Listen Up! Lucero “Sweet Little Thing” [Live]

Live from Atlanta

Her’s a taste of “Live from Atlanta” the first ever Lucero formal live release.

Below you can stream a live version of “Sweet Little Thing”, a classic ballad originally from the band’s sophomore effort Tennessee.

“Live from Atlanta” spans the roots-rock band’s career. Recorded over three nights in Atlanta’s Terminal West, it’s a collection of 32 cuts mixing folk, country, soul and punk rock.

About their live performance front man Ben Nichols says “We’re each playing in a completely different band. We’re on stage and each playing in our own Lucero. I’m not sure that’s how it works for other bands.”

Pour a whiskey neat and enjoy

Americana Music Association Releases First Half of 15th Annual AmericanaFest Bill

Americanafest

The Americana Music Association continues its tradition of showcasing some of the best in Americana and roots music by it’s partial roster of Americanfest performers released today.

Though the lineup doesn’t show any groundbreaking direction, I’m fine with that. There are lots of folks on the list that have been busting their hump for years and deserve this recognition rather then inserting acts to placate outsider accusations of one thing or another. Personally I’m happy to see Casa Twang favorites Howlin’ Brothers, Jamestown Revival, John Moreland, Lera Lynn, Marah and Ben Miller Band on the bill. And Texas is well-represented by Billy Joe Shaver, Sarah Jarosz, Jason Eady and Hayes Carll

The event is celebrating its 15th as the premier Americana event by welcoming 160 performers taking the stage at 11 venues including 3rd & Lindsley, The Basement, City Winery, High Watt, Cannery, Mercy Lounge, The Rutledge, Station Inn, Music City Roots, Downtown Presbyterian Church and Musicians Corner.

Three-time Americana Group of the Year, The Avett Brothers, will headline the event at Riverfront Parl on Saturday Sept. 20. Americana’s Music Festival & Conference registrations will have access. Tickets for the general public will go on sale Friday, June 27 at 10AMat www.ticketfly.com.

Check out THE Americanafest 2014 Spotify playlist.

The first half of Americanafest’s performing artist list includes:

Allison Moorer
Amy Ray
Angaleena Presley
The Avett Brothers
The Barefoot Movement
Ben Miller Band
Billy Joe Shaver
Black Prairie
Brennen Leigh and Noel McKay
Buddy Miller
The Cactus Blossoms
Carlene Carter
Caroline Rose
Chatham County Line
Chuck Mead
Danny & The Champions of the World
The Deadly Gentleman
Del Barber
The Deslondes
Doug Seegers
The Duhks
The Dustbowl Revival
Emily Barker & the Red Clay Halo
Ethan Johns
The Fairfield Four
The Grahams
Grant-Lee Phillips
Green River Ordinance
Greensky Bluegrass
Gregory Alan Isakov
Greyhounds
The Harpoonist & the Axe Murderer
Hayes Carll
Howlin’ Brothers
Immigrant Union
Israel Nash
Jamestown Revival
Jason Eady
JD Wilkes & the Dirt Daubers
Joe Henry
Joe Pug
Joe Purdy
John Moreland
Jonah Tolchin
Jonny Two Bags
Josh Ritter
Joshua James
Lake Street Dive
Lee Ann Womack
Leo Welch
Lera Lynn
Marah Presents: Mountain Minstrelsy
Marty Stuart
Matthew Ryan
McCrary Sisters
Nathaniel Rateliff
New Country Rehab
Oh Susanna
Otis Gibbs
Parker Millsap
Paul Thorn
Pete Molinari
Quebe Sisters Band
Rhett Miller
Robbie Fulks
Robyn Hitchcock
Rodney Crowell
Ruthie Foster
Ryan Montbleau
Sam Outlaw
Sarah Jarosz
Sean Rowe
Shakey Graves
Suzy Bogguss
Todd Snider & Friends
Tom Freund
Tony Joe White
Trigger Hippy (feat. Jackie Greene, Joan Osbourne, Steve Gorman, Tom Bukovac & Nick Govrik)
Whiskey Shivers
Willie Watson

The 15th annual Americana Music Festival & Conference occurs September 17-21, 2014 in Nashville, Tenn. The 13th annual Americana Honors & Awards Show on Sept. 17 at the historic Ryman Auditorium.

