Alabama Shakes is riding a wave of buzz from their GRAMMY Awards nominations, the band’s appearances on “Saturday Night Live” and “Austin City Limits,” and their debut album, Boys & Girls (ATO Records) and selling 100,000 copies and being certified RIAA Gold (just proves people are still willing to buy good music.)
Alabama Shakes has just announced Spring/Summer tour dates that include South America, Canada and Europe. The roots/rock band will kick off a North American headline tour on June 18 at LC Pavilion Outdoors in Columbus, OH. The outing will include two nights at Los Angeles’ Hollywood Palladium (July 17 & 18).
12 – Dallas, TX @ Palladium Ballroom – SOLD OUT – with Michael Kiwanuka, Sam Doores and Riley Downing supporting
13 – Austin, TX @ Rodeo Austin – with Michael Kiwanuka, Sam Doores and Riley Downing supporting
15 – New Orleans, LA @ The Sugar Mill – SOLD OUT – with Michael Kiwanuka, Sam Doores and Riley Downing supporting
16 – Jackson, MS @ Hal + Mal’s Street Dance – with Michael Kiwanuka, Sam Doores and Riley Downing supporting
27 – Mexico City, Mexico @ Jose Cuervo Salon
30 – Sao Paulo, Brazil @ Lollapalooza Brazil
31 – Sao Paulo, Brazil @ Cine Joia
1 – Rio de Janeiro, Brazil @ Circo Voador
3 – Buenos Aires, Argentina @ Quilmes Rock 2013
6 – Santiago, Chile @ Lollapalooza Chile
10 – Napa, CA @ Bottle Rocket Music Festival
1 – Houston, TX @ Free Press Festival
2 – Morrison, CO @ Red Rocks Amphitheatre w/ Edward Sharpe & The Magnetic Zeros SOLD OUT
7 – Birmingham, AL @ Sloss Furnace – SOLD OUT
8 – Birmingham, AL @ Sloss Furnace – SOLD OUT
18 – Columbus, OH @ LC Pavilion – Outdoors
19 – Detroit, MI @ Royal Oak Music Theatre
20 – Toronto, ON @ Echo Beach
22 – Dover, DE @ Firefly Music Festival
23 – Port Chester, NY @ The Capitol Theatre
30 – London, UK @ Olympic Park/Hard Rock Calling w/Bruce Springsteen & The E Street Band
13 – Louisville, KY @ Forecastle Festival
14 – Tulsa, OK @ Cain’s Ballroom-w/Fly Golden Eagle & Hurray For The Riff Raff supporting
15 – Albuquerque, NM @ Popejoy Hall-w/Fly Golden Eagle & Hurray For The Riff Raff supporting
17 – Los Angeles, CA @ Hollywood Palladium-w/Fly Golden Eagle & Hurray For The Riff Raff supporting
18 – Los Angeles, CA @ Hollywood Palladium-w/Fly Golden Eagle & Hurray For The Riff Raff supporting
19 – Las Vegas, NV @ The Pearl Theater-w/Fly Golden Eagle & Hurray For The Riff Raff supporting
21 – Alta, WY @ Targhee Festival
23 – Vancouver, BC @ Vogue Theatre
25 – Calgary, AB @ Calgary Folk Music Festival
26 – Edmonton, AB @ Interstellar Rodeo
28 – Minneapolis, MN @ Cabooze Outdoor Plaza
7 – Oslo, Norway @ OYA Festival
8 – Gothenburg, Sweden @ Way Out West
9 – Skanderborg, Denmark @ Skanderborg Festival
10 – Haldern, Germany @ Haldern Festival
13 – Barcelona, Spain @ Apollo
14 – Porto, Portugal @ Paredes Da Coura
18 – Hallendoorn, Holland @ Lowlands Festival
7 – Guthrie, OK @ Gentlemen of the Road w/Mumford & Sons – SOLD OUT
I’m a huge of of Upstate New York’s Felice Brothers. I always suspected that Big Pink molecules must still dwell in the area and were breathed in by the band as infants leading them to their dark roots musical destiny. Or something…
As great as their originals are the band picks some choice covers on the road. I found some cool covers done by the band and thought I would share.
The famed Midnight Ramble will roll into L.A. on Sunday night as Elton John** and Mumford & Sons appear on the Grammy stage to lead a tribute to the late music great Levon Helm, The Associated Press reports.
