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2021 Grammy Awards – Country, Americana, Bluegrass and Folk Nominees

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2021 GRAMMY Awards

Nominees for the 2021 Grammy Awards were announced with Miranda Lambert dominating the Country Music Categories (3). The Queen of Americana Lucinda Williams has 2 and ties with The Secret Sisters (Laura Rogers & Lydia Rogers) and John Prine’s last composition , “I Remember Everything, which has been nominated in two categories Best American Roots Performance and Best American Roots Song.

The Grammy Awards for roots music takes place before the televised preceding the 2021 GRAMMY Awards show, the 63rd GRAMMY Awards Premiere Ceremony will take place Sunday, March 14, at noon PT, and will be streamed live internationally via GRAMMY.com.

The 2021 GRAMMY Awards show performer lineup will include performances from Texas’ own neo-soul newcomers Black Pumas, Brandi Carlile, Mickey Guyton, Brittany Howard, Miranda Lambert and more.

Here are the country and roots music nominees:

Best Country Solo Performance:
“Stick That in Your Country Song,” Eric Church
“Who You Thought I Was,” Brandy Clark
“When My Amy Prays,” Vince Gill
“Black Like Me,” Mickey Guyton
“Bluebird,” Miranda Lambert

Best Country Duo/Group Performance:
“All Night,” Brothers Osborne
“10,000 Hours,” Dan + Shay & Justin Bieber
“Ocean,” Lady A
“Sugar Coat,” Little Big Town
“Some People Do,” Old Dominion

Best Country Song:
“Bluebird,” Miranda Lambert (Luke Dick, Natalie Hemby & Miranda Lambert, songwriters
“The Bones,” Maren Morris (Maren Morris, Jimmy Robbins & Laura Veltz, songwriters
“Crowded Table,” The Highwomen (Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters)
“More Hearts Than Mine,” Ingrid Andress, (Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters)
“Some People Do,” Old Dominion (Jesse Frasure, Shane McAnally, Matthew Ramsey & Thomas Rhett, songwriters

Best Country Album:
Lady Like, Ingrid Andress
Your Life Is a Record, Brandy Clark
Wildcard, Miranda Lambert
Nightfall, Little Big Town
Never Will, Ashley McBryde

Best American Roots Performance:
“Colors,” Black Pumas
“Deep in Love,” Bonny Light Horseman
“Short and Sweet,” Brittany Howard
“I’ll Be Gone,” Norah Jones & Mavis Staples
“I Remember Everything,” John Prine

Best American Roots Song:
“Cabin,” The Secret Sisters (Laura Rogers & Lydia Rogers, songwriters)
“Ceiling to the Floor,” Sierra Hull (Sierra Hull & Kai Welch, songwriters)
“Hometown,” Sarah Jarosz (Sarah Jarosz, songwriter)
“I Remember Everything,” John Prine (Pat McLaughlin & John Prine, songwriters)
“Man Without a Soul,” Lucinda Williams (Lucinda Williams, songwriter)

Best Americana Album:
Old Flowers, Courtney Marie Andrews
Terms of Surrender, Hiss Golden Messenger
World on the Ground, Sarah Jarosz
El Dorado, Marcus King
Good Souls Better Angels, Lucinda Williams

Best Bluegrass Album:
Man on Fire, Danny Barnes
To Live in Two Worlds, Vol. 1, Thomm Jutz
North Carolina Songbook, Steep Canyon Rangers
Home, Billy Strings
The John Hartford Fiddle Tune Project, Vol. 1, Various Artists

Best Folk Album:
Bonny Light Horseman, Bonny Light Horseman
Thanks for the Dance, Leonard Cohen
Song for Our Daughters, Laura Marling
Saturn Return, The Secret Sisters
All the Good Times, Gillian Welch & David Rawlings

Grammy Awards Nominees : Tanya Tucker Leads The Pack

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62nd Grammy Awards

Nominations for the 62nd Grammy Awards were announced Wednesday, and Taya Tucker led the country/roots music pack with four nominations in the Song Of The Year, Best Country Solo Performance, Best Country Song and Best Country Album categories. Tucker was first nominated for a Grammy for the song “Delta Dawn” in 1973.

Tucker shares her Best Country Solo Performance nomination spot with Tyler Childers, Ashley McBryde, and Willie Nelson. Best American Roots Performance nominees are Sara Bareilles, Calexico and Iron & Wine, Rhiannon Giddens With Francesco Turrisi and Yola.

