into the next. It's never a bad idea to start off with a heavy hitter, and that's exactly what they did. The title track, "Dreamwalker," sets the tone immediately as Daniel Raine (keyboards/vocals) subtly lures you in. The rhythm section couldn't be tighter on this one. Drummer Justin Sledge drives the band straight into the opening verse, and there you get your first taste of Isaiah Smith's unmistakable slap bass lines. Davis Little (guitar) is a master of his craft, and "Dreamwalker" features an impressive balance of heavy riffs and scorching solos. These elements are complimented by Raine's soft, raspy vocals in what truly feels like a stroll through one's dream. 

As "Dreamwalker" peacefully dwindles, the transition into "Fiery Hoop" begins. The soft, tasteful clapping which precedes Little's opening guitar riff is the perfect touch. LRB has always done a phenomenal job showcasing the vocals of both Raine and Little, who takes the lead on "Fiery Hoop." I find myself coming back to this track several times a day. The lyrics are clever, powerful, and inspiring. The guitar work is uplifting and nostalgic, and the tune as a whole is pretty damn catchy. These are the characteristics of a great song. I expect this tune to stay in heavy personal rotation for the foreseeable future. 

The dream-like state is revisited as the band works its way into "Trying to Fly." The lyrics allude to a struggle in which we can all relate to: "Here I am, just trying to fly. Just can't get my feet off the ground. Too many things, keep fogging my mind. Just can't figure it out." There is a very ambient vibe which ultimately drops into a killer jazz section. Another beautiful showcase of the skill that all four members bring to the table. Sledge and Smith keep things tight and creative, making way for Little and Raine to work their magic. 

"Fooling Around" drifts back towards the upbeat, danceable melodies that you feel during "Fiery Hoop." I find myself following Sledge's every move behind the kit here. You're gonna want to get up dance to this one. Maybe do a little "Fooling Around" yourself? Little once again delivers an inspiring message, and it's one of those songs that puts a smile on your face. Any time you have Taylor Hunnicutt lending a hand on vocals, you're in for a treat. She adds a special component that very few are capable of. 

Things calm down a bit with "No Man's Land," and the band steers back into that dream-like state. The versatility of this group is what makes them so special, and this song proves that as much as any. Little is best known for his complex riffs and mind-bending solos, but he's equally impressive on the pedal steel. "No Man's Land" makes that perfectly clear, while making room for some blissful harmony vocals as well.

I experienced some serious deja vu when the opening notes of "Artificial Love" hit. While a handful of these songs have a familiar sound, this is an LRB original that I've grown to know and love over the years. You'll hear that classy, elegant jazz sound that the band has perfected in their young career. Tragic City's Desmond Sykes takes you to church on the sax, while Raine attempts to guide you to another galaxy. Smith digs deep on the low end, and things get nice and weird before you know it. The band ultimately lands back in that familiar jazz-driven bliss that is sure to make you dance.

The synth vibes are strong with "Other Side." I can't decide whether this tune feels more like a scene from Stranger Things or an early 90's video game, but I dig it. You really get a taste of Raine's entire arsenal here. Sledge shines on each transition, and Little never fails to deliver some tasteful licks. 

The final track comes in the form of "Settled Sun." I'm not sure if the band ever really leaves the dream-like state, but you can definitely feel it throughout this tune. Smith's graceful playing stands out from the opening notes. They couldn't have finished in more appropriate fashion. A multi-layered, complex tune on all fronts. This band has a lot of jazzy moments, but "Settled Sun" might take the cake. 

As I mentioned earlier, this release has been on my radar for some time. LRB would be the first to tell you that this was past due. At the end of the day, some great things take time, patience, and persistence. The band's loyal fans now have another serious piece of music to sink their teeth into. "Dreamwalker" was every bit as impressive as we've come to expect from this band. The Birmingham-based four-piece seems poised for its biggest year year. This album will stand the test of time as a pillar of the band's existence.

Stream the album in its entirety here:

Sermons of Suwannee: Jeff Mosier on the Healing Power of Music March 19, 2019 16:03

Interview by Brett Hutchins: Brett on Bands

It shouldn’t surprise you that a man nicknamed “Reverend” has a lot to say. Rev. Jeff Mosier, the longtime right hand man of spiritual jam forefather, Col. Bruce Hampton, is a jamgrass pioneer in his own right. But more important than that is his uniquely purposeful approach to live music. Here, he speaks with Live & Listen about the brain of the improviser, the magic of the Spirit of Suwannee Music Park, and how the lessons of music align with everyday life. Mosier’s words are like his playing. They weave and wander, but in the end, they hits home in an intentional, powerful way.

