On The 4000 Miles to Nashville Jukebox – July 8th 2015

You Ain’t Dolly (And You Ain’t Porter) – Ashley Monroe feat. Blake Shelton
The Guts You Always Had – Liv Austen
Love Is Your Name – Steven Tyler
Grey – Dexeter
Family Is Family – Kacey Musgraves
Homegrown Honey – Darius Rucker
I Wish I Could Love You More – Megan O’ Neill
Folsom Prison Blues – Johnny Cash
Annie I Owe You A Dance – Tim McGraw
From Where I Stand – Ward Thomas

Notes
This is the first On The Jukebox feature, and as you have probably guessed, this isn’t a current chart in any way, but instead what I have been listening to, both old and new songs.

  • The Liv Austen song goes in as it’s my favourite from her EP, and getting to finally see it performed live last Friday was somewhat of a treat. On the same show I saw headliners Dexeter and their song Grey stuck out to me, as my favourite from their first EP and also a song I they played at the first show of theirs I attended
  • The Steven Tyler single is featured as this week’s Video of the Week, so is an obvious one for me to be playing this week
  • Hometown Honey has been played after having the latest Darius Rucker album given to me by a friend and saying the first track is really catchy – they weren’t wrong there!
  • Megan O’Neill I listened to after a buddy waxed lyrical about her at the aforementioned Dexeter gig, and I listened to her EP for the first time today
  • From Where I Stand by Ward Thomas is my favourite song from their album and I remember fondly seeing them play it live in July last year
  •  

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    Video of the Week: Steven Tyler – Love is Your Name

    Video of the Week

    I’ve known Steven Tyler was taking a foray into country music for some time, but until yesterday had not seen or heard any of his efforts. I saw a link to his first music video come up in my Twitter feed and clicked through to Love is Your Name.

    I don’t think coming from Aerosmith to country music is that big a leap, with a lot of the guitar solos and anthemic vocals taking the leap from hair rock to country music around the early to mid 90s anyway. In the video Tyler looks pretty much the same as he’s always looked, just with more of a country tinged setting than is usual. I do like how the video starts with his scarves and how they are a constant presence throughout – there is nothing more synonymous with Steven Tyler than his scarves, especially wrapped around a mic stand as we see at the beginning.

    As a big Aeromsith fan I’ve always liked Tyler’s vocals and the slight direction change to country hasn’t stopped that. Only the ‘ooh ee ooh ee’ part at 2 minutes and 15 seconds had me raising my eyebrow, but I’m sure it will grow on me. It’s a song that builds to the chorus, and even has a little guitar solo, though that part is too short for my liking. Speaking of eyebrows, as I was, I read that Tyler burned his off in the making off this video – can’t say he’s not dedicated to this project!

    In like both the song and video, and Steven Tyler has an aching in his voice that lends itself to country music perfectly. A Google search didn’t yield much as far as the release date for the album goes, but when it is ready, I’m in.

    Categories: Video of the Week, Videos | Tags: | Leave a comment

    Gig Review: Dexeter Four Thousand Miles to Nashville Album Launch with Liv Austen

    Just when I thought I’d stopped writing articles on 4000 Miles to Nashville, something happens to pull me back in. That something was the album launch of Four Thousand Miles to Nashville, a year in the making for one of the most popular acts in UK Country; Dexeter. Not only was it a chance to see the culmination of a lot of a hard work from a band I’ve come to know pretty well, but they were being supported by Liv Austen, someone I’d long been wanting to see live. So off I trotted to the Camden Barfly, on a very hot July 3rd Friday evening. Apologies for the awful photos – turns out my new phone isn’t the image creating powerhouse I was led to believe.

    Dexeter Four Thousand Miles to Nashville Album Launch with Liv Austen

    First to perform was Liv, whose EP Working Man’s Dream bowled me over back in January and I’ve listened to it many times since. A change in plans meant I missed her performance at Country To Country, so here was chance to finally make up for that, and I made sure to be near the stage. Liv started with Working Man’s Dream and it was obvious straight away that what I’d heard on her CD was not a trick of clever production, but a truly amazing voice that I was witnessing before my very eyes, and ears.

