Laura Jane Vincent (Interstellar Album Listening Party and Show) ft: Emorie Hush and Emily Stewart
Dawn Landes and Tyrone Cotton
Dawn Landes is a North Carolina-based singer-songwriter whose music you might have heard if you watch The Good Wife, House or Gossip Girl. Along with releasing seven albums and five EPs since 2005, she’s a frequent collaborator with contemporaries such as Sufjan Stevens, Norah Jones and composer Nico Muhly. She has appeared with the Boston Pops, the NYC Ballet and on the TED main stage. Her musical ROW about fellow Kentucky native Tori Murden McClure’s quest to become the first woman to row across the Atlantic Ocean premiered in 2021 at Williamstown Theatre Festival and is available on Audible. Her latest release is The Liberated Woman’s Songbook, an album of folk songs that leads us through a history of women’s activism from the 1800’s through the high times of Women’s Lib in the 1970’s. The album was produced by her longtime collaborator Josh Kaufman (Bonny Light Horseman) and features guests including Emily Frantz (Watchhouse, formerly Mandolin Orange), Kanene Pipkin (The Lone Bellow) Charly Lowry, Rissi Palmer and Lizzy Ross (Violet Bell). Tyrone Cotton’s earliest musical revelation was listening to the raspy, inspirational voiceof his grandfather, the Reverend Cleveland Roosevelt Williams, at his childhood homein Louisville, KY. Cotton began playing guitar along to the sounds of popular rock andblues artists and draws inspiration for his debut album from influences such as JerryGarcia, Jimi Hendrix, Buddy Guy, and Mississippi John Hurt, who intrigued Tyrone withhis “ finger pickin’ and soft, wispy voice.” Cotton’s debut album, Man Like Me, is theresult of a lifelong journey of his nearly 30 years of performing in venues and as abeacon of the Louisville music community where he continues to reside today. Thecollection of songs developed over the past decade and documented on Man Like Me,is a deeply stirring reflection of Cotton’s own experiences which explores connection,loss, hope and resurrection, punctuated by a voice that is hauntingly evocative yetequally warm and alluring.The title track is a stunner: “Man Like Me” is melancholy, dark and haunting as Cotton’srich vocal shrouds the opening line. “I understand you’re afraid / And you don’t want toget mixed up / With a man like me / Rumors follow me wherever I go / You better watchyour step / You might learn something you don’t want to know”. Producer JoshKauffman’s production throughout is impeccable in both its restraint and expanse, whichis no surprise given Kauffman’s prior production work with artists such as The National,Bob Weir, Anais Mitchell and Josh Ritter.His own writing is deeply personal and pulls from those influences and embodies a vastlandscape of soul, folk, blues, jazz, and rock n roll. “I’m working on new angles andapproaches to songs. I’m intrigued by the process of having a story already in place andchiseling it into a song; looking outside but still looking in.” says Cotton.Cotton has toured throughout the United States and overseas but it’s in his hometownwhere he’s played hundreds, if not thousands of shows at clubs and festivals. He alsoretains residencies at several senior living centers where his vast knowledge ofrepertoire is showcased through performance every week which span 70 years ofcontemporary music. Soon, Man Like Me will have its moment to join the canon ofthose celebrated contemporary works
Will Willis And Friends w/ Evan Blackerby
A hardworking individual, a devoted family man, and a storyteller weaving talesthrough the medium of song, Will Willis epitomizes the journey of a rambling soulfinding solace and roots in the serene depths of North Carolina’s mountains. Hisupbringing was nomadic, traversing the landscapes of California, Montana, theCarolina coast, and eventually settling in the rustic heart of Appalachia.Guided by his father’s craftsmanship and a profound belief in the ethos of self-reliance, Will inherited a passion for woodworking, relishing in the art of creativedesign and the satisfaction of seeing projects to fruition. While music came later inlife, it swiftly became his vehicle for articulating lived experiences and personal truths.Will’s lyrical narratives often unfold through the lives of characters, delving intothemes of addiction, relationships, and existential quests, yet always underpinned bya resilient spirit of hope. He perceives life’s trials not as mere trials but as essentialchapters in the ascent up the mountain of existence, viewing realism through the lensof optimism.For Will, music is a holistic endeavor, a