Let’s jump right in with this ensemble you’re so excited about. What’s the format?

Jeff: It’s banjo, fiddle, mandolin, bass, drums, and electric guitar. The music is very open. We do a lot of improvising and we write. The magic is in the way we present it, almost like chamber music. We sit in the round where we can see each other. We do normal songs too, but it’s the way we play them that makes it different.  It’s the best thing I’ve done and I’m really excited about it. I can’t wait to do a live album.

I’d bet you prefer playing with groups versus solo.

Jeff: As I’ve gotten older, I’m doing both. I have a solo set planned for Suwanee this weekend. It forces me to use my brain and language more when I’m by myself to do some storytelling mixed with music. When I’m in an ensemble, I use the improvisational Grateful Dead-affected, Col. Bruce nutcase run through the woods naked brain. That’s the brain of a child. The brain of imagination. It’s where all the things he taught me reside - that a band is people yielding their ears one to another in the hopes of becoming bigger than the sum total of their parts.

You can rehearse something and pull it off or you can get up there and make the donuts, take chances, risk, and do it in front of a live audience. I prefer that. I like having some structure, but improv is what really moves me these days. Now I’m playing with musicians who are all comfortable with improv. I don’t get scared looks on the stage anymore. Anyone I play with knows that anything might happen at any given moment. And nobody ever looks surprised.

Is that part of the brain something that needs to be developed or does everyone have an inkling of it from the get-go?

Jeff: It’s more of a philosophy that you apply to your ears. Improvising is not something you can learn. It is feel and how you respond to your environment. That’s how I define it. Feel is how you relate to The One or The Beat. It’s what you leave out. It’s what you put in. As has been said many times - John Hartford said it and many others - style is based on limitations. It’s what you can’t do that defines you, not what you can do. A lot of people who fill up their bucket with skills are people who think they have more to offer than they do. Sometimes, having less to offer affords people opportunities, meaning that musicians who are really good at what they do and don’t reach beyond that are better to play with because they are comfortable with who they are.

From a spiritual point of view, it’s your philosophy that makes you a good improviser, not your skill set. If you love the concept of improvising, then it lets you get to the point where, as Bruce used to say, you let The Invisible Whip take over. You’re getting to the point where you aren’t playing music, the music is playing you. That’s what I learned when I was in the Aquarium Rescue Unit. Even though I was in a band that could play circles around me, I was an equal with them as far as how open I was. It changed my life at 30 years old. I’ve never been able to go back to formulary music.

It sounds like a lot of those lessons you’ve learned through music, via Col Bruce or otherwise, translate to the real world and everyday life as well.

Jeff: They really do. If you keep your expectations low in life and you raise your tolerance for frustration, that space in the middle is mental health. A lot of times, if you raise your expectations too high in music, you miss the point. You want to bring too much to the table. You want to reinvent the wheel. Sometimes it’s the simplest of notions that will hit a listener right between the eyes, bring a tear to the eyes, chill bumps to their arms, make them move, dance, think, emote, and realize something. I play music as a spiritual activity. I know it’s entertainment, too, but in my mind, I am playing it as a healing point in the universe. That’s what Albert Ayler called it.

Right now more than ever, people need that healing aspect, they need it live, and they need it together in a crowd. Festivals are serving a need that we never imagined we’d need. The elephant in the room I don’t even have to mention, but we do need that community. Music is color blind and culture-blind. And is a beautiful reminder of what makes us human.

Circling back to that communal experience you were talking about. I know you have a theology background. What similarities do you see between the experience of church and that of live music?

Jeff: Live music creates community very much like the church does. A lot of people that come into music or are at Suwannee are also involved with church. I had to step out of that mold because I was overloaded. I saw the first Moral Majority meeting in Atlanta. I was involved in the hardcore Christian Right growing up.

When I got into music, it became my new family. I could believe, cry, feel, think, have friends, have ritual, have all the things church provided me, in and around performing and listening to music. We had something in common and the music became the belief system. My biggest belief is that art equals life. No matter what you have to do as a parent, a spouse, a worker, your life is in some way, a creative activity, Hopefully, we are all working to leave a legacy of something that will survive in perpetuity after you’re gone.

