Brandi Carlile’s multi-night headlining debut at the Ryman Auditorium on Tuesday (Jan. 14) was as much a display of empathy and forgiveness as it was about Carlile’s storied catalog.
The beloved star set this tone by opening with a song that turns sadness into forgiveness with “Every Time I Hear That Song” off her 2019 Grammy nominated album By the Way, I Forgive You, setting the pace for the self-proclaimed “six life-changing, dream realizing nights,” in regard to her half dozen sold-out shows at the Mother Church of Country Music. Carlile shared that she listened to the Grand Ole Opry with her parents growing up on the opposite end of the country in Seattle, citing the famed radio show as “the place of my dreams” that embodied the “selfless traditional art of entertainment,” a quality that Carlile carries into her own work.
These reverent comments lead into her breakthrough hit that solidified her as an icon in the making, “the song that got me here,” she noted (using the phrase that’s often advised to those performing on the Opry) with the harrowing “The Story.” Yet one could hear a pin drop when Carlile and longtime band members and songwriting collaborators Phil and Tim Hanseroth shared the magic of the three-part harmonies they felt 20 years ago on the a capella “The Eye,” soon followed by the poetry that is “The Mother.”
Throughout the night that included a 90-minute set and nearly half an hour encore, Carlile’s devoted fans filled the Ryman to capacity with their faithful support, whether it be in the form of enduring applause or multiple standing ovations that lasted long after she sang the final note. Perhaps one of the reasons why Carlile is able to capture audiences in such a pure, honest way is that she’s willing to offer a glance into her soul, something she did with aplomb throughout her Ryman set, particularly as she spoke about the concept of forgiveness. “I write about it so I know how to do it,” she analyzed, describing forgiveness as “radical,” “filthy” and “dirty.” She shared that through raising daughters Evangeline and Elijah, she’s learned how to see others from a more empathetic view, which inspired a performance of “Sugartooth” about a person living with a drug addiction. This notion of acceptance translated to the audience as Carlile observed, “it’s nice seeing the rainbow flag at the Ryman” as she introduced the Highwomen’s gay country anthem she “loves to sing live,” “If Ever She Ever Leaves Me.” In the midst of these potent messages was a mesmerizing cover of Joni Mitchell’s “A Case of You” that flexed the impeccable range and mellifluous tone Carlile’s long been revered for.
After inviting surprise guest Tanya Tucker to roaring applause for a performance of Tucker’s Grammy nominated song co-written by the pair, “Bring My Flowers Now,” the superstar ended the set with the song whose message she admits she needs to hear as much as she sings it. With a voice that was straight power, like an electric shot coursing through one’s veins, Carlile brought the monumental show to a stunning close through “The Joke.” But she didn’t leave the stage long, soon returning for a multi-song encore that began with a passionate dedication to one of her musical heroes, Kim Richey, before bringing the acclaimed singer-songwriter on stage to perform a peaceful and pristine rendition of Richey’s “A Place Called Home.”
But Carlile truly left the audience with their souls stirring as she officially ended the night on piano with the haunting “Party of One,” the piercing words made even more powerful with her gripping voice and the emotion behind it. With her incomparable voice and beautiful tapestry of words that pour from her soul, Carlile proved with the dreamlike show that she’s a gift that keeps on giving.
“Why won’t you listen?” It’s a simple question packed with dense meaning, and is the core message of Kyshona Armstrong’s new song “Listen,” premiering exclusively with Audiofemme. It’s the title track from her forthcoming LP, set for release on February 28.
Co-written by Armstrong and Toronto-based singer-songwriter Emma Lee, “Listen” was born out of a conversation between Armstrong and someone who’d asked her opinion about a recent societal event, a conversation that became more like a debate. “Sometimes all people want is for you to hear them,” Armstrong shares with Audiofemme.“I noticed even with myself, I’ll ask someone a question and then I’m not even listening because I’m trying to figure out how I want to fix it; what can I say in response to it, rather than just hearing a person.”
Armstrong brought her observations into a writing session with Lee, the two building the track’s instrumental before crafting the lyrics. Like spoken word poetry put to music, the song presents a series of questions that lead to the main point in the chorus that repeats, “Why won’t you listen?” She opens the song with a powerful question: “Why you gotta interrupt/when I’m not done talkin’?’” before proclaiming “Yeah, I know you want to help/but you’re deaf to the mission.” For Armstrong, the latter notion delves into her personal frustration with those who are more interested in the “gory pieces” of her work – with such organizations as the Oasis Center, which supports at-risk youth, or teaching songwriting to women who are incarcerated at the Tennessee Prison for Women – than they are with the meaning behind it.
“’Deaf to the mission’ to me means you’re not even hearing the purpose behind what I’m doing,” Armstrong explains, adding that she feels she can convey humanizing stories to her audience of the people she meets in places such as prisons and homeless shelters. “My mission is to be a voice and a vessel for those that feel lost, forgotten and silenced.”
In the music video, Armstrong captures the subtle tension of the song. She called on many of her family members and friends to help tell the story, pairing them up to have playful, yet effective arguments with one another. While their exchanges are muted, Armstrong reveals that to bring out that tension, the couples argued about a range of topics from what toppings to put on a pancake to her sister-in-law reprimanding her niece about her outfit. “They could feel that hum underneath while they were acting,” Armstrong describes of the atmosphere on set as the song was playing in the background. “This is what the song feels like – it’s just this tense moment. It’s about people and feelings.”
For Armstrong, the idea of “listening” all boils down to empathy, which involves stepping into someone else’s reality and trying to see the world from their point of view. She hopes that through the song, people will feel compelled to take action and engage in true listening. “I think ‘listen’ is a more active thing than it sounds like. Listen to someone else’s story, then try to put yourself in their shoes and see how they might walk through the world and might feel in this moment – just pan out from your own world,” she observes. “I hope people take a moment to really think about how can they listen more – or better.”
“Nobody logical in life ever gave me a shot. They were always a little left of center.”
This wasn’t just a proclamation made by Tanya Tucker during her headlining show at the Ryman Auditorium on Sunday (Jan. 12), but a defining factor of who she is as an artist. The 61-year-old country legend achieved one of her prodigious dreams when she headlined a sold-out show at the historic Nashville venue, serving as the kick off for the 2020 CMT Next Women of Country Tour that she’ll helm through June.
Days before the show, Tucker reflected on how her father brought her to the Grand Ole Opry, whose original home was at the Ryman, from their native Willcox, Arizona when she was 9 years old. Tucker made history in 1972 at just thirteen years of age, when she became the youngest artist to have a major country with “Delta Dawn” reaching the top ten. Tucker would later become one of the few female acts included in the outlaw country movement led by the likes of Johnny Cash, Willie Nelson and Merle Haggard in the 1970s, and judging by the crowd’s reaction, she’s just as beloved now as she was nearly five decades ago.
Tanya Tucker performs with Billy Ray Cyrus during her headlining show at the Ryman Auditorium in Nashville. Photo by Derrek Kupish / dkupish productions
She received multiple standing ovations throughout the opening trio of beloved favorites “Blood Red and Goin’ Down,” “Jamestown Ferry” and “What’s Your Mama’s Name Child.” “You remember!” she observed after a performance of “Lizzie And The Rainman” that inspired the crowd to sing along, a notion that continued as she powered through her storied catalog of hits, several of which she racked up before she was eligible to vote.
With a voice of endurance and consistency, Tucker’s spirit is perhaps more youthful than ever, with her wispy blonde hair dipped in hot pink tips, doing her best Elvis impression by swiveling her hips throughout multiple numbers in the set. The night was also jam-packed with surprise guest stars who were sprinkled in like precious gems, allowing Tucker to not only perform alongside her friends and fans, but soak in their affinity for her, as she did when Jamey Johnson came out and nailed “Don’t Believe My Heart Can Stand Another You,” vowing that he knew every one of Tucker’s songs.
“Strong Enough to Bend” got a particularly warm reception, as did “Love Me Like You Used To,” with the presence of Margo Price adding a nice touch. Billy Joe Shaver, Lee Ann Womack and actor Dennis Quaid – who unbeknownst to most is also a songwriter – were all pleasant surprises, but perhaps the most rewarding appearance was Billy Ray Cyrus. The two dueted on his famous “Achy Breaky Heart” before Tucker requested they sing his massive hit with Lil Nas X, “Old Town Road.” And try as she might, the trailblazing star didn’t exactly know all the words, but was clearly in the spirit of the song as she danced her way across the stage and struck as many poses as possible. The performance wasn’t merely a reunion among two friends, but a symbol of how courage, artistic vision and aligning with the right visionaries can revitalize one’s career in a meaningful way.
Tanya Tucker and friends perform during her headlining show at the Ryman Auditorium in Nashville. Photo by Derrek Kupish / dkupish productions
For Tucker, those visionaries are Brandi Carlile and Shooter Jennings, who co-produced her new album, While I’m Livin,’ her first in 17 years. Tucker treated the audience to several numbers from the album, including the spirited “The Wheels of Laredo,” “Hard Luck” and “High Ridin’ Horses.” Tucker remarked how Jennings called her one day to remind her that she once told him she’d do anything for him – he decided to play that card early by encouraging her to make an album, knowing her talent needed to be re-showcased to the world. “The biggest song you’ll have is the one you’ll write yourself,” she added, recalling a sage piece of advice she received years prior that served as an introduction to “Bring My Flowers Now,” the somber, reflective ballad she co-wrote that’s since scored her three nominations at the 2020 Grammy Awards. The moment proved to be one of the best of the night, with Tucker perched on a stool with just a piano, her husky voice and the song’s potent lyrics about cherishing other’s appreciation and love while you’re still able to do so.
