Jay Nash

I remember when I was kid, being dumbfounded, paralyzed and terrified all at once, when the notion of infinity first dawned on me. I think that I was eleven years old and in the sixth grade at Enders Road Elementary School. It was then, that the expanse of the Universe and the endless stream of time first dwarfed my perception of my own reality and it was then, for the very first time that I felt afraid and alone.

This pre-pubescent, existential crisis was thankfully subverted by a fortunate discovery.

Music.

Sure, I had been listening to bands like Def Leppard, Quiet Riot and Kiss on expandable suitcase-record player since I was seven, which was all well and good. But, it was the sound of the Grateful Dead, emanating from my Sanyo boombox, as I laid in my bunk bed, that reconnected me to the world, humanity and I dare say, the universe. There was a language of truth that I had never heard before in Jerry Garcia’s fiery playing (circa the 1971, ‘Skull and Roses’ release), that intertwined in conversation, chorus and harmony with Bob Weir’s, glassy, rhythmic punctuations. The entire band was communicating with each other and it’s audience in way that I could barely comprehend. Suddenly, I was no longer alone.

Shortly thereafter, I flipped that 90 minute Maxell tape over and discovered a resonance of similar amplitude in the songs and voice of Cat Stevens. Of course, his music was of a completely different shade, but the connection was just as strong. It was clear to me, at that moment, in my eleven year old mind, that Cat had pondered the same questions and fears that I had in my early existentialism. Again I realized, I was not alone.

What followed between then and now, was probably not all that different than the experience that many American songwriters have had growing up. My uncle gave me a guitar, I became obsessed with the recordings of the Grateful Dead, Bob Dylan, Cat Stevens and the like, and I began to figure out how to play some songs. Slowly (though not particularly surely) I would also begin to find my voice as a singer, a player and a writer. Eventually, I found my way to New York City, then on to Los Angeles and onto stages all across the land.

All of that stuff hardly seems as important though, as that discovery that I made when I was just a kid. It wasn’t necessarily The Dead, Jerry or Cat Stevens, specifically…it really could have been anyone, I think. Sam Cooke, Michael Jackson, Charlie Parker…Frank Sinatra. What I discovered, was the connective power of music. Every once in a while, throughout my life, I will forget and when I do, I suppose that I let my perception of the world around me fade in to black and white. Then, I will hear a voice, or a song…or find myself onstage with a particularly open and enthusiastic audience, or sharing a harmony with a friend…and BOOM! Everything explodes back into technicolor.

So – that is what I do. I seek that connection. I search for that sound. I suspect that the universe has some particular resonant frequencies and I believe that is truth that we are all looking for. Just as it exists in the physical world, I think that we can find that resonance in melody, harmony, rhythm and poetry. I was lucky enough to discover it very early on in my life – and so, I take that as a hint from the universe that I should encourage and enable others to make similar discoveries.

Jordie Lane

Following on from the critically acclaimed album ‘Glassellland’ landing in many top 50 album lists, top 10 success on the Roots Music Report Chart and cracking the top 100 on the AMA/CDX Americana Chart, Jordie Lane returns with his new studio LP Tropical Depression slated as his first ever label release, August 16, 2024 via ABC Music Australia, along with being signed to Universal Music Publishing Group. Recorded in Nashville, Tennessee, with Grammy nominated producer, engineer, instrumentalist Jon Estes (Kacey Musgraves, Dolly Parton, Rodney Crowell), and mixed by famed engineer Noah Georgeson (The Strokes, Devandra Banhart, Andy Shauf, Marlon Williams) and mastered by Juno Award winning Phillip Shaw Bova (Feist, Father John Misty, Angel Olsen, Bahamas). Jordie Lane marks this new chapter with a sound that consistently defies genres, with his latest wandering somewhere close to the outskirts of Americana and 60’s inspired Folk while “creating a pathbreaking and inspiring sound” all of its own. With Irreverent wit and satirical commentary, the songs on Tropical Depression tackle (among other things) Lane’s own growing obsession with extreme weather (ignited by a close call with an EF-3 Tornado) and its eventual collision with his own mental health battles.
Heavy themes juxtaposed with an upbeat playfulness grinning its way right through the album. Jordie Lane and his latest offering, Tropical Depression are an important addition to the ever expanding Americana/Folk world as an Australian artist based in Nashville, Tennessee with a unique perspective and voice that may just become legendary while he’s still alive.
Jordie Lane has continued to delight audiences around the world now for over a decade, performing major festivals in the US, UK, Australia, and Canada. He has toured with a wide range of international legends, from Gotye to Billy Bragg, Cat Power to Old
Crow Medicine Show to Marlon Williams, Ruthie Foster to The Moody Blues and several tours with Aussie legends The Waifs.
A career that has taken Lane from performing the role of the late Cosmic Country legend Gram Parsons in the stage play ‘Grievous Angel’, to the Beatles Rubber Soul/Revolver shows at Sydney Opera House, and becoming a composer for the screen writing the Musical Score for newly rebooted adaption of the classic Australian comedy ‘Mother and Son’. Jordie has appeared on Australian TV shows Rock Wiz singing with Grammy nominated artist Mary Gauthier, and guesting on the hit Music Quiz show ‘Spicks and Specks’ along with CW Stoneking.