We’re really good at making something out of nothing. We can do it. Sadly, we’re really good at bad ideas as well. We’ve yet to achieve viability as a species. We are only viable to ourselves right now. We’re not doing a good job being viable to the system that spawned us. Music can do that.

We can do it without being political and playing green songs and all that stuff. We prove ourselves simply by being out there under those trees together, dancing, joking around the fire,  hearing the music and seeing our friends. We sleep. We watch the days go by. We see the weather. We’re in the weather. All that stuff reminds us that we are a part of nature, not apart from it. The more apart from nature we become, the more miserable we are. That’s why we focus on money and government. We’ve lost our way.

Music holds our hand and brings us back to our senses. That’s why I still do it. For myself, my family, and all the people that enjoy what I do.

Great stuff, Jeff. Anything else you’d like to add?

Jeff: Live Oak is the balm. It heals me from missing Bruce, missing Vassar. It gives me a chance at 60 to keep it going as long as I can. So far, so good. That’s all you can do - keep writing, creating, doing interviews with folks like you and you doing your writing, that’s what life is - keeping the ball rolling.

That’s one of the things I love about these Suwannee roots festivals - you can feel the musical history floating through the air and you have people full of intention, both onstage and out in the crowd that are there with respect for the past but also there for the now.

Jeff: It’s a special place and it made a huge difference in my kids’ lives. They’re in their 20s, but they started going when they were babies. It taught them everything they needed to know without us having to teach them. It taught them how to be. They decided to be people like the people of Suwannee. And now they’re good people. My little boy used to say, “Why can’t the world be like Suwannee?!”. That’s really it. Why not? I think it can.

I go there every year in hopes of keeping that going, though it seems like the world’s gone down and that the message has lost its meaning. It’s easy to go there, but I can’t. Gratitude is the attitude.I keep my chin up and post more about the things I believe in and less about the things I don’t.

The Jeff Mosier Ensemble is scheduled to perform at Suwannee Spring Reunion Festival in Live Oak, FL this weekend. This group features Mosier, Mark Nelson (bass), Leah Calvert (fiddle), Adam Goodhue (drums), Neal Fountain (electric guitar), and Michael David Smith (mandolin). 

Photo by Andy Estes

JoJo Hermann Discusses James Booker, New Orleans Piano Influences March 19, 2019 15:13

Watch Little Raine Band Cover Cake's "The Distance" March 2, 2019 15:34

Photo by Craig Baird: Home Team Photography

The world needs more Cake. We've been saying it for years. They've been one of our favorite bands over the last twenty years, and their tour dates are few and far between these days. Fortunately, we've noticed a handful of our favorite bands working Cake tunes into rotation, including a recent take on "Short Skirt / Long Jacket" by The String Cheese Incident last fall (check it out here).

The latest example surfaced this morning from Little Raine Band's recent take on "The Distance," the hit single from the 1996 release Fashion Nugget. It's not a true Cake experience without a little brass, and Tragic City's Tommy Bowen added a fantastic touch on this one. Check out the complete performance below, and keep an eye out for LRB's new album Dreamwalker, which drops on Friday, March 8th!

Watch LRB cover "The Distance" at WorkPlay Theatre here:

Listen to Bird Dog Jubilee's Latest Single "Take Your Breath" March 1, 2019 11:07

Bird Dog Jubilee’s latest release, “Take Your Breath”, was recorded live at Aisle 5 in Atlanta Georgia. It is a follow up to their previous release “Tabby’s Playhouse” which was also recorded by Andre Griffin on August 31, 2018. “Take Your Breath” will be available on Spotify and everywhere music streams on March 8th, 2019. In the meantime, we're pleased to offer you the exclusive release of the band's latest release. 

BDJ’s homecoming at Variety Playhouse February 17th, supporting Spafford, established their position in Atlanta’s budding music scene and cemented them as a jovial act here to stay. They have been gaining steam by steadily notching off clutch plays last year including BIG Something support at Terminal West, CBDB support at Georgia Theatre & Song Birds, SweetWater 420 Music Festival, and SweetWater 21st Anniversary Party. They now have their sights set on touring the Southeast.

They released Album Art, their inaugural 3-song EP, at 420 Fest last year. It was recorded at Prana Studios with Will Clark of Funk You’s and Andy just outside the Atlanta city limits. Whether they are blending old ballads or hashing out new grooves, this is act is always a sight to see at their crux.

These guys are a collection of instrumentalists that blur the lines between structured songs and improvisational jams.  This is encapsulated by their ability to seamlessly meld tunes while encouraging impromptu collaborations with fellow musicians live on stage.