The evening came to a fulfilling close with the edgy “Texas (When I Die),” a duet with Quaid on his original number “On My Way to Heaven” and an all-star sing-along to the hit that started it all for Tucker, “Delta Dawn,” bringing the audience to its feet. “I think they’ve figured out, I’m not going anywhere,” Tucker remarked about her friends, a statement that not only applies to her revitalized career, but the loyal fans who continue to support her in days past and present.
Let’s face it: country music isn’t known for being the most welcoming genre to women. Since its inception circa 1920, women have long been embroiled in a battle of equal airplay and representation, a battle that still rages on today. But the female artists who are the fabric of the genre’s history have been vocal about equality and social awareness, particularly through song.
From Loretta Lynn to Margo Price and many others along the way, women have delivered a variety of feminist anthems that show country music exactly where they stand. This theme is still relevant today, with new artists and burgeoning superstars alike stepping into the forefront with songs that speak directly to women – here are some who did just that with power and eloquence in 2019.
The Highwomen – “The Highwomen”
When Maren Morris, Brandi Carlile, Amanda Shires and Natalie Hemby united to form The Highwomen, they told the world that women’s voices are even more powerful when they come together. The namesake song that opens their revered self-titled album puts a spin on the Jimmy Webb classic made famous by Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson with new verses – penned by Carlile and Shires – that finally give a voice to feminine archetypes. Each verse sees one of the members taking on a fictional character who sacrificed her life during a distinct era of history, from a woman wrongly accused during the Salem Witch Trials to a Freedom Rider during the Civil Rights Movement, the latter of which is made even more compelling with a guest vocal from up-and-comer Yola. “The Highwomen” is one of the best jewels country music has to offer in 2019.
Best lyric: “We are the daughters of the silent generations/You sent our hearts to die alone in foreign nations/It may return to us as tiny drops of rain/But we will still remain.”
Maren Morris – “Flavor”
While her chart-topping single “Girl” gets plenty of attention for its female empowerment theme (and rightly so), “Flavor” is the hidden gem on Morris’ acclaimed 2019 album, Girl. Throughout her young career, Morris has been building a reputation for supporting women, whether by publicly speaking out about inequality on country radio or hopping on the trend of taking an all-female lineup on tour with her. She demonstrates her sharp tongue with the song’s opening lyrics “ain’t gonna water down my words or sugar up my spice/sometimes the truth don’t always come out nice.” What follows is an anthem about originality and celebrating those who challenge the norm, all delivered with confidence and conviction that comes through in her voice. It’s a shining moment on the project that earned her an Album of the Year distinction at the CMAs – and one that defines her as an unflinching creator.
Best lyric: “Yeah I’m a lady/I make my dough/Won’t play the victim/Don’t fit that mold/I speak my peace/Don’t do what I’m told/Shut up and sing?/Well hell no I wont.”
Runaway June – “Buy My Own Drinks”
The trio of Naomi Cooke, Jennifer Wayne and Hannah Mulholland released a direct female empowerment anthem to country radio this year in the form of “Buy My Own Drinks.” The song chronicles a young woman’s solo night on the town, not needing a lover or even her friends to keep her company. Between paying her own tab and spinning herself around on the dance floor, the upbeat track raises a glass to those who are perfectly content enjoying their own company. The empowering message also made Runaway June the first female group to reach the top 10 on the Billboard Country Airplay chart in 14 years since SHeDAISY.
Best lyric: “I can walk my own self to the front door/I can take my own self to bed/I can medicate my own headache/I can be my own boyfriend.”
Ingrid Andress – “Lady Like”
Ingrid Andress released several new songs this year that proved her to be a sharp songwriter with lyrics that reject all the traditional country norms. But no song does that better than “Lady Like,” her ode to the “untamable,” “unframeable” women who drink tequila straight, don’t own a dress and kiss on a first date. The lyrics are pure defiance against all the double standards and stereotypes placed on women, and in a genre that’s dominated by straight white males singing about trucks, beer and life in God’s country, a voice like Andress’ cuts through in a potent way.
Best lyric: ““Sometimes I forget/Not to talk ’bout politics/When I’m in the middle of me gettin’ hit on.”
Katie Pruitt – “Loving Her”
Pruitt may be a new voice in country, but the truths she delivers are ones the genre desperately needs to hear. Take “Loving Her,” the gentle, lullaby-like ode to her girlfriend. Raised Catholic in the suburbs of Atlanta, Pruitt is honest about her previous fears of her sexuality being revealed. But “Loving Her” is a beautiful response to that suppression. Using clips from the 2019 Nashville Pride parade to tell the story in the video, the lyrics paint a striking picture of someone stepping out of the closet and into the light, relying on clever wordplay and poetry to convey the profound love they’re no longer ashamed to express.
Best lyric: “But if loving her is wrong/And it’s not right to write this song/Then I’m still not gonna stop/And you can turn the damn thing off.”
With the end of the year comes a time of reflection. Looking back on this year in country music, the firestorm of conversation about the lack of women on country radio spilled into 2019, while new artists like Lil Nas X and Blanco Brown broke down barriers, and names including Billy Ray Cyrus and Tanya Tucker saw a resurgence in their careers.
Renaissance Moment
In 2019, country fans saw two legends experience an unexpected, but celebrated resurgence in Billy Ray Cyrus and Tanya Tucker.
Though known as ’90s country star with the breakthrough hit “Achy Breaky Heart” and as the father of Miley Cyrus, his name is now synonymous with the global hit that is “Old Town Road.” While the Nine Inch Nails-sampling Lil Nas X penned rap gained traction as a viral favorite on Tik Tok, it was a remix version featuring Billy Ray Cyrus that came to define the newish genre of “country rap.” Kicked off the Billboard Hot Country Songs chart based on the claim that it “does not embrace enough elements of today’s country music to chart in its current version,” “Old Town Road” quickly grew into a smash hit that broke the record as the longest running No. 1 Billboard Hot 100 – and Cyrus was a significant part of this. Though the song was already a jam in its original state, the unlikely pairing of the millennial rapper and baby boomer country star made for an important moment in pop culture. The song feels complete with both on the track, and Cyrus’ affinity for the song and ability to see how it connects to the history of country music is part of what gave him a second life in the genre.
Billy Ray Cyrus and Lil Nas X. Photo by Derrek Kupish/ dkupish productions
Tucker enjoyed her own renaissance moment in 2019; the 61-year-old icon, who had her first hit single at age 13 with “Delta Dawn,” released her first album in 10 years, While I’m Livin,’ produced by Brandi Carlile and Shooter Jennings. Partnering with a new generation of talent gave Tucker an edge and refreshed identity while still delivering a strong body of work, and earned her four 2020 Grammy nominations. It was gratifying to see two iconicstars rise like phoenixes for a new phase in their lives.
Diversity
It’s disappointing to think that even in 2019, you can count the number of mainstream African American country artists on one hand. Over the past few years, we’ve seen acts like Kane Brown become rising superstars, while Jimmie Allen reached No. 1 with his debut single “Best Shot” last year. But with Lil Nas X breaking down the walls for artists creating country trap, it feels like the beginning of a tidal wave of diverse artists who we’ll see breaking through in the next few years.
Yola is one of the many artists blazing this path. The elegant British country singer had a banner year with her debut record Walk Through Fire. Her spell-binding voice and awe-inspiring songwriting solidified her as a major breakthrough act this year, so much so that Kacey Musgraves invited her to be one of the opening acts at her first arena headlining show in Nashville and Elton John declared himself a fan after hearing her cover of “Goodbye Yellow Brick Road.” She’ll embark on her own headlining Walk Through Fire Tour in 2020.
Blanco Brown also took country by storm with his original “Cotton Eyed Joe” style dance song, “The Git Up,” which was the longest running No. 1 on the Billboard Hot Country Songs chart and spent 13 weeks as the top selling country single in the U.S. Meanwhile, former X Factor contestant Willie Jones spent the year building momentum with songs that range from the sweet (“Down For It”) to playfully observing the influx of bachelorette parties in downtown Nashville with “Bachelorettes on Broadway,” while up-and-coming singer-songwriter Tiera was named to CMT’s Next Women of Country class of 2020.
Jimmie Allen also joined forces with dynamic duo Louis York for a poetic number titled “Teach Me a Song” on the twosome’s American Griots album, and when they all performed on the Grand Ole Opry, it marked the first time three African American artists have appeared on the Opry stage at one time. With Louis York set to make their own Opry debut in February, it feels like we’re at the start of a revolution of multi-racial artists finally becoming a mainstay in a genre that has been sorely lacking in diversity.
Women in country
The conversation surrounding the lack of women on country radio was a dominant theme in 2018, with the likes of Carrie Underwood, Kacey Musgraves, Maren Morris, Miranda Lambert and countless others speaking out. At 2018’s end, there were no women in the top 20 on the Billboard Country Airplay chart for the first time in the chart’s near 30-year history, and they didn’t fare too much better in 2019, as there are no solo female artists on the year-end list of Billboard Country Airplay songs. With the conversation being so loud, it instilled a false sense of hope that radio would take action and begin to move toward more balanced playlist.