    With effortless grace her vocals were as equally powerful as they were tender, as she sung through a varied set of both upbeat songs and ballads. What made Liv stand out from a lot of UK acts, and indeed many around the world, is her storytelling. In between songs we got an insight into who Liv is and why she wrote the songs she was playing. She spoke with confidence, but also with an air of vulnerability and is every bit the country singer song writer that you hope to see at a live show.

    Dexeter Four Thousand Miles to Nashville Album Launch with Liv Austen

    New to Liv was playing the guitar, something she did in one of her new songs. There was a point towards the end of the song where her guitarist Lee stopped, and looked across at Liv playing and signing on her own. As she did both faultlessly, I saw a look of pride on his face – job done. When I reviewed Liv’s EP I said of The Guts You Always Had, and I quote This is one of the song’s where I visualise (if you’ve read my reviews before you’ll know the visualisation is a big part of music for me) Liv sitting at the piano with a spotlight picking her out on an otherwise dark stage. Much to my delight I got this at the end of her set, and I got goosebumps. Okay, the stage wasn’t in full darkness, but everything else was there and the performance was stunning.

    I had an inkling from listening to her EP, but after seeing Liv Austen live I firmly believe she’s the best female country singer in the UK right now, and has very tool at her disposal to go a very long way. Chatting to her later in the evening it was great to see that’s she’s as charming and endearing off the stage as she is on. She also has no idea just what a special talent she is, and I say that without even the slightest hint of hyperbole. She’s back in London with Luke & Mel and Gary Quinn for a Think Country In The Round session on August 13th – I think I’ll have to make the trip into the big smoke for that one. There’s also a new EP coming later this year and hopefully a launch party there – count me in.

    Next up was Lucy May who’d I’d seen supporting Striking Matches back in May and she’s not for me, so instead I caught up with luminaries of the UK country music scene at the back of the venue.

    Then it was time for the main event and the band of the moment, as Dexeter took to the stage and my first time seeing this version of them, with new session guitarist Craig. They kicked things off with Breathe, which also hapens to be the first track on new album Four Thousand Miles to Nashville, and it was clear straight away it was party time as the band sounded bigger and better than they have to date. They’ve definitely upped the rock part of their act and for me that’s a good thing, and actually fills a gap in UK Country.

    Dexeter Four Thousand Miles to Nashville Album Launch with Liv Austen

    One big difference was Paul on bass, yes that’s bass, not the usual double bass that we are used to seeing him strumming. This left him free to have a lot more fun stage, and he took advantage of that. Who knew that behind the coolest hat wearing dude in country music was an axe wielding rockstar? Well we do now, and what a difference it makes. You see, Dexeter have been through a few member changes over the past 12 months, but now they seem to have their strongest line-up by far, with everyone contributing something original and necessary to the sound. Jim on drums is often overlooked as all drummers are, but his contribution is unmistakable, as was new member Craig who played both guitar and piano.

    It almost goes without saying that at a Dexeter gig Dee will sing and she’ll sound great, but it still needs saying and I never fail to be surprised at just how good she is, in spite of seeing Dexeter perform live many times before. Along with her scintillating vocals is her chemistry with writer and guitarist Gareth, who together sometimes perform as a duo. When halfway through the gig we heard from manager Annette that the album had cracked the iTunes Top 40, huge smiles emerged and they hugged on stage. It was an in the moment honest reaction, and there’s nothing more country than that. As I write this Four Thousands Miles to Nashville is on the verge of cracking the country top 10 – with eyes on that number one spot. Garth himself has a cheeky charm that makes it impossible not to like him in an instant, as he masters his guitar and adds vocals that harmonise with Dee so very well.

