Inspired by playing and singing each others songs at their own “porch parties”, these established Boston area musicians and singer/songwriters decided to combine their individual talents and create their own brand of Urban Folk, Country and Blues. They took their act on the road and “Porch Party Mamas” was born. All are seasoned players, each with their own pervasive individual music persona and critical accolades. Between them, they have shared the stage with a distinguished litany of artists, including Willie Nelson, the Indigo Girls and Lyle Lovett.
The Porch Party Mamas are an engaging and magnetic Boston-area band of four female musicians who’ve developed a fun and moving unique blend of folk, country, Celtic, and blues repertoire. They play beautiful arrangements of lovely and whimsical songs featuring dynamic lead vocals and lush harmonies backed by virtuosic guitar, fiddle, accordion, piano, percussion, banjo, and bass playing.
The Porch Party Mamas are:
Felicia Brady-Lopez
(vocals, accordion, piano)
Elizabeth Burke
(vocals, fiddle, guitar)
Ksenia Mack
(vocals, guitar, banjo)
Katrin Peterson
(vocals, percussion)
Two years after releasing Weight of the World, the sophomore recording which earned them attention from NPR: All Songs Considered, a #3 slot on the Billboard Bluegrass Charts, and took them on tour all over the US, UK and Australia, 10 String Symphony felt the desire to expand their acoustic, stripped down sound.
Named for their unique instrumentation of two five string fiddles alternated with a five string banjo, 10 String Symphony is the collaboration between GRAMMY nominated fiddle player Christian Sedelmyer (The Jerry Douglas Band), and acclaimed songwriter and multi-instrumentalist Rachel Baiman. Since their inception in 2012, the duo has gained the attention of NPR’s Jewly Hight, who listed them among “The Newest and Best Voices in Americana” for their unique and compelling vocal and string arrangements, which are at once traditionally informed yet completely avant garde. Their new album, “Generation Frustration”, produced by Scotland’s Kris Drever, digs even deeper into the potential for experimentation with stringed instruments while highlighting new depths in the pair’s original songwriting. Unafraid of pushing boundaries, the resulting songs are as challenging as they are beautiful.
Based on looks alone, Chatham County Line conjures a sepia-toned timelessness by huddling around a single microphone on stage, playing traditional string band instrumentation while clad in suits and ties. But for nearly two decades, the Raleigh, NC-based outfit has consistently crafted top-notch, original modern acoustic music that draws upon American roots forefathers like bluegrass inventor Bill Monroe and folk innovator John Hartford while acknowledging its own members’ backgrounds in rock ‘n’ roll band
Characterized by poignant songwriting and inventive arrangements, Chatham County Line’s latest album, Autumn, sees the quartet working comfortably in its sweet spot: Built around songwriter/guitarist Dave Wilson’s clever lines and compelling vignettes, the record is a treasure trove of the wistful balladry and dynamic toe-tappers that’ve become the band hallmarks. John Teer (mandolin/fiddle), Chandler Holt (banjo), and Greg Readling (bass) add stellar three- and four- harmonies for vocal highlights, while their impeccable yet unconventional picking—rooted in bluegrass but informed by a wealth of other influences—impresses without overshadowing Wilson’s rich storytelling.
With each of Brian Molnar & the Naked Heart’s last 3 albums peaking out over fixtures of their genre on radio play charts all around the country, it would not be surprising to have an overwhelming feeling of comfort and familiarity when experiencing their music for the first time. For nearly a decade Brian Molnar has been carrying his acoustic guitar and wrought melodies back and forth across the United States connecting audiences with a feeling of American tradition and unique thoughtfulness that has been too often diluted in recent memory. Now with a full supporting band behind him, sharing the stage with contemporaries such as Ralph Stanley, Chris Hillman, Bernie Worrell, Garth Hudson, and Neal Cassal, it seems that a genuine Americana resurgence is upon us, with each new Naked Hearts’ release setting its tone.
A Philadelphia musician who proudly carries a torch for the city’s soul legacy, Mutlu makes a connection with every audience. Coming up in the Philly scene, he played around town and in area clubs before landing his first tour opening for Joe Jackson. Since then he’s toured across the U.S. and Europe with his musical brother, Amos Lee, who discovered Mutlu’s music just as both of their careers were taking off. In addition he’s found an advocate with Daryl Hall & John Oates, who invited Mutlu to support a national theater tour.