But where radio faltered, women united in the form of all-female tours in 2019. Underwood set this precedent by inviting duo Maddie & Tae and trio Runaway June as her opening acts on the Cry Pretty 360 Tour, proving that a troupe of half a dozen women can sell out arenas across the country. Lambert followed suit, as her Roadside Bars & Pink Guitars Tour featured a massive all-female bill with openers including Maren Morris and CMA New Artist of the Year Ashley McBryde, along with newcomers like Tenille Townes, Kassi Ashton and many more.
https://youtu.be/zPacGAykVQg
Morris also set a standard by joining forces with Carlile, Amanda Shires and Natalie Hemby to form The Highwomen, whose debut album serves as one of the year’s best (and their surprise performance with Dolly Parton at 2019 Newport Folk Festival is arguably one of the highlights of the year in music). Morris continued with her support for women by bringing a mix of five female friends and rising artists in country on her aptly titled Girl: The World Tour named after her CMA Album of the Year. Even legends like Trisha Yearwood stepped up, taking an all-female bill out on the road with her for the Every Girl on Tour.
In addition, several new female artists not only made an impact on fans and the industry alike, but brought a distinct element with them: empathy. It’s the foundation of Townes’ “Somebody’s Daughter,” a compelling narrative inspired by a woman she saw on the side of the road who was homeless that should have been a No. 1 hit, but just barely made the top 30 on the country charts. Meanwhile, Ingrid Andress broke hearts in the best way with her powerful debut single “More Hearts Than Mine” that made her the only female artist to have a debut single reach the top 20 in 2019.
Though the fact that Carrie Underwood lost Entertainer of the Year to seven-time winner Garth Brooks during a year where she put on an impeccable production that led to growth as an artist while supporting deserving young women felt like another major blow to the cause, it was inspiring to see so many women uniting in the face of adversity – there is something truly special about seeing a group of gifted women lifting one another up in a bold way.
But in order to see real change, there needs to be integration, and there seems to be signs of that going into the new year. Dan + Shay, the country duo behind the wildly successful, Grammy winning crossover hit “Tequila,” recently announced that Andress will be joining them as an opening act on their 2020 Arena Tour. Jordan Davis, who has two country hits to his name, is bringing a pair of compelling singer-songwriters, Ashton and Hailey Whitters, as his openers on the 2020 Trouble Town Tour. I hope this is a trend that turns into a movement in 2020.
The way that SHEL – a folk group comprised of sisters Sarah, Hannah, Eva and Liza Holbrook – met Christian rock band Jars of Clay is like a scene out of a movie. The two acts were eating at the same restaurant in Nashville when Jars of Clay frontman Dan Haseltine approached their table, asking if they were a different female-fronted indie group, Lucius. The serendipitous encounter prompted the sisters to go back to his table and share how they’ve been longtime fans of the Grammy winning rock-gospel group, working up the courage to give him a CD of their work. “He listened to the CD and he got back to me and he’s like, ‘It’d be so fun to work together,’” Eva Holbrook recalls to Audiofemme via phone interview from a recording studio in Nashville.
Haseltine put these words to action, inviting SHEL to perform as part of Jars of Clay’s Family Christmas concert in Nashville in 2018, their chemistry and mutual love for the holiday sparking the idea for a collaborative EP, A Family Christmas, released on Nov. 22. “So much of the time that we spent bonding as bands happened at the Family Christmas show,” Eva explains. “I think we also shared this love of Christmas music and doing unique arrangements, as well as writing original Christmas music. That was something both bands were really excited about.”
The two acts wrote and recorded the festive EP this summer. The six-song endeavor features covers of two powerful classics, “Go Tell it on the Mountain” and “What Child is This,” alongside four original songs written by the band members. In the midst of working on the project, Eva was recovering from skin cancer removal surgery that left her with 20 stitches underneath her left eye. But still she persisted, making her way to the studio to lend her voice to the project that she describes as one of her favorite experiences in the studio. “I think I expected to feel really self-conscious about my appearance, but I was more caught up in the joy of creating, and it was a very fresh experience for our band,” she shares. “It reminded me what is important and what really brings us joy.”
Sharing joy is one of the messages interwoven into the EP, particularly on two of the original numbers penned by Haseltine. “Something New” is a cheerful letter to Santa with a dash of social awareness mixed in, as Haseltine sings “I don’t want anything made of plastic” and a member of SHEL echoes “straws get stuck in turtle’s noses,” while Hannah and Haseltine glow on the duet “Happy For the Holidays” that follows a shipwrecked couple happily secluded on an island during the overwhelming time of year.
“The holidays become so much about gifts and superficial things, but underneath all of that, I feel like there’s this feeling that we all remember from our childhood that we’re trying to get to,” Eva notes. “When I heard those songs, it brought up that emotion again.”
But the EP’s true standout shines in the form of the dreamy “Wonderful Feeling.” The whimsical folk tune touches on the nostalgic feeling of seeing Christmas through innocent eyes. Written by Liza in 2018, the song sees her taking lead vocals for the first time. “It’s a wonderful feeling/Draw near to those dear/And let the world hear/All of our hearts are singing,” she sings angelically, with a twinkling harp and fiddle supporting her along with her collaborators’ peaceful harmonies. Though Liza was originally tepid about incorporating “Wonderful Feeling” into the project, it quickly became a favorite among both groups, so much so they released it as the EP’s first single.
“I think for all of us, it really captures the magic of Christmas this time of year,” Eva observes. “I think life for everybody right now is so chaotic and can be very disconnected. But when you put your devices down and when you’re all in one room and you’re sharing stories, sharing the beautiful and delicate experiences that come from winter and the celebration of joy and hope and rebirth, all of these beautiful things, I think it touched that subconscious feeling inside of every single one of us.”
Having the opportunity to work with a group they’ve admired since childhood was a dream come true for the sister quartet. Eva uses striking words from 19th century Scottish poet George McDonald to frame how she hopes listeners will be impacted by A Family Christmas: “The best thing you can do for your fellow man, next to rousing his conscience, is not to give him things to think about, but to wake things up that are in him.”
“I feel like that’s my goal with every project – if it’s touching something deep inside of me and that awakens joy or sadness or anything on the spectrum of those essential human emotions, then I’ve done my job as a vessel for inspiration,” Eva determines. “I hope that it awakens beautiful things inside of people.”
SHEL and Jars of Clay will present the second annual Family Christmas concert at Liberty Hall in Franklin, Tenn. on Dec. 7.
With her new holiday special, The Kacey Musgraves Christmas Show, Kacey Musgraves proves that her star power only continues to grow.
The idea for the made-for-TV event arose from a conversation Musgraves had with her band leader last year about creating a classic holiday special that brings her 2016 album A Very Kacey Christmas to life. Musgraves and her team transformed this vision into an elaborate set of pink glistening Christmas trees, gorgeous ensembles that her stylist Erica Cloud describes as “Wes Anderson meets Gucci” and range from a chic, tan Western suit to a gorgeous red gown, and a star-studded cast that includes Fred Armisen, Zooey Deschanel, James Corden, Lana Del Rey, Camilla Cabello and more, with beloved Schitt’s Creek star Dan Levy serving as narrator. Musgraves’ nana, Barbara Dean, also makes a special appearance.
Musgraves delivers on this clever, creative concept that’s set up like a telethon, complete with a live studio audience and a team of operators in the control room. Combined with an elaborate set that looks like the interior of a Victorian dollhouse, Musgraves achieves the classic feel that she was aiming for while stepping out of her comfort zone, sharpening her new acting and scripted comedy skills.
She sets the stage by opening the show singing “Let it Snow” with James Corden in the middle of an artificial snowstorm that blasts through the windows of her makeshift home before trying to sing “Silent Night” with Fred Armisen while an intrusive handyman carries out his nosiest chores in the background. The “High Horse” singer also allows her band to step into the spotlight, engaging in playful banter with them as they step from behind their instruments to test out their own comedic chops.
Her unique ideas shine throughout the special, whether floating upside down on the ceiling as she sings “Present Without a Bow” with Leon Bridges or adding fiddle, steel guitar and accordion to give “Silent Night” a country edge while still capturing its beauty. But the purest moment, one that is distinctly Musgraves, is when she sings “Christmas Makes Me Cry.” “It feels like we’re supposed to be happy during the holidays, but sometimes they just make you really sad,” she begins. “So I wrote this song for anybody who might be feeling a little bit lonely.” With just her guitar and a microphone, sitting poised in a bedroom set with giant tree in the corner, the gentle, but heartbreaking song feels like a moment separate from the glamor and flash around her. Musgraves steps outside of the extravagance of it all to deliver a human message, speaking to the outliers and lonely souls as she so poetically does.
The heartfelt moment is curtailed with a snarky comment from Levy (“so Kacey had an emo moment in her bedroom…”), leading into the second half of the show that feels more natural and confident, demonstrated by a series of solid one-liners shared between Musgraves and the Schitt’s Creek star, such as when he hands her a tin of “homemade” cookies that were “processed in a factory” (“that’s what I call my kitchen,” he says) and expired in 2017 (“always looking out for your health,” he replies). Musgraves rounds out the show with the debut of her charming new duet with Troye Sivan, “Glittery,” and a dreamlike rendition of “I’ll Be Home For Christmas” with Lana Del Rey. And when the final, and arguably most precious, guest star appears at show’s end – her nana – Musgraves brings it back to that human place that makes her so beloved.