    I have to admit, it was quite surreal to hear them singing Four Thousand Miles to Nashville, a song (and album) whose name’s beginnings came from this very website. It sounded great though, and those 4000 miles will be traveled later this year as the band will be making a very special trip to the home of country music. The new songs from the album blended perfectly with old stalwarts like Grey, one of my personal favourites and one I heard at the very first Dexeter gig I attended in May last year. Slow It Down was a massive crowd favourite after being around for almost a year, as we all sang along to what has become the band’s anthem.

    Dexeter Four Thousand Miles to Nashville Album Launch with Liv Austen

    Later in the gig there was here was an announcement that Dexeter are supporting Angaleena Presley at her London gig on July 30th – lucky for me I already have tickets. A little after this they were joined on stage by Laura Oakes for a great rendition of Hey Ho, a song made famous by The Lumineers and later Maddie and Daphne on the Nashville television show. This was my first experience of Laura, someone I’ve heard touted by many within the UK country community, and rightly so. She was back again for the second song of the encore, as were Liv Austen and Lucy May as they all joined Dexeter to sing Country Roads, which brought the house down and finished off great set in style.

    It’s quite incredible to think that Country to Country 2014 was their second only gig as a band, and just how far they’ve come in that time. The new album has delivered everything we hoped for and more, and as a live band they have only stretched the gap between themselves and every other band to hold on to their title as the best live band in UK country music.

    Well done to the aforementioned Annette from Think Country who put all this together and what a great job she did. It was this, and Liv earlier in the night, that has me once again writing on this website. When I see or hear something great I just want to tell the world, that’s all I ever wanted to do with 4000 Miles to Nashville. Last night epitomised what I like in live music – may there be many more nights like it.

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    Gig Review: Striking Matches – Union Chapel, London – 8th May 2015

    It was only two months ago that I last saw Striking Matches, albeit for one song, at the CMA Song Writers Series as part of Country To Country at The O2, and here they are, back again. Last night they were supported by Lucy May who I knew nothing of before the gig, and she didn’t leave much of a mark on me. She has a good voice, but her whole act is just unremarkable, and for someone who has been around for a few years, she has little in the way of stage presence. She seemed to get a good response for the crowds, so she’s pushing the right buttons for others.

    Striking Matches themselves came on with a band, adding a drummer and bassist. This had me worried straight away, as their recent debut album is also with band, and has a more produced and less organic sound than the acoustic maestros I’d come to love. Straight away it was evident this was going to be a very different show to to the one I saw at The Borderline last year, and the two times I caught them at Country in Country in 2014 also. The drums were set up way to loud, so much so that they drowned a lot of the guitars from Justin and Sarah, the latter whose mic was set up too low and made her vocals really hard to hear. Four songs in and their passion and endearing personalities kept me interested, but the new full band set up just wasn’t working.

    Striking Matches at Union Chapel London, May 8th 2015

    It was at this point that the drummer and bass player left, and on stage with just their acoustic guitars were Sarah, Justin and the kind of performances that I had been hoping for. They were joined for one song by a guy I hadn’t heard of and can’t remember the name of (shoddy reporting I know) for one song, and then The Shires joined them to sing I Ain’t Leaving Without Your Love, a song that The Shires cover at their live shows. This worked really well, and after not seeing The Shires for 12 months, it was clear to see that a once nervous Crissie is perfectly at ease on stage now. It was during this acoustic stage that we were treated to some of the guitar wizardry that they have become famous for, and definitely got the biggest reaction of the night. When the Right One Comes Along was beautifully performed, with lots of crowd involvement, and resulted once again in an emotional Sarah Zimmermann.

    Unfortunately, for me, it was then time for the drummer and bass player to return, and back to not hearing Sarah’s vocals and parts of the guitars. There was one specific part where Sarah was laying out some great looking slide tricks, but the drums came in at such a crescendo, that we could only watch, as the sound of her guitar was drowned out by the percussion. The gig ended with an acoustic cover of Elvis’ Can’t Help Falling In Love, which was the perfect way to finish.

