Lindi Ortega Overcomes Darkness On Concept LP ‘Liberty,’ Out March 30th

Lindi Ortega

Canadian roots chanteuse Lindi Ortega has always blazed a unique trail her entire career, and her fifth studio record ‘Liberty’ is no appears to be
no exception. Due out March 30, 2018, Ortega wrote roughly half of the twelve tracks solo, and enlisted co-writers Aaron Raitiere, Bruce Wallace and John Paul White (The Civil Wars) for the rest. The result is a three-part concept album reflecting loss, seance, resurrection, and freedom.

The darkened journey progresses toward light starting with several unsavory characters in “You Ain’t Foolin’ Me” and even a lost love from childhood in “Til My Dyin Day.” Then grief turns to desperation in “Nothing’s Impossible” and “The Comeback Kid.” However, the tides begin to turn on “Darkness Be Done,” and about halfway through, with “Forever Blue,” the character makes a choice to follow the light.

The track “Pablo” is inspired by her new husband, Daniel Huscroft. While they performed as a duo on a series of Chris Stapleton arena dates in Canada, Huscroft wore a poncho and grew a handlebar mustache — a look that led to a new nickname and a song title. ‘Liberty’ concludes with “Gracias a la Vida” from the pen of Chilean composer Violetta Parra. The title translates as “Thank you to Life.”

“Even though I always tried to have a silver lining, whether it’s by making my songs tongue-in-cheek, or writing some dark lyrics to happy music, there’s always been an element of balancing light and dark on my previous albums,” Ortega explains. “But this is a full story, and I want everybody to be able to take something away from it at the end of the day.”

Pre-orders begin on Friday, January 19th.

Lindi Ortega  'Liberty'

‘Liberty’ tracklist:

I. Through The Dust Part I

1. Afraid of the Dark

2. You Ain’t Foolin’ Me

3. Til My Dyin Day

4. Nothings Impossible II. Though The Dust Part II

5. The Comeback Kid

6. Darkness Be Gone

7. Forever Blue

8. In The Clear

9. Pablo

10. Lovers In Love III. Through The Dust Part III

11. Liberty

12. Gracias a la Vida

2018 Lindi Ortega tour dates:
Fri., Jan. 19 / The Basement / Saskatoon, SK, Canada
Sat., Jan. 20 / The Exchange / Regina, SK, Canada
Sun., Feb. 4-Sun., Feb. 11 / Cayamo 2018 / New Orleans, LA, US
Thurs., Feb. 15 / South on Main / Little Rock, AR, US
Fri., Feb. 16 / Knuckleheads Saloon / Kansas City, MO, US
Thurs., Mar. 15 /The Lyric Theatre / Swift Current, SK, Canada
Fri., Mar. 16 / Arden Theatre / St. Albert, AB, Canada
Sat., Mar. 17 / Empress Theatre / Fort Macleod, AB, Canada
Sat., Mar. 24 / The Tractor Tavern / Seattle, WA, US
Sun., Mar. 25 / Mississippi Studios / Portland, OR, US
Thurs., Mar. 29 / Moroccan Lounge / Los Angeles, CA, US
Fri., Mar. 30 / Soda Bar / San Diego, CA, US
Sun., Apr. 1 / Musical Instrument Museum / Phoenix, AZ, US
Tues., Apr. 3 / Stubb’s BBQ – Indoors / Austin, TX, US
Wed., Apr. 4 / Club Dada / Dallas, TX, US
Thurs., Apr. 5/ McGonigel’s Mucky Duck / Houston, TX, US
Thurs., Apr. 12 / Festival Hall / Calgary, AB, Canada
Sat., Apr. 14 / West End Cultural Centre / Winnipeg, MB, Canada
Sun., Apr. 15 / Dakota Jazz Club / Minneapolis, MN, US
Tues., Apr. 17 / Lincoln Hall / Chicago, IL, US
Thurs., Apr. 19 / Old Rock House / St. Louis, MO, US
Fri., Apr. 20 / 3rd & Lindsley / Nashville, TN, US
Sat., Apr. 21 / Eddie’s Attic / Decatur, GA, US
Sun., Apr. 22 / The Evening Muse / Charlotte, NC, US
Tues., Apr. 24 / Union Stage / Washington DC, US
Wed., Apr. 25 / Rams Head On Stage / Annapolis, MD, US
Thurs., Apr. 26 Mercury Lounge / New York, NY, US
Fri., May 4 / L’Escogriffe / Montreal, QC, Canada
Sat., May 5 / The 27 Club / Ottawa, ON, Canada
Sun., May 6 / Neat Coffee Shop / Burnstown, ON, Canada
Mon., May 7 / Centre in the Square / Kitchener, ON, Canada
Wed., May 9 / Mod Club Theatre / Toronto, ON, Canada
Thurs., May 10 / Aeolian Hall / London, ON, Canada
Fri., May 11 / Mills Hardware / Hamilton, ON, Canada
Sat., May 12 / Queen’s Grad Club / Kingston, ON, Canada

Americana Music Association Announces First Round of 2017 Americanafest Showcases

First Round of 2017 Americanafest Showcases

(L-R) Top: Brandy Clark, Hiss Golden Messenger, Turnpike Troubadours
(L-R) Bottom: Charley Crockett, Deer Tick, Bettye LaVette

Continuing the stellar tradition of being the preeminent roots music event of the year, the Nashville-based Americana Music Association has released its first round of artists slated to perform at this year’s 18th annual Americana Music Festival & Conference, presented by Nissan, September 12 – 17, 2017.

The first 103 of more than 230 artists are made up of pioneers, icons, and upstarts like Brandy Clark, Hiss Golden Messenger, Turnpike Troubadours, Lillie Mae, Alice Wallace, Mike and The Moonpies, Rodney Crowell, Paul Cauthen, John Paul White, The White Buffalo, Jason Eady, Bruce Robison, and much more.