The Kacey Musgraves Christmas Show reflects what the Grammy winner does best: creating a classic aesthetic that mixes her own brand of western flair, country music and 70s style with a modern look, demonstrating her ability to compellingly reimagine holiday standards while creating some of her own. With this special, Musgraves proves how the success of Golden Hour has positioned her as a burgeoning superstar with the gift to draw all walks of life to her – a power she’s always possessed, but one that glow even brighter in this dynamic and celebratory event.
The Kacey Musgraves Christmas Show premieres on Amazon Prime Video on Fri., Nov. 29.
Carrie Underwood gets in touch with the bold side of her artistry with her new single “Drinking Alone.”
This week, Underwood released a music video for the smoldering track, and in the four-minute clip, the superstar acts as a singer in a swanky club, donning a fedora and sequined, sheer black ensemble, making eyes with a heartbroken stranger from the stage. It turns out the singer is a lonely patron herself, later joining him in a corner booth, sipping a glass of whiskey as she croons “We should be drinkin’ alone together/Drownin’ the pain is better/With somebody else who got problems/We ain’t gonna solve ’em/The misery loves company.”
As beguiling as the video is, the real intrigue lies in the song itself. “Drinking Alone” finds Underwood tapping into an R&B sound she hasn’t really experimented with before, mixing jazz flavor with slick wordplay. She doesn’t go over the top with her vocals, belting out the powerhouse notes when need be, but letting the softer tones in her voice really do the talking. The track has long been a standout and fan favorite on Underwood’s acclaimed 2018 album Cry Pretty, pushing her out of the sonic comfort zone that’s largely seen her play it close to the mainstream country line, whereas “Drinking Alone” feels like a significant growth spurt.
The video’s release comes on the heels of Underwood’s killer performance of the track at the 2019 CMA Awards. It was more of a theatrical display, really – oozing with confidence and flawless vocals. The show marked the twelfth consecutive year that Underwood served as host of the awards show, previously sharing duties with Brad Paisley.
This year, the CMA’s tone shifted to shine a spotlight on the women of country throughout the broadcast, pairing Underwood with legends Dolly Parton and Reba McEntire as co-hosts on a night that opened with a tribute to generations of hits recorded by women and featuring performances by the all three of them, along with The Highwomen, Martina McBride, Sara Evans, Tanya Tucker and many more.
But the female-centric night ended with Garth Brooks being crowned Entertainer of the Year – one of the highest honors in country music – for the seventh time, an outcome that somewhat rattled the Nashville industry. Eric Church, Chris Stapleton, Keith Urban, and Underwood herself were all nominated, with Underwood considered the top contender.
But Entertainer goes beyond touring. Many industry giants (including Miranda Lambert) had voiced their support for the lone woman nominee in the wake of her massive Cry Pretty Tour 360 that had her selling out arenas throughout 2019 and doing her part to support women in the genre by bringing duo Maddie & Tae and trio Runaway June as her opening acts. Cry Pretty is one of the most critically acclaimed albums Underwood has released in her 15-year career, on which she served as producer for the first time, during a season that saw the reserved star opening up about her experience with three miscarriages in a two-year period before welcoming a second son, Jacob, in January 2019. She also continues to cultivate her lifestyle brand Calia and is working on a health-focused book, Find Your Path: Honor Your Body, Fuel Your Soul, and Get Strong with the Fit52 Life, to be released in 2020, and has made impact outside of the genre, as NFL fans know her as the singer of the Sunday Night Football theme song.
Albeit, Brooks was headlining stadiums this year, setting records with ticket sales of 80,000 or more each night, while simultaneously reaching fans in a more personal way with his Dive Bar Tour that sees the superstar performing in intimate dive bars across the country. Still, this truly felt like Underwood’s year. While she’s the first woman to be awarded Entertainer of the Year twice consecutively at the ACM Awards, she hasn’t been able to break that glass ceiling at the CMAs, despite the buzz surrounding her with nominations in 2016 and 2019. While she’s always been at the center of a grand production, the Cry Pretty Tour was a spectacle, taking her show-womanship to the next level with fireworks, moving stages and interactive 360 degree staging that literally put her in the center of the crowd. And speaking as a fan for over a decade, she had me in tears throughout the show, taking us through a “walk down memory lane” segment where she shared her connection to a collection of early fan favorites while also realizing she now has so many hits that she had to perform snippets of several in one take. These are just a few of the factors that proved how much she’s grown as an entertainer since the first time I saw her in concert in 2012.
If you’re going solely based on ticket sales, it makes sense why Brooks was awarded the elite prize. But if you take into consideration the impact of an artist’s branding, how they challenged themselves musically and in their stage show, leading to overall growth as an artist, then Underwood defines the title of Entertainer of the Year.
Underwood is nominated for Favorite Female Artist (Country) and Favorite Album (Country) for Cry Pretty at the 2019 American Music Awards, airing on Nov. 24 on ABC. Here’s hoping she finally gains some long-deserved recognition.
Each year in Nashville, the women of country music gather to celebrate one another and provide an important platform for the new artists working to break ground in the genre through CMT Next Women of Country.
Founded by CMT Senior Vice President of Music Strategy & Talent Leslie Fram in 2013, CMT Next Women of Country shines a spotlight on nearly a dozen promising new female acts in Nashville, providing them with tools and resources to be successful in a male-dominated industry, with past inductees including Kacey Musgraves, Maren Morris and Kelsea Ballerini. During the 2019 CMT Next Women of Country event co-hosted by Fram and Martina McBride at the Country Music Hall of Fame in Nashville, the 2020 CMT Next Women of Country class was unveiled, comprised of Gabby Barrett, Caylee Hammack, Hailey Whitters, Madison Kozak, Walker County, Avenue Beat, Abbey Cone, Kylie Morgan, Sykamore, Tiera and Renee Blair.
A consistent theme carried throughout the annual event is empowerment, whether the artists are championing one another or singing introspective and thought-provoking songs they’ve penned. The 2019 event reflected the variety of the music these women are creating through an acoustic songwriters round that invites each of the new inductees to perform an original song. Caylee Hammack delivered a stirring performance of “Small Town Hypocrite,” a song inspired by the ex-boyfriend she gave up a scholarship for who ended up cheating on her, while Hailey Whitters also proved to be a compelling songwriter with her depiction of a fictional character named Janice, an 80-year-old woman who offers sage life advice like “stay off the pills, but get on the pill if you ain’t ready to start a family,” the line calling to mind Loretta Lynn’s 1975 feminist anthem, “The Pill.” Madison Kozak, the first artist signed to Nashville’s new all-female label Songs & Daughters led by groundbreaking songwriter Nicolle Galyon (Camilla Cabello’s “Consquences,” Dan + Shay’s “Tequila”), held every heart in the room like it was made of glass with “Household,” touching on the universal feeling of wanting to leave home, but longing for that very place when you’re finally gone.
Photo by Rick Diamond/Getty Images for CMT)
The talent displayed in the room reflected country radio’s glaring lack of inclusion for such artists. In December of 2018, it was reported that for the first time in the 28 years since the Billboard Country Airplay chart launched, there were no women in the Top 20. However, up-and-coming artists are slowly fighting their way out of these alarming statistics, as Hammack’s debut single “Family Tree” has cracked the Top 40 on the country charts, Ingrid Andress is in the Top 20 with “More Hearts Than Mine” and Runaway June became the first all-female trio since the Dixie Chicks to have a Top 5 hit with “Buy My Own Drinks.”
But the conversation surrounding the lack of women on country radio still lingers, with Mickey Guyton remarking on “the elephant in the room” the moment she took the stage to open the show. “There is without question an injustice happening to women in country music. There are a lot of great songs that are not getting a shot,” Guyton professed before performing her new song “Sister” with her country music “sisters” Tenille Townes, Clare Dunn, Rachel Wammack and Leah Turner. “But one thing is for certain: it is going to take us women to lift each other up out of these trenches.”
A burgeoning superstar who has gone above and beyond to support her female contemporaries is Brandi Carlile, who was honored with the Next Women of Country Impact Award. Carlile, who scooped up three Grammy Awards in 2019 for her acclaimed album By the Way, I Forgive You, has made it an integral part of her mission to elevate the women around her, curating the all-female stage at the 2019 Newport Folk Festival that featured her supergroup The Highwomen and a surprise performance by Dolly Parton, in addition to creating the women-centric festival Girls Just Wanna Weekend. She’s also pivoting her support for women into a behind-the-scenes role, serving as co-producer of Tanya Tucker’s new album While I’m Livin’ with Shooter Jennings.
Photo by Rick Diamond/Getty Images for CMT)
Rather than point a finger at country radio, Carlile encouraged radio employees in attendance to be intentional about the songs they’re sharing through the format while expressing the reverence she has for the genre that raised her. “If country music is the story of rural America, then what is the story that we’re telling to our young girls?” she questioned. “What we’re hoping, and what we’re inviting country radio to do is to catch up with the way that we all understand. I would urge anybody that’s involved in country radio…ask yourself the question every morning before you go to work ‘what do I want my job to say to my daughter today?’ Because she’s an American girl, she’s in love with a boy, she needs wide open spaces, she’s a wild one,” she continued, referencing iconic songs by Trisha Yearwood, the Dixie Chicks and Faith Hill. “She’s more than a pair of blue jeans in a cab of a truck.”
Additionally, a handful of behind-the-scenes movers and shakers were present at the ceremony, including Cindy Mabe, president of Universal Music Group Nashville, who made it a point to continue to call for change in the industry regarding support for women. “We can all keep moving through and thinking that things have changed at the rate that they need to change, and they haven’t,” she stated. “This is about how we give a voice and a perspective to half the world.”
