Dave Rawlings Machine Announces New Album ‘Nashville Obsolete.’

Dave Rawlings Machine

2015 Americana releases are about to get much, much better.

Dave Rawlings Machine has announced the release of their second album, ‘Nashville Obsolete,’ on Acony Records on September 18. ‘Nashville Obsolete,’ is the follow-up to the 2009 debut ‘A Friend of a Friend.’

‘Nashville Obsolete’ was recorded on analog tape at Woodland Sound Studios in Nashville, TN, whose client list includes Willie Nelson, Bob Seger, Neal Diamond, Emmylou Harris, John Mellencamp, Johnny Cash, Steve Earle, Elton John, Lynyrd Skynyrd, Dusty Springfield, Alabama and many, many others.

‘Nashville Obsolete’ features seven original compositions written by Rawlings and longtime collaborator Gillian Welch and produced by Rawlings. This will be the seventh studio album the duo have appeared together on.

Along with vocals and guitar byRawlings and Welch, other contributors included Willie Watson on vocals and guitar, Punch Brothers Paul Kowert of on bass, and guest appearances from Brittany Haas on fiddle and Jordan Tice on mandolin. A tour in support of the album is forthcoming.

Welch and Rawlings, along with Buffy Sainte-Marie, Don Henley, Ricky Skaggs & Los Lobos, will also be presented with the Lifetime Achievement Award for Songwriting from the Americana Music Association during the 2015 Honors & Awards ceremony held at the historic Ryman Auditorium in Nashville. The award will be presented to the two days before the album is released on September 16.

1. The Weekend
2. Short Haired Woman Blues
3. The Trip
4. Bodysnatchers
5. The Last Pharaoh
6. Candy
7. Pilgrim (You Can’t Go Home)

Pre-orders of ‘Nashville Obsolete’ are currently available from iTunes and physically and Amazon

Here’s Welch and Rawlings’ opening number of “65 Revisited,” the Bob Dylan 50th anniversary tribute of his electric performance at Newport Folk Festival.

Album Review: Kacey Musgraves – ‘Pageant Material’

kacey-pageant material

Musgraves, like Taylor Swift before her, has a way uncannily bringing people that wouldn’t be caught dead listening to a George Jones record into the dusty fold.

But unlike Swift’s winsome fairytale strewn path to a pure-pop exodus Musgraves shows on ‘Pageant Material,’ that she’s content to stick around Music Row for a while, and use her wit, charm and a stiff shot of deft songcraft to draw in the twang wary and change things from the inside.

Musgraves’ pop comes in the form of populism that is less soapbox serenades than barstool banter. Songs like “Biscuits” and the excellent title song speak in appealing, self-depreciating southern grammar to draw you into ideas of non-conformity and acceptance while bringing the highfalutin down to earth.

Musgraves also takes time to have fun. “High Time” is a perfect Summer song that moseys along in Ronnie Milsap pop-country accentuated by a carefree whistling , well-timed hand claps and a sweep 50’s era Nashville Sound stings.

“Family is Family” is a fun jaunt in praise of blood lines that would give John Prine and chuckle. “Late To The Party” is a cuddly soft folk ballad that has Musgraves letting out her inner James Taylor. “Dimestore Cowgirl,” allows us to travel along with on her exceptional journey. “I’ve had my picture made with Willie Nelson/Stayed in a hotel with a pool” “Slept in a room with the ghost of Gram Parsons/ Drank some wine I can’t afford.” While reminding us she’s not getting above her raising and celebrates home in a way that feels real. Cause I’m still the girl from Golden, Had to get away so I could grow / But it don’t matter where I’m goin’, I’ll still call my hometown home.”

“This Town” is a personal favorite. With reverbed guitars, tambourine and eerie ‘Ode To Billy Joe’ – style strings Musgraves does her best Nancy Sinatra in this study on small town grapevine with it’s gossip and legit news puts Twitter to shame.

Musgraves worked behind the scenes foy years in Texas and Music Row before signing to Mercury Nashville and releasing “Same Trailer, Different Park.” Her chops shine in this excellent clutch of songs crafted with some of the friends – Shane McAnally, Brandy Clark, Luke Laird, Ashley Arrison, Josh Osborne, and Natalie Hemby – she’s made along the way.

