Chad Jenkins “Awake”

“Awake” is the first music video from Philadelphia based singer/songwriter Chad Jenkins’ solo record: VIDEO.


After graduating the University of the Arts, Jenkins abruptly stopped playing music altogether and pursued a career in television as a cameraman and producer.  Some of his broadcast credits include: Hoarding Buried Alive, Entertainment Tonight, Yahoo! 365 Nights of Concerts, and the Oprah Winfrey Network.  Following the death of his mother and nearly a decade removed from performing music, Jenkins wrote and produced the record: VIDEO, which includes the song and accompanying music video: ‘Awake’.

The next music video off this record is for the track: ‘Every Night of the Week’ and will be available end of summer 2017. 

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Sammy Brue – I Am Nice

“Stories are all around us, and I’m listening to people even when they think I’m not,” states Sammy Brue.  “If I get to the emotion of it, I can find the words.”  
Realism and storytelling are qualities that are prominent on I Am Nice, the 15-year-old Utah singer-songwriter’s New West debut.  The 12-song album—produced by Ben Tanner of Alabama Shakes and John Paul White of the Civil Wars—shows the young troubadour to be a timeless talent whose catchy compositions embody the sort of wisdom, empathy and insight that’s usually associated with more experienced songwriters. 
Sammy Brue likes to think of himself as a normal fifteen year old kid – he plays video games, hangs out with his friends and eats cereal in the afternoon. On “I Know,” the first single from his upcoming debut LP on New West, the John Paul White and Ben Tanner-produced I Am Nice, Brue balances a mature, brooding sense of folk with wistful, youthful lyricism: on one hand, he’s an artist gifted way beyond his years. On the other, he’s a teenager who misses the girl he left behind. 
“I wrote that song in my underwear at three in the morning,” Brue tells Rolling Stone Country. “It was about someone chasing after their dreams and leaving a person they loved behind to do it. Only to find out that the person they left was more important than the dream. It’s probably the most personal song I’ve written for this album.”
The Ogden, Utah-based Brue started writing music at ten years old, and was snatched by Justin Townes Earle for the cover of his 2014 album, Single Mothers, for his uncanny resemblance to the singer songwriter. His similarities to Earle weren’t just in the physical – he, too, plays his guitar with a heavy thumb that tends to conjure up a bygone era, with lyrics firmly footed in the present. By fourteen, Brue had already released two EPs under the tutelage of musicians like Earle, Joe Fletcher and Joshua Black Wilkins, who saw more than just the novelty of a young kid at the mic: they saw an artist. Young or not, Brue’s songs were emotionally stirring and stark, garnering him spots opening for Hayes Carll, Lydia Loveless, John Moreland, Lukas Nelson, Lucinda Williams, Asleep at the Wheel and Earle, and a deal with New West records.
“Sam is not only a friend, but a peer,” says Wilkins, also a photographer who shot Brue for the cover of Single Mothers. “I started playing music at fifteen, so to witness someone so focused and inspired, and talented, is a constant reminder that I can always improve my craft. Sammy Brue gets better every day, and does it with a focus and drive that almost no one can match.” “Watching Sammy grow as a writer and performer over the past few years has been the most inspiring thing I’ve seen happen during my music career,” echoes Fletcher. “He is so hungry for new influences and seeing him devour them and process them and make them his own is a constant reminder to me of what drew me to this life in the first place.”
For I Am Nice, Brue headed to Florence, Alabama to make the album with Tanner and White – he’s finishing high school online these days – and he embraced the opportunity to add a fuller band to his spare acoustic sound. At first, he was a little intimidated by White’s austere persona, but soon found the man behind the press to be much different than he imagined. “I was kind of nervous at first because when you see pictures on the Internet [of White] he looks super serious,” Brue says. “But then he was a really big goofball.” I Am Nice infuses a new complexity into Brue’s style: a little doo-wop on “Was I The Only One,” some Nirvana-inspired scruff on “Control Freak,” the echoing introspection of “Salty Times.”
“I don’t have a lot of experience playing with a band so I didn’t know what to expect other than I wanted the Muscle Shoals vibe,” says Brue. “Just hearing the recordings after each take was cool. When Ben Tanner put keys on it I kind of didn’t ever want to play solo again. I actually have a band back in Ogden now, too, because I really love playing with other musicians. I didn’t have a sound in my head before because I didn’t want to ruin what John and Ben were going to come up with. After hearing the final mastered versions I really loved it. I think people will know where it was recorded when they listen to it.”
Though Brue is clearly influenced by Woody Guthrie and Bob Dylan – his first EP was titled The Ghost of Woody Guthrie and evokes a young Dylan heading to New York and ambushing his idol at the hospital – his tastes range far beyond just folk.