As part of the awards show’s in memorial tribute, John and Mumford & Sons will be joined by T Bone Burnett, Brittany Howard of Alabama Shakes, Zac Brown and Americana Album of the Year winner Mavis Staples for a special performance of the Band’s “The Weight.
“Can you think of a song that fits (more)?” said Ken Ehrlich, producer of the Grammy Awards. “Philosophically it fits the moment.”
The Band’s 1968 debut, “Music From Big Pink,” and its follow-up, “The Band,” remain landmark albums and count as the vanguards for the Americana movement. Songs such as “The Weight” and “Cripple Creek” have become rock standards. Early on, The Band backed Bob Dylan on his sensational and controversial electric tours of 1965-66 and collaborated with him on the legendary “The Basement Tapes.”
Elton John has a long history with Helm and counted him as a close friend. John and his writing partner Bernie Taupin, wrote the song “Levon”, who’s title character was inspired by The Band’s co-founder, drummer, and singer. The Band was apparently Elton John’s and Taupin’s favorite group at the time. Their sound inspired John and Taupin to create the albums Tumbleweed Connection and Honky Château.
Elton John and his civil partner, David Furnish, named their son “Zachary Jackson Levon Furnish-John.”
Helm, singer and drummer for The Band, died on April 19th in New York of throat cancer. He was 71. Mumford & Sons are up for four awards at this Sunday’s Grammys, including Album of the Year for Babel. Alabama Shakes are up for two awards, including Best New Artist. Zac Brown Band is up for Best Country album for Uncaged.
Are these the performers I would have chosen for a Helm tribute? Probably not. But the sentiment is genuine and I’m sure that the performances will be heartfelt.
Tune in to the 55th Grammys airing this Sunday on CBS.
Hurray For The Riff Raff are a young band enjoying a good deal of buzz, but don’t let that mislead you into thinking they are the flavor of the week. They balance the hype by deftly exploring and evolution of roots and folk, namely Americans music. At 25 years old the band’s front woman, creative and spiritual guide Alynda Lee Segarra, is already an accomplished singer-songwriter having been a solo performer before joining in with the loose collective that is Hurray For The Riff Raff.
After seeing HFTRR captivate a capacity crowd at San Francisco’s Amnesia bar I realized this might be the last time I was able to see them in such an intimate space. They are about to become one of those bands that will break big but, I believe , will still embody a authenticity of artistry and spirit that drew me to them in the first place.
The following is a brief email interview I conducted with Segarra. I hope you enjoy it.
Baron Lane for Twang Nation: First off, thanks for taking the time to answer a few questions for my readers. I saw you and the band at Amesia in San Francisco last week and the place was packed. I believe you could have filled a place twice it’s size. Has this been the typical reception to your current tour.
Alynda Lee Segarra from Hurray For The Riff Raff: We always have a great response in SF. The west coast is definitely more foreign to us as a band because we don’t get out there as much as we’d like to. But there are certain cities that treat us like we’re at home, SF/Bay area Oakland definitely is one of those cities!
TN: Does the name ‘Hurray for The Riff Raff’ reflect a personal or band identity or creed?
ALS: I really relate to the name, it’s about cheering for the underdog. I’ve always felt like an alien, as a child I felt like I was born in the wrong era, I was obsessed with the 1950′s and I was sure there had been a mistake. It had a lot to do with the music of that time but it was something more than that, I felt like I wasn’t made for “modern times” in America. I longed for something older, for a way of life that had been basically stomped out. I felt I was born into a world where everything had been discovered, explored, bought up and sold already. As far as music to inspire me, when I was a child the radio had the Spice Girls, NSync, all this crap that I knew I was supposed to like but did nothing for my soul. It was the old music that did it for me. Doo Wop, Motown, and then Rock n Roll as I grew up.
I was in the middle of NYC, which was a blessing and a curse. I saw a long life ahead of me working, buying, and working some more, struggling to survive in such a competitive and increasingly expensive city.
It all lead me to work really hard at finding an alternative way of life, and I was lucky enough to be able to take a chance and leave. Everyone in the band is a fucking weirdo, although we may not look like it! But we are! And that’s the beauty of it. We have all had that desire to search for something…”real” I guess is the word. I don’t know what the word is.
But now that we play and write music, we get to add to this scene that we’ve wanted our whole lives. A music scene for weirdos who want to get down to some good music that sounds old and new at the same time. To create a music scene that isn’t bought up and sold yet. Anyone who wants apart of that is riff raff to me.
TN: Was music a part of your life growing up in the Bronx?