Musgraves has much in common with one of her heroes, Willie Nelson. Both are adroit at the game and genre boundaries and are able to push the them to make room for a larger community. They affect change through the ver Southern qualities of quiet strength of example and likeability. They both stand as examples to an an industry, already excluding the female and alternative voice, that change is good.

‘Pageant Material’ is a subtle hillbilly Buddhist bomb of a record that will challenge attitudes. biases and business while being bracingly real.

The simple power is summed up nicely in a line in “The Good Ol’ Boys Club.” “It shouldn’t be about who it is you know / but about how good you are.”

four-half-rate

The Band Vinyl Box Set To Be Released

The seven studio albums released by the Band on Capital records will be released in a new vinyl boxset, ‘The Band: The Capitol Albums 1968-1977.’

The nine disc set includes such classics as Music From ‘Big Pink’, ‘The Band’ and ‘Stage Fright’ along with the double live album Rock of Ages.

All will be remastered for vinyl from the original analog masters. The LPs are housed in a heavy-duty outer box with the original artwork and packaging faithfully recreated for each title.

http://www.youtube.com/watch?v=7Pgtfuw1X28&sns=em

From the press release:
Before stepping into their own spotlight in 1968, The Band’s members already shared an extensive collaborative history. Between 1960 and 1962, the then-teenaged multi-instrumentalists Levon Helm (drums, vocals, mandolin), Robbie Robertson (guitar, piano, vocals), Rick Danko (bass, vocals, fiddle), Richard Manuel (keyboards, vocals, drums) and Garth Hudson (keyboards, horns) first performed and recorded together as members of the backing band for Ronnie Hawkins called the Hawks. In late 1963, the Hawks struck out on their own and became Levon & the Hawks, performing and recording under this name in 1964 and 1965.

In 1965, Robertson met with Bob Dylan in New York, just as Dylan was seeking an electric guitarist for his touring band. Robertson and Helm joined Dylan at his Forest Hills and Hollywood Bowl shows, and then convinced Dylan to bring all The Hawks on for the rest of the tour. The Hawks backed Dylan on the road from October 1965 through 1966 as he incensed audiences in the U.S., Australia and Europe, performing electric sets. Disheartened by the vocally disdainful ‘folkie purist’ audience response to their first plugged-in performances with Dylan, Helm left the band in November 1965.

After the 1966 tour concluded, The Hawks woodshedded for the next year in upstate New York, often in the company of Dylan, forging a highly original sound that in one way or another encompassed the panoply of American roots music: country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, Anglican hymns, funeral dirges, brass band music, folk music, and modern rock, fused and synthesized in ways that no one had ever before thought possible.

In 1967, the former Hawks were re-joined by Helm as they prepared to record their first full-length album. The Band was born in 1968 with the release of Music From Big Pink, which debuted to glowing reviews; a journalist for Life magazine wrote that The Band “dipped into the well of tradition and came up with a bucketful of clear, cool, country soul that washed the ears with a sound never heard before.” While the album only reached No. 30 on Billboard’s chart when it was released, it has become recognized over time as one of the most important albums in the history of rock, and its lead single, The Weight, a timeless rock staple.

The Band’s second, self-titled album, released in 1969, was launched with the hit Up On Cripple Creek. But it was the second single, Robertson’s Civil War song, The Night They Drove Old Dixie Down, that rose to the top of the charts (for both The Band and Joan Baez), pushing the album to gold and elevating The Band to headliner status. Both hits were sung by Helm. Two more songs from The Band would go on to become staples of FM rock radio, the rollicking Rag Mama Rag and the socially conscious King Harvest (Has Surely Come).

Stage Fright ushered The Band into the ’70s. Both the title track, sung by Danko, a reflection on the stardom they had achieved, and The Shape I’m In, featuring Manuel’s vocals, became FM favorites as album rock burgeoned into a viable format. The Band’s fourth album, 1971’s Cahoots, features the funky, New Orleans sound of Life Is A Carnival, a collaboration by Robertson, Helm and Danko, and Bob Dylan’s When I Paint My Masterpiece, which preceded Dylan’s own recorded version.

During the final week of 1971, The Band played four legendary concerts at New York City’s Academy Of Music, ushering in the New Year with electrifying performances, including new horn arrangements by Allen Toussaint and a surprise guest appearance by Dylan for a New Year’s Eve encore. Highlights from the concerts were compiled for The Band’s classic 1972 double LP, Rock Of Ages, which peaked at No. 6 on the Billboard 200 and remains a core album in the group’s Capitol catalog (in 2013, Capitol/UMe released remixed recordings from all four shows on The Band: Live At The Academy Of Music 1971).