She encouraged emerging artists to explore other methods of promoting their music outside of radio, pointing to artists like Musgraves, who received little attention from radio for her Grammy winning Album of the Year Golden Hour, instead reaching listeners through other formats like social media. “Women are bringing more adventurous, interesting, state of the art, cutting edge music and it doesn’t go and fit in a box. We will spend the next years figuring out how we get it exposed, one foot in front of the other, because great music should always rise and it’s not about fitting into a box,” she said, actively taking Carlile’s words to heart. “I have to get out of bed every day and make a movement towards making women’s voices matter again.”
The program continues with the CMT Next Women of Country Tour, headlined by Tanya Tucker, in early 2020, with supporting acts and dates to be announced in the coming weeks.
Zac Brown has found himself in the company of a cast of unique characters.
The country star and frontman of the Grammy Award winning Zac Brown Band is set to be the next guest on the innovative new podcast, Bear and a Banjo. Launched in October through iHeart Radio, Bear and a Banjo was created by Jason “Poo Bear” Boyd and Jared Gutstadt, a pair of elite producers whose client list ranges from Steven Tyler to Usher. Boyd is most commonly known for his work on Justin Bieber’s catalog, penning such hits as “What Do You Mean?” and his duet with Ed Sheeran, “I Don’t Care.” He also produced the wildly popular remix of “Despacito” and co-wrote the superstar’s new collaboration with country duo Dan + Shay on “10,000 Hours.” Meanwhile, Gutstadt is a songwriter and producer who has ventured into the world of country music, working with the likes of Dierks Bentley, Brad Paisley and Angaleena Presley of acclaimed trio Pistol Annies.
The longtime collaborators have joined forces to create the larger-than-life podcast that’s described as “an immersive musical journey through old weird America during the big bang of recorded sound.” With Boyd as “Bear” and Gutstadt as “Banjo,” they transform into a fictitious Americana duo traveling through time from the 1930s to 1970s, visiting monumental moments in American history, with music serving as the throughline between each story. Each of the eight episodes turns a significant moment in music into vibrant folklore, whether helping blues legend Leadbelly escape a chain gang to witnessing gospel icon Sister Rosetta Tharpe’s extravagant wedding at Griffith Stadium in Washington D.C. in 1951. All eight episodes feature an original song written by Boyd and Gutstadt, while Bob Dylan contributes to the podcast as co-writer of “Gone But Not Forgotten” in the final episode.
With Dennis Quaid acting as the character of Dr. Q, who narrates Bear and Banjo’s journeys through history, the podcast is more of a cross between musical theatre and the storytelling nature of vintage radio, with writer and producer Bill Flannigan comparing it to the way Roy Rogers and John Wayne told stories “but a different cast of characters,” he says in an introductory video. “Podcasts haven’t really leveraged the power of music yet and to be able to create a first of its kind musical for the podcast space seems like a no brainer,” adds Gutstadt.
Brown stars in episode five, titled “Can You Hear Me Now?,” released today, as a guest actor who discovers one of Bear and Banjo’s songs that gets its namesake from the episode. In Brown’s remix of “Can You Hear Me Now?” it feels as though you’ve been thrust into a chaotic universe through the stormy beat of guitar intertwined with banjo and layered with R&B production, creating an eclectic mix of Americana and hip-hop. The country singer also collaborated with Boyd on his experimental new album The Controversy on such tracks as “Time” and “Dream Sellin’.”
Brown and Poo Bear’s individual versions of “Can You Hear Me Now?” will be available to stream on Friday. Bear and a Banjo is set to culminate with an album produced by T Bone Burnett that features all eight songs created during the series.
Nashville and New York City have established a deeper connection by honoring the history of vinyl with a new pop-up store, Spin On: Nashville’s Vinyl Collection.
Spin On finds Nashville’s beloved independent record shop Grimey’s New and Preloved Music partnering with the Nashville Convention & Visitors Crop and Showfields to bring vinyl records made by artists who live in Nashville or were recorded in Music City to NYC. Grimey’s has been an important part of the fabric of Nashville’s music scene since opening its doors in 1999, offering an expansive archive of vinyl new and old, along with used books, magazines, cassettes, CDs, turntables and more. It also provides support for local talent, hosting performances and album release parties for the likes of Jason Isbell and The Black Keys. Metallica also recorded their 2008 live album, Live at Grimey’s, at The Basement, a popular nightclub housed below the shop’s previous location that’s run by Grimey’s co-owner Mike Grimes.
Meanwhile, Showfields is a modern, multi-purpose retail space that opened in Noho in December 2018. It’s easy to see why it’s branded as “the most interesting store in the world” with four innovative floors dedicated to multi-media products and a vast array of rotating clients ranging from holistic wellness company Almeda Labs to candy artist by robynblair and smart mattress manufacturer Eight Sleep, in addition to serving as a gallery and community space.
Spin On: Nashville’s Vinyl Collection is open at Showfields in New York through Jan. 15. Photo by Garrett Hargis
The idea for Spin On came after the Nashville Visitors Corp participated in a panel in Manhattan alongside a member of the Showfields team. Inspired by Showfields chic and slick business model that shines a spotlight on creativity and artistry, the Visitors Corp wanted to partner with the eclectic NYC store to create a retail shop that reflects a vital aspect of Nashville’s music culture – vinyl. “There’s something about vinyl that lends itself to a simpler, more authentic time. Couple that with the fact that the music sounds so much better on vinyl that it makes it important for cities that produce music to deliver the best possible product available,” Butch Spyridon, president and CEO of Nashville Convention & Visitors Corp, shares with Audiofemme.
More than 800 vinyl records have made the voyage from Nashville to New York for the collection curated by Grimey’s, featuring music icons like Jimi Hendrix and Elvis Presley to country legends Dolly Parton and Roy Orbison. Living alongside them are albums by Kings of Leon, The Milk Carton Kids and Jessy Wilson, the latter a Brooklyn native formerly of Nashville-based rock duo Muddy Magnolias who dropped her solo album Phase earlier this year.
The pop-up also features performances and signings by Nashville-based singer-songwriters Andrew Combs on November 5, Trent Dabbs of duo Sugar & The Hi Lows on November 10, The Cadillac Three on November 19 and Caitlyn Smith on December 4. Hootie & the Blowfish are scheduled to sign copies of their new album, Imperfect Circle, on November 1. Every Thursday, Spin On is serving up $2 beers from Tennessee Brew Works.
“Nashville’s music brand is as diverse as the day is long, but 90% of the time people want to gravitate to country only. This town is built on diverse music and it is well represented in the store. That’s the message we want to send through the pop up,” Spyridon says. “Nashville is a diverse, welcoming, creative community.”
Spin On: Nashville’s Vinyl Collection is open until January 15, 2020 at Showfields (11 Bond Street, NYC). Hours are Sunday and Monday from 11 a.m. – 7 p.m. and 8 a.m. – 11 p.m. Tuesday through Saturday.
Sinclair reaches through the screen with confidence and positive energy in the music video for her song, “Drop Dead Knockout,” premiering exclusively with Audiofemme.
Co-written by Sinclair, Nikolai Potthoff and Julia Hugel in 2018 in Berlin, Germany, the unapologetic bop embraces themes of individuality and self-acceptance. The free-spirited video features LA-based choreographer and actress Courtni Poe dancing her way through the streets of Berlin, past graffiti and into the subway station, with her effervescent moves, bright energy and spirit reflecting the song’s nature. Sinclair and her wife Natalie Rose spent a couple of months living in Berlin and wanted the playful video to capture its unique, eclectic vibe. “The thing that I’ve connected to is that there is this overall sense of self-expression and individuality. There is a sense of crazy freedom,” she says of the city. “I feel so at home there.”
Sonically, the track intertwines Sinclair’s vast-ranging influences, from the bold hip-hop of Timbaland to Sade’s blend of pop, jazz and soul, while the singer herself plays that infectious guitar loop. Filled with attitude, the track finds Sinclair stepping into a place of self-confidence, singing lines like “all the girls/try for me/ I’m as good as they want me to be” with casual bravado.
“We’re allowed to say that; we’re allowed to have that confidence,” she says. “‘Drop Dead Knockout’ is really about me coming to this place in my individuality and being able to wear what I want to wear and self-express the way that I want to. I think knockout, it’s that power, it’s like that guttural confidence. It’s feeling in your gut you can do anything and take on any shit you got going on in your life and dreaming big.”
Though the video solidifies her singular vision, the singer admits that seeking individuality has been a lifelong quest. Raised in upstate New York in the small town of Madrid, Sinclair is sixth in a line of nine siblings, her father an Evangelical pastor and mother a teacher who homeschooled all nine children. A Beatles fan at the age of four and learning to play piano a year later, Sinclair discovered her musical passion at age 12 when her father began teaching her how to play classical guitar, quickly becoming “obsessed” with the instrument.
It was during this time that she began writing songs and accepting her sexuality, knowing her whole life that she was attracted to women. But growing up in a religious household where the family’s belief system was tied to the church stifled her ability to share her feelings with those closest to her. “It was really hard for me in that period to write honest songs. I was writing in code,” she heartily laughs. “I was trying to write songs that sometimes were reflecting that, but if I wrote those songs, they had to be enough in code that nobody would ask questions that would get to the bottom line.”