With more acts still to be announced, the event promises to live up to its reputation as a must attend for roots music fans and industry alike.

Resister for the full conference here, or get festival showcase wristbands here.

AJ Hobbs
Allison Pierce
Aaron Lee Tasjan
Alice Wallace
All Our Exes Live in Texas
Ana Egge
Andrew Combs
Andy Golledge
Austin Plaine
Balkun Brothers
The Band of Heathens
The Barefoot Movement
Beaver Nelson
Becca Mancari
Bettye LaVette
Birds of Chicago
Blank Range
The Blind Boys of Alabama
Boomswagglers
Brandy Clark
Brent Cobb
Brent Cowles
Brian Wright
The Brother Brothers
Brothers Comatose
Bruce Robison
CALICO the band
Caamp
Caitlin Canty
Carl Anderson
Caroline Spence
Carsie Blanton
Casey James
Charley Crockett
Charlie Parr
Chastity Brown
Ciaran Lavery
Cordovas
Courtney Marie Andrews
Darlingside
David Childers
David Luning
David Starr
Deep Dark Woods
The Deer
Deer Tick
The Deslondes
Dirty River Boys
Don Bryant
Dori Freeman
Elise Davis
Eric Ambel
Erin Rae
Forlorn Strangers
Futurebirds
Haas Kowert Tice
Hiss Golden Messenger
The Honey Ants
Horseshoes and Hand Grenades
The Howlin Brothers
Hugh Masterson
Jason Eady
Jaime Wyatt
Jesse Terry
Jim Lauderdale
John Paul White
Julian Lage & Chris Eldridge
Kacy & Clayton
Kasey Chambers
Leeroy Stagger
Leslie Stevens
Lillie Mae
The Lil Smokies
Lindi Ortega
Little Bandit
Low Cut Connie
Luke Bulla
The McCrary Sisters
Micky and the Motorcars
Mike and The Moonpies
Mipso
Molly Tuttle
My Bubba
Patrick Sweany
Paul Cauthen
Paul Thorn
Pony Bradshaw
Quiet Life
Renn
Rev Sekou
Rodney Crowell
SUSTO
Shane Smith & The Saints
Them Rubies
Turnpike Troubadours
Tyler Childers
Wade Bowen
Walter Salas-Humara
We Banjo 3
The White Buffalo
Wildwood Kin
William Wild
Willie Watson

Lindi Ortega To Release New EP ‘Til The Goin’ Gets Gone’ March 17 – Watch title Cut Lyric Video

Lindi Ortega To Release New EP

Dark Americana chanteuse Lindi Ortega will release ‘Til The Goin’ Gets Gone’ an EP of four songs, three originals and a cover of Townes Van Zandt’s “Waiting ‘Round To Die” on March 17.

In her downtime last year she rediscovered an intimacy she had neglected. As the lyric video for the title cut demonstrates there’s a sparse, atmospheric production with an emphasis on Ortega’s singular soprano that draws you into the musician’s roadworn dark and lonely universe.

About the rest of the release the release says…

“What a Girl’s Gotta Do,” a song that is the silver lining of an otherwise dreadful date, explores the gritty pragmatism of making ends meet. Alongside the title track, this song offers a second metaphor about artistic life that strengthens the EP’s overall sense of resolve. Ortega’s somber rendition of “Waiting ‘Round to Die,” acknowledges a personal debt – her recent discovery of the legendary songwriter’s music is what finally cured her writer’s block. The closer, “Final Bow,” came when Ortega assumed she only had one song left in her. “I thought I had to quit music but I wanted to leave gracefully,” she says. “But then I decided to get up and sing some more.” As a whole, this statement captures the essence of Ortega’s new EP – it’s about dusting off, gutting it out, and getting up for another round.’

Pre-order at lindiortega.com

Check the delicately sparse title cut lyric video below:

“Til The Goin’ Gets Gone” Track List

1. Til The Goin’ Gets Gone
2. What A Girl’s Gotta Do
3. Waiting ‘Round To Die
4. Final Bow

Tour Dates:

CALGARY, AB: Jack Singer Hall, Mar 7 w/ Blackie and the Rodeo Kings
BAYFIELD, ON: Bayfield Town Hall, Mar 17 w/ Basia Bulat
LONDON, ON: Budweiser Gardens, Mar 18 w/ Chris Stapleton
OTTAWA, ON: Canadian Tire Centre, Mar 19 w/ Chris Stapleton
WINNIPEG, MB: MTS Centre, Mar 22 w/ Chris Stapleton
CALGARY, AB: Scotiabank Saddledome, Mar 24 w/ Chris Stapleton
EDMONTON, AB: Northlands Coliseum, Mar 25 w/ Chris Stapleton
VANCOUVER, BC: Pepsi Live @ Rogers Arena, Mar 27 w/ Chris Stapleton
WYOMISSING, PA: Berks Country Fest: An Americana Jamboree, June 17
PAWLING, PA: Daryl’s House, June 18
WICHITA, KS: Wichita Vortex Music Festival, Aug 4
ORO-MEDONTE, ON: Boots & Hearts Music Festival, Aug 12
TUOLUMNE, CA: Strawberry Music Festival, Sept 1

David Cobb – The Man Behind The Roots Music Tide

Dave Cobb

Being a great record producer means striking a delicate balance between passion for music and staking out an objective distance. One tip toward the former and a heavy hand can interfere in an artist’s true voice. Tip to the latter and there’s a technical hollowing resulting in a bloodless product.

David Cobb is a man that walks that line with his attention to detail and courage to take risks to capture sonic lightning in a bottle.

With a rock and roll heart he moved to L.A. to pursue a musician’s life. But through happenstance, his love for classic records, as well as the call of his Southern roots and love of family and friends, he has found himself one of the most in-demand producers in Nashville.