Moondog Matinee, an album of cover songs released in 1973, features The Band’s version of Ain’t Got No Home, a 1957 R&B hit by New Orleans legend Clarence “Frogman” Henry. Helm credited Hudson with rigging up a hose he sang through to achieve “that lovely frog voice” the song requires.

The Band’s sixth studio album was Northern Lights-Southern Cross, a clever reference to their Canadian roots and their love of the American South. The 1975 album features the Dixieland-tinged Ophelia, as well as Acadian Driftwood and It Makes No Difference. Released in 1977, Islands was The Band’s final Capitol album and the last to feature the group’s original line-up. The album includes The Saga of Pepote Rouge, a typically eccentric Band song, and a cover of Georgia On My Mind.

In 1989, The Band was inducted into the Canadian Juno Hall of Fame; five years later they were accorded the same honor by the Rock and Roll Hall of Fame. In 2008, The Band was honored with The Recording Academy’s Lifetime Achievement Award.

Sadly, three members of The Band, Richard Manuel, Rick Danko and Levon Helm, have passed away, but The Band’s legacy lives on, in their recordings and in their tangible influence on popular music since they first hit the scene, wowing not only Bob Dylan, but many other major players of the day, including Eric Clapton, George Harrison, and Miles Davis. Making Americana music before the term even existed, Rick, Levon, Garth, Richard and Robbie collectively constituted the only ensemble to ever rightfully earn the sobriquet The Band.
The Band: The Capitol Albums 1968-1977 will be released on July 31.

Watch Out! Kacey Musgraves Performs “Biscuits” On Tonight Show With Jimmy Fallon

Kacey Musgraves Performs “Biscuits” On Tonight Show With Jimmy Fallon

Kacey Musgraves is hitting the late night circuit ahead of her much-anticipated release ‘Pageant Material’ to be released later this month.

Musgraves treated fans to her steaming hot latest single “Biscuits.” The song reflects Kacey’s own no nonsense spunk and charm, and she and the band sported their cosmic country and western finery as they always do on her road performances.

‘Pageant Material’ is the follow-up to 2013’s 2-time Grammy-winning ‘Same Trailer Different Park’ and is sure to top the country and Americana charts.

In a separate video Musgraves reveals the song’s writing session with Shane McAnally and Brandy Clark and how “Biscuits,” how the recording session took advantage of some authentic bakeware as instrumentation and why the song wasn’t included on ‘Same Trailer Different Park’

Catch the replay and song background below.

Musgraves also gave some background on how she, Brandy Clark and

Watch Out! Sara Watkins, Sarah Jarosz & Aoife O’Donovan “Be My Husband” [Video]

Sara Watkins, Sarah Jarosz & Aoife O'Donovan  "Be My Husband"

The elegant simplicity of the video for Sara Watkins, Sarah Jarosz and Aoife O’Donovan’s “Be My Husband” mirrors in production the song’s simple beauty in this acapella vow of love and devotion.

Deftly directed by Watkins’ husband, Todd Cooper, the video was filmed in March on the deck of the A Prairie Home Companion cruise (they have a cruise for everything ) through the windy Carribean. Accompanied only by the percussion of foot stomps and claps the song highlights these extraordinary women’s vocal prowess to the song written by Andrew Stroud for his then wife, Nina Simone’s 1965 album Pastel Blues.

The performance brings to mind that singular moment of Alison Krauss, Emmylou Harris and Gillian Welch performing ‘Go To Sleep You Little Baby’ off the “Oh Brother Where Art Thou?” soundtrack.

“Be My Husband” is the B-side off their 7″ single release Crossing Muddy Waters, available now. “Be My Husband” will be digitally available on May 26.

Fittingly the connection with A Prairie Home Companion will continue as the girls will be appearing on the May 22nd show and May 23rd broadcast in Vienna, VA to launch their US “I’m With Her Tour” dates. (Full dates below).

The 7 inch vinyl can be found here.