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Rachel Baiman and Modern Mal release music videos

Baiman’s “Shame” and Modern Mal’s “Just a Satellite” get the video treatment, World Cafe releases Rev. Sekou live videos

We’ve got a couple fantastic music videos premiering today, from Baiman’s feminist title track “Shame” called “a potent message from an especially powerful messenger” by Paste Magazine to Modern Mal’s Psychedelic-Surf Rock rumination on self-esteem on “Just A Satellite”, with Rachel Brooke coming to the conclusion that “Some things can still be beautiful, even if they are a rusty man-made piece of space-debris” over on American Songwriter.While Rev. Sekou’s full World Cafe interview and session won’t be live until Friday, Vuhaus has a taste of the cuts he did of “Resist” and “Muddy and Rough” at the WXPN studios accompanied by Alvin Youngblood Hart and the North Mississippi Allstars!

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Bluegrass Ramble Schedule Announced

IBMA logo
2017 Bluegrass Ramble at WOB - official logo

Schedule Announced:

Bluegrass Ramble Official Showcases September 26-28

At 2017’s World of Bluegrass in Raleigh, NC, we’ll feature these 30 Official Showcase artists. They were selected from more than 160 submissions representing the vitality of bluegrass from its traditional roots to its furthest offshoots all around the world. Learn more about the Bluegrass Ramble acts.
Want to experience the Bluegrass Ramble? An IBMA Business Conference badge (buy now—first-time attendee discount offered) or Bluegrass Ramble wristband (buy now) will get you into all venues. Admission into a single club will be sold at the door for $10.[WOB Business Conference registrants do not need to purchase Bluegrass Ramble tickets.]


Architect Bar & Social House: (108 East Hargett Street)
Tuesday, September 26:
7:00        Caroline Gallagher
8:00        Travers Chandler and Avery County
9:00        Mile Twelve
Wednesday, September 27:
7:00        Cathy Fink & Marcy Marxer
8:00        Sam Gleaves
9:00        Jonathan Byrd
Tuesday, September 26:
7:00        The Savage Hearts
8:00        Deer Creek Boys
9:00        FY5
Wednesday, September 27:
7:00        Richie and Rosie
8:00        The Po’ Ramblin’ Boys
9:00        The Small Glories
Lincoln Theatre: (126 East Cabarrus Street)
Tuesday, September 26:
7:00        NewTown
8:00        Forlorn Strangers
9:00        The Lonely Heartstring Band
Wednesday, September 27:
7:00        Hank, Pattie & The Current
8:00        The Railsplitters
9:00        Fireside Collective
Pour House Music Hall: (224 South Blount Street)
Tuesday, September 26:
7:00        Cup O’ Joe
8:00        Molsky’s Mountain Drifters
9:00        Sheriff Scott and the Deputies
Wednesday, September 27:
7:00        The Slocan Ramblers
8:00        Quiles & Cloud
9:00        Mr Sun
Raleigh Convention Center Masters Workshop Stage (500 South Salisbury)
Tuesday, September 26:
7:00        Fireside Collective
7:35        The Po’ Ramblin’ Boys
8:10        Jeff Brown & Still Lonesome
8:45        Salt and Light the Moore Family Band
9:20        The Railsplitters
Wednesday, September 27:
7:00        High Fidelity
7:35        The Price Sisters
8:10        Forlorn Strangers
8:45        Travers Chandler and Avery County
9:20        NewTown
Raleigh Convention CenterRoom 304 (500 South Salisbury)
Tuesday, September 26:
7:00        Quiles & Cloud
7:35        Richie and Rosie
8:10        Sam Gleaves
8:45        The Slocan Ramblers
9:20        Mr Sun
Wednesday, September 27:
7:00        Deer Creek Boys
7:35        Caroline Gallagher
8:10        Mile Twelve
8:45        FY5
9:20        Molsky’s Mountain Drifters
Vintage Church: (118 South Person Street)
Tuesday, September 26
7:00        The Price Sisters
8:00        Cane Mill Road
9:00        High Fidelity
Wednesday, September 27
7:00        Jeff Brown & Still Lonesome
8:00        Flats and Sharps
9:00        Salt and Light the Moore Family Band
Wide Open main Stage art listing first round of featured artists
Wide Open Main Stage:
Wide Open Main Stage
You won’t find this lineup anywhere else! Bluegrass greats, emerging stars, one-of-a-kind jams. You’ll hear eighteen incredible acts in two days. One- and two-day tickets with good seats still available. You have to experience this
And every ticket purchase benefits the Bluegrass Trust Fund.