His journey to find the beating heart in the body of the process has led him to helping create in his home studio – or sometimes his kitchen in the case of Jason Isbell’s “Southeastern” – some of the most acclaimed records by contemporary roots artists. Folks like Shooter Jennings, Jamey Johnson, Chris Stapleton, Sturgill Simpson, Corb Lund, Lindi Ortega as well as upcoming releases by Holly Williams, Lake Street Dive and Amanda Shires – have found in him a kindred spirit. Incredibly talented people that he sees as more than clients, but as collaborators, friends and makers of sonic magic.

That’s what sets Cobb apart from other producers. Sure his first-hand knowledge comes from sitting where the musician sits and it buys him a good deal of credibility in the studio. But it’s his wide-eyed wonder, his true sincerity, his love of the art and faith in the artist that connects him in a way that few have done.

That also makes him a very busy man. Cobb took time from that busy schedule to talk to me from his home in Nashville.

TN: How long have you been in Nashville and what led you to move from L.A?

DC: I’ve been out here just over four years. Whenever I would travel out here the city was alive. This was the best music scene I’ve ever seen. There’s just an incredible amount of talent. The songwriting out here is insane.

TN: The city certainly has changed in the last few decades. It’s no longer just all about Music Row.

DC: Not at all. There’s such a great rock and outsider country scene. It’s alive, man. Everywhere you go.

TN: Your timing certainly seems right for where you wanted to take your career.

DC: It’s funny. What prompted me to move to Nashville was I was working with a band in L.A. and one of the guys in the band put on the song ‘Outfit” by the Drive-By Truckers. When I heard that song it really made me homesick. It reminded me of exactly how I grew up and the way it is in the Southeast. I suddenly felt a desire to come this way. I was in L.A. working with rock bands but now have a daughter and a move made sense. But hearing that song was a real pivotal thing. It’s funny how a lyric can rock you to the core like that. Then I chased that dude (Jason Isbell) down ever since to make a record.

TN: The Drive-By Truckers were one of the band that brought those same homesick feelings in me while riding the subway to work each day while living in New York City. Their sound was key in me starting this blog and begin discovering other bands in that vein.

DC: Absolutely, that’s the real sound of the South that I grew up with. Growing up in Georgia there was always a country music scene but this is beyond that. There’s this big lyrical , real songwriter thing. People playing in bars and writing great songs. This affects me much more than the typical country stuff. A little country and a little rock with a little folk. It hit me more than most of the stuff I’d been into.

TN: It’s refreshing and exciting to hear Southern songwriters grapple with our history while forging a new culture and new sounds toward the future.

DC: With the line “Don’t Tell ’em your Bigger Than Jesus, Don’t Give It Away” is pure Southern frankness and the swipe at John Lennon’s famous quote is excellent. The Southern idea that you’re suppose to keep yourself in check. You’re to know your place and never get cocky and not stray too far from home.

TN: Part of it is cultural and steeped in tradition but then there’s the economic part that if the next generation leaves where is the workforce for the mine or plant. A lot of great music deals with these themes of hardship and trying to get out.

DC: Absolutely. I remember after moving to California I would come back to visit my grandparents in Savannah and everyone would call you hollywood. You’d get teased pretty bad. It’s part of the Southeastern culture is there’s a culture of sticking it out. I actually enjoyed being a Southerner in L.A. I thought it was fun. Nobody ever moves there from Georgia. There’s lots of Texans and folks from the Mid-West but not from Georgia, it’s too far away.

TN; I’ve enjoyed L.A. the few times I’ve been there. I usually end up in some bar with Shooter (Jennings) As a matter of fact he’s the first person I remember bringing your name up.

DC: I just worked with Shooter again a few weeks ago in New York for the first time in years and we had a blast. I love that guy. I owe Shooter a lot and I would not be in Nashville today if it wasn’t for him. The first time I ever came to Nashville was to work on his ‘Electric Rodeo.’ He introduced me to great country music. Growing up my parents listed to Kenny Rogers and Barbara Mandrell, that sort of stuff. All I wanted to listen to was AC/DC (laughs.) My parents didn’t have Waylon or Don Williams records. Shooter turned me on to the good stuff. There was one record in particular called ‘White Mansions,’ ( by Waylon Jennings, Jessi Colter, John Dillon and Steve Cash) that’s the record that really got me. There’s something about the way it felt. It came at country in a very cinematic way, it’s very powerful.

TN: Tell me about the first time you met Shooter.

DC: I had this stupid idea when I moved to L.A. that I was going to buy a ’69 Dodge Charger and paint it like the General Lee and drive it around town. So I had these business cards made up with ’01’ printed on it. My manager set up a meeting with Shooter and I and I’m trying to hide my business card. Then we end up working together and doing stuff for the Dukes Of Hazard. L.A. is crazy like that. Shooter is one of the most humble and kind people I know. He’s the real deal.

TN: Few producers have had as much influence in contemporary roots music as you have. Part of the master plan?

DC: (Laughs) It’s definitely not part of a master plan. I moved to L.A. to do rock records. After my work with Shooter I did some songs with Jamey Johnson on ‘That Lonesome Song’ I started to get the country calls and that’s when I started coming to Nashville pretty regularly. One of the acts that called was the Oak Ridge Boys, one of my dad’s favorite bands. While working with them I had in the back of my head, my grandmother was a Pentecostal minister, and she used to tell my “Honey, you have to make music for the Lord,” she had the Oak Ridge Quartet records, she didn’t have a T.V. but she had those records. It was the first time my work connected with my past. That was exactly where I came from and the people I was surrounded with. You get this feeling that just feels like home.

I did a lot of research on that Oak Ridge Boys project. I started digging way back in old Gospel albums, stuff from the turn if the century. The music kept coming in and it started to mean more to me than the Led Zeppelin and The Beatles and Stones I grew up on. Then you realize that’s where they got it from.