Tour Dates
2015-05-22 Vienna, VA – A Prairie Home Companion
2015-05-23 Vienna, VA – A Prairie Home Companion
2015-07-10 Katonah, NY – Caramoor
2015-07-11 Mt. Solon, VA – Red Wing Roots
2015-07-18 Vancouver, Cananda – Vancouver Folk Music Festival
2015-07-25 Lyons, CO – Rockygrass
2015-08-29 Fayetteville, AR – Fayetteville Town Center
2015-09-05 Pagosa Springs, CO – Four Corners Folk Festival
2015-09-19 North Adams, MA – FreshGrass

Kacey Musgraves Announces New Album ‘Pageant Material,’ Out June 23rd

Kacey Musgraves 'Pageant Material,"

The wait is over Kacey Musgraves fans. A tweet from Musgraves official twitter feed has announced that her follow up to 2013’s major label, Grammy-winning debut ‘Same Trailer Different Park’ is entitled ”Pageant Material’ and it will be released from Mercury Nashville on June 23.

The cover suggests more wry observations from the heartland, with Kacy in profile with a tiara and a not-quite smile.

See the track list and hear the cut ‘Biscuits’ below.

Pre-Order ‘Pageant Material”

Track Listing:
1. High Time (KM, Luke Laird, Shane McAnally)
2. Dime Store Cowgirl (KM, Luke Laird, Shane McAnally)
3. Late To The Party (KM, Brandy Clark, Josh Osborne)
4. Pageant Material (KM, Luke Laird, Shane McAnally)
5. This Town (KM, Luke Laird, Brandy Clark)
6. Biscuits (KM, Shane McAnally, Brandy Clark)
7. Somebody To Love (KM, Shane McAnally, Josh Osborne)
8. Miserable (KM, Josh Osborne, Brandy Clark)
9. Die Fun (KM, Luke Laird, Shane McAnally)
10. Family Is Family (KM, Shane McAnally, Josh Osborne)
11. Good Ol’ Boys Club (KM, Luke Laird, Natalie Hemby)
12. Cup Of Tea (KM, Shane McAnally, Josh Osborne)
13. Fine (KM, Ashley Arrison, Shane McAnally)

Watch Out! Willie Nelson & Merle Haggard “It’s All Going To Pot” [VIDEO]

Willie Nelson & Merle Haggard "It's All Going To Pot"

It’s no coincidence that Conan O’Brien’s official site held the premiered the new Willie Nelson & Merle Haggard video for “It’s All Going To Pot” on this day, 4/20. If you don’t get the title reference to this day I suggest you Google 4/20. i’ll wait…

Now that we’re up to speed, big horns kick off this uptempo ditty which plays the legendary pair’s reflection on the state of society and their choice of adult recreational activity. Recounting their days of drinking and popping pills and how it just doesn’t compare. And that whatever society and that ‘cacklehaed in the box” says, they’ll stay true to their Outlaw moniker to the end.

The cut can be found on the upcoming collaboration album ‘Django and Jimmie” to be released June 2nd. Pre-order it on Willie’s Official Online Store or Amazon.

Live Review: Chris Stapleton at City Tavern, Dallas TX – 4/16/2015

Chris Stapleton at City Tavern

Chris Stapleton is someone who straddles,and thrives in, the stylistic and cultural divide between factions of contemporary country music.

He pens hit songs for the likes of Tim McGraw, Brad Paisley, Dierks Bentley and Luke Bryan, whose version is up for for Song of the Year at this Sunday’s Academy of Country Music Awards. Though they are chart topping these songs are a cut above the bro-country radio fodder currently resulting from the Music Row songwriting sessions assembly line.

As a singer/songwriter his burly baritone gives testimony of a personal journeys that can hush a room or stir a crowd into a ruckus, as he does on this night.

Fresh from his television debut two nights’ before, making it onto the tightly restricted list of David Letterman’s musical guest before his retirement, Stapleton didn’t display airs as he
worked his craft on the road.

You’d be forgiven for overlooking Stapleton as just a member of the audience. Slightly unkempt hair and beard frame his unassuming features. His weathered straw cowboy hat sports a front feather splay emanating from a center turquoise stone. The kind of hat that could come from Johnny Paycheck’s closet.

Stapleton might have an ear for what makes a current country hit, but they’re built from an appreciation and deep understanding of style and stories manifested in classic 70’s country gold. A variety largely abandoned by Music Row in pursuit of money that enjoying a resurgence with artists with greater aspirations, like Sturgill Simpson, Whitey Morgan, Sarah Gayle Meech and Kelsey Waldon.

The Kentucky native resemble many of the crowd that break into hoots and hollers as he climbs on the small stage.