    Striking Matches with The Shires at Union Chapel London, May 8th 2015

    It was a fractured set, with Striking Matches themselves seemingly knowing that people want the acoustic material, and they themselves wanting to play it, but having it sandwiched between the full band sections making it all feel a bit disjointed. I suspect that they have been told that too further their careers they must go with the full band sound, but with their hearts lying with the acoustic they truly love. I could be completely wrong on that, but it’s their acoustic sound that makes them stand out as something very special. It didn’t help that the set-up was all wrong in places, and maybe with less drums and an audible Sarah, it’s very different. They are back in November and I will probably end up going, as the acoustic parts and their personalities are so good that they make it worth the trip – I just hope we get more of them, or at the very least a decent sound set-up.

    On a side note Union Chapel is a gorgeous venue, and seeing their shadows dancing on the walls of the building added a great deal to the atmosphere. The only downside are the hard wooden pews – could have done with prayer cushions to sit on. The king of gig photography Flex has published online some exceptional photos from last night which you can see here.

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    Video of the Week: Thea Gilmore – Sweet Child O’ Mine (Under The Apple Tree Session)

    Video of the Week

    It’s been a bit of a busy week so I haven’t had any new videos come on my radar, and what does one do in that instance? Head over to Whispering Bob Harris’ website and check out the impressive archive of Under The Apple Tree Sessions of course. I was very quickly drawn to Thea Gilmore, who is not someone I am familiar with, but anyone who covers Sweet Child O’ Mine by Guns N’ Roses gets my attention.

    Sweet Child O’ Mine is one of my favourite songs of all time, and has been since I used to have Appetite for Destruction and Bon Jovi’s Slippery When Wet on continuous play on my double deck ghetto blaster. The younger ones of you will have to Google most of what I said in that last sentence! This song has such an iconic sound, that has spent more years as my ringtone than not, so to hear it acoustically was quite different. It works though, and the whole song works too as folk rather than a rock ballad. I could be wrong, but I get the impression that behind the soft vocals that Thea Gilmore gave us during this cover, lies a voice that could belt out rockier numbers with ease.

    It’s shorter than the original, but there are parts towards the end of the song that wouldn’t suit this style and tone. I was very impressed, with the vocals and guitar, both of which are such massive parts of what made Sweet Child O’ Mine such an anthem to begin with. I’ll know be sure to check out more of Thea Gilmore, and not just to see if my earlier hypothesis is correct.

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    Interview: Angaleena Presley – Her Beginnings, Career, Solo Album and UK Tour

    Angaleena Presley is a name you’ll know as one third of the Pistol Annies with Miranda Lambert and Ashley Monroe, and most recently as a solo artist. Late last year she released her debut solo album, American Middle Class, a record full of emotion, stories and beautifully soulful vocals. Lucky for us in the UK, Angaleeena is coming over here on tour this summer, and I caught up with her to chat about that and everything leading up to it.

    Angaleena Presley

    What role did music play for you growing up, and when did you realise it’s what you wanted to do with your life?

    Music was my first love. My Mom sang Scotch Irish folk songs that had been passed down through generations of women in my family and my Dad could play a few songs on the guitar. Haggard, Credence and the Carter Family were his favorites. I had a suitcase record player and a collection of 45’s that I would take everywhere. I also listened to Loretta Lynn every night when I helped my Mom wash dishes..

    You started your career in Nashville as a songwriter – was that always the plan, rather than pursuing a singing career yourself?

    Yes… I moved here to be a writer and quickly realized that my songs were of the raw, edgy and honest variety and no one lined up to sing them. After my first time in the studio, I fell in love with the recording process and that was the tipping point of my metamorphosis.

    How did you meet Ashley and Miranda, and how did the formation of Pistol Annies come about?

    I met Ashley through our publishers in Nashville and it was love at first “write”. Ashley and Miranda were friends because they were on the same label. They were camping and writing songs one weekend and Ashley decided to play some of my music and she flipped out. They called me in the middle of the night and told me they were starting a girl band and I was in it. The next week we hung out and were writing songs within an hour. It was magical, artistic chemistry and the rest is history.

    During your time in the group, when did thoughts of your solo record start to emerge and were song ideas already in your mind before you went your separate ways?