All Photos by Tobias Ortmann
Sinclair came out to her family when she was 20, the news creating friction between them, as they wouldn’t accept her. “When I came out, it was really hard because I felt really betrayed in the sense that they projected on to my character new things,” she reflects. “I think what was heartbreaking was that there was a sense that I was a totally different person in my character overall. Even though the truth was there now, there was still this overarching sense of loneliness, because nobody was really trusting me and knowing my character at that point.”
She left home for Nashville in 2011, where she met and fell in love with Natalie. The couple wed at an all-boys school in Nashville in 2014. Rather than viewing the lack of acceptance from her family through the eyes of bitterness, the singer says it’s part of the journey to finding pure happiness and peace, knowing she found the person who brings meaning to her life. “I have this sense of excitement over the freedom that I get to experience now every day and it’s never lost on me,” she observes, adding that she has recently reconnected with her family. “I understand more than a lot of people how simple life is and I’m lucky, and it’s really because of all that shit. It’s a blessing and a curse.”
With a sound that blends hip-hop and flamenco music, along with her colorful style that’s splashed across her Instagram, she seems to embody individuality; each element is a piece of the journey to Sinclair’s discovery of her creative identity. But she admits that pressure to conform to music industry standards has made it difficult over the years to find artistic independence – she notes that she didn’t start dressing the way she wanted to until two years into her relationship with Natalie. She says her “awakening confidence” allowed more of her true self to click into place. “I just wish for everybody that wherever they’re at now, they’re able to find happiness and confidence in their own skin,” she says.
She pinpoints one relatively recent epiphany: a visit she and Natalie took to the Picasso Museum in Barcelona, Spain in 2018. While analyzing his work, she saw a progression in which he began his career following his contemporaries, to eventually abandoning classic technique and creating his revolutionary style. As she continues down her own distinct path, Sinclair may find herself voyaging through an artistic evolution of equal lengths. “He was good until his 40s, and then he was good and different, and then he was a noteworthy artist. And I just was like ‘that’s what being an artist is about,’” she proclaims. “I think that I’ll always be learning that.”
“Drop Dead Knockout” is available now. Sinclair is currently on tour with Kevin Griffin of Better Than Ezra through Nov. 20.
A “griot” is defined as an oral storyteller in West Africa, the roots of the tradition tracing back centuries. Nashville-based duo Louis York not only bring this tradition into the modern era with their debut album, American Griots, but prove they’ve long been griots themselves.
The journey begins with Claude Kelly and Chuck Harmony, Grammy nominated songwriters and producers who spent more than a decade writing era-defining pop hits (Kelly wrote “Party in the U.S.A.” by Miley Cyrus and Bruno Mars’ “Grenade,” while Harmony penned Rihanna’s “Russian Roulette” and produced Ne-Yo’s six-time Grammy nominated album, Year of the Gentleman). After breaking away from the grind of the mainstream music industry, they created Louis York and launched their own artist collective, Weirdo Workshop, in Franklin, Tennessee (just outside of Nashville) in 2017. Deriving their namesake from Kelly’s native New York and Harmony’s home city of St. Louis, Louis York introduced themselves as a genre-defying act with an important message to share on a succession of EPs: 2015’s Masterpiece Theater – Act I, 2016’s Masterpiece Theater – Act II, and finally, Masterpiece Theater – Act III, released in 2017.
But with the turn of the new year in 2019, the duo knew it was time to create a comprehensive body of work in order to evolve, setting their sights on a debut album. As they began writing songs and developing themes for the impending project, Kelly and Harmony discovered the word “griot” – a traveling musician, poet or performer who would visit the villages of West Africa and share stories of the people and culture through art. “That part really resonated with us because it felt like there was an ancestral tradition to why music and soul music and this mission will always feel so familiar,” Kelly tells Audiofemme. “That was a beautiful thing to embrace.”
The album reflects a tapestry of the experiences, frustrations and lessons they’ve gathered through their journey, reclaiming the griot’s mission of transforming valuable life lessons into art that not only entertains, but instills education, intellect and spirituality. “We’re asking more questions than we’re giving solutions,” Harmony says of the project. “The songs go different places and take on different twists and turns in ways that I think a lot of people now don’t think fans and consumers can take, but we don’t buy that. We know that music has always been adventurous and progressive and fun and poetry, that’s what we fell in love with when we first came into it,” Kelly describes. “These are all soul songs, each one is kind of a realization for us.”
Louis York called on a team of Nashville griots to help them share these realizations. Caroline Randall Williams, an award-winning poet and co-author of NAACP Image Award winning book Soul Food Love, opens the project with her “piercing” voice, as Kelly notes, on an original poem that proclaims over a groove of horns and drums, “this, an American story / a fists up story / an our power story.” Her moving words take shape again on the reprise of “Teach Me a Song,” the duo’s duet with country star Jimmie Allen, while The Shindellas, the powerhouse trio founded under Weirdo Workshop, follow in their footsteps on “No Regrets.” The ’80s style electro-funk melody doesn’t disguise the uplifting lyrics that encourage self-love and personal freedom, and The Shindellas’ glistening harmonies shining alongside Kelly’s voice as they declare, “I want the world to know / you don’t have to be alone / we don’t have very long / so love anyone you want.” “That part was an important message, so we chose to repeat it over and over again so it could be drilled in people’s heads,” Kelly says.
For Harmony, the album’s profound identity lives in “I Wonder.” Originally released on Masterpiece Theater – Act I as an eclectic R&B number titled “Nerds,” Louis York give the song a new identity on American Griots. Inspired by hymns and Negro spirituals, “I Wonder” intertwines spoken word poetry, jazz, hip-hop and R&B to ponder how Civil Rights pioneers Martin Luther King, Jr. and Malcolm X would perceive the world today. The almighty voice of opera singer Patrick Dailey unites with Harmony’s cinematic production of strings and booming drums to elevate the compelling notion, “I wonder / if Martin was alive now / would he be proud? / I wonder / if Malcom was alive now / would he be proud?” “It’s such a vital part of our social message and it’s a missing part musically in pop culture,” Harmony explains. “It feels like it’s encompassing all of what African Americans have contributed artistically to pop culture, and still sounds futuristic,” Kelly remarks, calling Dailey’s presence a “stand alone moment.” “We wanted to feel reverent, but we also wanted it to feel like it was the best of who we are.”
The griot tradition is in capable hands as Louis York continue on an artistic journey that finds them channeling expression, attention to detail, honesty and true musicianship into their craft. These elements reward them with a true sense of freedom, the liberating gift they pass on to those who embrace American Griots. “With us spilling our guts and pouring our hearts on this album, we’re hoping that listeners will have a revelation, which is deeper than inspiration,” Kelly says of the most “complete” body of work they’ve created in their careers. “This album is also a reminder to them that this is what freedom can sound like. Now take that same feeling and apply it to yourself.”
“The only thing that we can offer people is love and happiness and having fun and being introspective. But at the end of it is love,” Harmony observes. “That’s what the world needs.”
He’s unapologetically queer, and as you’ll witness in his “Confident” music video, he commands the room. His presence is both imposing and inviting. He slinks through the crowd, drawing admiration and awe-struck swoons, and the hazy reds soak his senses nearly as much as the liquor and weed. “Puff, puff, pass,” he sends up his words as smoke rings in the dark.
Such confidence was hard to come by, however. His song “Impossible,” another cut from his debut EP, Have You Ever Seen a Boy Break Down?, perches on the other end of the spectrum. Backed by a rich gospel choir, he drowns beneath his depression, and the lilting edge of the song deceives the deep-rooted anguish. “It doesn’t have a happy ending,” he says on a call from his newly-minted Los Angeles residence.
“I want people to listen to it and allow themselves to feel that emotion and be like, ‘It’s OK to feel sad sometimes.’ I go through phases. Some days, I’m like, ‘I’m the baddest bitch.’ Other days, I’m like, ‘I suck. No one loves me.’ Instead of running from that and allowing myself to think I’m crazy, that is me,” he confides. “I’m an extreme person. I feel every emotion very strongly, and I can’t allow myself to feel ashamed about that. I’m going to allow myself to bask in both emotions and explore them and make songs about that.”
The title song, which displays Vara in his most vulnerable state, combs his conservative upbringing in small town America. “Do I want attention / Do I want affection / Do I just want something / ‘Cause everyone has it,” he sings. He wrestles with not only his identity but attempts to reconcile what he was taught to believe and the man into whom he’s blossomed. “Everybody loves to watch a tragedy,” he later admits. He paints the brutal weight of feeling unloved with a remarkable poeticism.
His voice immerses you in all of it, every ripple of sadness washing over your skin. “Growing up, I never felt understood. I was always different,” he says. Out of South Carolina, his father once owned a string of very ritzy nightclubs, and a wide-eyed little boy was first exposed to plenty of punk and dance music, from Whitney Houston to Britney Spears, styles that are generously embedded into other moments like “Looking for Love.” When he was seven, things took an unexpectedly religious turn when his father pulled out a bottle of holy water and vowed to live an austere, God-fearing lifestyle.
Vara was left hanging in the balance. “It’s been a battle, and it’s taken me years to decipher all of that. Coming out, I had to reevaluate a lot of my life and who I was,” he says. A cultural makeup of Latin and Greek (his father’s from El Salvador, while his mother is of Greek heritage), he also grappled with masculinity and a fear of sharing emotions. “I’ve always been emotional. It’s definitely something I’ve always been ridiculed for. I never want to hide my emotions. I always want to say how I feel and unapologetically feel every emotion. I hope other males can listen to [this EP] and be like, ‘Yeah, it’s OK for me to feel that, too.’”