Calexico And Iron & Wine, Madison Cunningham, Madison Cunningham, Keb’ Mo’, J.S. Ondara and Yola are up for Best Americana Album.

See the full list of country/Americana roots nominees below and see the complete list of nominees here.

The Grammy Awards will take place on January 26th at the Staples Center in Los Angeles. The broadcast will air live on CBS at 7 p.m. ET/PT.

Song Of The Year
“Always Remember Us This Way” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga)
“Bad Guy” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
“Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker)
“Hard Place” — Ruby Amanfu, Sam Ashworth, D. Arcelious Harris. H.E.R. & Rodney Jerkins, songwriters (H.E.R.)
“Lover” — Taylor Swift, songwriter (Taylor Swift)
“Norman F—ing Rockwell” — Jack Antonoff & Lana Del Rey, songwriters (Lana Del Rey)
“Someone You Loved” — Tom Barnes, Lewis Capaldi, Pere Kelleher, Benjamin Kohn & Sam Roman, songwriters (Lewis Capaldi)
“Truth Hurts” — Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters (Lizzo)

Best Country Solo Performance:
“All Your’n” — Tyler Childers
“Girl Goin’ Nowhere” — Ashley McBryde
“Ride Me Back Home” — Willie Nelson
“God’s Country” — Blake Shelton
“Bring My Flowers Now” — Tanya Tucker

Best Country Duo/Group Performance:
“Brand New Man” — Brooks & Dunn with Luke Combs
“I Don’t Remember Me (Before You)” — Brothers Osborne
“Speechless” — Dan & Shay
“The Daughters” — Little Big Town
“Common” — Maren Morris ft. Brandi Carlile

Best Country Song:
“Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, Songwriters (Tanya Tucker)
“Girl Goin’ Nowhere” — Jeremy Bussey & Ashley Mcbryde, Songwriters (Ashley Mcbryde)
“It All Comes Out In The Wash” — Miranda Lambert, Hillary Lindsey, Lori Mckenna & Liz Rose, Songwriters (Miranda Lambert)
“Some Of It” — Eric Church, Clint Daniels, Jeff Hyde & Bobby Pinson, Songwriters (Eric Church)
“Speechless” — Shay Mooney, Jordan Reynolds, Dan Smyers & Laura Veltz, Songwriters (Dan + Shay)

Best Country Album:
Desperate Man — Eric Church
Stronger Than The Truth — Reba McEntire
Interstate Gospel — Pistol Annies
Center Point Road — Thomas Rhett
While I’m Livin’ — Tanya Tucker

Best American Roots Performance:
“Saint Honesty” — Sara Bareilles
“Father Mountain” — Calexico With Iron & Wine
“I’m On My Way” — Rhiannon Giddens With Francesco Turrisi
“Call My Name” — I’m With Her
“Faraway Look” — Yola

Best American Roots Song:
“Black Myself” — Amythyst Kiah, songwriter (Our Native Daughters)
“Call My Name” — Sarah Jarosz, Aoife O’donovan & Sara Watkins, songwriters (I’m With Her)
“Crossing To Jerusalem” — Rosanne Cash & John Leventhal, songwriters (Rosanne Cash)
“Faraway Look” — Dan Auerbach, Yola Carter & Pat Mclaughlin, songwriters (Yola)
“I Don’t Wanna Ride The Rails No More” — Vince Gill, songwriter (Vince Gill)

Best Americana Album:
Years To Burn — Calexico And Iron & Wine
Who Are You Now — Madison Cunningham
Oklahoma — Keb’ Mo’
Tales Of America — J.S. Ondara
Walk Through Fire — Yola

Best Bluegrass Album:
Tall Fiddler — Michael Cleveland
Live In Prague, Czech Republic — Doyle Lawson & Quicksilver
Toil, Tears & Trouble — The Po’ Ramblin’ Boys
Royal Traveller — Missy Raines
If You Can’t Stand The Heat — Frank Solivan & Dirty Kitchen

Best Folk Album:
My Finest Work Yet — Andrew Bird
Rearrange My Heart — Che Apalache
Patty Griffin — Patty Griffin
Evening Machines — Gregory Alan Isakov
Front Porch — Joy Williams