ALS: I have always escaped through music. I used to obsessively learn lyrics when I was a kid, I’d learn songs from old musicals like “West Side Story”, “The Wizard of OZ”, “Singing in the Rain”. I loved the way those actors sang, I liked the way they pronounced their words, their tone etc. When I got older and started getting more rebellious I was discovering the punk scene in the Lower East Side. I’d take the subway and go to a show down there, it blew up my world. I loved the live shows, and I loved the political messages a lot of the bands had. I really started connecting to feminist punk bands, it gave me this sense of pride and courage that was really important for me as a kid.
TN: You left home at 17. Being on your own must have been tough. How did you manage?
ALS: I followed my instincts, had some rough times, relied on a lot of friends. I had to go through that time period in order to be who I am today.
TN: Was the guitar your first instrument? Do you play anything else?
ALS: I played a little guitar in middle school, but nothing big. I guess I consider the washboard my first instrument. I started playing it with the Dead Man Street Orchestra, when I was traveling with them. I just loved being in charge of the rhythm, it gave me enough confidence to go on to learn the banjo and then meet up with the guitar again after that. I play a little piano at home, I wanna start jamming on the harmonica next!
TN: Who are your singer/songwriter inspirations?
ALS: Wow, I have a lot! Gillian Welch is a HUGE inspiration to me, she is brilliant at crafting a song. She is a bridge between the old world and today, and I’ve learned a lot from listening to her. Of course there’s John Lennon, I personally connect to his acoustic album that was released after his death. A lot of demos and just a raw portrait of him as a songwriter. Early Bob Dylan of course, Neil Young. But there’s so many musicians of today that I listen to that push me to work harder. Shovels and Rope, John Fullbright, The Alabama Shakes, Clear Plastic Masks, Sam Doores and Riley Downing. I feel so lucky to be able to see these guys live and be peers with them. Everyone is pushing each other to do their best.
TN: What were the events that led your from road kid to The Dead Man Street Orchestra?
ALS: We all fell into a family sort of dynamic in New Orleans. It was a really incredible time, probably one of the happiest I’ll ever be. It was the year before the storm, the winter time and we were between halloween and mardi gras. We actually played all together for the first time in Jackson Square on Lundi Gras day. I first played music with two of the members Kiowa Wells and Barnabus Jones at the railroad tracks. We sang some Johnny Cash songs and I played washboard with some seashells i found. i was hooked, I needed to play music all the time. I owe my life to all those guys, they’re all so talented and taught me so much.
TN: You self-released two albums (2008s It Don’t Mean I Don’t Love You and 2010s Young Blood Blues) as a solo act under the HFTFF moniker. You then recruited the Tumbleweeds to back you. Why did you decide to take HFTFF to a fill bands instead of a solo act?
ALS: It was always a full band, just had different members. It was a really different sound for the first two records, I was inspired by a sound that was very New Orleans at that time. A lot of the young artists there were playing this dark/gypsy banjo accordion stuff, and I loved it, but I grew out of it. Sam Doores and Dan Cutler helped me grow into the sound I wanted. Yosi Perlstein had been with me since Young Blood Blues and he was so important with the change because his drumming added to my more “rocking’ songs but he could also play a mean country fiddle. I got lucky with these guys!
TN: “Look Out Mama” draws from a variety of styles to form a organic body of work. What’s your view on genres in regards to your band?
ALS: I’m not good at genres, Sam is way better at that stuff. I just say we play Americana, Folk/Country whatever. But there’s a lot of old blues in there, early Soul and R&B.
TN: I’m interested in the unexpected album cover for “Look Out Mama.” What is it depicting?
ALS: It’s my father. He’s about 19 and in Vietnam. His buddy took that picture and it’s hung up in his hallway at home. I grew up with that picture, it was burned into my subconscious. I thought a lot about it, how it must have been to be so young and thrown into that situation. What it must have been like to come home and have to get back to everyday life. It made me think a lot about people I meet, where they are coming from, what they’ve been through.
It also made me question our government from a very young age. Was it worth it? Was it worth all the lives that had to be repaired? The ones we lost? I thought it really fit the music of the album, and it had been recorded while my community in New Orleans was mourning the loss of a friend who had been murdered in his house.
It was a time that I was thinking a lot about violence, about how it’s being fed to us. How we’re killing each other, and when I think about it too much it drives me crazy. A lot of people are talking about violence in the media, which is a worthy discussion, but why don’t we think that the wars we are in overseas will come home at some point? The poverty and anger, the hatred against our neighbors. We got a lot of work to do.