    My solo record had been melting on the back burner for 2 years before we even got started. I made a record that never found a home. Major labels were afraid of it and indies didn’t really exist in the way they do now. Plus, I was in the middle of a divorce and home foreclosure, which you can learn all about in Annie’s record and my solo record… After we decided to take some much needed time for our solo careers, I got serious and made a new record because I felt I had outgrown the original one.

    Are all the songs on American Middle Class autobiographical, because they tell stories of some pretty bleak times?

    Yes… They’re either about me or folks who are close to me. I’ve lived or held someone’s hand who’s lived every second on it.

    I’m particularly fond of Grocery Store and I have to ask, is there a particular significance with Tuesday nights?

    Not really… We just wanted it to sound random and real and thought Tuesday was just as good a night as any.

    Country music is an ever broadening genre these days, with the boundaries being stretched all the time. Your album, while sounding very fresh, has a traditional country sound. Was it a conscious decision to go in that direction or is that just naturally where your music lies?

    Like I said earlier, I love the recording process. I had some trouble when I first got to Nashville because no one could figure out how to produce a demo on me. They were either too slick or too this or too that. So, I bought some gear and started recording myself. I would use iron skillets, cigarette lighters, and cowgirl boots as percussion instruments. I’d create weird guitar sounds and harmony parts. The first song I finished “demoing” was Ain’t No Man. When I turned it in to my publisher he looked at me like I had lost my mind. What he didn’t realize was that I had actually found my sound. The influences are all over the map from the Beatles to Bill Monroe.. That’s why I decided to produce American Middle Class with my husband. I had all these little maps to guide the way and he had the ability to reel me in if I got too far out.

    How did you choose the musicians to work on your album, because they compliment great songwriting and singing perfectly?

    I knew I wanted Fred Eltringham on drums because he “gets” me. He played on my record that wasn’t released and also on the Annie’s records. I also knew that I wanted Keith Gattis because his guitar playing knocks me out. He has better tone than any player I’ve heard. And, he has a style all his own that conveniently fits perfect with my style. My husband rallied the troops and hired Glen Worff, Audley Freed, Aden Bubeck, josh Grange, David Henry, and John Henry Trinko. The band was absolutely badass.

    Although you’ve had previous success, both as a songwriter and as an artist, did you feel pressure with this being your first solo release?

    Yes. There’s always pressure involved when you’ve decided to share part of your soul with the world. I wasn’t concerned as much with sales as I was with critic. I just really wanted people to like it. And they did 😉

    Reviews have been superb for your a – how does that make you feel and is there a sense of relief when you see how well received it has been?

    It feels amazing. And yes, it is a relief. It’s like giving birth. People laugh, but it is.

    Angaleena Presley

    You are over here touring in July – why the UK?

    I am SO excited. I feel like there’s a real acceptance of what I do in the UK. Not that there isn’t one here, but how great the response has been already in the UK with advance sales of tickets and press, not to mention projects like Gretchen Peters and Kacey Musgraves and Striking Matches, just proves that real music can be heard.

    Will your approach to gigs in the UK be different to those that you put on back in America, and what can we expect from an Angaleena Presley show?

    I feel really confident to come over there because of what I’ve heard from other artists. I’ll play several of the shows solo, and then I’ll have a band for the shows in London and Cambridge. I love both setups. I did my first 150-200 shows solo and love to tell stories, but I also love to get up and rock faces off with a band.

    For three years Country To Country has been bringing some of Nashville’s biggest names to London in March – is this UK festival known widely amongst country music artists in America and is it something you’d like to be a part of?

    YES AND YES!!! I started hearing about it last year and this year just missed the window I think. I truly hope to get on it next year, it’s such a great opportunity for country to come to town!

    It’s been 5 months since the release of American Middle Class – is your mind on a second album yet or does that come much further down the line, and what’s next for you?

    I had my second record’s songs in my head before I even recorded the first. “American Middle Class” was the first biographical look into my life up through the birth of my son and my divorce. I feel like the next record will probably deal with a lot of content that has happened since that point. I’m excited to make it.

