It was fitting that on the eve of AmericanaFest 15 I should run into Rob Bleetstein.
Let me explain. Bleetstein is man partially responsible for “Americana” being used as a qualifier for “music.”
As editor at the esteemed Gavin Report Bleetstein informed the radio trade publication that they were missing category of mongrel music he, and others, had been programing while employed at KFAT in Gilroy, California. The result was the first Americana radio chart being published on January 20, 1995.
So of course I asked him what Americana was.
As we joked at the seemingly endless consternation his vague creation had unleashed on geeks like me a capacity crowd streamed out of The Basement around us. They had just witnessed vets Phil Madeira and Will Kimbrough swap songs with the sassy third of the Pistol Annie’s Angaleena Presley and dazzlingly edgy newcomer Caroline Rose. More folks packed in behind them to catch he steamy roots soul/gospel of Mike Ferris & the Roseland Rhythm Revue. The music surrounding us, the fans buzzing about the days of sleepless nights to come. Endless squabbling about genre borders seems irrelevant.
Then Bleetstein mentioned he had read a Rolling Stone where Eric Clapton had given a definition when discussing his newly released project The Breeze: An Appreciation of JJ Cale. Clapton said “In Europe, we heard JJ as Americana, all the roots put together.”
All the roots put together. An imperfect definition for an imperfect form.
Let’s go with that.
Musicians, fans and industry types – figuring how they are still relevant in the cultural value chain – descended on Nashville for the Americana Music Conference, Festival and Awards to witness some of the best, nay THE best, music going. Fueled by BBQ, hot chicken, local beer, bourbon and a variety of caffeine there were endless pow-wows, parties, pre-parties, listening parties, post- parties tet-de-tets and random run-ins.
And yes I did squeeze some music in on occasion.
I say some because there was so many band across multiple venues you had to plan out your evenings in advance. I did. Then I mostly abandoned them for convenience, air conditioning and parking.
First the Awards. I never get over the thrill of walking into the Ryman Auditorium. It is a hallowed place full of ghosts and echoes and, as overwhelming as it is to sit in those church pews I can’t imagine what it’s like to perform on that stage.
But many did on that night and they did it with the passion and reverence due.
Reverence was also what Kacey Musgraves and Angaleena Presley displayed when presenting the Lifetime Achievement Award for Songwriting to legend and pioneer Loretta Lynn. Lynn accepted the award 54 years to the day that she first appeared on the Ryman stage, making her Grand Ole Opry debut. Presley introduced Lynn as “a woman who raised up six children and 70-odd hit singles but, just as importantly, raised everyone’s idea of what a country song could talk about it.” A standing ovation rightly greeted Lynn as she entered the stage in her signature flowing gown. “When they told me I was going to get this award, I said, ‘Naw, you got the wrong one. But it was right, and I was so proud.”‘
Then she sang Coal Miner’s Daughter. on The Ryman stage. Damn.
“Happy birthday to Hank Williams,” Jason Isbell said as he accepted one of the three awards in three categories he won that night for his stellar release of his newest Southeastern . “If it wasn’t for that guy, we’d be doing this in some burned-out Kmart in Murfreesboro.”
While picking up his hand-crafted trophy for song of the year “Cover Me Up” Isbell said “I wrote this song for my wife.” Referring to Amanda Shires Texas singer/songwriter who accompanied him that night on a rousing performance that brought the crowd to it’s feet. “This was probably the hardest song I ever had to write because I wrote it for her and then I played it for her. It was very difficult. Do the things that scare you. That’s the good stuff.”
I’m very happy that Isbell was able to put himself in a place that allowed him to do some of the best work he’s ever produced, and that recognition has rightly followed.
The emerging artist category was the tightest, and best, I has ever remembered it to be. Between Parker Millsap, St. Paul & The Broken Bones, Sturgill Simpson and Hurray For The Riff Raff, all whom performed live, it was a tough call. It was anyone’s game. That is until it was Simpson’s as he headed to the podium with a characteristically terse “This is for my family.” Enough said, hoss.
Country music legend and historical memorabilia collector Marty Stuart honored to Jimmie Rodgers posthumously awarding the The Father of Country Music the Presidents Award. Then he and his Fabulous Superlatives
tore through a spirited “No Hard Times” with Stuart and guitarist Kenny Vaughan giving the song a contemporary flair with blazing tandem electric guitars.