Best Song Written For Visual Media:
“The Ballad Of The Lonesome Cowboy” — Randy Newman, songwriter (Chris Stapleton); Track from: “Toy Story 4”
“Girl In The Movies” — Dolly Parton & Linda Perry, songwriters (Dolly Parton); Track from: “Dumplin’”
“I’ll Never Love Again (Film Version)” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere, songwriters (Lady Gaga & Bradley Cooper); Track from: A Star Is Born
“Spirit” — Beyoncé Knowles-Carter, Timothy McKenzie & Ilya Salmanzadeh, songwriters (Beyoncé); Track from: “The Lion King”
“Suspirium” — Thom Yorke, songwriter (Thom Yorke); Track from: “Suspiria”

Best Album Notes:
The Complete Cuban Jam Sessions — Judy Cantor-Navas, album notes writer (Various Artists)
The Gospel According To Malaco — Robert Marovich, album notes writer (Various Artists)
Pedal Steel + Four Corners — Brendan Greaves, album notes writer (Terry Allen And The Panhandle Mystery Band)
Pete Seeger: The Smithsonian Folkways Collection — Jeff Place, album notes writer (Pete Seeger)
Stax ’68: A Memphis Story — Steve Greenberg, album notes writer (Various Artists)

Best Historical Album:
The Girl From Chickasaw County – The Complete Capitol Masters — Andrew Batt & Kris Maher, compilation producers; Simon Gibson, mastering engineer (Bobbie Gentry)
The Great Comeback: Horowitz At Carnegie Hall — Robert Russ, compilation producer; Andreas K. Meyer & Jennifer Nulsen, mastering engineers (Vladimir Horowitz)
Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 — Spencer Doran, Yosuke Kitazawa, Douglas Macgowan & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists)
Pete Seeger: The Smithsonian Folkways Collection — Jeff Place & Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger)
Woodstock: Back To The Garden – The Definitive 50th Anniversary Archive — Brian Kehew, Steve Woolard & Andy Zax, compilation producers; Dave Schultz, mastering engineer, Brian Kehew, restoration engineer (Various Artists)

Producer Of The Year, Non-Classical:
Jack Antonoff
Dan Auerbach
John Hill
Finneas
Ricky Reed

Choice Moments From The CMA Awards

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CMA Awards

I can’t remember the last time I sat through an entire broadcast and the 53rd CMA Awards was no exception. Besides the unnecessary exclusion of long-time host Brad Paisley (to, ironically, virtue signal inclusivity) there’s the typical celebration of mundane Music City product. I admit fully that I take a protective view of country music that this glitter-choked spectacle is fully willing to eject in pursuit of mass appeal and the riches that come with it.

But somebody running this circus must remember that it’s about the music because interspersed between the spectacle there are moments that are truly sublime.

Willie Nelson and Kacey Musgraves – “Rainbow Connection” – Willie sounded a bit worse for wear but given the Texas Yoda’s age (87) and grueling tour schedule, it’s a miracle that he can perform at all. This Muppets classic never fails to draw the waterworks.

https://www.youtube.com/watch?v=4juzFaW12j0

Reba McEntire – “Fancy.” Reba is pure fire and I’ll fight anyone that says otherwise!

https://www.youtube.com/watch?v=jsjw2g80gj8

Where’s Kris? The Country Music Association honored iconic songwriter Kris Kristofferson with the Willie Nelson Lifetime Achievement Award. Kristofferson honored the CMAs by skipping their brazen attempt to grift credibility by throwing a shiny bone to the living legends by playing a previously booked gig at the Adler Theatre in Davenport, Iowa.

Glen Campbell’s Remarkable Life And Catalog Celebrated With Box Set Due This Summer

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Glen Campbell – The Legacy [1961-2017]
Whether cutting his teeth as an in-demand session musician for the likes of The Beach Boys, Frank Sinatra, Elvis Presley, Simon & Garfunkel, The Righteous Brothers, Merle Haggard and so many more as part of The Wrecking Crew, to his rein of the 70’s country charts as a solo performer few artists represent country / pop crossover success like Glen Campbell.

On June 21st Capitol/UMemn will celebrate Campbell’s incredible career with an expanded edition of his long-out-of-print, career-spanning box set (originally released in 2003.)

Glen Campbell – The Legacy [1961-2017] is a four-disc anthology reflecting his storied six-decade career chronicling his hits as well as his late-career renaissance with songs from 2008’s Meet Glen Campbell, 2011’s Ghost On The Canvas, 2014’s soundtrack to his revealing and emotional documentary, Glen Campbell: I’ll Be Me, and 2017’s Adiós, released shortly before he passed away from complications from his long, public battle with Alzheimer’s.
The box set includes a stunning 60-page booklet and updated liner notes by well-known music scribe Joel Selvin who wrote the original liners.