collaborative symphony wherein each bandmember contributes their virtuosic talents, infusing the songs with newfound vigorand depth. His genre-defying sound, a fusion of Folk Rock with nuances of Blues andFunk, has garnered acclaim since his debut in 2004, notably with recent singles”Honey Bee” and “Mercy.”A stalwart figure in the Southeastern Americana scene, Will Willis anticipatesembracing new venues and expanding the horizons of his band, “Will Willis andFriends,” in the aftermath of their upcoming release “Digital Movement” in May of2024. With each performance, he invites audiences to embark on a journey of musicalexploration, where the evolving process of creation mirrors the dynamic essence oflife itself
John Moreland wsg: Nathan James Hall (Old Heavy Hands)
John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious,basking in the comfort of a question, and along the way, those of us listening feel moved to askour own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songsare all questions. Everything I write is just trying to figure stuff out.”Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers themost comprehensive insight into the thoughts and sounds swimming around in his head to date.A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling livesconfidently in a space of its own, enriched by tradition but never encumbered by it. Thesongwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remainspotent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’sacclaimed LP5.The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’smeditative songs, while performances on The Late Show with Stephen Colbert, CBS ThisMorning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, whilethe Tulsa-based Moreland is grateful for the respect and musical conversation he’s now havingwith people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs,more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing thathas helped me be less hard on myself, which makes you more generous and compassionate ingeneral.”That helps explain why even if Moreland is reaching out to someone else, there is no judgment.“I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I wantto talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really,because I think that’s when it’s easy to start pontificating––and it gets less honest.”On Birds in the Ceiling, Moreland’s singing contributes to the feelings of hushed intimacy.Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playingin bars, fighting to be heard over chattering crowds. “When I first started singing, I was very self-conscious about it,” he says. “I think I tried to affect my voice more. Singing loud could be asecurity blanket sometimes. On the new album, on a lot of the songs I was definitely making aconscious effort to sing quieter––almost whisper.”Produced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refusesto stay in its lane. It’s the second album for Pence with Moreland, who sees the former––a Denton,Texas-based engineer, producer, and drummer––as an ideal musical partner. “We have a lot ofthe same influences, and I have been really influenced by his bands,” Moreland says. “It feelsreally effortless
Bri Bagwell + Wheelwright
Texas Female Artist of the Decade, Bri Bagwell, is a force to be reckoned with from her rousingly fun live performances to trailblazing recordings garnering her twelve #1 singles on Texas Country Radio and counting. With multiple Female Vocalist of the Year awards, Bri is making waves with her music drawing national attention. People Magazine raves, “Bagwell increasingly finds her name being mentioned amongst country music truth-tellers such as and .” Her latest album, Corazón y Cabeza (Heart and Head), has already spawned three #1 singles, “Trenches,” “Free Man,” and “Hello Highway,” the latter inspiring her summer tour across 10 states and Mexico. Performing 150 shows a year, Bri has shared the stage with a long list of artists, including Willie Nelson, Miranda Lambert, Robert Earl Keen, Kacey Musgraves, and Dwight Yoakam. Catch Bri Bagwell live on tour or listen to her latest podcast, ONLY VANS, at www.bribagwell.com. W/ Wheelwright
Will Overman + William Matheny
Will Overman’s music can be best described as a combination of Rock, Country, and Americana, but it’s not your typical Country-Americana sound. Sonically it is restless by nature, always searching for something new, and with Will’s heart-worn lyrics and dynamic vocal delivery, it makes for a memorable mixture that is hard to place but easy to love. William Matheny is a songwriter, guitarist and vocalist from West Virginia.