Guitarist extraordinaire Ry Cooder sat in with Buddy Miller and the band for the night’s events. His dexterity on the guitar is matched by his ability to move through, or completely around musical styles, tying them together in the process. He took time away from his supporting duties to award his longtime collaborator norteño accordion pioneer Flaco Jimenez with a Lifetime Achievement as an Instrumentalist. They then performed a lovely version of the Spanish-language traditional “Ingrato Amor.” Cooder also teamed up with Artist of the year nominee Rodney Crowell for a delicate version of careful rendition of “God I’m Missing You,” from Crowell’s latest ‘Tarpaper Sky.’
Rosanne Cash brought a sophisticated air to her performance of her “A Feather’s Not a Bird,” and a gritty-folk menace surrounded Patty Griffin as she was joined by Robert Plant to perform “Ohio.”
Emerging artist nominee Hurray For The Riff Raff performed a transfixing version of their murder ballad “Body Electric” while vocalist Alynda Lee Segarra shimmered in a Nudie-style suit. Robert Ellis showed himslef to be one of the industries most creative and astute songwriters as he performed his nominated “Only Lies.”
At the Country Music Museum and Hall Of Fame’s Ford Theatre Outlaw legend Billy Joe Shaver give a brief (but candid) interview about his life’s tribulations. He then rose to perform, with simple acoustic accompaniment,
songs rendered from those hardships. Hardships he assured us made easier early with whiskey and later with Jesus.
Then it was upstairs to a new, beautiful, portion of the Country Music Hall of Fame’s CMA Theater to catch “Honky Tonkin’: Twenty Years on Lower Broad” celebration/showcase of bands that featured Greg Garing, Paul Burch and R.B. Morris and BR549. Performers that helped reenergize Nashville’s Lower Broadway after the Opry moved out of the Ryman and to the burbs. Before performing, upright bassist “Smilin” Jay McDowell walked to the front of the stage and placed a tip jar as a tribute to the days when the band survived on such monetary generosities. Singer Chuck Mead , bedecked in his Nudie Suit best with his cherry-red Gretsch electric guitar and co-frontman Gary Bennett, toned down in jeans and western shirt, then showed hoe their tight harmonies gloriously transported all those that had been there those many years ago. Veteran Lower Broad singer and mentor John Shepherd, attending with wife and singing partner Lois Shepherd, continues tradition as he headed slowly to the stage and dropped the first dollar tip, prompting laughs and applause.
Lee Ann Womack had some shows during the event. I was lucky to catch a song swap with her, Hayes Carll, Bobby Bare Jr. and the legendary songwriter Bobby Braddock high atop the SiriusXM Outlaw theatre. Hosted by Mojo Nixon (outLAAAAAAW country) Carll and Bare shared a laugh on their collaboration “My Baby Took My Baby Away” and , later, Carll looked on with shyness and awe as Womack hushed the crowd with his “Chances Are” which she oncluded on het newest release. The real highlight though was Braddock singing his classics “He Stopped Loving Her Today,” “Golden Ring” and everyone joining in on the closer “We’re Not The Jet Set.”
But the real gold is the showcases. Stand-outs were Angel Snow (her real name, I asked) playing at a sparsely attended Americana for Movies and Shows. I only caught once song but that’s all it took to render me speechless. Alabamian Mathew Mayfield followed with his brand of rough-hewn catchy folk. The i wa shocked to see bluegrass/folk stalwart Tim O’Brien take the stage. I felt bad that there were so few people but lucky I was one of those few.
A trip to Jack White’s odd Third Man performance space was bathed in calm, blue lighting as a mounted elephant head loomed above the crowd. On the bill was Madisen Ward and the Mama Bear. The mother and son act perform seated, strumming acoustic guitars and singing deep-roots songs that reach far into blues and folks misty past. In the same space on another night Jonah Tolchin hold a folk-jam clinic that surprised many expecting the genteel folk-blues style from his latest “Clover Lane.”
Caroline Rose commanded attention of the crowd with her school-girl outfit and her manically focused folk-rock set that had them screaming for more. While trying to escape the heat of the Mercy Lounge I found myself in the cooler High Watt space watching a performance of Aaron Lee Tasjan. Exhibiting the droll but sharp humor of Todd Snider but the delicate songcraft of Townes Van Zandt the Nashville resident defied all expectations.
How could any of that fit in one neat marketing package? I feel for the marketing rep that handles any of these artists and is asked “What kind of music is it?”
All the roots put together. Let’s go with that.