“I think it’s fucked up that there’s this unspoken thing that men aren’t allowed to be emotional or insecure. I think that’s stupid. It’s a real thing. I’ve gone to therapy because I’m so anxious about things – who I am and the way I look,” he says. “It’s important to speak out about it. We all feel emotions and should be allowed to cry and have a little break down.”
Despite everything, Vara remains thankful he was “raised in an environment where music was something that was really revered. My mom can sing, and she’s honestly one of my biggest inspirations. I love that woman. She’d always sing in church, and even before church, she would always sing.”
“The intent of music was always to awake emotions in people. It was a very spiritual. I’ve been able to carry that into my life now,” he says.
He stops for a moment to collect himself. While his mother is still his biggest fan, his father remains a bit detached. “I don’t think my dad has heard any of the music. So. I don’t know what he thinks about it. It is what it is,” he says, his curt response speaking volumes. He quickly adds, “My mom thinks it’s good.”
Amidst such upheaval, Vara’s health also went into swift decline. At 15, he was officially diagnosed with Tourette’s Syndrome and was removed from a normal high school life. “I felt betrayed by myself. I didn’t know if I’d ever get better. It was a dark time. I felt alone. I remember my mom would be just sobbing,” he remembers. He spent the next year locked away in his room, and music became his only way to cope and process what was happening to him. “It made me feel understood. It was a painful era of my life, but the blessing out of that is music is my medicine.”
He soon flicked through the catalogs of such music icons as Queen, Janis Joplin and Beach Boys. Even now, his work feels both throwback and contemporary, covered in a thick layer of charm that only Vara possesses. Musically, much of his debut, including third single “Want Me To,” thrills the eardrums with a breathtaking splendor and could very well fit among such Queen classics as “Somebody to Love” and “The Show Must Go On.”
After saving up a month’s rent, the burgeoning songwriter relocated to Nashville to not only cut his small-town ties but to fulfill an unexplainable hunger in his core. Still in high school, the then-18-year-old felt the buzz of Nashville’s dazzling neon lights and the promise of superstardom. He took online classes and worked a full-time serving gig at Chili’s. “I was hustling, poor as fuck and very emotional. I had no backup plan and no connection there. I was also in the closet. So, I was going through all these emotions, all at once,” he recalls.
“I think everybody thought I’d be back after a month. I refuse. I would have been living on the streets before I went back. Failure was not an option,” he reflects. “Sometimes in life, you have to put yourself in a situation where you’re either going to sink or swim with nobody else to hold on to. I had to learn how to swim. I almost drowned a few times, but I survived.”
“Have You Ever Seen a Boy Break Down?” is stars colliding, a cosmic summation of his entire journey so far. It’s emotional. It’s angry. It’s liberating. Meanwhile, during the song’s inception, he was negotiating his contract with Warner Records. “I had this moment one day when I was in a session, and I was feeling heavy. Now, people want me and think I have something to say,” says Vara, who moved to sunny LA earlier this year. “But the only reason was because I was so depressed and hated myself. I made art because I hated myself. It took me hating myself for people to appreciate me. That had this weird affect on me.”
He adds, “I remember writing it and having this vision in my head of me in a circus rink sobbing and seeing this crowd of kids and families around me clapping and cheering.”
Vara’s Have You Ever Seen a Boy Break Down? is an exuberant display of a singer and songwriter finally coming into his own. Everyone will most certainly be clapping and cheering soon enough, but it’ll be because a superstar has emerged right before their very eyes.
Follow Carlos Vara on Facebook for ongoing updates.
Island Hopper Songwriters Festival, a Florida-based fest that celebrates the songwriters behind country’s biggest songs, hit the scenic beaches of Fort Myers and Sanibel last week for its 6th annual 10-day stretch. Over 80 artists performed, including Kristian Bush, Ashley Ray, Jerrod Niemann, Carly Tefft, Ryan Hurd, Gone West, Stephanie Quayle, and headliner Rodney Atkins.
Rodney Atkins headlines Island Hopper Songwriters Festival.
Island Hopper included many things good festivals should have. Veteran songwriters were paired with bright-eyed new performers, local talent was on full display, an easy-to-use app helped you plan your days, and the multiple venues – many of which were free to attend – made the event accessible and non-intrusive for residents.
However, what made Island Hopper extra special was the fest’s apparent dedication to female country songwriters, many of whom are currently under represented in the industry and have responded by banding together in Nashville, and elsewhere, to make their voices heard.
A crowd gathers for the final performance at the Pink Shell Beach Resort in Fort Myers, Florida.
Sheena Brook, an annual Island Hopper performer, hosted an all-female event in partnership with The F.E.M. Collective. Brook launched F.E.M. (Female Empowering Musicians) at last year’s Island Hopper and has since taken the female-fronted show to venues throughout Florida and Nashville.
“[Island Hopper] has more females than any other festival,” she tells AudioFemme. “[F.E.M.] started with a bunch of my friends from Nashville that I write with and it came from us discussing that there aren’t all the places in the world for us to play because we’re not necessarily being offered spots. It’s a male-driven situation right now, and I wanted to make a space for us.”
Sheena Brook (left) and Megan Linville (right) at Island Hopper’s F.E.M. Collective show.
While some festival performances can stir competitiveness or stress, Brook’s F.E.M. shows – at Island Hopper and elsewhere – make female songwriters of all different styles and skill levels feel welcome.
“All you have to do is show up and be yourself,” she says.
Brook’s F.E.M. shows and Island Hopper’s inclusiveness are just a part of a wave of response from country’s female songwriters. A major catalyst of the sentiment, the infamous ‘tomato-gate,’ is still inspiring country’s women today.
“A couple of years back, Lucy Collins was here and she was telling the story of the radio guy who told her [that] women in radio – women songwriters – are tomatoes in a salad, you only need a few,” Brook recalled of the 2015 incident. “I think slowly, and I say slowly because we’re nowhere near where we need to be in terms of equality, but I think we’re working on it.”
Sheena Brook performing at Cabanas Beach Bar & Grille.
Launching in Nashville, artists have started podcasts, female-run record labels, and showcases like the Song Suffragettes, to carve out a space where they were once told they didn’t belong. There is no end-all solution. The goal for these organizations, like Island Hopper and Brook’s F.E.M., is a snowball effect, rather than a one-size-fits-all.
“There’s so many of us. No one can have one group and everyone feel like they matter,” says Brook. “I really love what they’re doing [in Nashville] and I’m gonna do something, too. There’s room for everyone.”
Brook says she’s already looking forward to returning to next year’s Island Hopper and, of course, hosting her F.E.M. show. The 7th annual festival’s dates have already been announced, landing from September 18-27, 2020.
“[Island Hopper] does a lot of great things for our culture,” says Brook. “That support that they’ve given us, is what it takes to change things.”
When pressing play on “Costume,” the new single from up-and-coming trio The Shindellas, it’s as much a journey as it is a song.
The genre-blending act of Kasi Jones, Stacy Johnson and Tamara Chauniece begin by transporting us back in time to the 1960s with a spirited introduction that offers glimmers into each woman’s personality: Stacy is mean on the bass, love is Kasi’s middle name and Tam can sing like the best of them. They share these idiosyncrasies over a melody that captures the cinematic sound reminiscent of iconic groups like The Supremes and The Chiffons. But just as you’re reveling in this throwback sound, the beat drops, transforming into a slick R&B jam.
Written and produced by Grammy nominated songwriters and producers Claude Kelly and Chuck Harmony, along with former American Idol contestant and Grammy Award winner Tori Kelly, a close ear to the lyrics reveal that the infectious melody surrounds a powerful message that encourages self-acceptance and the freedom to walk in one’s truth, the trio’s glistening harmonies lifting up such inspiring words, “All we want is love / all we got is us / baby that’s enough / let me see the real you / ain’t gotta wear your costume tonight.”
Kelly and Harmony are co-founders and CEOs of Weirdo Workshop, a Nashville-based artist collective that produces The Shindellas and their own work as groundbreaking duo, Louis York.
Listen to Audiofemme’s exclusive premiere of “Costume” and read our interview with The Shindellas below.
AF: What was your reaction when you first heard “Costume”?
SJ: It’s a really fun song, it’s got a fun beat. It’s one of those songs that I feel like everyone can sing along to. It’s uplifting, it feels like a party song.
KJ: The blended styles, it literally feels like a party song from the ’20s and also from the future, it really is theatrical. It plays with a lot of different parts of our voices, it was like all of us could really sink our teeth into something.
AF: What are listeners going to learn about you through this song?
SJ: They’re going to learn our names, they’re going to know what we bring, our perspectives, we talk about that. And they’re going to learn about this different movement and be encouraged to join that movement and be a part of it, just women singing together about that kind of thing. I don’t think it’s a new thing, but it’s just an encouraging thing that they’re going to learn, encouraged to be close with your sisters and empower your sisters around you.
KJ: It starts with all of our playfulness. We actually introduce ourselves on the song, but I think it’s the most direct of our songs in terms of our actual messaging like self-love, self-respect, self-worth. “You are allowed to be yourself without fear” is our mantra and this song is just talking about being authentically you, and that’s what we are creating. It’s an anthem to all the weirdos.
AF: What do you want listeners to take away when they listen to this song? What message are you trying to convey and how do you hope it impacts them when they hear this song?