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Matthew Ryan – Hustle Up Starlings



“Crazy Horse meets The Replacements, with a nod to Tom Waits” – Paste


“If Arcade Fire’s The Suburbs captured a moment in time for suburban kids, Matthew Ryan is their blue-collar companion” – No Depression
“An essential American voice.” – Riverfront Times
“He continues to bring heartfelt emotion to rock & roll, one day soon I hope the rest of the world will wake up to the genius that is Matthew Ryan.” – Mike Marrone, Sirius/XM’s The Loft
“A writer who pens love songs as tough as Jim Thompson novels. Some rockers must scream when they plumb emotions at this depth. Ryan rarely has to raise his voice above a raspy whisper.” – USA Today
“An enviable knack for elevating the everyday into the realm of the eternal distinguishes Matthew Ryan from the alt-country pack.” – Drowned In Sound


Matthew Ryan – Hustle Up Starlings

Matthew Ryan is experiencing a kind of noisy renaissance. It began in 2014 with the release of Boxers, a fevered and smart rock ‘n’ roll record about the working class, produced by Kevin Salem. May 2017 will see the follow-through with Hustle Up Starlings, a heart-on-the-sleeve collection of silvery anthems that further illustrate Ryan’s reinvigorated love of language, noise, and cinema.

Produced by Brian Fallon from The Gaslight Anthem, Starlings shimmers with an immediate and captivating focus. The 10-song set clocks in at 40 minutes with no prevarication or bluster, just a celebratory noise alight with hearts and history, broken-in voices and poetry.


Matthew Ryan grew up in Chester, Pennsylvania just south of Philly, and spent his teens in Newark, Delaware. In his early 20s, he moved to Nashville, where he was first signed to A&M Records, releasing May Day (1997) and East Autumn Grin (2000) before falling prey to the titanic label mergers of the early aughts.


What followed was more or less an album a year by any and all means possible until 2012’s In The Dusk of Everything. After moving to Western Pennsylvania in 2011, Ryan quietly decided that he’d had enough. Dusk would be his last album. “Music had become too lonely,” he said.


But soon after that declaration, a sudden friendship with the frontman from The Gaslight Anthem, Brian Fallon, reignited something in Ryan. Fallon invited him out on some tour dates, and after performing a version of Ryan’s “I Can’t Steal You” (off of 2003’s Regret Over The Wires) together in New York City, the two decided they’d like to work together one day. Fallon just wanted to play guitar, but Ryan suspected he’d found a producer.


Hustle Up Starlings was recorded last summer in Nashville at Doug Lancio’s place on the East Side. Ryan assembled the cast because they all shared a common ethos and similar roots — The Clash, The Replacements, Bob Dylan, Bruce Springsteen, Leonard Cohen, The Cure, The Jam… Each of them hard working lovers of pop music with a black eye, a brain, and soul.


Things were a little tense at the start. “Artists are like boxers,” Ryan says. “They have to test each other a little before they can trust each other.” And this was a roomful of artists. Brad Pemberton (Steve Earle, Ryan Adams) played drums and percussion; Brian Bequette (long-time blood brother and band member of Ryan’s) played bass; Fallon played electric and acoustic guitars while helming production; Doug Lancio engineered and mixed while adding synth and additional guitars. Ryan sang and played guitar as well. David Henry (former cellist for Cowboy Junkies) added strings where needed.