Opening with “Turn Around, Look At Me,” Campbell’s first single released in 1961 shortly after he moved to Los Angeles from Albuquerque to break into the music business, Glen Campbell – The Legacy [1961-2017] includes songs from nearly all of the sixty plus album’s he released in his lifetime, providing an outstanding overview of this influential, rare talent.

The collection traces his early evolution from early career bluegrass tune “Kentucky Means Paradise,” the honky-tonk oldie “Too Late To Worry – Too Blue To Cry,” Buffy St. Marie’s protest anthem “Universal Soldier” and “Guess I’m Dumb,” written and produced by his friend Brian Wilson of The Beach Boys who Campbell substituted for on tour when Wilson bowed out, to his first works with producer Al De Lory, who helped him hone his signature sound with the song that would kickstart his recording career and put him on the map: the 1967 John Hartford-penned masterpiece “Gentle On My Mind.” As Joel Selvin writes in his illuminating liner notes, “Despite a modest chart performance, ‘Gentle On My Mind’ did turn out to be the definitive record of Campbell’s career, the point where he not only took charge of his own artistic destiny but became his own creation.”

The next hit was a song that would end up being a turning point for him. “By The Time I Get To Phoenix” which both introduced a new lush sound for Campbell and a shined a spotlight on a little known songwriter from Oklahoma named Jimmy Webb. The song, which along with “Gentle On My Mind,” helped him make history at the 1967 GRAMMY® Awards by sweeping the song and performance awards in both the pop and country and western categories, was a crossover success that spent an incredible six months on the charts and catapulted Campbell to fame. It also began a fruitful lifelong partnership between the musician and songwriter that would last more than five decades and include some of Campbell’s biggest hits such as “Wichita Lineman” and “Galveston,” which kicks off disc two.

The late ‘60s and early ‘70s were especially prolific for Campbell who, in between starring in his hit TV show “The Glen Campbell Good Time Hour” and becoming a movie star opposite John Wayne in the western “True Grit” (of which he recorded the Oscar-nominated theme song) and his feature film follow-up, “Norwood,” released four albums in 1970 and three more the following year. The Legacy collection includes many of the tracks released during this period including Webb’s “Where’s The Playground Susie,” and “MacArthur Park,” “I Wanna Live” (a number one country hit), and several songs recorded with labelmate Bobbie Gentry including “Let It Be Me,” Scarborough Fair/Canticle,” and the Everly Brothers hit, “All I Have To Do Is Dream.” There’s also Campbell’s version of Roy Orbison’s “Dream Baby (How Long Must I Dream),” the sweeping Gordon Lightfoot-penned title track from his album “The Last Time I Saw Her” and a medley with Anne Murray of “I Say A Little Prayer/By The Time I Get To Phoenix.

The second half of the box set features Campbell’s trademark song “Rhinestone Cowboy,” which earned him his first number one record and became his theme in many ways, and his sprightly spin on Allen Toussaint’s “Southern Nights.” More than four decades later Campbell’s rendition of “Southern Nights” would prominently feature in the film and soundtrack to “Guardians of The Galaxy Vol. 2” introducing a whole new generation to his music. Other highlights include “God Only Knows,” Campbell’s beautiful take on Brian Wilson’s opus, “Sunflower,” a breezy #1 hit written by Neil Diamond and “Highwayman,” which eight years after recording the Jimmy Webb song, Campbell would introduce to Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson. They not only used the name for their supergroup but also won a GRAMMY®.

The final disc of the collection, which includes Campbell showcasing his love for gospel and his faith with a stirring live rendition of “Amazing Grace,” and flexing his incredible guitar skills on “Classical Gas,” has been expanded to include songs from his albums released in the 2000s. Included from his acclaimed 2008 album, Meet Glen Campbell, which saw the icon tackle contemporary and classic songs, is his inspired covers of the Foo Fighters “Times Like These,” Green Day’s “Good Riddance (Time Of Your Life)” and Jackson Browne’s “These Days.” 2011’s Ghost On The Canvas is represented with a spirited take on the Paul Westerberg song of the same name while 2013’s See You There is represented with “Waiting On The Comin’ Of My Lord.”