    Angaleena Presley Tour Dates:

    25th July – Broadcast, Glasgow – Tickets
    27th July – Night and Day, Manchester – Tickets
    28th July – The Tunnels, Bristol – Tickets
    29th July – The Bullington, Oxford – Tickets
    30th July – The Borderline, London – Tickets
    31st July – Cambridge Folk Festival – Tickets

    I have tickets for the London show, but after hearing that Angaleena be doing some solo shows I’m going to have to book tickets to one of the earlier shows too, and as the 29th is my birthday, that seems ideal. I’ll be catching up with Angaleena while she’s over, to see what she’s been up to and to talk about how her UK tour is going.

    Website: angaleenapresley.com
    Facebook: angaleenapresley
    Twitter: @guitarleena
    American Middle Class: iTunes | Amazon

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    Video of the Week: Larkin Poe – Sugar High

    Video of the Week

    If you’ve ever seen Larkin Poe live then you’ll know what a blisteringly good show they put on. I saw them twice last year, at the Zinc Arts Centre, Chipping Ongar in June and again at the Maverick Festival in July, and both times they played on a stage. Bit of an odd comment you might think, until you see the setting for the video I’m bringing to you this week, which sees Larkin Poe playing in a van. You read that right, a van. In their own words Jam in the Van is the world’s first solar powered music discovery vehicle, in which they have artists play tracks, and video it for our pleasure. They performed 3 songs and I’m choosing Sugar High – so watch and be amazed.

    Not the kind of setting you see people play in every day, and watching makes me want to do something similar here in the UK. I won’t and can’t, but it doesn’t stop me being wowed by their creativity and originality. The sound quality is incredible and it always impresses me that they fit so much equipment and people in that van. You can see the other two Larkin Poe performances, Stubborn Love and Jail Break, over on their website here.

    Categories: Video of the Week, Videos | Tags: | Leave a comment

    Gig Review: Gretchen Peters – Kings’ Place, London – 25th March 2015

    Two years ago I didn’t know who Gretchen Peters was, but in June 2013 a buddy of mine invited me to see her play in a barn, actually called the High Barn, in Essex – you can read about what I thought of that gig here, but needless to say I’ve been a big fan ever since. Gretchen’s latest album, Blackbirds, came out a month ago, but I didn’t listen to it until the day of the gig – a treat for being such a good boy during my blood test earlier on the day 😉

    It was my first time at King’s Place and it’s a really nice venue, decked out with lots of wood and being intimate but not too small. I’d read on the website earlier that the venue did not allow photography, but I didn’t think they’d mind me taking a snap of the stage before the gig started.

    Gig Review: Gretchen Peters - Kings' Place, London - 25th March 2015

    Gretchen’s band consisted of Barry Walsh on piano and accordion, with Christine Bougie on electric guitar, drums and lap steel guitar. I expected these two, but wasn’t expecting the 4th member, who was Northern Ireland’s Conor McCreanor on bass and double bass, and a fine addition he was too. They went straight into Blackbirds, the title track of the new album, and a song co-written by Ben Glover. I was familiar with Blackbirds, and not just because I’d heard it earlier in the day, you see, it’s also a track on Ben Glover’s own album, Atlantic, a song on which Gretchen sings too. It sounded great, with every bit of emotion and pain that we get from the song on Ben’s album, and set the tone for the night.

    Blackbirds was followed by another two songs from the new album, which saw Christine play a different instrument with each one. To say they are a talented bunch would be an understatement, with Barry being somewhat of a virtuoso on the piano and his accordion playing adds a lot to the atmosphere of songs, none more so than on The Matador from Gretchen’s Hello Cruel World album. As well as the aforementioned emotion that you feel in Gretchen’s voice, it is beautifully controlled, from subtle whispers to belting high notes. With songs sewn together with witty and moving stories from her life, it’s an evening of complete musical entertainment.