Fallon had a sense of the orchestration and arrangement already filed in his mind. They’d gather and play a song acoustically, discuss what they were hearing and what needed to happen, then Fallon would take the lead, check in with Ryan and off they’d go. Lancio would hustle around getting the mics and levels sorted then press record. They kept the takes that moved them, that felt alive. Most of the vocals you’ll hear were of the moment, as is the band’s performance.


There was some minimal overdubbing, then Fallon would add backing vocals while the energy of just capturing a new recording was still in the room. Song after song played out like this. 7 days were booked, and they were finished in 5.


Hustle Up Starlings is an album in the truest sense of the word — it’s a cohesive sonic and narrative expression with a beginning, middle, and end. It was in a conversation with the great producer and songwriter Joe Henry that Ryan realized once again the importance of committing to the fullness of experience that an album offers. “It’s an intimate story I’m telling here. These songs are personal, but if I’m lucky and I’ve done my job, they become universal. The story I’m living and writing about is happening in the context of this world we’re all observing and feeling right now, a world that feels like it might catch fire with all its uncertainty and friction, the ugly politics and rising impulses.”


Ryan explains further, “You see, this is what we do though, even when the world feels like it’s about to burn down, we keep leaning for tomorrow in our own lives and stories and families. It’s all hope and perseverance. We get up and we go to work. We believe in tomorrow, even when we’re not sure what tomorrow will be. Joe helped me to realize that I should probably tell the whole story as best I could. Brian and Doug and the band helped me bring it to life so it could be heard and shared. And hopefully felt.”


On Hustle Up Starlings, we find an artist who has shifted into some higher gear and come into full fruition. The entire collection is not only bolstered by a great band and their sonic immediacy, the songs are so generous with incisive couplets and soaring, searing choruses that repeated listens don’t dull its charm. Each song and performance in this collection leans on perseverance like a car leans into a hard curve — the thrill of “(I Just Died) Like An Aviator,” the inspired grit of “Battle Born,” the unguarded intimacies of “Maybe I’ll Disappear,” the jilted humor and meanness of “Bastard.”
There’s romance and doubt, there’s memory informing the phantoms of the future, there’s work and hope-tinged despair. There are moments that arrive and feel like instant classics. The title track, “Hustle Up Starlings,” comes in like an ambient Rolling Stones tune and unfolds in a filmic, breathtakingly honest way. Each detail glows as the story builds upon itself, cool and warm, incisive. The entire album works like this, each song into the next, moment after moment. It doesn’t let up.


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Tony Joe White – Rain Crow

Tony Joe White is a genre unto himself. Sure, there are other artists who can approximate White‘s
rich gumbo of blues, rock, country, and bayou atmosphere, but almost 50
years after “Polk Salad Annie” made his name, you can still tell one of
his records from its first few moments. 2016’s Rain Crow confirms White hasn’t lost his step in the recording studio. Produced by his son Jody White, Rain Crow is lean, dark, and tough; the bass and drums (Steve Forrest and Bryan Owings) are implacable and just a bit ominous, like the sound of horses galloping in the distance, while the flinty report of White‘s guitar sketches out the framework of the melodies and lets the listener’s imagination do the rest. White‘s best music has always had more than one foot in the blues, and Rain Crow often recalls the hypnotic backwoods juke joint sounds of R.L. Burnside and Junior Kimbrough, built on a groove that travels as far and as deep as it needs to go. And White the storyteller is in great form on Rain Crow,
from the tricky family tale of “The Middle of Nowhere” and the spooky
happenings of “Conjure Child” to “Hoochie Woman”‘s celebration of a
woman who knows what to do with spice and shrimp. As for White‘s singing, that’s where evaluating Rain Crow gets a bit complicated. These days, White‘s
voice is a swampy croak that lacks the strength of his signature
recordings of the ’60s and ’70s, and occasionally he’s just hard to
hear. But if White
isn’t much of a singer at the age of 72, his half-sung, half-mumbled
vocals work unexpectedly well in context, suggesting some aging
swampland griot, and they suit the late-night vibe of the material
better than a stronger performance might. Rain Crow doesn’t blaze many new trails for Tony Joe White,
but it leaves no doubt that he’s still the king of his own swampy
sound, and he’s not getting older, he’s getting deeper.