Watch Out! Sturgill Simpson, ‘The Promise’ [VIDEO]

Sturgill Simpson, 'The Promise'

Sturgill Simpson’s latest video, is for his dour yet heartfelt of version of Manchester synth-pop band When In Rome’s 1988 hit “The Promise.” (also included below for reference)

Simpson sits singing looking directly at you. Aashed-out colors fill in the grey-tone frame. Colors swirl and wash until replaced by inky clouds claustrophobically closing in.

And then.. he’s gone.

“The Promise” is a cover but Simpson makes it his own and shapes one of the best songs on his excellent release “Metamodern Sounds in Country Music.”

Watch Out! Kacey Musgraves – “The Trailer Song” on The Tonight Show Starring Jimmy Fallon [VIDEO]

trailersong

Ladies and Gents great country music is alive and well and, yes, sometimes it still comes from Music Row.

GRAMMY-award winning singer/songwriter Kacey Musgraves has a response to self-rightous neighbors and it’s “The Trailer Song,” and it’s a honky-tonk delight (with an “awww haaawww’ for bonus points)

The song was written by Musgraves, and her usual partners in crime Brandy Clark and Shane McAnnally

Last week Musgraves performed “The Trailer Song” on The Tonight Show Starring Jimmy Fallon (see below.)

Purchase “The Trailer Song.” at Musgraves’ website.

Musgraves is currently on tour this summer with Willie Nelson and Alison Krauss as well as Katy Perry on her Prismatic World Tour.

Music Review: Sturgill Simpson – “Metamodern Sounds in Country Music” – High Top Mountain Records

sturgill-simpson-metamodern

On his 1962 masterpiece “Modern Sounds in Country Music” Ray Charles’ broke cultural and racial boundaries, straddled styles, grew his audience and made the charts.

Sturgill Simpson’s newest release tips a hat to that release but “Metamodern Sounds in Country Music” but it doesn’t break any boundaries that weren’t broke decade ago.

Simpson does fight against the current thinking that what’s old is bad. This is not new. Gram Parson’s did it in the 60’s and 70’s and the entire Americana genre is built on that premise. But just as Charles’ classic engaged country music as a lens to take a broader cultural view Simpson uses 70’s country gold as a review mirror to remind us what cultural beauty we’ve squandered.

Music City has always raced towards the shiniest object to gain market share and fill pockets. It’s charter is not historic preservation but cash accumulation. But that history is rich and fertile ground in the mind of Simpson, a mindful disciple that spans history and style with authenticity and a crooked smile.

That richness can be heard, and felt, in the songwriting.

The record opens as an old-timer, billed as “Dood” Fraley, announces the title album and then echoes off into infinite space.

Sunny psychedelic “Turtles All The Way Down” opens with a “Gentle On My Mind” feel with a twist “I’ve seen Jesus play with flames in a lake a fire that I was sanding in” “There’s a gateway in our mind that leads somewhere out there beyond this plane / Where reptile aliens made of light cut you open and pull out all your pain.”

“Tear in my Beer” this ain’t.

Drug use and mind expansion is not new in country music. Way before Willie and Snoop sang “Roll Me Up and Smoke When I Die.” and Kacey Musgraves , Ashley Monroe and Brandy Clark hitched a ride on the current weed bandwagon Kris Kristofferson was smoking his mind in “Sunday Morning Coming Down” (which Simpson references in “Life of Sin”) and Johnny Cash went on a murderous jag in “Cocaine Blues.”

But Simpson reflects a humanity in the mind alterations that grounds it and makes it relatable to even the straightest arrow.

Humanity is often dark, and “Life of Sin” takes a page from the book of Bakersfield and tells a leavin’ tale taht leads to drinkin’ and debauchery that raves like an prairie dust storm.

“Living the Dream” is a laid-back, Waylon-tinged cold reality lament of the futility of performing as you contemplate futility and “sit around and wait to die.”

“Long White Line” is a love song to the open road as a path away from hurt. “The Promise” is the most poignant track on the album. Simpson conjures loneliness and yearning in his softly, almost spoken, delivery as plucked guitar, drums, bass and stings build.

As you can guess this is not the feel good album of the summer. it engage human themes once prevalent in country music, misery. But not in th meost recent emo vairty of the emotion. this is misery as enlightenment. Angst as discovery.