TN: Why do you think Americana and roots music has become so commercially successful?

DC: My take, and it’s probably totally off, but with all the streaming and stealing music has no monetary value any more. But I think true artistry does. When Jason Isbell or Sturgill or Stapleton write records to…not be on the charts, not trying to make top 10 singles…it’s just making something personal. I think people are willing to put up money when they feel people are putting in the effort, making art. You want to buy the album, you want to go to the show and buy a t-shirt. It becomes more of a lifestyle instead of a commodity. There’s a loyalty instilled that you don’t get with pop. Theses fans will stick with them. Maybe real art is the only thing that defeats music piracy.

TN: When I saw Sturgill and Isbell early in their careers they were playing to small venues and giving it as much as if they were playing a large hall. They were giving people their moneys worth.

DC: I just think that’s who they are. I remember in rock bands growing up and there was “put on your stage costume.” These guys wear what they always wear , it’s who they are. They play these small clubs and they give it 110% it’s who they are no matter where they are because they love it. Money is not the motivation for these guys, I know them. I’m just happy that people are supporting them, it’s a very special time when people are craving something real.

TN: As someone helping to define the genre how would you define Americana?

DC: Man, I just see Americana is another word for honest. Call it what you want I’m just happy people are out supporting it. I thought it was great when Jason’s record went #1 on the folk, country and rock chart. That means they couldn’t figure out what it was so they had to spread it across categories. That’s great and really funny.

When I worked with Chris Stapleton at the big label Mercury they let him make the album he wanted with no pressure for singles. They got it. They let him make an honest record and they supported him down the line. I even see Nashville embracing real art, they are feeling the influences. For example I recently cut a song with Brandy Clark, she’s got one of the best voices I’ve ever heard. She’s amazing. I think things are changing for the best. I think a lot of mainstream artist might prefer to make a more honest album.

TN: How was it to work with Jason Isbell on his most acclaimed albums?

DC: He just writes these devastating songs. My job was to clear things out of the way of the lyrics. When he and I first met , and couple of weeks before we did ‘Southeastern,’ I played him one of my favorite records Simon and Garfunkel’s ‘Bridge Over Trouble Water.’ There’s a song on that record called ‘The Only Living Boy in New York,’ to me it’s a masterpiece if an album and I think the production is brilliant. It’s an acoustic feeling record that’s not acoustic at all. That’s the approach we wanted to take with Southeastern.’ It’s like he’s on an acoustic guitar singing directly to you but there’s a lot more going on. The way I work is I think vocals are the most important element for emotional communication. Especially when you have artists like Jason that write such great lyrics, my job is to hear that and clear the space and let that emotion through.

When we did the Isbell records we never listened to the songs before we go into the studio, He walks in and says “Here’s a song” and it’s like “Great let’s do it.” When he did “Elephant” from “Southeastern” it was one of those moments “I can’t believe this is coming through the speakers.” Like hearing a record you’ve always owned but are hearing for the first time. You know?

If I have a technique in the studio it’s to fly by the seat of my pants. I love when an artists vision is fresh and they nail it. To me that’s the best it’s ever going to be. You just have to believe in talented people.

TN: Is there a specific sound your chasing in these sessions?

DC: I don’t think I have a sound. Jason’s album doesn’t sound like Sturgill’s. They don’t sound like Stapleton. I never wanted to be that guy. I’m a huge fan of Nigel Godrich (Radiohead, Beck, Atoms of Peace) and you know when he’s made an album. I’d rather be a chameleon on that front. I guess if there’s a common theme it’s making sure the voice is primary. Make sure the singer is carrying the band. I cut everything live, all together, often in one room, but when the vocals great that’s the track. In modern records people go in and put everybody in booths and then once the instruments are done the singer cuts 50 passes of vocals then they mix it together and tune it. I prefer they way the Beatles or Stones did it, live and vocal leads the track.

TN: How did you end up working with George Jones for the Suidbillies theme?

DC: I met some folks at xx tigers doing by working with Nikki Lane in L.A., I was just then moving to Nashville, and I got a call from Cartoon Network to work with George. The writers of Squidbillies really know their country music. I was referred by the good people at 38 Tigers because they knew I loved classic country music. Next thing you know I’m in the studio working with George Jones! For me George Jones is the greatest country singer of all time. His runs and his whole feel, there’s something about him..when my daughter was young I put on a George Jones and Merle Haggard record where they were singing each other’s songs. I would play it for here so, even though she was born in L.A., she had a feeling of the South. That session was a blast. He’s one of the funniest human beings I’ve ever met. He did Donald Duck impressions the whole time. We brought in Hargus “Pig” Robbins to play piano, Pig had played on Jone’s ‘White Lightening,” it was awesome. I tried to make that session, that one song, emblematic of his career. I tried to make it sound like a late 50s George Jones record. He made this great video for my daughter talking like Donald Duck. He was just a wonderful human being.

TN: What other producers influenced you?

DC: I really love Glyn Johns work, especially with his 70’s work with The Who, Led Zeppelin and The Rolling Stones. I love the way ‘Sticky Fingers’ and ‘Let It Bleed’ feel. Other influence would be Stax and Muscle Shoals, I love the way those records feel too. The rawness comes from not seeing perfection as the outcome..the goal. I don’t like to let people think about stuff too much. I think it ruins records when you get neurotic. The rough edges are the absence of neurosis. I let people hear Otis Redding’s ‘I’ve Been Loving You Too Long’ If you listen to his vocal it’s sharp and flat and the guitar is rushing, but it’s perfect, It’s so perfect. With technology it’s so easy to tune and tweak you’d lose the whole feel of that song.

TN: Technology is a double-edged sword. It allows the next George Jones or Elliot Smith to record a masterpiece on a laptop and that masterpiece can then be processed to death.