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Whitehorse – Panther In The Dollhouse


“Whitehorse are ready to gloriously bust some balls again”
– Noisey

“Rhythm-heavy and shivery.”
– Chicago Tribune

“Superduo whose music swirls together the swampy swagger of the Bible Belt, the minor-akey melancholy of film noir soundtracks and the raw stomp of rock & roll.”
– Rolling Stone

As genre chameleons, Whitehorse’s brazen sonic breadth encompasses a driving Americana image with psychedelic surf, arid border rock, lo-fi ingenuity and icy 80’s sparseness. Panther In The Dollhouse brings another twist to Whitehorse’s studio approach with the addition of NYC hip-hop production duo Like Minds (Kanye West, Snoop Dogg), as well as the return of Gus Van Go and Werner F as producers/engineers.

Retro psychedelic pop bubbles up on “Nighthawks,” a new single out now from Panther In The Dollhouse that questions the constructs of perpetrator and victim on the streets. “Nighthawks” is a companion piece to the slow-burner “Evangelina,” (from the album Leave No Bridge Unburned), in which the namesake character is a sex worker superhero, in celebration of those who challenged Canada’s prostitution laws at the Supreme Court of Canada in 2013.

“Nighthawks” (recently performed live in a 5-star Minneapolis diner of the same name) is one example of Panther In The Dollhouse’s deep dive into body politics. Throughout the album, Whitehorse explore issues of consent, self-determination and, ultimately, freedom, largely from the perspective of women. 

Whitehorse have also unveiled the video to “Die Alone,” from Massey Hall’s new Ghost Light Sessions, was shot on the theatre’s grand and storied stage and shows Luke Doucet and Melissa McClelland’s exquisite harmonies and tones. From The Road To Massey Hall, an EP celebrating artists whose careers are intertwined with the venue’s history, to this striking stripped-down performance, Whitehorse’s reverence for this stage has become part of their story as well.

“Die Alone” is found on the forthcoming Panther In The Dollhouse, an album that examines the conventions and assumptions of domestic life. “Die Alone” is a devastating grindhouse ballad about the havoc wreaked by and for love. Endurance and exhaustion are two sides of the coin Whitehorse flips: “You got down on one knee and pulled the rug from my feet,” sings McClelland.

Alongside “Boys Like You”, “Die Alone”, and the peroxide burn of “Trophy Wife,” Panther In The Dollhouse paints a conflicted picture of domesticity and adulthood. Seedy, slinky and suggestive, the characters that populate Panther In The Dollhouse do what they can, what they must and – often – what they really shouldn’t (but can’t resist).

In their six years, Whitehorse has been known as a folk duo, a neo-noir Americana outfit, and as live looping mad scientists. Now, Whitehorse lets loose with a brand new full band, on glorious display in Part 1 of their CBC’s First Play Live session. See “Nighthawks,” “Evangelina” (never before performed live) and other songs here.

Whitehorse recently have been announced to perform as part of the upcoming  Canadian Songwriters Hall of Fame induction of Neil Young, Bruce Cockburn, and others. Further details of Whitehorse’s role in this ceremony will be released soon

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Michael Daves – Orchids and Violence