Each member has an eclectic set of influences in which they draw inspiration from, but they can always agree on The Band, The Dead, Phish, Allman Bros or My Morning Jacket while on the road. The synergy of each member’s experiences culminate live on stage providing a unique take each time you attend a performance.

Check out the exclusive stream of "Take Your Breath" here:

Mandolin Orange Swims Against the Current in 'Tides of a Teardrop' February 26, 2019 15:48

Words by Josh Hettermann

Long gone are the days where most musical artists could be defined by a specific genre. To that point, it is no new phenomenon for musicians to straddle the lines between a far ranging sphere of sound and influence. You would be hard pressed to find passionate music fans that could pigeonhole icons such as Pink Floyd into one musical category. The same could be said for legendary artists such as John Prine, Fleetwood Mac and cult favorites like Ry Cooder. That being said, since founding Mandolin Orange in 2009 in Chapel Hill, NC, mandolinist Andrew Marlin and multi-instrumentalist Emily Frantz have created as unique and enigmatic a sound as any band we have seen in the modern music landscape. The group’s standout record Tides of a Teardrop, released earlier this month, is a shining example of the sheer talent and versatility as artists.

Due to the great success of their dynamic and critically acclaimed album Blindfaller in September 2016, which featured standout tracks such as “Hey Stranger” and “Wildfire,” there was reasonably high hopes and expectations for their newest output Tides of a Teardrop upon being announced in late Fall 2018. The duo’s remarkable vocal and instrumental harmonies and seamlessly effortless blending of folk, bluegrass and Americana in their past output justified said hype; it is no overstatement to say that Tides of a Teardrop meets these expectations and more.

Tides of a Teardrop’s first two tracks were two of the singles released over the months prior to the album’s release. The opening track, “Golden Embers,” was one of these singles. A somber, pensive track, its lyrics speak to a wounded soul reaching out to an old flame. The track features excellent use of a stand-up bass interlude towards the end of the song. “The Wolves” follows, and is undoubtedly a highlight of the album. Andrew Marlin’s vocals and virtuoso mandolin playing seem so effortless and organic that it transports the listener to a peaceful place. Circling back to the opening anecdote of this review, Marlin’s tone changes significantly from the track’s first chorus to its third and final one. He sings the first confidently and steadily, and transforms the third and final chorus with an uptick in his voice, expressing comfort and ease.

“Into the Sun” is a standout track that showcases Frantz’ beautiful, melodic range. The group’s lyrics range from heartbreak to hope, as Frantz sings, “Just a bird with a broken wing, longing to fly.”

“Lonely All the Time” displays their roots in traditional bluegrass, with a beautiful harmony between Marlin and Frantz. The supporting honky-tonk guitar provides a refreshing break from the twangy strings of the band’s two leads. Frantz and Marlin’s symmetrical verse to end the song recall the connection that legends George Jones and Tammy Wynette shared on their 1976 collaboration “Golden Ring.”

There is no doubt that the final track of any album is integral to its perception and legacy amongst fans and critics alike. More importantly, it allows the artist to nail down the ethos and tone that they wish to get across in their art. Tides of a Teardrop’s finale “Time We Made Time” absolutely cements this notion. Frantz’ fiddle carries a somber yet hopeful tune. The song evokes the memories of a distant romance where the participants can hope to always count on each other in times of need. A strong slide guitar and a heavily distorted finish call to mind psychedelic, exploratory rock. Marlin croons of discussions with a strained lover with the lyrics, “Softly, tenderly, using delicate voices.”

To put it simply, Tides of a Teardrop is a prolonged love letter. It is one full of hope, heartbreak and vulnerability. All of these themes carry discomfort and self-consciousness. By nature, these imperfect aspects of the human condition are undoubtedly difficult to address; this is why Mandolin Orange is so unique as an artist. They create an undeniably original sound, supported by the firebrand that is Frantz’ and Marlin’s virtuoso musicianship. It is refreshing to hear music so heartfelt and sensitive in this day and age, and Tides of a Teardrop is a perfect encapsulation of this true display of human emotion.