KJ: I hope people really feel that we’re embracing everyone’s most authentic self; that you are allowed to be yourself without fear and that that’s what we’re about. I also hope people will hear the song and want to come see it. I hope it reaches through the speaker and then makes them feel like they’re a part of something, like “I can turn this on when I’m feeling lonely or when I need that boost.”
AF: In the context of this song, how do you define the word ‘costume?’
SJ: It means to put on a persona. It can be a literal persona. It could be something as literal as makeup to saying you’re okay when you’re not okay. A costume is something that you’re using to guard yourself. But I feel like we’ve learned when you’re vulnerable, when you’re transparent, that is when people can really empathize and understand you and fall in love with you. So we’re asking everyone to take off their costume, whether it be makeup or it be something that you might find a flaw that you might be hiding and it could be somebody’s encouragement, somebody’s inspiration.
KJ: It makes me think of when we did our Tiny Book Club [an initiative through Weirdo Workshop] on passing and that sometimes your costume is how you pass. You wear a costume to your corporate job or you wear a costume with your family or we have different personas like [Stacy] said or costumes that we put on and maneuver through life. But like we talked about in that conversation, can you be really free if you’re constantly passing? We want people to be free.
AF: One line that stood out to me is “We’re The Shindellas, we’re truth tellers.” How do you define “truth teller?”
TC: I think that a truth teller is someone who understands that you’re flawed, but they are a work in progress, and they are all about sharing that journey with whomever will listen. I think for truth tellers, they just want the truth to be the reality, so they’re willing to basically put themselves and their truth on the line to actually bring in more people so that the truth can actually be the one thing that prevails.
AF: So how do you, The Shindellas, feel that you are truth tellers? What truth are you hoping to share with the world?
KJ: The universal truth. We’re ones that love is and always will be our north star.
SJ: In our music so far that we’ve put out has been nothing but some pretty serious topics wrapped in bubbly sounds and cool harmonies. But a lot of the words and lyrics are honest experiences that we’ve had that, like [Tamara] said, want to share. Our music is a huge reflection of our truth telling.
AF: Do you feel like your truth is reflected in “Costume”?
The Shindellas: Absolutely.
KJ: We all feel like costumes.
SJ: Stacy feels like her Jamaican roots are in “Costume” somehow without even having to force it or make it something that’s super prominent. It feels very real and true in the music.
KJ: That’s so true. I can hear all of the movie musicals that are what made me even want to be a singer and an actor. All those movie musicals and all those vocal performances in the intro and the bridge, that’s my grandma, it’s my childhood, what made me want to even play this way.
TC: I can totally hear my gospel roots because I feel like the entire song we’re testifying. We’re literally preaching but in a way that doesn’t sound so preachy, it actually sounds fun, so it’s a really weird juxtaposition. It’s kind of like what [Kelly and Harmony] coined a “deep fried veggie,” it’s such a fun beat and you kind of don’t even recognize that there’s such an awesome message in it until it’s over and you’re like “wait a minute, what was this experience?” That’s what I really love about it.
AF: Another big mantra for you is “when women come together, powerful things can happen.” How do you feel that you all have become more powerful since coming together?
SJ: For me personally, I’m inspired by these two women. Because we’re going through this together, every time they choose to be their truest self or to speak their truth or to face their fear, it encourages me to do the same. It’s been a magnifier for us. Also, I feel like I’m able to have a bigger voice and reach more people because we’re together and it’s still the same message that I would have been doing by myself, but now I have my sisters and more people can see themselves in us, so we’re able to reach so much more. We’re magnifying our words and our songs and our message by being together.
TC: I think that through this experience, I’ve become more powerful because now that I know that I have two women that are depending on me to be my best self, that is something that causes me to constantly self-reflect and constantly look in the mirror and make sure that I am being my best self when I’m with them because I know that we’re the most powerful when we’re all operating at our maximum potential. Knowing that I now have accountability buddies, it just makes for an incredible journey.
Chasing Lovely have released a live version of their track “Always and Never Enough,” and it’s definitely enough to pull on your heartstrings and make you feel some pretty serious emotions.
Hailing from Nashville, sister duo Chloe and Taylor are able to weave a vivid tale with their voices and light acoustic guitar that’ll give you goosebumps. This folky pair advocate working toward positive change, and their music is a fantastic reflection of that. “Always and Never Enough” is an introspective peak into how they process the positive yet tragic elements of the human element and everyday existence.
Sit back in a comfortable chair, turn on “Always and Never Enough,” and listen to Chasing Lovely as they offer you a new perspective (which seems particularly necessary as of late).
Premiering today is Nashville-based West AM’s single “Honey.” Consisting of a crew of college kids, West AM creates intelligent pop music that will appeal to party goers and devout rock fans alike. True to form is their single “Honey,” set to be a staple on summer playlists.
“‘Honey’ is about the desire for something other than what we have. Hidden behind the behaviors discussed in the song is an inner search for peace, and I’m not sure if that’s a journey that ever ends. In my experience, nothing is quite as sweet as what you first imagined it to be,” said frontman Jordan Hamilton of the single.
It’s Monday, and I don’t feel good. I’m cranky. My birthday was the weekend and I feel a year older and none the wiser. Riffing on my angsty vibes, yet pulling me out of my I-don’t-wanna-work lethargy, is Nashville’s The By Gods with their first single “On the Radio.” A trio made up of George Pauley (vocals, guitar), Natalie Pauley (bass), and Tye Hammonds (drums), the “no frills” rockers give it to you straight with a 90’s-alt attitude and just the right amount of ass kicking so you might actually accomplish something today.
Listen to “On the Radio” below and shake off your moody blues. Their upcoming album Get On Feelings will be out January 22nd.
Out of Nashville, CAPPA is about to drop her debut EP on May 18. The songwriter is totally cool and down-to-earth, and also really into cookie butter, her dog, and listening to The Used. She also really wants you to chill. CAPPA recently released a seriously fueled single, “Killin’ It.” “We got all the time in the world,” she repeats, over dark progressions and calmly so. I already dub the hypnotic track as a summer anthem. CAPPA’s sexy and alluring, her voice pairing with hauntingly electronic beats. “I spend my nights like a love scene, I live my days like a daydream.” That’s a world I wouldn’t mind drifting through. Don’t hesitate to feel her aura in a little over three minutes.
Meet Nashville-based Penicillin Baby. They recently released a new single ““Stick It Out.” These psych-pop rockers (Jon Tyler Conant, Charlie Davis, Taylor Lowrance, and Wesley Mitchell) describe themselves as “Space-Trash.” Listening to the single, one wonders if they are indeed from outer space, sifting through the Southern-infused surf rock vibes that burst with classic punk inclinations. Note: causing writers to wonder if you are space aliens is always a good thing; Earth is overrated. As Hesh told Christopher on The Sopranos, “Now that is a hit.”
The delightfully bespectacled Justin Townes Earle dependably releases a record every year or so, and has done so since 2007. He can be counted on for more than just punctuality, too. Not one of Earle’s records is a dud: at worst, he’s palatable and bland, and at his best, he expertly shines a light into fresh quadrants of the well-traversed territory of outlaw Americana. He comes honestly by his “darlin'”s and “mama”s–the son of Texas songwriter Steve Earle, who gave him his middle name in honor his godfather Townes van Zandt, JTE is the heir apparent of modern country, and despite what’s perhaps an understandable reluctance to fully embrace the Nashville lifestyle, the stuff seeps out of his pores. Every song is a story, piled high with neatly turned guitar work and vocals that can be mournful or flirtatious, contemplative or charming.
Often, in his songwriting, Earle plays the suave but troubled rambler. First there was “Ain’t Glad I’m Leaving,” off his full-length debut The Good Life, wherein he balks at romantic commitment and assures a protesting lover that she’s better off without him. Then came Midnight at the Movies, which included the similarly self-depracatory but audibly grief-stricken “Someday I’ll Be Forgiven For This.” As is often the case, true stories are behind the good lyrics. The years since he released his first EP Yuma haven’t been entirely smooth for Earle, who struggled with drug abuse and an arrest that led him into rehab in 2010.
He’s been sober for a couple of albums now, but his music still dips into the lonely, complicated character that defined the folk singer’s early work. The somber sections of Single Mothers, though, crystallize around the simple and deep-rooted sadness of an abandoned child–as opposed to the empty braggadocio of a loner who just can’t be tamed, not even by the love of a good woman. Maybe this interpretation reads into the title a little too much. The son of an absent famous father, Earle grew up with a single mother of his own.
But the title track–its steady beat and simple, symmetrical lyrical structure–sets the tone for the rest of Single Mothers in terms of gravity and mutedness. Reduced to its essential components, Earle’s songwriting doesn’t always grab your attention the way that his younger, more caddish self might. But there’s a payoff: you get to hear his voice at its most vulnerable.
Which isn’t to say that JTE has totally lost his swagger. “My Baby Drives” provides some rockabilly-ish, dance hall relief from the intimacy of “Single Mothers” and the forlorn next track, “Today and a Lonely Night.” “Wanna Be a Stranger” floats along with all the lightness and insta-nostalgia of small towns you drive through and don’t stop in. As a collection, though, Single Mothers tends towards interior songwriting that favors quiet payoffs over flashy country licks. In fact, it is as if Earle particularly avoided that kind of sexy troubledness that falls to those who walk out of their homes and go wandering, opting instead for the unshowy and exhausted hardship left for the single mothers who remain behind.
Single Mothers dropped September 9th on Vagrant Records, and you can order the album here. Check out the music video for “Time Shows Fools,” off Single Mothers, below!
Ticket Giveaways
Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.