The Wildwoods

In the heart of Lincoln, Nebraska, The Wildwoods emerge as a folk/Americana trio, a musical tapestry woven by the husband-and-wife duo, Noah (guitar) and Chloe Gose (violin), accompanied by the bassist Andrew Vaggalis. Their story is a symphony of exploration and connection, a journey that has taken them from the Midwest to international stages, carving out a unique place in the folk landscape. Their presence has graced stages alongside artists such as Mighty Poplar, Sierra Ferrell, Aiofe O’ Donovan, Melissa Carper, Jamie Wyatt and Joe Nichols at concerts and festivals like Summerfest, FreshGrass and the Oyster Ridge Music Festival.

The Wildwoods have become a force in the folk scene, boasting accolades like being finalists at the FreshGrass Music Festival Band competition and Gems on VHS “Gems in the Rough” competition in 2023. Their songwriting prowess is underscored by semi-final placements in the International Songwriting competition, with tracks like “Untitled” and “Way of Train.” Recognized consistently at the Omaha Arts and Entertainment Awards, they were crowned “Best Band” by the Lincoln Journal Star’s Lincoln Choice Awards in 2022.

Their sonic journey unfolds through albums like the debut “Sweet Nostalgia” (2017), followed by “Birdie & Goose” (2017), “Across A Midwest Sky” (2019), and their latest masterpiece, “Foxfield Saint John” (2023). The band’s evolution is evident in each track, a testament to their commitment to pushing musical boundaries.

United by a passion for folk/Americana, the trio’s influences range from Watchhouse and Nickel Creek, to Gillian Welch & David Rawlings. Their music, though comfortably under the folk/Americana umbrella, weaves intricate chord structures and emotional textures that defy genre boundaries. Together, their harmonies resonate with artful sincerity, drawing inspiration from nature, their shared experiences of growing up in Nebraska, and life on the road.

Nigel Wearne

Nigel Wearne saunters after dark in the music of the night, blending blues, jazz and Americana-noir. Hailing from Gunditjmara country in the deep south of Australia, Wearne is a guitarist and multi-instrumentalist with diverse influences such as Nick Cave, Tom Waits and Rickie Lee Jones.

Nigel has played some of the world’s most prestigious music festivals, including Hardly Strictly Bluegrass, MerleFest, Philadelphia Folk Festival, Bristol Rhythm & Roots Reunion, Adelaide Guitar Festival (Australia) and the Cambridge Folk Festival (UK).
His sophomore album, ‘Black Crow’ garnered wide critical acclaim including a 4-STAR review in Rolling Stone, a nomination for Best Country Album at the Music Victoria Awards and it debuted at #1 on Australia’s AMRAP Charts. His latest offering, ‘The Reckoning’ received back-to-back nominations for Best Blues Work at the 2023 & 2024 Music Victoria Awards, a 4-STAR review in The Weekend Australian and had two songs selected as finalists (top #10) in the International Songwriting Competition.
A deep thinker and truth seeker with a penchant for all things peculiar, he sings of human frailty, grace and the cosmos; songwriting that cuts to the bone. “Tailor made for fans of Tom Waits… with fire and brimstone lyrics that recall Nick Cave” – Rhythms Magazine. “Poignant and mysterious” – Maverick Magazine UK. “Vocal swagger of Van Morrison and dark spirituality and intelligence of Nick Cave” 4 STARS – The Weekend Australian.

Palmyra

Birthed in Virginia’s Shenandoah Valley, Palmyra explores the fusion of traditional folk string instruments, lush harmony, and earnest songwriting. The trio, now based in Richmond, captures the collective spirit of three Virginia natives: Teddy Chipouras, Mānoa Bell, and Sasha Landon. Often described as a distant cousin to The Avett Brothers and The Wood Brothers, Palmyra nods toward Appalachian and Midwestern Americana, with intricate arrangements that create the illusion of a full, larger-than-three ensemble.

The breakout folk trio has worked diligently to cement themselves as an unmistakable force in the Americana music landscape at large. Their forward momentum is propelled by their craftsmanship and dedication to an intimate performance experience; at the heart of the Palmyra is the evident love and regard that the three musicians share for each other and their craft.

Palmyra has directly supported Watchhouse, Mipso, and Illiterate Light, and has won honors and recognition from institutions including the historic Newport Folk Festival, American Songwriter, The Boston Globe, Under The Radar Magazine, Americanafest, and Floydfest.

Suitcase Junket

Matt Lorenz’s vision, manifest in The Suitcase Junket, developed in the tension between the grand and the solitary. Grand in its imagery, sound, and staging. Solitary in its thrift and self-reliance. What instruments he requires, Lorenz builds from scratch and salvage. What parts five players would perform, he performs alone. The spectacle of his one-man set bears constant comparison to legends of showmanship, brilliance, madness, and invention.