Orchids and Violence is the first solo full-length by Michael Daves. (The Grammy-nominated Sleep with One Eye Open was a collaboration with Chris Thile.) Mixed by Vance Powell,
it’s a double album whose discs contain the exact same songs — the
first is acoustic, the second electric. The material comprises
traditional bluegrass and country standards — and Mother Love Bone‘s “Stargazer.” The first disc was cut live to tape in a 19th century church. Daves flatpicks and strums like a madman, surrounded by a smoking cast: bassist Mike Bub, fiddler Brittany Haas, mandolinist Sarah Jarosz, and banjoist Noam Pikelny. The electric second disc was recorded in Daves‘ home studio. He played guitars, pianos, and drums — electric bass was played by Jessi Carter. The way Daves
renders all these tunes underscores his rep as a “renegade
traditionalist.” Contrast both versions of the old fiddle tune “June
Apple.” The acoustic version is deft and quick paced, played with enough
ensemble energy to make it crackle. The electric take sounds like Richard Thompson playing with Robert Quine. On disc one Bill Monroe‘s
“Darling Corey” walks a tightrope between rural country boogie,
rockabilly, and swinging bluegrass. On the second half it sounds like the Hollies‘ “Long Cool Woman in a Black Dress” played by Ali Farka Touré and Toumani Diabaté (thanks in no small part to Tony Trischka‘s
psychedelic cello banjo). While the acoustic version of “The Dirt That
You Throw” is a midtempo mountain waltz with gospel and blues overtones,
on disc two it comes through as an elegiac dirge filtered through
psychedelic country. The first version of the aforementioned “Stargazer”
is a sprightly, quick-moving bluegrass tune with extended vocal
harmonies — and sounds like it originated with the Stanley Brothers. Its electric companion is rife with Neil Young and Crazy Horse-esque sustain and distortion. The initial version of “A Good Year for the Roses” (associated forever with George Jones)
is rendered raw, stripped-down, and bereft of anything but grief. The
second, more bewildered that bereft, could have been arranged by Paul Westerberg and Gary Louris. Ralph Stanley‘s
classic “Pretty Polly” reveals its deep Delta blues roots without
straying from the mountain tradition on disc one; its mirror image is
twisted and bent through the ghost of Dock Boggs and Junior Kimbrough. “The 28th of January” is rendered on disc one as a picker’s hornpipe tune (with Trischka on cello banjo). Its electric read is a strutting instrumental boogie filtered through Marc Bolan‘s shadow. Daves
considers bluegrass a music whose heritage was fostered by a tension
between various musical traditions — blues, gospel, country, folk,
swing jazz — and the desire of its creators for innovation on these
forms. Taking Orchids and Violence as a whole illustrates that in spades. In the 21st century, these songs as covered by Daves not only retain their meaning but cut deeper into the American grain.

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Jim Allchin


Fret board aficionados, tone junkies and fans of hot stove blues guitar will be glad to hear the return of Seattle guitarist Jim Allchin, who is preaching to the choir on his third album “Decisions.” The 14 tracks were recorded at the famed Blackbird Studio in Nashville by a production team led by Grammy winning producer, drummer and songwriter Tom Hambridge. The group of A list players involved also includes Michael Rhodes on Bass, Reese Wynans on piano and Hammond B3, Guitarists Pat Buchannan and Rob McNelly and the “Heart Attack Horns,” led by Bill Bergman and Lee Thornburg. If this wasn’t enough fire power Allchin and Hambridge recruited Niki Crawford, Wendy Moten, Seattle soul man Mycle Wastman and international blues super star Keb’ Mo’ to join in on vocals, rounding out the all-star team.
The core quartet opens the album on the rockin’ blues shuffle ‘Artificial Life,’ with Allchin extolling the turmoil and tribulations of the modern-day working man blues. The team then heads south of the border on a rollicking trip to ‘The Mexican End,’ an easy going four-on-the-floor groove with hot horns and lead guitar. Allchin then cranks up the volume for the heavy hitting track ‘Bad Decisions,’ featuring more molten fret work and organ from Wynans on one of several songs co-written by Hambridge. The mood mellows for the introspective ‘Healing Ground,’ with Allchin trading verses with Keb’ Mo’ speaking to the precious gift of life that surrounds us and the power of healing available to all, if we will only listen.

The house rockin’ shuffle ‘Blew Me Away’ features the “Heart Attack Horns,” who bolster Allchin’s guitar chops on a good old-fashioned song about falling in love at first sight. The piano driven ‘She Is It’ continues the theme as he testifies to the virtues of the love of his life during the easy pop ballad. The gang whip out all the Nashville cat tricks on the blazing boogie woogie instrumental ‘Just Plain Sick,’ trading hot licks like old pros. The barn-burning slow blues ‘Friends’ rolls out like a staple from the B.B King songbook, with Allchin delivering a sermon on trust and being wary of fair-weather toadies and sycophants. Allchin dons an acoustic guitar to emphasize his point and our need for peace and understanding delivered via the easy-going country blues of ‘You Might Be Wrong,’ celebrating our differences in a party atmosphere to sell an important life lesson. The second instrumental in this collection centers around soaring guitar melodies and intertwining harmonic lines that ebb and flow with emotion. The edgy ‘Don’t Care’ finds Allchin playing the role of a man done wrong and standing his ground while his guitar does most of the talking. He then digs deeper into the blues for the torch song ‘Stop Hurting Me,’ featuring dulcet piano from Wynans and a solo from Allchin that rips like Garry Moore. The tender tribute ‘My Father’s Eyes,’ will touch the heart of anyone who lost a parent at an early age and longs for them to know how much they are missed and still loved. The album closes with a third guitar-driven instrumental simply titled ‘Destiny,’ with Allchin pouring out the passion he feels for this magical instrument, through his fingertips.
Jim Allchin describes the collection in the album notes as a study in the decisions we make in our life about identity, relationships, and “how to live life authentically.” Themes reflected in the lyrical content and in the choice of every note from his cerebral guitar work and soulful vocals. This is quite an album; the stuff dreams are made of.