I just wanted to create something positive. I write about my dad on the back of that album, about how he inspires me to be hopeful and to try to make something different for the world.
TN: You come from Puerto Rican roots. How has that shaped your music?
ALS: When I started growing into an adolescent I was drawn to a music and style that has a predominantly white audience. For some reason at that age I felt shame about who I was. I didn’t “belong” with ether group of white punks or your average New York Puerto Rican. It led to me to really search within myself for who I wanted to become. I didn’t have a role model who looked just like me. I had to pick and choose what inspired me from a wide variety of sources with all different faces and backgrounds. I also learned that I don’t want to be apart of any scene that doesn’t celebrate difference.
The punk scene was incredibly important to me when I was a teenager, but I also felt a lot of stress on pretending I was exactly the same as all the other kids. When in reality I grew up very different than most of the white kids who were around. My family was different, we dealt with different hardships, we ate different food, we talked different. But in the punk scene we were all supposed to be the same. But there are some differences that are meant to be treasured, so we can truly learn from each other.
I remember feeling like somewhere along the line I had chosen to be white. But I never would truly be, no matter what the outside world perceived me as. Poetry taught me who I was and the beautiful history of Puerto Rican poets inspired me. Poetry was where I felt at home. I remember reading Puerto Rican poetry from the LES and realizing that writing was an integral part of my path in life. I remember reading a poem that read “Puerto rico is a beautiful place, Puerto ricqueno is a beautiful race” and that just rung out forever in me like a bell. I wanted to start combining my worlds. It lead me to folk music, which lead me to traveling and Woody Guthrie and political musical figures who believed in the soul and the struggle of the people.
Being Puerto Rican is at the core of my existence, it is the landscape of my family’s experience and so it is mine. It also changes my feminist experience. It is a gift to me, that I get to see the world I see through Puerto Rican eyes, I can bring a little something different to the table. It’s also meant that I have a lot of anger inside me because I want all people of color to be free. I want to break down the traps that are set up before them to keep them in their place.
Now I play folk music. I’m not letting anything stop me from being wholly who I am anymore. I’m going to create a space for myself to be entirely who I am. Folk music encourages that, the Queer scene around the world encourages it, New Orleans encourages it as well.
TN: What is your process for creating songs? Slow incubation or flash of inspiration?
ALS: I have to catch the tunes as they fall on me. They come fast and not always complete, i’ve learned to keep a recorder handy. I’ve learned to honor the song when it comes. Sometimes you have to be late, sometimes you have to turn off your phone. Townes Van Zandt said he never gave up on a song. That’s quite a thing to say because a lot of songs come to us writers. To give each and every one a solid try is really doing good work. That’s what I strive for.
TN: and last, what’s next for HFTRR?
ALS: This summer we’re gonna be doing a lot of touring that I’m super excited about, and hopefully putting the finishing touches on our new album. I want to play a lot of festivals, make some new friends and keep writing. I got a feeling 2013 is gonna be a good year for the ole’ riff raff.
“Cowboy” Jack Clement has carved out a storied career as a sinsinger/songwriter having his songs have been recorded by folks such as Johnny Cash, Dolly Parton, Ray Charles, Carl Perkins, Bobby Bare, Elvis Presley and more. A producer for Townes Van Zandt and Waylon Jennings and DJ with a weekly program on Sirius XM Satellite Radio’s Outlaw country)
The Memphis-born, 81-year-old, Clement recently lost his house to a fire in 2011. Now some of his friends are coming together at the War Memorial Auditorium in Nashville January 30 to help out.
According to American Songwriter “one of those musicians was Artist Growth founder Matt Urmy, who Clement recently produced, Artist Growth joined up with Dub Cornett, a long time protege of Clement’s, to put together Honoring A Legend: A Tribute To “Cowboy” Jack Clement, featuring an all-star list of artists influenced by and associated with Clement.”
Emmylou Harris, John Prine, Dan Auerbach from the Black Keys, Kris Kristofferson, Charley Pride and more will gather to pay tribute to “The Pied Piper of Music City.”
All proceeds for the concert will go toward The Music Health Alliance and launching the “Cowboy” Jack Clement Fund to help the cost of medical bills for musicians not covered by insurance.
John C. Reilly
Fresh on the heels of their best-selling sophomore album, Babel, Mumford and Sons have announced the release of a new concert film, The Road to Red Rocks.