DC: I’m not anti technology, but you have to be carful with the problems you’re trying to solve. Sometimes they’re not problems at all.

TN: One more question, I was told I need to ask you about your fake Greenland rock band.

DC: (laughs) I’ll probably get into trouble talking about this. I love the P.T. Barnham aspect of the music industry. It’s fun. I was working with an artist that was late to a session so me and the session drummer started messing around on some sill prog-rock track. I had the English singer from my old band come in and sing on it. I wanted it to be from a country nobody knows about. So, Greenland! Nobody ever knows anybody from Greenland. So I call this industry person and say “Hey there’s this band from Greenland you need to check out.” So I took the track down and played it for them, and they were loving it. And they said “We have to sign this band.” That’s when I told them that it was me and some friends goofing off. They said “I don’t care.” They took it to the head of a major label and played it for them and they said “I love it! I love it! We need to fly the band in from Greenland to do a showcase!” About a week later it all settled down but I got embarrass because it went too high so fast. I wanted it to be fake bands in monk robes that you can’t see their face, one on tour in the U.K. And one in America at the same time so you never know if you’re seeing the real band. I loved that we made a record where nobody knows who you are, there were no rules. It was really freeing. You could have anyone join the band, a revolving membership. It’d be fun.

Lindi Ortega To Release ‘Faded Gloryville’ August 7th

1035x1035-ortega

On August 7th everyone’s favorite dark country chanteuse, Lindi Ortega, will release her fourth album ‘Faded Gloryville’ out on Grand Tour/Last Gang Records.

Ortega lends her signature crystal trill and lonesome wail to the album, created over three sessions and produced by Dave Cobb (Jason Isbell, Sturgill Simpson, Shooter Jennings), who also worked on her previous effort, ‘Tin Star’ recorded three songs at the Sound Emporium in Nashville. Colin Linden (T Bone Burnett), who was behind her “Cigarettes & Truckstops’ album., produced four songs and the Single-Lock Records heads Ben Tanner (Alabama Shakes) and John Paul White (Civil Wars) produced three songs tracked in Muscle Shoals, including a Nina Simone-inspired update of the Bee Gees classic “To Love Somebody.”

The press release reads “Although all three sessions were different, every one of them focused on live studio takes, capturing both the rough-edged rawness of Ortega’s live performances and the smooth salve of her voice.”

“There’s something about the Shoals that entices artists to forget themselves, to reimagine, to reinvent,” says John Paul White, whose harmonies can also be heard on three of the album’s tracks. “Lindi did a great job of immersing herself in what we do around here, yet retain that thing that makes her indelibly unique. That takes an amount of confidence that most do not have.”

The Canadian ex pat appears to have a cinematic frame of mind for her newest effort. To her “‘Faded Gloryville’ represents a state of mind — a place we all visit on our way to something bigger and better. It’s the dark, dreary town that looms on the near horizon, infinitely closer that the far-off destination we’re trying to reach. Most weary travelers pull their cars into ‘Faded Gloryville’ and stay awhile, beaten down from the long journey. Some are willing to dust themselves off and leave town in the morning, though, determined to chase after their goals regardless of the conditions.”

“‘Faded Gloryville’ isn’t just about music,” she told Rolling Stone Country. “It’s about anything that brings you down, whether it’s dreams not coming true or relationships not working out, and its message is this: you can go to place where you’re feeling really down about things, but it’s what you do afterwards — do you decide to reside there forever, or do you leave and make the situation better — that matters. You have to travel through ‘Faded Gloryville’ to get to Paradise.”

‘Faded Gloryville’ Pre-order

Tour Dates

‘Faded Gloryville’ – Track Listing
1. Ashes
2. Faded Gloryville
3. Tell It Like It Is (Hear below)
4. Someday Soon
5. To Love Somebody
6. When You Ain’t Home
7. Run-down Neighborhood
8. I Ain’t The Girl
9. Run Amuck
10. Half Moon

Listen Up! Lindi Ortega – ‘Tell It Like It Is” [VIDEO]

Lindi Ortega - Tell It Like It Is

‘Tell It Like It Is” is a new cut by Nashville-by-way-of-Toronto chanteuse Lindi Ortega.

The song blends a slow, torchy waltz with a simmering rock-blues request for her lover to stop playing games and shoot straight. Ortega’s shimmering trill is on full display in this rousing cut. Her pleas dip and soar as the band builds to a full rock swagger.

‘Tell It Like It Is” is from an untitled new album. Details on the album will be revealed in April.

Ortega will play the Stagecoach in April and the Live Oak in Ft. Worth on May 6.

Buy ‘Tell It Like It Is” – iTunes.

New Americana and Roots Music Releases for 2015

The Lone Bellow - Then Came The Morning

2014 was another bumper crop year for Americana and roots music. We shared our favorites and you weighed in with more. 2015 shows no signs of easing up as stalwarts like Steve Earle and James McMurtry and young guns like The Lone Bellow and American Aquarium are planning releases.

The list below is not a definitive 2015 Americana release list, it’s all early months. But it’s as close as I can get with the information available at year’s close. The list is in chronological order based on release date, which mostly occurs on an planned Tuesday target which for some reason (none good) persists.

See one missing? Leave it in the comments.

Look for new things coming in the New Year at Twang Nation. It’s going to be a great year.

Have a happy, and safe, New Years. See you on the other side.