While audiences are captivated by his solitary form and the show itself, Lorenz, who homesteads in rural Western Massachusetts, is most serious about the songs. He has been building a catalog, writing a world into existence. Solitary on stage and on the road, his mind is crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet’s destruction and salvage. With this 2020 release, The End is New, Lorenz’s grand vision for the song overrides the how of it.

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Kelly Willis

On some other plane out there in the great big multiverse, Kelly Willis could well be the biggest Nashville country music star of the last 35 years. But things panned out rather differently for her here on this Earth. The Oklahoma-born Army brat was barely into her early 20s and still cutting her teeth fronting a spunky rockabilly band in Austin when a “check-this-kid-out” tip from Texas songwriter Nanci Griffith landed her on the radar of producer Tony Brown, who promptly signed her to MCA Records. But it wasn’t until she left Nashville for Texas that she took off. Liberated from the Nashville playbook and emboldened by a jolting shot of nothing-left-to-lose, she set about making her next record in Austin her way. The end result, 1999’s aptly-titled What I Deserve, changed everything. What I Deserve may not have made Kelly a household name on the order of Shania, Faith, or Reba, but it clinched her standing as a bona fide darling of the national (and international) alt-country scene. Writers from No Depression to Rolling Stone cheered her “comeback,” and fans in her adopted hometown voted it “Album of the Year” in the Austin Music Awards.
The six albums Willis has made since What I Deserve have only burnished her reputation as Austin’s reigning queen of Americana. Three of those albums, including 2019’s Beautiful Lie, were duo records made with her now ex-husband, fellow singer-songwriter Bruce Robison — who also produced Willis’ last solo album, 2018’s “richly satisfying” (NPR) Back Being Blue. The couple (who in addition to recording and touring together for years also raised four children together) announced their separation in early 2022, marking both the end of an era and the beginning of yet another “big sea change” for Willis.

Wayne Graham

Wayne was a renaissance man. Curiousity and good hand-eye coordination are a deadly combination. He was an electrician, a locksmith, a mechanic, a coal miner, a guitarist, and a singer, but the roles that took the highest priority in his life were husband, father, brother, and son. He approached life with a laughable optimism and proved over time he was right. He made sure to be my earliest memory and I have consulted him, wherever he is, with every major decision in my life. Over the years, I’ve met many strangers who knew him. Their tall tale is the same as those I’ve heard before. He was a legendary man with more soul than his body could hold.

Graham was the first one of his brothers to own a car. He was able to buy it because he started working when he was very young. When his younger brother graduated from high school, he drove him to college. He left his car with him and headed home to pine creek.

He married my grandmother and bought a small shack on Pine Creek. They moved in in February, a logging trail covered in snow, to a shack with quarter inch slits between the slats.

He slowly bought that mountain, acre by acre, building more rooms on his house for his growing family. He was the neighborhood farmer, old regular Baptist, democrat, World War II vet, coal miner, romance novel patron, Kentucky Wildcats fan. His image flashes in my periphery at least once a day, reminding me his constant refrain when he and Mamaw kept me in my early years, “This boy is gonna make me president.”

Dave Gunning

With fourteen albums to his credit, there’s no denying Dave Gunning’s impressive body of work. Fortunately, he’s just getting started…

The Nova Scotian folk musician has shared the stage with legends like Ron Hynes, Rita MacNeil, Stuart McLean, and Stompin’ Tom Connors, and has been recognized in his own right as a master of his craft, both as an award-winning singer-songwriter and a captivating performer.

Known for his abilities as a gracious storyteller, Gunning’s knack for connecting with audiences precedes the skills and experience he’s earned on the road—It is, for him, very much a way of life. Gunning shares the same sort of relationship with music as an eagle does with the sky. From a very young age, music has been Gunning’s way of interpreting the world around him, the lens through which he sees it, and the medium by which he engages with his community.

Mark & Maggie O’Connor

Mark and Maggie have been existing in an uninterrupted musical collaboration since the day they met eight years ago in 2014. As they were perfecting the finer points of Mark’s American Classical violin duos, it got so good that they decided to get married. The next stage of their musical journey turned into a larger family collaboration for which they each took home a Grammy for playing bluegrass in the O’Connor Band. Now, they have turned yet another musical corner. With a year-and-a-half of isolation from touring during the world-wide pandemic, they dedicated their days and nights towards further musical growth together. The couple workshopped new songs during seventy weekly online concerts from home; Mondays with Mark and Maggie. A group of dedicated viewers watched as they made their musical experiments, some fans tuning in for all of them. What came out of this exploration is an Americana album project of mostly original vocal songs they sing together, other popular songs reimagined, and all of them supported by a small universe of acoustic instruments they’ve brushed up on in the time off the road. The album reveals the pair’s most sincere and deeply personal work yet.

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