The film documents an August 2012 at the legendary Red Rocks Amphitheater in Morrison, Colo., supporting that same album. The DVD will on Blu-ray and in a special package including vinyl and a 96-page booklet. The Road to Red Rocks is set for release on 11/26 in the U.K. and 11/30 in New Zealand and Australia, but won’t be released until 1/22 in the U.S.
Check out the film’s trailer and the performance set list below.
The Road to Red Rocks Set list
1. Lovers Eyes
2. Little Lion Man
3. Below My Feet
4. Roll Away Your Stone
5. Lover of the Light
6. Thistle & Weeds
7. Ghost That We Knew
8. Awake My Soul
10. Dustbowl Dance
11. I Will Wait
12. The Cave
San Francisco’s Cafe Du Nord was built at the beginning of the last century (1907) and it’s Victorian elegance provided the perfect setting for The Trishas angelic harmony. It’s history as a speakeasy during Prohibition gave the place a sense edge that reflected the groups’ menace hat often appears in the Austin Texas quartet.
Once the ridiculous techno house music was cut The Trishas stood at the edge of the tiny stage, perched looking to be ready for take off. “Welcome to our sound check.” Kelley Mickwee announced while tuning her mandolin. “Glade to be here” someone from the crowd called back. And you could tell they were.
The band’s first show in San Francisco (but not their last, they’ll be back in a month perform the Hardly Strictly Bluegrass Festival) has them touring behind their newly released “High, Wide and Handsome, ” which comprised most the entire too-brief set, reflected and solidness of that release. Not a filler cut to be found. Savannah Welch, Liz Foster, Kelley Mickwee and a viability pregnant Jamie Wilson (which caused me no small level of consternation when I saw her carrying her own equipment to and from the stage) backed by honorary Trisha multi-instrumentalist and singer/songwriter in her own right Brandy Zdan had the crowd right where they wanted them with the jubilant opening number Mother of Invention.
Along with their own solely-penned compositions the fertile creative environment their home turf was reflected in songs co-written on with some of Austin’s finest. The pick-your-poison love song Liars & Fools was co-writteen by Jason Eady and the melancholy Cheaters Game co-written by Bruce Robison.
Little Sweet Cigars, co-written with Oklahoma;’s Turnpike Troubadours’ Evan Felker, with it’s galloping spaghetti western with the warding refrain (When you’re kissed by a fool, you’re fooled by a kiss) was a particular highlight causing my friend that had accompanied me to spontaneously to yell out “That’s my favorite song!”
The happenstance formation of the Trishas is well documented , and this night proved that there are such things as perfect accidents.
If you live in, or are visiting, Nashville early next month you might want to set aside some time to see Secret Sisters play the beautiful War Memorial Auditorium on Sept. 6th. if you want a chance to win two tickets to that event just leave a comment below on what you like about the Secret Sisters. A post will be chosen at random on Friday 8/17 12PM PST. Be sure to leave an email address so I can contact the lucky winner.
I’m assuming the Sisters will be performing songs from their upcoming Brandi Carlile produced second release, which is scheduled for a fall 2012 release.
The first time I saw the Muscle Shoals, Alabama’s Secret Sisters ( Laura Rogers Lydia Rogers) was at a GRAMMY event for the Recording Academy Producers & Engineers honoring T Bone Burnett. Burnett’s then recent protégés had just released their self-titled debut album which featured him at the production helm. The Secret Sisters opened the event and I saw what he saw in the performers. Jaded industry folks stopped hobnobbing and stood entranced by the delicate harmony and winning personalities. I was a fan.
The duo recently released a 7 inch with Jack White at Third Man Records and also played White and and Karen Elson’s divorce party. (apparently this was only a rumor) The Sisters also had their song “Tomorrow Will Be Kinder”, inspired by the Alabama tornado outbreak, featured on the T Bone produced soundtrack for The Hunger Games.
Here’s “Black And Blue,” a new song from the The Secret Sister’s upcoming album live from the stage at Wakarusa
No current performer has straddled the music Row and Americana divide as deftly as Jamey Johnson.
His throwback sound, Alabama growl and biker looks appeals to those (like myself) that pine for the days of Waylon and Willie and the boys while his ear for a melody was able to grab the attention of the mainstream country radio and fans with his top 10 hit “In Color.”
Johnson is an unapologetic neo-traditional disciple of country music’s greats. He’s opened for Willie and done George Jones songs in the presence of the man himself. His next effort is to a man that influnced those giants.