January 13TH
Justin Townes Earle – ‘Absent Fathers’
Cody Jinks – ‘The Adobe sessions’
Cody Canada & the Departed “Hippie Love Punk”

January 20th
The Waterboys – ‘Modern Blues’
Ryan Bingham – ‘Fear and Saturday Night’
Haley Cole – ‘Illusions’
Caitlin Canty – ‘Reckless Skyline’

January 27th
The Lone Bellow – ‘Then Came The Morning’
Paul Kelly – ‘The Merry Soul Session’
Punch Brothers – ‘The Phosphorescent Blues’

February 3rd
Bob Dylan – ‘Shadows in the Night’
Murder by Death – ‘Big Dark Love’
Hiss Golden Messenger – ‘Southern Grammar EP’
Gurf Morlix – ‘Eatin’ At Me’

February 10th
Father John Misty – ‘I Love You, Honeybear’
Robert Earl Keen – ‘Happy Prisoner’
Gretchen Peters – ‘Blackbirds’
Rhiannon Giddens – ‘Tomorrow Is My Turn’
Blackberry Smoke – ‘Holding All the Roses’
Owl Country – ‘Owl Country’
6 String Drag – ‘Roots Rock ‘N’ Roll’

February 17th
Phosphorescent – ‘Live at the Music Hall’
Steve Earle & The Dukes- ‘Terraplane’
Whitehorse – ‘Leave No Bridge Unburned’
Rev. Peyton’s Big Damn Band – ‘So Delicious’
Wrinkle Neck Mules – ‘I Never Thought It Would Go This Far’
The Mavericks – ‘Mono’

February 24th
Elvis Perkins- ‘I Aubade’
James McMurtry – ‘Complicated Game’
Steve Gunn & Black Twig Pickers – ‘Seasonal Hire’
Nora Jane Struthers – ‘Wake’
The Lowest Pair – ‘The Sacred Heart Sessions’
Elana James – ‘Black Beauty’

March 3rd
Ryan Culwell – ‘Flatlands’
Brandi Carlile – ‘Firewatcher’s Daughter’
Gill Landry – ‘Gill Landry’
Andrew Combs – ‘All These Dreams’
Caroline Spence – ‘Somehow’
Dorthia Cottrell – ‘Dorthia Cottrell’

March 10th
Joe Pug’s – ‘Windfall’
Tom Paxton – ‘Redemption Road’
Porter – ‘This Red Mountain’

March 13th
The Coal Creek Boys – ‘Out West’

March 17th
Liz Longley – ‘Liz Longley’
Stone Jack Jones – ‘Love & Torture’

March 24
Humming House – ‘Revelries’
Gabrielle Papillon – ‘The Tempest of Old’
Doc Watson, Bill Monroe + – Classic American Ballads from Smithsonian Folkways

March 27th
Allison Moorer – ‘Down To Believing’

March 31st
William Elliott Whitmore – ‘Radium Death’
Sarah Gayle Meech – ‘Tennessee Love Song’
Simon Joyner – ‘Grass, Branch & Bone’

April 1st
The Devil’s Cut – ‘Antium’

April 7th
Delta Rae – ‘After It All’
Folk Family Revival – ‘Water Walker’
Carl Anderson – ‘Risk of Loss’
Pokey LaFarge – ‘Something in The Water’
Ray Wylie Hubbard – ‘The Ruffian’s Misfortune’

April 14th
Dwight Yoakam – ‘Second Hand Heart’
Lowland Hum – ‘Lowland Hum’
Shinyribs – “Okra Candy”

April 15th
Lucia Comnes – “Love, Hope & Tyranny”
The Damnwells – ‘The Damnwells’

April 21st
John Moreland – ‘High On Tulsa Heat’
Nicki Bluhm and The Gramblers – ‘ Loved Wild Lost’
Jimbo Mathus – ‘Blue Healer’
Ryan Adams – “Live at Carnegie Hall’

April 27TH
Lewis & Leigh – ‘Missing Year EP’

April 28th
Charlie Parr -‘Stumpjumper’
Odessa – ‘Odessa’

May 4th
Shelby Lynne – ‘I Can’t Imagine’

May 5th
Mandolin Orange – ‘Such Jubilee’
Hannah Miller – ‘Hannah Miller’

May 12th
Jimmy LaFave – ‘The Night Tribe’
Eilen Jewell – ‘Sundown over Ghost Town’
Emmylou Harris and Rodney Crowell – ‘The Traveling Kind’
Della Mae – ‘Della Mae’

May 19th
Darrell Scott – “10 – Songs of Ben Bullington”
Jamie Lin Wilson – ‘Holidays & Wedding Rings’

June 2nd
The Mike + Ruthy Band – “Bright As You Can”
Dawes – “All Your Favorite Bands”

June 9th
Sam Outlaw – “Angeleno”
The Deslondes – “The Deslondes”
Dale Watson – “Call Me Insane”
Courtney Patton – “So This Is Life”
Uncle Lucius – “The Light”
Chris Hennessee – “Greeting from Hennessee”
Sammy Kershaw – “I Won’t Back Down”

June 23rd
Beth Bombara – ‘Beth Bombara’
Larry Campbell and Teresa Williams – ‘Larry Campbell and Teresa Williams’
Richard Thompson – “Still”
Kacey Musgraves – “Pageant Material’

July 17th
Jason Isbell – ‘Something More Than Free’

July 31st
Daniel Romano – ‘If I’ve Only One Time Askin’ ‘

August 7th
Lindi Ortega – “Faded Gloryville”

August 11th
Angela Easterling – “Common Law Wife”

August 14
Rod Picott – “Fortune’
The Waifs – ‘Beautiful You’

August 21st
The White Buffalo – ‘Love and the Death of Damnation’

September 18th
Turnpike Troubadours – “Turnpike Troubadours”

September 25th
Patty Griffin – ‘Servant Of Love’

October 30th
The Yawpers – ‘American Man’
Steve Martin and Edie Brickell – “So Familiar”

True Detective Season Two – Top 10 Music Recommendations

True Detective

After 8 all-too-brief spellbinding and perplexingly metaphysical episodes the first season of HBO’s True Detective has finally reached its conclusion. The ending was such a hit that the millions hitting HBO GO service crashed the system for much of the show.