“Sounds like we’ve got some hillbillies here tonight.”

The band slowly build into the heart beat cadence of “Nobody to Blame,” from his anticipated “solo debut “Traveler.” It’s a swampy blue-collar mea-culpa of a man taking responsibility for a list of his wife’s retaliation in response to his unsaid transgressions.
This song is made even more poignant as his wife, the singer-songwriter Morgan Stapleton, sings harmony on the chorus his eyes locked with hers, where they remain most of the evening.

He payed tribute to Texas by performing songs from two of our state’s greatest performers; George Jones’ “Tennessee Whiskey” ( also on “Traveler.”) Stapleton’s version is a slower, more melancholy one showcasing his smooth croon and thrilling soaring vocals across the well-worn terrain of temptation, love and salvation.

A young woman requested from the front of the stage to hear the his version of Waylon Jenning’s “Amanda,” as it was her name as well. He graciously obliged , going off setlist to perform the song. The woman, now smiling and flushed, fanned her face as tears ran down her face.

Between shots of fan-bought whiskey (the sweetest kind) Stapleton also paid tribute to his Grammy-winning stint with the new-grass band The Steeldrivers by performing a revved up, honky-tonk version of “Drinkin’ Dark Whiskey” and the southern soul murder ballad ‘If It Hadn’t Been For Love.’ famously covered by Adel on the UK version of her album album ’21.’

Stapleton’s delivery of that , and all the songs tonight, make it easy to imagine what ran through Adel’s mind when she first heard that song. “That voice!” And she knows a thing or two about vocal range and texture.

The just repaired air conditioning makes it to the stage too late to bring comfort to Stapleton , who by the time he gets to the last song “Outlaw State of Mind,” his black, pearl snap shirt, was drenched through. ‘Outlaw…’ is a perfect sonic bookend to “Nobody to Blame.” It’s slow swampy build, and rebel-theme, build to a full-tilt bombast to send the grinning crowd into warm Texas night.

Set List:

Nobody to Blame
Traveller
Fire Away
Tennessee Whiskey (George Jones cover)
You Don’t Know How It Feels (Tom Petty cover)
Amanda (Waylon Jennings cover)
If It Hadn’t Been for Love
Drinkin’ Dark Whiskey
Whiskey and You
Outlaw State of Mind

Watch Out! Chris Stapleton: “Traveller” – David Letterman

Chris Stapleton: "Traveller" - David Letterman

Chris Stapleton has worked behind the scenes of Music Row for quite some time. He’s written hits for mainstream artists like Luke Bryan, Tim McGraw, Brad Paisley and Dierks Bentley. He’s also showed his melodic diversity by penning songs covered by Adele, Vince Gill and Sheryl Crow. He’s also up for Song of the Year at this Sunday’s Academy of Country Music Awards, for Luke Bryan’s “Drink a Beer.”

The man know his away around the craft to chart and to speak to the heart.

His first foray into the spotlight was as the lead singer and guitarist of the neo-bluegrass band The SteelDrivers from 2008–2010, where he was was nominated for three Grammy Awards as a member.

Chris Stapleton’s next act will be the release of his much anticipated debut “Traveler” (May 5th.) Not only will the album feature Stapleton’s tremendous talent but it will feature some of the best musicians going. If that weren’t enough for your hard earned dollar it’s notable that the album is produced by Dave Cobb, tha man at the boards for two recent stellar roots albums, Sturgill Simpson’s ‘Metamodern Sounds in Country Music’ and Jason Isbell’s ‘Southeastern.’

Last night, the singer-songwriter joined a long and prestigious list of country, Americana and roots musicins that have graced the stage of the Ed Sullivan Theater apperaing as a musical guest for the Late Show with David Letterman.

Stapleton performed the title song, wrapping his big Southern soul beautifully around his wife and collaborator Morgane’s accompaniment. Backed by a steady, smooth cadence by Derek Mixon on drums and JT Cure on bass, and, notably, the whining to and from of Robby Turner on pedal steel (To Letterman likening the the skill to flying a helicopter is probably not far off. )

It’s both sad and startling to hear this much soul and subtle beauty in country music.