“It Ain’t all Flowers” is a flashback kick in the teeth with “Are You Experienced”-style backtracking before giving way to a slow groover that slithers and seethes Southern sou.

Simpson’s voice is an expressive instrument in itself as if pleads and growls keening into hard-edge shapes and the occasional howl “oooHooooooo!” The band is on par with the level of excellence you’d expect from a Sturgill Simpson release. Kevin Black on bass guitar, Miles Miller on drums/percussion and backing vocal, Mike Webb on keyboards and
Dave Cobb plays. classical guitar/percussion. The stand out is Laur Joamets from Tartu, Estonia ranks up there with the finest interpreters of teh guitar I’ve had th honer of hearing.

Simpson doesn’t care to be country music’s savior but he’s willing to interpret it to make some damn fine new music an d fans are coming in droves. There’s a hunger for it.
Is “Metamodern Sounds in Country Music” groundbreaking? No.and it doesn’t need to be. It just remind us there still some gold in that there High Top Mountain

Official site

five_rate

George Strait Sets Attendance Record While Keeping It Intimate

George Strait -  The Cowboy Rides Away

That deafening roar heard from the Heart of Texas Saturday night was not a natural disaster. It was a fitting send-off for the reigning king of country music George Strait.

The last show of the two-year, cross-country Cowboy Rides Away adios tour for te fans featured a custom revolving stage set center field only used twice before, in Houston and San Antonio. The stage was dwarfed by the world’s largest high-definition LED video display looming above it.

The sound was as good as to be expected for being played at the bottom of a cavern. Lots of echoes and bouncing around.

That said, Texas legends Asleep at the Wheel was in fine form as they opened the show with a heavy dose of their inspiration and the King of Western Swing, Bob Wills.

Then it was time.

104,793 rapturous fans help set a new record for largest indoor concert in North America, putting to bed the popular myth that country music can’t have an ear to tradition and still sell tickets.

All made their voices heard as Asleep at the Wheel’s Ray Benson, like a contemporary vaudeville barker, lent his signature baritone to a lengthy list of the awards and accolades collected by Strait over his career.

None of those rewards resulted as airs as the pride of Poteet, TX (due south of San Antonio) moseyed onto the stage spotlight, blue-checked Western shirt, jeans, boots, trademark black hat and shining that warming 1000 kilowatt smile.

If Strait was daunted by the outpouring of deafening admiration it didn’t show. Appreciation certainly. After all, he was surrounded by friends.

And that what you feel like at a George Strait show. He makes you feel comfortable, right at home, take a seat. Like he’s performing right for you. Right from the opener , the 1995 classic “Check Yes or No,” you settle in and enjoy the ride.

And what a ride. Over three hours and nine guest appearances, including his son and recent song co-writer George Jr., aka Bubba. Strait treated the crowd to songs from his entire 30 plus year career. From his first 1981 hit single “Unwound” to “That’s What Breaking Hearts Do” from hi saltiest ‘Love is Everything” there was something from every era and for everyone.

Current chart toppers Jason Aldean, Eric Church and Miranda Lambert and Strait’s contemporaries Martina McBride, Alan Jackson and Vince Gill all took turns supporting Strait on his signature honky-tonk classics.

All displayed proper reverence to their host and mentor but still were able to supply unique dimensions, without showboating, to the songs.

Backed by his excellently seasoned Ace In The Hole Band, there was no stage gymnastics. No fist-pumping theatrics were needed to amp the crowd. Just a wave, a shake of the head and an occasional arm raise. Oh, and that smile.

How does a 62-year-old performer that can no longer crack hit radio format of mainstream country radio sell thousands of tickets and piles of merch? How did he garner 5 entertainer of the year awards and win a 2009 Grammy for best country album for 2009’s Troubadour while never adhering to Music Row’s rules? Rules having just been celebrated in Nashville at the CMA Awards?

By staying true to himself and his craft. If you were a Strait fan in the 80’s odds are you’re still a fan. He’s been loyal to his their expectations and those expectations play to his strengths. He’s made a career out of being who he is and dancing with those that brung him.

Like a premier pitcher, or since we’re in AT&T Stadium a premier quarterback (sorry Romo), Strait makes each nailed effort look effortless. A man, a guitar and simple stories reflecting life without breaking a sweat. And we all relate and we trust without irony or cynicism. We trust the messenger.