The last song Campbell ever recorded was “I’m Not Gonna Miss You.” This touching goodbye to his family and fans co-written by him and producer Julian Raymond and recorded with members of The Wrecking Crew, is one of the many high points that round out the box set. The song featured in the documentary “Glen Campbell: I’ll Be Me,” which chronicles Campbell’s diagnosis of Alzheimer’s and his final tour, won the GRAMMY® Award for Best Country Song and was nominated for Best Original Song at the 87th Academy Awards. The retrospective culminates with three songs from Campbell’s bucket list album Adiós, recorded while fighting his disease and released in 2017 to universal acclaim: a banjo-filled take on “Everybody’s Talkin,’” country weeper “It Won’t Bring Her Back” and the bittersweet title track, which brought Campbell’s career full circle by reuniting him one last time with his lifelong collaborator Jimmy Webb.

Glen Campbell – The Legacy [1961-2017] pays honor to Campbell’s exceptional legacy and celebrates the timeless music of one of the best singers and musicians the world has ever known with a lovingly compiled, comprehensive collection that is a must for longtime fans and anyone who wants to learn more about Glen Campbell’s singular musical journey.

Pre-order GLEN CAMPBELL – THE LEGACY [1961-2017]

GLEN CAMPBELL – THE LEGACY [1961-2017] TRACK LISTING

DISC ONE
1. Turn Around, Look At
2. Kentucky Means Paradise (The Green River Boys featuring Glen Campbell)
3. Too Late To Worry – Too Blue To Cry
4. Universal Soldier
5. Guess I’m Dumb
6. Burning Bridges
7. Just To Satisfy You
8. Less Of Me
9. Gentle On My Mind
10. Crying
11. By The Time I Get To Phoenix
12. Tomorrow Never Comes
13. Hey, Little One
14. I Wanna Live
15. Turn Around And Look At Me (New Version)
16. The Legend Of Bonnie And Clyde
17. Let It Be Me (Glen Campbell & Bobbie Gentry)
18. Scarborough Fair / Canticle (Glen Campbell & Bobbie Gentry)
19. Wichita Lineman
20. Dreams Of The Everyday Housewife
21. Reason To Believe

DISC TWO
1. Galveston
2. Where’s The Playground Susie
3. If This Is Love
4. True Grit
5. Try A Little Kindness
6. Honey, Come Back
7. One Pair Of Hands
8. All I Have To Do Is Dream (Glen Campbell & Bobbie Gentry)
9. Everything A Man Could Ever Need
10.It’s Only Make Believe
11. Pave Your Way Into Tomorrow
12. MacArthur Park
13. Dream Baby (How Long Must I Dream)
14. The Last Time I Saw Her
15. I Say A Little Prayer / By The Time I Get To Phoenix (Medley) (Glen Campbell & Anne Murray
16. The Last Thing On My Mind
17. I Knew Jesus (Before He Was A Star)
18. I’m So Lonesome I Could Cry
19. Houston (I’m Comin’ To See You)
20. Bonaparte’s Retreat
21. The Moon’s A Harsh Mistress

DISC THREE
1. Rhinestone Cowboy
2. Country Boy (You Got Your Feet In L.A.)
3. Arkansas
4. Don’t Pull Your Love / Then You Can Tell Me Goodbye (Medley)
5. Southern Nights
6. Sunflower
7. God Only Knows
8. I’m Gonna Love You
9. Can You Fool
10. Highwayman
11. Somethin’ ’Bout You Baby I Like (Glen Campbell With Rita Coolidge)
12. Any Which Way You Can
13. I Was Too Busy Loving You
14. Faithless Love
15. A Lady Like You
16. The Hand That Rocks The Cradle (Glen Campbell With Steve Wariner)
17. I Have You
18. If These Walls Could Speak
19. Unconditional Love
20. She’s Gone, Gone, Gone
21. Show Me Your Way (Glen Campbell & Anne Murray)
22. Only One Life
23. Somebody Like That

DISC FOUR
1. You’ll Never Walk Alone
2. People Get Ready
3. Amazing Grace
4. Lean On Me
5. Times Like These
6. These Days
7. Good Riddance (Time Of Your Life)
8. Ghost On The Canva
9. Waiting On The Comin’ Of My Lord
10. I’m Not Gonna Miss You
11. Everybody’s Talkin’
12. It Won’t Bring Her Back
13. Adiós

Sturgill Simpson Trolls CMA Awards, But To What End?