It’s no wonder it’s a hit.

The spirit of the show is reflected in the taunt writing of creator Nic Pizzolatto. Then there’s the stellar performances by Matthew McConaughey and Woody Harrelson as the dysfunctional Det. Rustin Spencer “Rust” Cohle and Det. Martin Eric “Marty” Hart bound together to catch a dark killer.

Another star of the series was the music selection that provided atmosphere and texture in a way that you hardly realized you were hearing songs by Wu-Tang Clan , Bob Dylan and Austin’s 13th Floor Elevators.

The soundtrack also included a great selection of Americana, country, gospel, and blues. John Lee Hooker and Slim Harpo sit aside Steve Earle , Buddy Miller , Lucinda Williams and Father John Misty.

And then there’s that stunning opening segment backed by The Handsome Family excellent performance of the T Bone Burnett-penned “Far From Any Road.” (below)

I reached out on twitter to ask folks what bands they most would like to hear on True Detective season two. Some of the choices were obvious, some surprising. All great and would fit nicely.

If Nic Pizzolatto stops by (‘sup Nic) I hope he considers some these great artists and allows them to set a tone and allow the greater exposure.

Enjoy and leave you choices in the comments.

Lincoln Durham is a consummate stage performer and brings grit, soul and blood to his craft. Perfect for end credits or a bar fight.
http://www.youtube.com/watch?v=t5QGl8PgUX8

Elephant Revival’s warm and inviting sound could lull in a audience in just before a particularly gruesome bit of work.

The Ben Miller Band kicked my butt in Nashville and their performance has stuck with me. Bar scene or panning a rugged landscape.

Valerie June. Who am I kidding. Put Valerie June in any segment and she’ll steal the scene.

Lee Harvey Osmond is a master of atmosphere. He’d fit right into a scene needing a slow simmer. Love scene, hands down.

Lindi Ortega is as good as it gets. Her sound is a great fit for an opening credits or as a a pan of the killers quarters.

Slim Cessna’s Auto Club oozes chaos and menace. Add to something violent.

16 Horsepower sounds as old as the hills and as deep as a grave. Opening credits or main character reflective moment.

Hiss Golden Messenger’s darkness is always bolstered by a joyful reverence. Perfect for a moment of hoe or resolution.

Rachel Brooke was born to back a show like True Detective. Her sound is of the ages and has a playful darkness and perfect for a late-night rainy drive away from something unspeakable.

2013 The Year in Americana and Roots Music

Jason Isbell

2013 will go in the books as the year that Americana and roots settled comfortably into the mainstream. Kids are wearing dust-bowl duds and there is a brisk trade in acoustic guitars and banjos. Bands are taking a page from the Mumford, Avetts and Lumineers book of hand-crafted songs with rousing melodies just begging to be sung at live shows. It’s no longer a rustic throwback fad.

The genre grows more diverse, from folk-pop, Laurel Canyon rock, psych folk, hard-sore honky-tonk and everything that doesn’t neatly fit in other buckets. As genre defying as the music can be it all comes down to the only tis that matters, Great songwriting, evocative, absorbing narratives and memorable melodies that endures the ages.

But first you must find an audience.

ABC music row drama Nashville has done a fine job in highlighting great roots music, under the guidance T Bone Burnett , and now Buddy Miller, as well as classic country references and Americana and roots performer cameos. The show’s cutest stars (and real-life sisters,) Lennon and Maisy Stella, performed the Lumineers omnipresent top-40 hit hit “Hey Ho.” This gave the song an already bigger audience then it originally had. Is that possible?

This July Americana stalwarts Old Crow Medicine Show backed ex-Hootie & the Blowfish front man, and current country music star, Darius Rucker on Old Crow’s version of Bob Dylan’s “Wagon Wheel” at the Grand Ole Opry. The song was recorded with the band and included on his latest album resulting in one of his most popular singles as a solo artist and reaching number one on Billboard Hot Country Songs in its 12th week.

Old Crow Medicine Show then had the honor to be inducted into the Grand Ole Opry this fall by Opry members Dierks Bentley and Marty Stuart.

That’s not the only example of music row looking to Americana for material and a shot of inspiration. GRAMMY-winning singer Leann Rimes reached into the Americana well, and beyond her music row comfort zone, on her latest “ Spitfire.” She lends her extraordinary pipes to a searing version of Buddy Miler’s “Gasoline and Matches” in a duet with Rob Thomas. Country music chanteuse and Pistol Annie Ashley Monroe tapped legendary Texas singer-songwriter Guy Clark to collaborate on the title song on her latest “Like a Rose.”

If your looking for evidence of Americana’s mainstream presence you need go no further than SPIN’s list of 20 Best Country Albums of 2013 had Blake Shelton and Brad Paisley mixed with The Civil Wars (12), Jason Isbell (11) and Emmylou Harris and Rodney Crowell (9) Holly Williams (8) Sturgill Simpson (6) Cailtlin Rose (2).

Entertainment Weekly, the beacon of popular taste, counted a majority of Americana artists on their list of top country releases of 2013 with Jason Isbell and Lindi Ortega taking the number 1 and 2 spot respectively.

As in recent years I even had a hard time limiting myself to a top 10,15, 20+ on my Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2013.

T Bone Burnett again joins forces with the Coen Brothers to contribute soundtrack stewardship to thier new 60’s neo-folk focused film. The soundtrack features old folk songs performed by Marcus Mumford , The Punch Brothers along with the film’s actors Oscar Isaac, Carey Mulligan , Adam Driver and Justin Timberlake, who might use his his work here to jump dart his desired foray into country music.

As the music advances it’s important that a music that celebrate the past honors those that came before. George Jones, the greatest voice in country music and the innovator, Ray Price were both lost to use this year.