The realness of Strait cannot be overemphasized. He appears to become what he sings. World-weary or heartbroke. Sanguine and with a rascal spirit.

Though the vast majority of his songs are written by other people he is a master interpreter of other people’s work. His realness makes you believe.

Whether this is starts actual last show remains to be seen. Strait hasn’t said there won’t be any more concerts, just that he’s quitting touring. Odds are he’ll play the occasional gig in the Lone Star state. He’ll probably return to AT&T Stadium in April 2015 for the 50th anniversary Academy of Country Music Awards. That would be just. As far as music events AT&T Stadium is from now on Strait’s house.

Though not exactly a cowboy’s swan song it was one hell of close to a chapter of one of country music’s greats.

Check Yes or No
A Fire I Can’t Put Out
Lovebug (George Jones cover) (with Vince Gill)
Does Fort Worth Ever Cross Your Mind (with Vince Gill)
River of Love
Lead On
Fool Hearted Memory (with Jason Aldean)
Nobody In His Right Mind Would’ve Left Her (with Jason Aldean)
Arkansas Dave (with Bubba Strait)
I Saw God Today
Cowboys Like Us
(with Eric Church)
Easy Come, Easy Go (with Eric Church)
That’s What Breaking Hearts Do
Marina Del Rey
Here for a Good Time (with Sheryl Crow)
When Did You Stop Loving Me (with Sheryl Crow)
I Can Still Make Cheyenne
Drinkin’ Man
Jackson (Billy Edd Wheeler cover with Martina McBride)
Golden Ring (George Jones & Tammy Wynette cover with Martina McBride)
Give It Away
I Got a Car
A Showman’s Life
(with Faith Hill)
Let’s Fall to Pieces Together
(with Faith Hill)
I Believe
Blame It On Mexico
Amarillo By Morning (with Alan Jackson)
Murder on Music Row (with Alan Jackson)
The Chair
Give It All We Got Tonight
How ‘Bout Them Cowgirls (with Miranda Lambert)
Run (with Miranda Lambert)
You Look So Good in Love
I’ll Always Remember You
Ocean Front Property (with Kenny Chesney)
The Fireman (with Kenny Chesney)
Troubadour
Unwound

Encore:
All My Ex’s Live in Texas (with Gill, Aldean, Church, Crow, McBride, Hill, Jackson, Lambert, Chesney, and Ray Benson of AATW)
Folsom Prison Blues (Johnny Cash cover) (with Gill, Aldean, Church, Crow, McBride, Hill, Jackson, Lambert, Chesney, and Ray Benson of AATW)
The Cowboy Rides Away

Billy Joe Shaver To Release First Studio Album in Six Years “Long in the Tooth” August 5

billy joe shaver- Long In The Tooth

Attention all Outlaw Country fans. I mean the REAL deal type.

On August 5 the legendary Billy Joe Shaver will release Long in the Tooth on Lightning Rod Records. The album will be release just before his 75th birthday on August 16. Of the album Shaver says it’s “the best album I’ve ever done.”

“Each song is different with different beats and different kinds of music,” he says. “I even have one rap song. The titles are all so catchy like ‘It’s Hard to Be an Outlaw’ and ‘The Git Go.’ Those are pretty hard to beat. Songwriting is gut wrenching, but if you dig down and write real honest you’ll find something real great. I believe everybody should write. It’s the cheapest psychiatrist there is and, God knows, I still need one.”

“I’ve written a lot of great songs and I’m still writing great songs, but I felt neglected. I have been, actually. The reluctance to play old people’s music is as bad as it was to play young people’s music. I think it should level out where everyone can hear good art, but it seems like radio doesn’t play older people’s music. Man, it’s like throwing out the Mona Lisa. I don’t understand, but I’m just so proud of Long in the Tooth. This record will be a gigantic step.”

As lauded a songwriter as Shaver is, he needed some convincing by none other than Todd Snider into making Long in the Tooth. “I didn’t think I had another hope in the world of doing another studio album,” Shaver says. “Then Todd Snider encouraged me to come up to Nashville and I listened. I knew if I didn’t come out with new songs, it wouldn’t be right. I’ve promised hundreds of critics that I would. So, I just buckled down and got the new songs together. Sure enough, it turned out great.”

I’ve seen Shaver live a few times over the past few years and I’m here to tell you he’s lost none of his fire and wit.