Mutlu (pronounced moot’-lu) is a first-generation American whose parents moved from Turkey to the United States in the 1970s. He discovered the strength of his voice in high school while singing in a Broadway revue. He liked being on stage but didn’t anticipate pursuing it as a career. However, while earning a marketing degree from Drexel University, he spent innumerable hours practicing guitar, writing songs, and playing open mic nights. Now roughly fifteen years into a career as a professional musician, he believes that his Turkish heritage informs his perspective as an artist. “From a writing standpoint, having that multicultural background from a young age fuels your creativity in a different way,” he believes. “It makes you empathize with things differently than you would have.”
Whether crooning a love song like “Caramel” (which echoes the Gamble & Huff output of the ‘70s), spreading optimism in “Lifeline,” or sharing a look into his own life as in “Scarred,” Mutlu can bring his diverse catalog together through the power of his voice. He’s been recognized by the Los Angeles Times, The New York Times, and The Philadelphia Inquirer for his sweet, silky tone. Bruce Warren of WXPN once described Mutlu’s music as “a mix of soul, reggae, world music and folk, all tied together in the singer-songwriter tradition.” “The vocal connection, that’s the cornerstone of everything I do,” he says. “Everything else is in service of that, performance-wise and production-wise. In R&B and soul music, singers try to really emotionally connect, vocally. It’s about that special thing that can happen when you really dig down deep and give a performance that moves people.” Mutlu launched his music career on Manhattan Records with the 2008 album, Livin’ It, produced by mentor and friend T Bone Wolk. Since then, he’s developed his international audience through touring, multiple appearances on Live From Daryl’s House, and a steady stream of independent singles and EPs, most recently 2019’s Good Trouble.
Touring behind the release of their most recent record, Ionia, they’ve been featured in the lineup of prestigious affairs such as The Shetland Island Folk Festival and Celtic Connections in Scotland, Stagecoach Music Festival in California boasting around 55,000 attendees, The Bluegrass Jamboree in Germany, and a number of the best acoustic music festivals in the US including: Telluride Bluegrass Festival in Colorado, Merlefest in North Carolina, Wheatland Music Festival in Michigan, GreyFox in New York, Strawberry Music Festival in California, Redwing Roots Festival in Virginia, ROMP in Kentucky, and Pagosa Springs Folk Festival in Colorado. They were named one of NPR Music’s 12 best live performance sessions of 2015 by Mountain Stage with Larry Groce, a program which has featured acts like Gillian Welch and David Rawlings, Amos Lee, Joan Baez, Regina Spektor, Norah Jones and PHISH.
Her singing floats over the instrumental mastery and deep groove of her band with dynamics that range from a lullaby to a battle cry. Lindsay’s brand new full-length “Southland” (April 2018) is a collection of songs examining the range of emotions and complex themes of our changing times; delivered with soulfully fierce intensity and tender intimacy that demands your attention.
Like an old-time barn dance in downtown New Orleans, the Bumper Jacksons pull together a vast array of early American traditions into a deliciously cohesive sound that strikes you right in the heart. Country swing, old-time blues, brassed-up bluegrass – these high-spirit wonders do and love it all. Powerhouse vocals and a hard-swinging rhythm section are flanked by a dextrous pedal steel and a brassalicious horn section. At the center of it all, is an invitation to join in – be it a rowdy dance, a moment of soulful intimacy, or a movement to make a better world.
The Bumper Jacksons have a steadily rising list of honors: Washington Area Music Awards: Artist of the Year, Best Traditional Album, Best Traditional Group; Strathmore Artists-in-Residence (2015-2016); Mid-Atlantic Arts Foundation Touring Artists for 2016-2019. Both Jess Eliot Myhre and Chris Ousley are award-winning songwriters, and they pepper their original sets with reimagined arrangements of traditional American songs. Their success blossomed from their simple beginnings in 2012 as a country-meets-city duet between Jess Eliot Myhre (clarinet, vocals, washboard) and Chris Ousley (acoustic & electric guitar, vocals, banjo) in the backyards, living rooms and front porches of DC and Baltimore. They crafted a sound built from their time exploring the smoky jazz clubs of New Orleans and old-time fiddler’s festivals throughout the southern Appalachians.