Stream the album in its entirety via Spotify here:

The Gulf Coast Conundrum: James Booker and The Lost Paramount Tapes February 25, 2019 16:21

Words by Josh Hettermann

As technology and society have evolved, art has become increasingly omnipresent in our daily lives. Regardless of whether the audience is millions of fans or a mere few hundred, 21st century technological platforms such as Facebook, Instagram and Spotify allow musicians and visual artists a constant opportunity to promote and share their work. Its easy to forget that as recently as 20 years ago, artists had to rely on traditional grassroots methods to get their work out to the public. Robert Johnson is considered the King of the Delta Blues and had a profound influence on musical deities such as BB King, the Rolling Stones and Jimi Hendrix. The remarkable aspect of Johnson’s legacy, though, is that his now fabled raw recordings were released to the public for the first time in 1961, close to 25 years after he unceremoniously passed away. Other famed artists such as Blaze Foley, Johann Sebastian Bach and Vincent Van Gogh belong in the same category by the sheer nature that their work became widely celebrated well after their time.

James Booker undoubtedly belongs in this category of artists whose work flew well under the radar during their careers. Unlike the aforementioned creatives, though, Booker has yet to achieve the due credit he deserves. The August 2018 vinyl release of his criminally underrated record The Lost Paramount Tapes should be celebrated as a monumental musical achievement.

Born in 1939 in the historically African American and poverty stricken 9th ward of New Orleans that has produced musical legends such as Fats Domino and the prominent Batiste family, James Carroll Booker III showed an early knack for the piano and honed his skills by playing in local Baptist churches and also as an understudy of the iconic blues pianist Tuts Washington. After a decade of working tirelessly as a session musician, Booker recorded his first studio album The Lost Paramount Tapes at the famed Paramount Studios in Hollywood in 1973 with a talented supporting cast that included band members of New Orleans’ own icon Dr. John. Somehow, the master tapes for these sessions were lost soon after these sessions. Fortunately for us, the recordings were unearthed in 1992 and released in CD form the next year without much fanfare or publicity. At the time, Booker had been dead for close to 10 years after succumbing to heart failure due to years of chronic alcohol and heroine abuse in 1983 at the relatively young age of 43.

Listen to JoJo Hermann's podcast on The Lost Paramount Tapes here:

Forgive my wordy preamble. I’ve only included it because it is almost unfathomable to me that someone as mercurial and supremely talented as James Booker could possibly be so underserved and undiscovered in today’s music world. The recent resurgence of vinyl record production has blessed music fans all over the world with the opportunity to discover music they may have never had the chance to listen to before. The Lost Paramount Tapes is a perfect example of this. It was remastered and released on vinyl in August 2018 and is without a doubt a musical masterpiece. By blending elements of boogie-woogie, blues and roots rock, in conjunction with Booker’s visceral and impassioned efforts on the keys, the record is a standout production from start to finish and is Booker’s magnum opus. The second track, “Feel So Bad,” utilizes sturdy percussion and scintillating piano playing from the man himself to create an infectious groove. “Junco Partner” is undoubtedly influenced by the cajun rhythms of Booker’s hometown. The highlight of the disc, though, comes in the instrumental track “African Gumbo.” Booker pays homage to ragtime greats like Scott Joplin with a sustained, funky rhythmic sequence highlighted by excellent guitar work and irresistible saxophone playing by fellow NOLA legend David Lastie. While every single track packs a substantial punch, Booker and his band contributed their own take on the epic T-Bone Walker blues standard “Stormy Monday,” a piece immortalized just two years prior on the Allman Brothers Band’s iconic 1971 Live at Fillmore East record.

Records like James Booker’s The Lost Paramount Tapes will never top the charts and will undoubtedly never get the credit they truly deserve. “Junco Partner #2,” the most popular track from the disc, has an unremarkable 65,000 plays on Spotify. Despite this, the legacy and influence of artists like Booker is palpable. John “JoJo” Hermann, celebrated by fans and keys enthusiasts alike as the longtime pianist and contributing vocalist for Widespread Panic, recently dedicated a whole episode of his podcast Key’d In to the record. His influence on Hermann’s prose and sound is readily apparent even to novice fans of the group. Plato once said that “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” James Booker embodied those incredibly wise words on The Lost Paramount Tapes, and it is a shame that he is not around to witness his art’s profound impact that continues to this day.

Stream The Lost Paramount Tapes here via Spotify:

Bailey Ingle Discusses Debut Single "In Love With The Memories" February 24, 2019 21:22

Photos + Interview by Craig Baird: Home Team Photography

Bailey Ingle is a native of Hoover, AL and a singer/songwriter known for her warm, soulful voice and charismatic stage presence. At 19 years old, many consider her to be an old soul. Just last week, Bailey held her hometown release party in celebration of her debut single "In Love With The Memories," which is now available on all major streaming outlets. Prior to the show, we sat down with Bailey to learn a little bit more about her journey thus far. See the full conversation below, and make sure to stream the new single.