Long in the Tooth. is produced by Ray Kennedy and Gary Nicholson, and features appearances by WIllie Nelson, Leon Russell, Tony Joe White, Shawn Camp, Jedd Hughes, Joel Guzman and others.

Rolling Stone premiered the Billy Joe Shaver and Willie Nelson duet, “Hard to Be an Outlaw” (hear it below) The song is both a nostalgic lament and a swipe at Music Row pop-country. “Some superstars now days get too far off the ground, They sing about the back roads that they’ve never even been down. They go and call it country but that’s not how it sounds. It’s enough to make renegade want to terrorize the town.”

It’s not much of a stretch to imagine the town these texans imagine terrorizing would be Nashville.

Lee Ann Womack’s “The Way I’m Livin’” Out September 23rd

Lee Ann Womack  - The Way I’m Livin’

The Americana Music Conference and Festival offers many familiar names. But it’s not often that the name is a star from the Music Row side of the tracks.

In 2012 Lee Ann Womack was there in the thick of it. The multi-Grammy and CMA Award winner shared the stage with Tom T Hall and Peter Cooper to perform “I Love” at the Americana Music Awards. She also shared the Cannery stage with Buddy Miller to do a fantastic all request show.

It takes a lot of confidence to move from the glitter of the spotlight to the more song-centric world of Americana and win over that audience. Womack did it with ease.

On September 23rd Lee Ann Womack will further establish herself in the Americana world by releasing Way I’m Livin.’ The album is not only on the premier roots music Sugar Hill Records label (Marty Stuart, Sarah Jarosz,) it will feature interpretations of stellar artists like Chris Knight, Mindy Smith, Mando Saenz, Hayes Carll, Neil Young, Bruce Robeson, Roger Miller and the aforementioned Buddy Miller.

Womack appears to be doubling down on this new chapter in her life. And she’s done so keeping very fine songwriting company. But I’m certain she’ll ride no one’s coattails.

“I wanted songs that talked about how life really is, the raw spots, the tough places, the meltdowns and messy parts,” “Hard, sad, rough… all the stuff people pretend doesn’t exist! Because once you embrace that, you can figure out what to do; or not do!”

“And knowing these songs were written to be performed, not pitched, sets a bar! Every songwriter wrote intending to sing’em, to tell these stories, show these postcards, and you can feel the way they built the characters! Bringing that to music was just so incredible for everyone on the sessions.”

The record will be produced by Lee Ann’s husband, Frank Liddell (Miranda Lambert, David Nail) Womack’s last album, Call Me Crazy, came out in 2008, resulting in one top 20 country single Last Call.

Listen Up! Hellbound Glory – “Small Township” – Interview with Leroy Virgil

hellbound10 copy

If anyone thought touring arenas with Kid Rock would dull Hellbound Glory’s country edge then “Small Township,” a boot-stomper from their upcoming “LV,” will render them mute.

It’s a stark take on the small-town life in hard times. Drugs, violence and desperation puts the trope often trotted out as a shortcut to wholesomeness on it’s ear.

Leroy Virgil of Hellbound Glory took time out of his busy schedule to answer some questions.

Twang Nation: Tell me about the new EP “LV.”

Leroy Virgil: I titled the album LV after my initials because most of it was recorded as a one-man band in the town I grew up in. I put a lot of myself onto the tape and I’ve never been more proud of any recording I’ve ever done. Call it my brand… my stamp of approval. The songs themselves are something like paragraphs in a story.

There is definitely a storyline. A beginning, a middle, and an end. The recording and the sounds that we got on tape are really something special and unique to this release. These songs, sonically, don’t sound like anything that I’ve released to date… but I won’t say I won’t revisit. I enjoyed the stripped down recording and Brian Smith captured something special in the mix.

TN: The record was recorded to analog tape at the Oceanside Recording Studio, but it’s being offered as a digital release only. Why? Are you trying to piss off Neil Young?

LV: The way we look at it, we’re taking advantage of the tools that are out there to get the new music in speakers as quickly as possible. This is the first release of a series… and I want them all to be special. That said; yeah, it’s a priority for me to release a physical copy, maybe vinyl eventually, but
it’s got to be special. It’s got to be right. We’ve got a busy year planned and a digital release right now makes the most sense and use of time. I’m putting the finishing touches on the second release
already.

TN: How have you changed as a songwriter through the history of Hellbound Glory?