Stapleton will open for Eric Church on April 30th in Boston. He will begin his solo tour tonight in Dallas and will perform at Good Records on April 18th for Record Store Day before continuing on tour.

https://www.youtube.com/watch?v=YADQ6MhQuuU&feature=youtu.be

Sturgill Simpson – Billy Bob’s Texas – 4/3/2015

Sturgill Simpson - Billy Bobs 4/3/2015

Billy Bob’s Texas was erected in 1981 in the heart of Ft. Worth’s historic Stockyards district to capitalize on the Urban Cowboy fad, booming at the time. This hyper commercialization of country music was due to the passable Texan impersonations by actors John Travolta and Debra Winger in the movie of the same name, and it’s best-selling soundtrack scooped up by people in love with the blue-collar atmosphere the movie mythologized.

This effort delivered millions of new country music fans (and boosted Stetson, Justin and Lone Star beer sales,) but not all was rosy. Many argued that the singular focus on chasing sales diminished the classicly “authentic” country sound.

This is not the first time the “losing authenticity ” argument had been leveled at Music Row. the same grievances are claimed against the current manifestation of commercial country radio known as bro-country.

Now, just as then, there is hope in this dark hour.

The Urban Cowboy craze laid the path to the reenergizing of the genre by artists like Steve Earle, Dwight Yoakam and led the way to alt,country a few years later. Bro-country has led to the same kind of galvanization and created a hunger for something more genuine and less contrived. There is an opportunity for those that can deliver.

Enter Sturgill Simpson. The singer/songwriter has been riding a storybook year of late night TV appearances, a Grammy nomination, an Americana Music Award for Emerging Artist if the Year (10 years into his career.) There have been critical accolades and brisk sales of an album with the unlikeliest of titles “Metamodern Sounds in Country Music.” On top of all this he inked a big label deal with Atlantic Records in January.

Not too shabby.

Not one to sit on his laurels Simpson booked a few Texas dates around his taping of the first episode of the Austin City Limits 41st season. Just a few months after his heralded sold-out at Club DaD he’s back in the metroplex. This stop is the “The Worlds Biggest Honky Tonk,”

The 6000 plus crowd (roughly 10 times that of DaDa for those keeping score) was a study in his growing and expansive demographic appeal. Bearded and tattooed hipsters, camoed rednecks , spangle-jeaned cowgirls, pro shop dandys and North Dallas socialites packed together to witness country music’s climbing star.

His name spread not due to carpet-bombing commercial radio play or a calculated, million dollar media roll out. His was a grassroots effort of pilled-up shirt-sleeves, dogged perseverance of the man, his band and his management team.

I’ve seen Simpson put on generally the same show for 6 people as he did for this crowd of 6 thousand and his appeal, and power, come from his creativity, but also his work ethic. He’s glade you showed up, but if you didn’t the show would go on at the highest level possible.

On this night that workman-like focus, and display of musical dexterity, was in full display. As Simpson delivered bratone blasts of his road weary lines from ‘Living The Dream’ as if describing his current state “Time and time again Lord I keep going through the motions – A means to an end but the ends don’t seem to meet – Walking around living the dream anytime I take the notion – Til the truth comes bubbling up so bittersweet.” This was the man’s life imitating the man’s art.

The setlist revolved around his two studio albums, Bluegrass standards from the Stanley Brothers as well as selections from Texas legend’s Lefty Frizell and his spiritual guide Waylon Jennings served up to woops of appreciation from us locals. It was striking how well Sturgill’s songs bent time and meshed with songs created decades earlier.

The most striking moment was when Sturgill performed his gut wrenching cover of ‘The Promise.’ It was the one time in the show that the chatty crowd focused and synched to sing and sway along to the torchy reimagined tune by 80’s pop band When In Rome.

The show was taut and free of filler and flash. His roughly 90-minute set stood in sharp contrast to the upcoming American Country Music Awards – the rhinestone hype-fest set to take place in a couple of weeks at Jerry Jone’s palace of excess, AT&T Cowboys Stadium.

How his growing popularity, and his inevitable shift into a structure accommodating the change in his professional stature, will affect his viewpoint, and ultimately his music, remains to be seen. But at this point his music, from the heart and the gut, resonants with a growing audience wary of shiny radio fads. There’s a hunger for authenticity and Simpson has shown, with his confessional lyrics, low-key stage presence, and his reluctance to be country music’s savior, is the man for the job.

Like the Outlaw movement he’s most often associated with his outsider status comes from a man living according to his own vision. It’s an imprecise and romantic notion, but that’s exactly why it’s so compelling.