After Chris and Jess established the roots of the Bumper Jacksons’ sound, the band grew organically from jams and music festival-meetings. Dave Hadley (pedal steel), Alex Lacquement (upright bass), Dan Samuels (drums), and Joe Brotherton (trumpet) masterfully amplify and diversify the tone, rhythm and power that defines the band’s signature sound. The success of the band’s last three albums – I’ve Never Met A Stranger (2017), Too Big World (2015) and Sweet Mama, Sweet Daddy Come In (2014)– demonstrate the ongoing refinement of their scrappy-yet-elegant sound that dives deep for the caramel core of Americana.
Golden Shoals is a fiddle and guitar duo with a “rousing old-time-style music that’s fueled by acerbic modern-day wit” (No Depression). They are no strangers to traditional music, having placed in contests including Clifftop (3rd place 2023, 4th place 2022), Mount Airy, The Grand Masters Fiddlers Championship and Galax. Often switching instruments between fiddle, two guitars, and banjo, their original songs have been compared to Gillian Welch, with the added edge of instrumental prowess informed by energetic old time and bluegrass recordings.
Initially brought together by a mutual love of American folk music, Golden Shoals’ sound has expanded to include country, Americana, Indie and Experimental influences, allowing them to move more freely beyond genre boundaries with their songwriting while still emanating a deep understanding of Old-Time and Bluegrass music. Ever inspired by the enduring spirit of traditional Appalachian mountain music, their songwriting comes across as simple, honest, and fresh to the ears. The listener can expect the polished technique of conservatory training, in tandem with the grit, drive, and soul of musicians like Roscoe Holcomb or Ola Belle Reed.
Miles of Music Island Camp is a week-long retreat exploring traditional folk music, modern songwriting, and how they work together. The week includes classes, dances, jams, great food and plenty of free time on a gorgeous private island in New Hampshire’s Lake Winnipesaukee. We teach fiddle, banjo, guitar, mandolin, bass, singing, and occasionally other instruments, and we also have instruction for non-instrument-specific musical skills like songwriting, ear training, ensemble playing, and performance. All ages and abilities are welcome.
Our staff and guest artists are a mix of renowned touring professionals, players steeped in regional traditional music styles as well as up-and-coming original musicians. With 120 creative people including instructors, guest artists, kitchen staff, boat pilots and students, we become a vibrant village for one week. There are moments of jamming and dancing in large groups as well as opportunities to steal away for one-on-one song sharing or tunes on the porch.
A bittersweet nostalgia lies at the heart of Imaginary People, the new album from Viv & Riley, coming September 15, 2023 on Free Dirt Records. Over ten tracks, the pair applies an indie roots sheen to newly composed pop gems. Rooted originally in the folk tradition, the pair reframe the production into experimental territory, crafting songs that speak to finding a path forward into adulthood in an uncertain world. Gifted songwriters and multi-instrumentalists, Vivian Leva and Riley Calcagno’s first album under the name Viv & Riley is a subtle masterpiece of thought and reflection. The album brings a reflectiveness to summertime jams that speak of uninhibited joy and creative camaraderie.
Coming on the heels of their acclaimed earlier albums that showed preternaturally talented songwriting from such young artists, now the songs have caught up with their lives. Now in their mid-20s, the two are building a life together, creating a supportive community, and looking back on everything they’ve been through. Based out of Durham, North Carolina, they’ve tapped into the area’s eclectic and collaborative music scene, recruiting Alex Bingham of Hiss Golden Messenger to produce the album. Bingham brings a sunny, lush sound to Viv & Riley’s music, moving beyond their earlier country roots and toward a layered sound and sonic experimentation. The songwriting has evolved as well, from the world-weary, stripped-down country songs they’re known for to indie songwriting at turns sweetly sad and gently sardonic. Ultimately, Imaginary People is about carrying and honoring our pasts, about letting that inform our new steps forward. No matter how much we might cling to where we are, sometimes we need to uproot and take a leap of faith, to open ourselves up to new experiences and ideas in order to grow and blossom.