JUNE 16, 2017
Artist Website
Artist Facebook

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Courtney Marie Andrews announces partnership with Fat Possum Records and Mama Bird Recording Co. with video of “Heart and Mind”

Courtney Marie Andrews, whose breakout 2016 release on Mama Bird Recording Co. Honest Life grabbed year-end lists from Rolling Stone,Stereogum, Paste, American Songwriter to NPR, is announcing today that Fat Possum Records and Mama Bird Recording Co. are joining forces to support her work. Both Fat Possum and Mama Bird will partner with Ms. Andrews’ European label, Loose Music, where Andrews recently performed on the first episode of the new season of Later…With Jools Holland (alongside Thundercat, Anderson Paak, Spoon), and has received glowing press including a major BBC profile, five star review in The Telegraph,  multiple features in The Guardian and a profile in The Independent. Her duet with Bonnie ‘Prince’ Billy for Our First 100 Days was lauded by StereogumConsequence of SoundBrooklyn Vegan and Paste. Andrews will be heading on tour with Joe Pug for a run in Australia this summer before a headlining tour in Europe in the fall, an official showcase at the Americana Music Fest in Nashville and a North American tour with Hamilton Leithauser beginning in October.
Andrews says of the partnership: “I’m elated that Fat Possum will be co-releasing my albums with Mama Bird Recording Co. So honored to be a part of a label with such an incredible catalog, that includes artists like Townes Van Zandt, Al Green, and Fred McDowell, yet continues to support new songwriters and artists. Fat Possum has a unique and rich history with music, and I’m grateful they’ll be taking me on.”
Nashville’s WMOT have just posted a video of Andrews’ unreleased song “Heart and Mind” which she explains:
“Back in November, only two days or so after the election, this song hit me like a brick at a Love’s Truck Stop. I pulled over, and wrote it in 10 minutes. That’s how some songs are delivered, fully formed, and you must write them when they come. For the first time in my womanhood, I felt powerless, because the man who was supposed to rule our country made some very shocking and hurtful comments about women. It reminded me of all the times I, or someone close to me, had been harassed, sexually abused, cat-called, or body shamed. The song is intended to empower, and to conquer our demons. It is a statement, not a plea or a question. We ARE more than bodies. We are strong, intelligent, capable humans, with our own opinions and thoughts. It’s a song that I desperately needed as a reminder, and a song that I hope serves as a reminder to women who feel powerless.” – Courtney Marie Andrews