On October 16th Johnson will be joined by Willie and many others on his new album, Buddy Cannon-produced Livin’ For a Song: A Tribute to Hank Cochran. (vinyl beginning Sept. 25.)
Cochran, who died at age 74 in 2010, is considered one of the greatest songwriters in the history of country music. He helped evolve the perfect country template established by Hank Williams a generation earlier.
“If I had to dream up somebody like Hank to influence songwriters, I couldn’t have done a better job,” Johnson says. ”That’s what he was– not just for me, but for Willie and for a lot of people–just a helpful friend. If he knew you needed help with something, he could help you. He was there. And that’s what I want to be for the people in my life, same as Hank. He influenced me, not only as an artist and songwriter, but also as a person.”
Cochran’s songs transcended the country genre to become American standards (a practice closely studied by Willie) his catalog includes “I Fall to Pieces,” “She’s Got You,” ”Make the World Go Away,” “The Chair,’ “Set ‘Em Up Joe” which Johnson covered on 1010′s The Guitar Song. His songs have been recorded by artists including Eddy Arnold, Patsy Cline, George Jones, George Strait, Elvis Presley, Elvis Costello, Ray Price, Ronnie Milsap, Jim Reeves and many others.
Recording a collection of Hank Cochran tunes in a pop-country saturated industry takes guts, and truly reflects the original Outlaw spirit the hat acts on the radio brag having. When it came time to take the next step in his recording career, he listened to his heart and decided to embark on a labor of love. In a daring career move that is consistent with Johnson’s penchant for bucking conventional industry wisdom to create a unique path, he decided to devote his time and creative efforts to honoring his late friend and celebrate traditional country music.
Besides having a professional affinity to Cochran he also has a personal one. ”Shortly after he first met Jamey, Hank was diagnosed with pancreatic cancer,” says his widow, Suzi Cochran. “So for the two years he lived after that, Jamey would get off the road and pull his bus right up to the hospital, run up and see Hank and raise Hank’s spirits. The last time Jamey saw Hank was the night before Hank died.” Johnson joined Buddy Cannon and Billy Ray Cyrus at Cochran’s bedside as they handed the guitar back and forth while singing Cochran’s songs. Cochran died about six hours later.
“Hank adored Jamey,” Suzi Cochran says. “Hank loved Jamey. Jamey was a constant in the last chapter of Hank’s life.
“This is incredible,” she says of the tribute album. “I wish Hank had been here to see it. He wouldn’t believe it. He would have cried. He’d be happy. It’s exactly like Hank would have done it.”
I am really looking forward to hearing this release and look forward to hearing classic from it live when Johnson joins Willie Nelson and The Band of Horses on the Railroad Revival Tour 2012.
1. “Make the World Go Away” – Jamey Johnson and Alison Krauss
2. “I Fall to Pieces” – Jamey Johnson and Merle Haggard
3. “A Way to Survive” – Jamey Johnson, Vince Gill and Leon Russell
4. “Don’t Touch Me” – Jamey Johnson and Emmylou Harris
5. “You Wouldn’t Know Love” – Jamey Johnson and Ray Price
6. “I Don’t Do Windows” – Jamey Johnson and Asleep at the Wheel
7. “She’ll Be Back” – Jamey Johnson and Elvis Costello
8. “Would These Arms Be in Your Way” – Jamey Johnson
9. “The Eagle” – Jamey Johnson and George Strait
10. “A-11″ – Jamey Johnson and Ronnie Dunn
11. “I’d Fight the World” – Jamey Johnson and Bobby Bare
12. “Don’t You Ever Get Tired of Hurting Me” – Jamey Johnson and Willie Nelson
13. “This Ain’t My First Rodeo” – Jamey Johnson and Lee Ann Womack
14. “Love Makes a Fool of Us All” – Jamey Johnson and Kris Kristofferson
15. “Everything But You” – Jamey Johnson, Vince Gill, Willie Nelson and Leon Russell
16. “Livin’ for a Song” – Jamey Johnson, Hank Cochran, Merle Haggard, Kris Kristofferson and Willie Nelson
On what would have been Hardly Strictly Bluegrass founder Warren Hellman’s 78th birthday the good people that worked side by side with him carry on in his honor. The upcoming 12th anniversary of the festival, and first after Hellman’s death last December, looks to continue the celebration of great, and free, music doesn’t look as though it’s slowed a bit. On this day of remembrance the festival’s organizers have released audio hints, like last year, of the first 10 conformed acts.
Check out the file below and in the comments give us your best guesses who’d playing HSB this Oct. 5-7!