When did you first start playing music and what led you to the guitar? 

Bailey: I started singing when I was three. As soon as I could talk, I was singing. My grandmother can sing and my dad play's guitar, so we come from a really musical family. I sang with Keith Urban, and he asked me if I wanted to play his guitar. I was like, “I don't want to touch your guitar,” because it's amazing. From then on out, I knew I wanted to get to a point where I'm good enough. That way, if he ever asks me again, I'd be able to say, "Heck yeah. I'll play your guitar!" That's essentially what lead me to having a better drive for it.

I remember when you performed with him at Oak Mountain. You were only about 15 years old. 

Bailey: Yeah that's right (laughs).

At what point did you realize this was the career you wanted to pursue?

Bailey: As soon as I stepped on stage at the Oak Mountain Amphitheater with him. It was as if there was nothing else that I could ever do. I really don't think there's any other calling out there for me.

Your new single “In Love With The Memories” was released today (Feb. 15th). Tell me about the song and how it reflects on you as an artist.

Bailey: "In Love With The Memories" is something I wrote with Emily Brook in 2017. It was our first time meeting. It was just one of those things where we thought it would be a trial run. Our chemistry worked great, so we wrote the song in just a few hours. For me, I usually take a lot of time to write. It usually takes me about four hours, but this song flowed perfectly. I feel like it's a good reflection of this side of me. I know I'm nineteen, but I feel like there's a lot of depth to what I can write. It makes you realize you shouldn't stay with someone just because you're in the comfort zone with them.

How was the studio experience?

Bailey: It was crazy. I recorded it at Cash Cabin, which Johnny Cash built in Hendersonville TN. Dave Schools produced it. Dave brought in all these musicians that I've idolized the records they've played on from Elvis Presley, Marty Stuart and Aretha Franklin. It was crazy. It was one of those things where it was exhilarating and so exciting but it was also terrifying cause I was eighteen year old and I was like there's no way I'm supposed to be in here this is crazy but it was amazing. 

Listen to Bailey Ingle's "In Love With The Memories" here:

You've had the opportunity to work with some great people including some guys from my favorite band Widespread Panic: Steve Lopez and Dave Schools. How did you guys meet and how special has this been?

Bailey: I met Dave through Steve. I met Steve where I played at an event in January of 2018. A few weeks later, I got a call from my aunt, who knows Steve's wife Ginny basically just saying we were going to be put in touch. We met at a Widespread Panic show and I met Dave. They were just going to pitch me for a project. I didn't know what was going to come from it. They called me the next week and said that Blue Rose wanted me to come up to the cabin and record five songs that I had written. I still really didn't know what was coming from it. I thought it was like a project they were gonna have fun. Like a development kind of thing but then it lead to a record deal with some pretty cool people.

How is the rest of the year shaping up post-release and what do we have to look forward to from Bailey Ingle?

Bailey: We have another single coming out pretty soon after this and another music video will come with it. Then we'll have an EP or an album. Then I'll be hitting the road the rest of the year. I think we're gonna try and go the festival route this summer and do as much touring as we can.

Do you know what festivals?

Bailey: Not yet. We have some in mind but haven't confirmed any yet.

I'll be looking forward to those announcements. Before we wrap things up, I'd love to get a little insight from you, Steve. Your track record as tour manager for Widespread Panic is well documented. What ultimately lead to your decision to take on this management role for Bailey? 

Steve: Before I started tour managing Widespread I managed a couple of other bands. Fast forward to Widespread Panic. I've been with them for nineteen years. Then recently in the past year I decided to potentially start managing again and I picked up a band out of Austin TX. I believe everyone in Bailey's family and their friends kept telling me about her. It was a funeral that actually led me to listen to her. The way she held herself and her composure singing was quite beautiful to the point I left there thinking, "Wow. This girl has something."

Then a couple of opportunities fell in my lap. I called her on my way to Mexico last year, asked if she wanted me to manage and if so, we could sit down and talk. We did, and I explained to her how I do things. We agreed on something and now, fast forward again, we're here, releasing her new single. It's a pretty cool story and I'm excited to see what she has in store for us. I think she's going to be around for a long time.

I think you're right. 

Steve: Yes. For sure.

Thank you Steve.

Steve: Thanks Craig.