    With no support the gig was split in two, and after the intermission Gretchen started the second half as powerfully, some would argue even more, as the first. Sat alone on stage at the piano, she sung the song that in her words changed her life, and we were treated to a stunning rendition of Independence Day. It was a tingles down your spine performance of a song that Gretchen wrote, but was made famous by Martina McBride 20 years ago and won CMA Song Of The Year that year in 1995. I personally prefer Gretchen singing it, and last night only went to reinforce that.

    At one point Gretchen actually left the stage, and let Barry, Christine and Conor take the spotlihght, as they combined to play a magical song of Barry’s called Silencio. It’s an instrumental number that you can hear over on his website and captivated me last night, so much so that I intend to buy the album. With Gretchen back on stage they played a few more songs from her new album, including The House On Auburn Street, a memory of when she was young and her Mum took her and her sister down the road to watch a neighbours house burn down, as was the done thing. Now of course people would be taking photos and positing them on Twitter.

    Gig Review: Gretchen Peters - Kings' Place, London - 25th March 2015

    We got a three song encore which ended with just Gretchen and Barry singing The House On Auburn Street, a song by John Prine which they sung with him when they did some shows together. Watching them sing together it’s obvious they have a very close relationship, both musically and personally, and it was a perfect way to end the night, with it’s equal moments of humour and tenderness. There’s a definite darkness to a lot of what Gretchen sang, but sung like she does, you feel a part of the story of each of those songs and privileged to be in that position.

    Back in July last year, Mary Gauthier said that you can’t describe Americana, but you know it when you hear it. That’s how I feel about Gretchen, with incredible song writing, a world class voice and a band that complete it all perfectly. There’s so much fluff being put out these days, it’s so nice to be reminded that real music is still being produced and performed, and in this case at the highest level. Gretchen Peters should be listened to and watched live by anyone who considers them self a fan of music – if you are yet to do so, go now, you owe it to yourself.

    Website: gretchenpeters.com
    Twitter: @gretchenpeters
    Facebook: gretchenpetersmusic

    Be sure to subscribe to Gretchen’s mailing list for news and stories plus a free song download each month.

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    Video of the Week: Rainbow Girls – Old Man Goat

    Video of the Week

    I first came across the Rainbow Girls at Maverick Festival last year. I hadn’t actually planned to see them, but the interview I was scheduled to do was running late, so as fate would have it I was stood near the stage and watched their whole set. They call themselves Stomp Folk and I’ll go with that, because if I was tasked with labeling them under an existing genre I’d have no idea. All I do know is that they are a group of super talented young ladies with a fun and inspiring approach to music. The following video is for a song called Old Man Goat and is from their first album The Sound of Light.

    The video shows not only some great scenery and the girls on stage, so you see the array of instruments they play, but also some tour footage which gives an indication of the personalities involved. How many bands do you know that include a kazoo, and as a non comedic element? That was Cheyenne Methmann playing the kazoo in the video for Old Man Goat and she left the band this past January. It’s a great shame and I wish her well in her future adventures wherever they may take her. I have every confidence that as a 4 piece, the Rainbow Girls will continue to produce great music and put on stellar shows.

    They have a second album coming out very soon, one which I helped to fund along with many other fans, and am very much looking forward to hearing. Last week was the first Video of the Week feature on 4000 Miles to Nashville and I gave you two videos. Well I’m doing the same again, and this second one is an interview with the Rainbow Girls from a year or so ago, where they talk about their music and their thoughts and approach to the music industry.

    Go check out their music and if you get the opportunity to see them live, don’t think twice, just go.

    Website: rainbowgirlsmusic.com
    Facebook: /rainbowgirlsstomp
    Twitter: @rainbowgirrs
    Instagram: @rainbowgirlsstomp
    Bandcamp: rainbowgirls.bandcamp.com

    Categories: Video of the Week, Videos | Tags: | Leave a comment

    Photo Gallery: Dexeter at Country To Country 2015 – Sunday March 8th 2015

    Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015

    Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015

    Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015

    Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015

    Dexeter Performing at Country To Country 2015Dexeter Performing at Country To Country 2015

    Categories: Photos | Tags: | Leave a comment

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