We also lost “Cowboy” Jack Clement, As a record and movie producer, songwriter, performing and recording performer and studio engineer, Clement was responsible for for shaping American music in the 20th century.

Premier rock and country journalist Flippo, who documented much of the major changes in country music including the Outlaw movement and one of the original Outlaws Tompall Glaser, both left us in 2013.

Though gone they will boot be forgotten for their contribution to the rich and progressive music we love.

Here’s to the music we love and the performers that endure much to offer their craft to make this world just a little bit better, kinder and more interesting. Here’s to a community that still buys albums, t-shirts and packs local shows and helps these talented folks make music a career.

Here’s to the New Year.

Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2013

Twang Nation Best of  2013

As the last days of 2013 drop away the business-as-usual music industry remains bogged in a largely self-inflicted quagmire, but don’t tell musicians this. Industry gatekeepers and financial barriers are being overrun by people with a passion for the craft, and the talent and drive of a refusal to be denied. And we, dear reader, are richer because of it.

If there’s a theme to this year’s choices it’s that women are blazing a trail between Americana and mainstream country music. Lindi Ortega, Brandy Clark, Julie Roberts, Kelly Willis, Aoife O’Donovan and Valerie June might honing their craft from different angles, but a more than cursory listening shows they are making great contemporary music drawing from a common roots music well.

2013 was also a great year for what might be called “real country music.” However you define this vague term (Jimmie Rodgers? Willie? Garth?) you’ll find much of Country Music’s Golden Eras reflected in Brandy Clark, Dale Watson, Sturgill Simpson, Robbie Fulks as well as the mighty Son Volt, who released one of the best albums of their career with “Honky Tonk.”

Also the craft of songwriting and rich, engaging narrative is alive on Jason isbell’s best solo outing yet, Southeastern. Also on the veteran Guy Clark’s “My Favorite Picture of You” and relative newcomers John Moreland and John Murry.

2013 brought us some of the most creative and daring music in the Country, Americana and Roots fields and all indicators point to 2014 being even better with releases upcoming from Roseanne Cash , The Drive-By Truckers, Jason Eady, The Ben Miller Band and many more.

And in spite of T Bone Burnett’s advice to keep their art pure and unscathed by dirty, dirty self-promotion, these folks are out there hustling to breach popular consciousness.

I hope this list helps in some small way.

it was a challenge to keep the list to just 10, so again this year I surrendered to representing excellence over some arbitrary number.

Don’t see your favorite represented? Leave it in the comments and let’s spread the twang.

20. Austin Lucas – Stay Reckless – Nobody does pedal-to-metal roots-rock like Lucas. “Stay Reckless” elevates his song to a new level.

19. Aoife O’Donovan – Fossils [Yep Roc Records] – Alison Krauss covered O’Donovan’s song “Lay My Burden Down,” O’Donovan’s album is so good you might forget that.

18. John Murry – The Graceless Age [Evangeline Recording] Dark and engaging without veraing into bleak and self-pitying. John Murry makes feeling bad sound good.

17. Dale Watson – El Rancho Azul [Red House] Watson finds his hony-tonk sweet spot and does the Lone Star State proud.

16. Julie Roberts – Good Wine & Bad Decisions [Red River Entertaintment] – Music Row’s golden girl confronts set-backs and tragedy by creating the best album of her career.

15. Caitlin Rose – The Stand-In – [ATO Records] Rose deftly proves that “pop” doesn’t have to be bad.

14.5 – Will Hoge – Never Give In – Roots rock with a hook done right. [Cumberland Recordings]

14. Bruce Robison, Kelly Willis – Cheater’s Game [Preminum Records] – Austin’s Americana power couple delivers an engaging charmer.

13. Sarah Jarosz – Build Me Up from Bones [Sugar Hill Records] Jarosz songwriting, playing and vocals hit a new level and shw her to be already beyond her young years.

12.5. Daniel Romano – Come Cry With Me – had to slip in this neo-trad gem in response to the comment reminding me of it’s badassery. Yes, I do read the comments when I agree with them.

12. Robbie Fulks – Gone Away Backward [Bloodshot] Fulks creates an excellent, heartfelt bluegrass album sans his signature wink and smirk.

11. Valerie June – Pushin’ Against A Stone [Concord] Newcomer June fuses roots and soul and shows why she’s an Americana rising star.

10. Holly Williams – The Highway [Georgiana Records] – The songwriting on “The Highway” moves Williams out of anyones shadow.

9. Son Volt – Honky Tonk [Rounder Records] – Jay Farrar takes up the pedal steel and re-discovers Son Volt’s soul.

8. Lindi Ortega – Tin Star [Last Gang Records] Ortega’s exceptional “Tin Star” moves her into the realm of Queen of Americana music.

7. Hiss Golden Messenger – Haw [Paradise of Bachelors] M.C. Taylor continues to explore life and faith and stake new roots music territories.

6. Gurf Morlix – Gurf Morlix Finds the Present Tense [Rootball] A legendary songwriter/musician gets existential and rewards us with a fantastic body of work.

5,5. Shonna Tucker and Eye Candy: A Tell All [Sweet Nector] – I foolishly omitted this pop-roots-soul gem on first pass. I now remedy that grievous oversight.

5. Guy Clark – My Favorite Picture of You [Dualtone] A master still makes it look easy. It ain’t.

4.John Moreland – In The Throes [Last Chance Records] Moreland is an accomplished student of song craft and “In The Throes” moves him into the master class.

3. Sturgill Simpson – High Top Mountain [High Top Mountain] Reluctant savior of outlaw soul creates a masterpiece in spite of expectations.

2. Jason Isbell – Southeastern [Southeastern Records] – With an already accomplished body of work Isbell surpasses himself and creates a classic.

1. Brandy Clark – 12 Stories [Slate Creek Records] – It takes guts to refuse to be a cog in the Music Row machine and create an debut this daringly country.