Upcoming 2017 Tour dates:
July 06 – Brisbane, AU – Old Museum*
July 07 – Bellingen, AU – Bello Winter Music
July 09 – Newcastle, AU – The Edwards*
July 11 – Sydney, AU – Landsdowne Hotel*
July 12 – Sydney, AU – Coogee Diggers*
July 13 – Melbourne, AU – Spotted Mallard*
July 14 – Melbourne, AU – Caravan Music Club*
July 15 – Meeniyan, AU – Meeniyan Town Hall*
July 16 – Adelaide, AU – Grace Emily Hotel*
July 19 – Wellington, NZ – San Francisco Bath House*
July 20 – Auckland, NZ – Tuning Fork*
Aug 3-6 – Pickathon 2017 – Happy Valley, OR
Aug 10-13 – Edmonton Folk Fest – Edmonton, AB
Aug 17 – Bryggarsalen – Stockholm, SE
Aug 17-20 – Zomerparkfeest – Venlo, NL
Aug 21 – Noorderzon Festival – Groningen, NL
Aug 23 – Brudenell Social Club – Leeds, UK
Aug 24 – Deaf Institute – Manchester, UK
Aug 26 – Westport House (Harvest Music Festival) – Westport, IE
Aug 27 – Einniskillen Airport (Harvest Music Festival) – Einniskillen, UK
Aug 29 – Whelan’s – Dublin, IE
Aug 30 – Open House Festival – Belfast, UK
Aug 31 – St. Luke’s – Glasgow, UK
Aug 31-Sept 3 – End Of The Road Festival – Tollard Royal, UK
Sept 1 – Moseley Folk Festival – Birmingham, UK
Sept 3 – The Lantern – Bristol, UK
Sept 4 – Bush Hall – London, UK
Sept 5 – Bush Hall – London, UK
Sept 7 – Le Pop Up du Label – Paris, FR
Sept 8 – Doornroosje – Nijmegen, NL
Sept 8-10 – Leffingeleuren Festival – Leffinge, BE
Sept 9 – Paradiso – Amsterdam, NL
Sept 12 – Privat Club – Berlin, DE
Sept 13 – Ideal Bar (VEGA) – Copenhagen, DK
Sept 14-17 – Americana Fest – Nashville, TN
October 18 – Washington, DC @ 9:30 Club^
October 19 – Charlotte, NC @ Visulite Theatre^
October 21 – Birmingham, AL @ Saturn^
October 23 – St. Louis, MO @ Delmar Hall^
October 24 – Milwaukee, WI @ Turner Hall Ballroom^
October 26 – Minneapolis, MN @ First Avenue^
October 28 – Detroit, MI @ Majestic Theatre^
October 30 – Toronto, ON @ Danforth Music Hall^
November 1 – Brooklyn, NY @ Brooklyn Steel^
November 2 – Philadelphia, PA @ Union Transfer^
November 3 – Boston, MA @ Royale^
November 4 – Portland, ME @ Port City Music Hall^
November 9 – Solana Beach, CA @ Belly Up Tavern^
November 10 – Los Angeles, CA @ The Fonda Theatre^
November 15 – Seattle, WA @ Neptune Theatre^
November 16 – Portland, OR @ Wonder Ballroom^
*Supporting Joe Pug
^Supporting Hamilton Leithauser
About Fat Possum
Fat Possum Records, the venerable independent label from Oxford, Mississippi, with a catalog comprised of Al Green, Black Keys, Townes Van Zandt, Spiritualized, AA Bondy, Kadhja Bonet, RL Burnside, Walkmen, Youth Lagoon, The Districts, Temples, and many more. In their 26th year, Fat Possum has offices located in Oxford, MS, New York, and London.
About Mama Bird Recording Co.
Mama Bird Recording Co. is a Portland, Ore. based record label committed to exceptional songcraft. Founded in 2011, their catalog includes acclaimed albums from Saintseneca, Barna Howard, Myriam Gendron, Quiet Life and Vikesh Kapoor, among others.
“[Honest Life is] an expert marriage of gracefully confessional songwriting with country-folk arrangements that recall Joni Mitchell” – Stephen Deusner, Stereogum
“Courtney Marie Andrews is the best songwriter you’ve never heard of.” – Brittney McKenna, American Songwriter
“Joni Mitchell is the logical comparison to the soft howl and deep-Canyon vibrato of her vocals, but there are echoes of the Indigo Girls and even Ryan Adams’ Gold too since her songs are anchored by smart lyricism that seems more like an intimate conversation than a fiery confessional.” – Marissa R. Moss, Rolling Stone Country
“Plenty of vocalists can sing with power, and some can sing with convincing subtlety. There aren’t very many who can do both in the same breath. Courtney Marie Andrews is one of those rare artists.” – Eric Danton, Paste
More Info On Courtney Marie Andrews’ “Honest Life”:
There’s a new generation of women burning down the Nashville music industry. Powerful voices like Margo Price and Nikki Lane have been rewriting the script, owning their own songs and vision. Now, add to this list Washington State Americana songwriter Courtney Marie Andrews. After a decade spent at the height of the music industry, touring solo and with large pop bands, she realized her desire for a place to come home to. She found that in a small rural town in the deep forests of Washington State. There, she posted up at a local bar, slinging drinks, basking in the simplicity and reflection it allowed. She has emerged in 2016 with a new fire on Honest Life, melding indie-folk and Americana with a rebellious country flavor reminiscent of her Southwestern roots.
 Courtney Marie Andrews’ Website / Facebook / Twitter

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