LV: I don’t think I have actually. Not sure that a lot of folks know this but I’ve got about 3 or 4 albums worth of material ready to go. I just need the studio time! I guess I write what I write; sometimes funny, sometimes tragic, sometimes more serious songs. I just try not to push it and let the ideas develop.

TN: How have things changed for the band since playing arenas (opening for kid Rock)?

A: The work has become harder and we’ve made less money! It’s funny really, but in a good way. The Kid Rock tour gave me a wider perspective, a tour van, a booking agent and a chance to really focus on getting the Hellbound Glory business together.

TN: Many fans thought that tour would be your big break. Did it feel like it?

LV: Absolutely. Maybe not in the way some fans thought it might, but I never thought we’d do that tour and sell a million records in the first place. But yes, it was a big break and a very eye-opening experience that I learned a lot from. Not sure people understand this, but Kid Rock is a fan of independent country music, a music fan period, and I learned a lot just being out there. That eye-
opening experience… that IS the big break.

TN: What can fans look forward to on your upcoming tour?

LV: The tightest Hellbound Glory line-up I’ve ever had. Solid, Cohesive, Professional. A lot of new songs and I’m really focusing on my guitar playing. Call us a power trio. I’d like to add a steel player
one of these days… and have you ever heard Hellbound Glory with keys?

Buy LV

Americana Honors & Awards 2014 Nominees Announced – Rosanne Cash, Robert Ellis and Jason Isbell Lead The Way

americana music association

The nominees were announced today in Nashville by the Americana Music Association, and what a great list of talent it is!

Rosanne Cash, Robert Ellis and Jason Isbell each had three nominations in the same categories of Album of the Year, Artist of the Year and Song of the Year.

Cash, Ellis and Isbell are nominated for Artist of the Year, along with Rodney Crowell. Cash’s “A Feather’s Not a Bird,” Ellis’ “Only Lies” and Isbell’s “Cover Me Up” along with Patty Griffin’s “Ohio” are up for Song of the Year.

Cash’s album “The River and the Thread” is up for Album of the Year against Ellis’ “The Lights From the Chemical Plant,” Isbell’s “Southeastern” and Sarah Jarosz’s “Build Me Up From Bones.”

While watching the nomination event online on the Music City Roots Livestream Ellis chimed in from Houston As his name was called once, twice, three times he responded on the messaging thread with genuine surprise and humility “Wow!” “Thank you all!” he typed.

Rosanne Cash tweeted that she was “Thrilled!!” yo learn of her nominations.

The other Americana Honors & Awards categories, Lake Street Dive , the Avett Brothers, the Devil Makes Three, Hard Working Americans, and the Milk Carton Kids are up for Duo/Group of the Year. Hurray for the Riff Raff, Parker Millsap, St. Paul & the Broken Bones, Sturgill Simpson and Valerie June are in the vying for Emerging Act of the Year; and Larry Campbell, Buddy Miller, Fats Kaplin and Bryan Sutton are the nominees for Instrumentalist of the Year.

The awards will be handed out Sept. 17 at the Ryman Auditorium as part of the Americana Music Festival and Conference, happening Sept. 17-21 in Nashville. Jim Lauderdale will host the awards show, and Miller will lead the house an all-star band.

2014 AMERICANA HONORS & AWARDS NOMINEES

ALBUM OF THE YEAR
Build Me Up From Bones, Sarah Jarosz
The Lights From The Chemical Plant, Robert Ellis
The River And The Thread, Rosanne Cash
Southeastern, Jason Isbell

ARTIST OF THE YEAR
Rosanne Cash
Rodney Crowell
Robert Ellis
Jason Isbell

DUO/GROUP OF THE YEAR
The Avett Brothers
The Devil Makes Three
Hard Working Americans
Lake Street Dive
The Milk Carton Kids

SONG OF THE YEAR
“Cover Me Up”, Jason Isbell
“A Feather’s Not A Bird”, Rosanne Cash
“Ohio”, Patty Griffin
“Only Lies”, Robert Ellis

EMERGING ACT OF THE YEAR
Hurray For The Riff Raff
Parker Millsap
St. Paul & The Broken Bones
Sturgill Simpson
Valerie June

INSTRUMENTALIST OF THE YEAR
Larry Campbell
Fats Kaplin
Buddy Miller
Bryan Sutton