Royal Cab Co
Thomas Royal’s 25-year endeavor of creating experimental lo-fi pop noir, producing various EPs and albums like “The Age of the Average” in 2023, evolved into Royal Cab Co. This transformation happened in 2023 through regular music sessions with friends, leading to the establishment of a six-member band. Royal Cab Co’s music is eclectic, blending influences across genres and periods. Imagine The Heartbreakers performing Replacements tracks, Wilco abandoning Country for Yacht Rock, The Jayhawks covering The Cure, Bill Callahan and Bill Frisell, Glenn Campbell and Glenn Tipton. You get the gist. Royal Cab Co, Thomas Royal, Rhett McAllister, and Jason Blalock on guitar and vocals, Hank Royal on keys, Todd Sizer on bass, and Jutin Horth on drums, amalgamates nearly a century of musical experience. These folks have amassed thousands of performances across various bands, contributing to their rich, eclectic sound. Their collaboration results in a diverse musical tapestry, characterized by its uniqueness and influences that are left of the dial, finding normalcy in the unconventional and indie side of music. Their collective journey in music spans different genres and eras, resulting in a sound that is both seasoned and exploratory. An all-new Neo Dad Rock movement is here; defiantly maximalist and nostalgic – not a genre, but a catch-all term for anything you can get away with in the car that might offend but won’t annoy the wife and kids.
The Wilson Springs Hotel + Conrad Moore
Homegrown in the rich music scene of Virginia, Wilson Springs Hotel is a band brought together under a genreless flag; A folk band committed to rock and roll, and a rock band committed to classic country. After forming in 2021, Jacob Ritter (guitar/songwriter/lead vocals), Victor McManus (lead guitar), Brendan Boylan (fiddle), Sebastien Richard (drums) and Andrew Carper (bass), released two albums in quick succession and are once again releasing new music in 2024. Their first single “Pulling Weeds”, available now, explores the struggle with repetitive mental loops, like attempting to get nutrients out of the same spent garden. Their new songs are a split between a classic country, and a more rock influenced sound, finding the band still unwilling to conform to a single genre, and instead celebrating the many influences that brought them to where they are today. Conrad Moore is a North Georgia native singer-songwriter who captures the soul of the working southern man. His songs have roots in folk storytelling which nod to the ups and downs of life, love, and the pursuit of happiness. All washed in hints of booze, half-truths, and motel rooms. His lyrics personify Mother Nature and her dance with Appalachia. The human condition and blue-collar woes are often his muses. Although his songs have no shortage of heartbreak and day to day strife. Conrad produces a relatable angst of a generation growing up within the confines of a flawed American dream. Not without hope, his music shares with us what’s left to save about the southland.
Ric Robertson Band
Ric Robertson is an American original, pulling influences from the greats that came before, but wholly responsible for building his own creative universe. His new full-length record Carolina Child is nothing short of an opus, taking his wealth of musical proclivities—from the mountain music of his home state of North Carolina, all the way to the jazz and funk of his current homebase in New Orleans—and fueling it into a gonzo vision of Americana that is equally innovative as it is simply beautiful to hear. As a songwriter, Robertson takes his inspiration from the fragility of our inner lives and the small moments packed with meaning that surround us. This is John Prine by way of New Orleans, Harry Nilsson in a Nudie suit, a stoned Dr. John lost in Nashville, Bill Monroe on mushrooms listening to Bessie Smith. It’s a riot of juxtapositions and a chaos of imagination anchored by Robertson’s soft, flowing voice, and his uncanny knack for chronicling our lost lives. Carolina Child was produced by Dan Molad of Lucius, and features Jess Wolfe and Holly Laessig from Lucius plus a whole host of Robertson’s friends and picking partners including Dori Freeman, Oliver Wood (The Wood Brothers), and Logan Ledger. Listening to the album’s ten tracks, it’s clear that Robertson—one of the best kept secrets of Americana—is poised for a breakout moment with Carolina Child. Step into his boundlessly creative multi-verse and you’ll find nothing short of American songbook excellence.
R.R. Williams, Bob Fleming, and Ryan Lockhart