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In case you hadn’t heard roots rocker and reluctant savior of country music Sturgill Simpson used the occasion of the 51st Country Music Association Awards to convey a message to the people mingling outside Nashville’s Bridgestone Arena on lower Broadway and fans looking in from his live Facebook stream.

What was the message and who was it aimed at?

As is currently de rigour let’s start with the most overtly political and divisive.

When a fan asked about Trump, Sturgill responded : “He’s a fascist fucking pig and I’m not afraid to say that. Anybody who’s still supporting that guy can’t be anything in my mind but an ignorant fucking bigot. So there it is. Anybody that’s surprised to hear me say that is going to unfollow me or stop listening to my record was probably not listening that closely anyway.”

To say the election of Donald Trump a year ago was galvanizing is like saying tropical storm Harvey was merely a spring shower. The resulting split in the Country seems to roughly falls into three camps. Those that voted for Trump and still support him no matter what he does (or tweets,) Republicans that didn’t vote for Trump but disgruntledly supports him for the sake of the party, even as recent state elections suggest, he is single-handedly dismantling it. Then there are those that rally under the hashtag #NotMyPresident. Given the following quote, I’m willing to say Simpson falls into the third faction.

The ‘F’ word gets thrown around a lot by the 3rd faction (or it’s more heated shortcut Hitler,) which of course does little to set the groundwork for opposing views. But Sturgill is a smart man and he knows full well that Trump is not a fascist. A hallmark of traditional Mussolini strain of facism most people know violence against opposing views, not tweeting snarky things but actual rounding up and beatings or murder, is part of the ideology. As far as I can tell by the footage Simpson was allowed to speak at length with no harm inflicted.

When asked about the kind of acceptance speech he might give if handed an award at the proceedings happening behind him Simpson remarked “Nobody needs a machine gun, coming from a guy who owns quite a few guns.” He continued: “Gay people should have the right to be happy and live their life any way they want to and get married if they want to without fear of getting drug down the road behind a pickup truck. Black people are probably tired of getting shot in the streets and being enslaved by the industrial prison complex. And hegemony and fascism is alive and well in Nashville, Tenn. Thank you very much.”

A generally non-controversial view for tolerant, thinking people of the 21st century, if rambling and broad one. Of course, as a gun owner Simpson knows he can’t legally buy an automatic machine gun anywhere in the United States and the ‘hegemony and fascism’ is this time aimed at his adopted city. This might refer to the Music Row system in general or the CMA’s decision to formally hamstring the media on topics they deemed sensitive in the aftermath of last month’s mass shooting in Las Vegas.

As a free speech purist I get it. But it’s not surprising with other award shows and the NFL’s ratings plummeting as a response to overt political topics that the CMA would want to steer clear.

Winning the Best Country Album Grammy last year does afford Simpson a level of minor celebrity (and let’s be honest, if People magazine covers your actions, you’re a celebrity.) It also gives Simpson a certain level of professional cache. Many artists would be meticulously building their career on by growing mass appeal leading to earning potential. But if you’ve followed Simpson’s career over the years you know Simpson’s songs and his interviews show he speaks his mind no matter the professional risk.

This has allowed Simpson to evolve into a persona defined more by what he’s against rather than what he’s for. Much like our beloved genre Americana he bristles against, Simpson has nebulous borders. Is he a new-breed Outlaw come to save “real” Country music from the contemporary homogenized variety being engineered out of Music Row for, well, decades or something else?

Simpson makes it hard to pin him down and that’s what makes him an intriguing artist. It’s also what makes him. like most of us, a lousy authority on public policy.

Simpson set up on the street to voice his opinion as is his constitutional right to do. He knows, as a Navy veteran, what that right costs. His guitar case open with his Grammy inside (not sure what to take from that) he collected tips that he said he’d be donating to the ACLU, a fine organization that has fought for the rights of groups as diametrically opposed as the Black Panthers and the K.K.K. and , most recently defended an on-line magazine in suggesting that Taylor Swift is a covert White Supremacist.

Sturgill’s views declared map generally to other Americana and Americana-leaning artists willing to publicize their views in interviews, on stage and through social Media. ANd though I agree with many of the sentiments expressed (yes i did vote for Hillary) I’m always concerned about the echo chamber effect made so easy by social media. Though I’m on the record arguing against the accusations of bigotry against Americana, I am concerned about the lack of intellectual diversity within the comminity. the only kind of diversity that matters and moved us forward.

Jason Isbell Won’t Change Country Music, And That’s A Good Thing

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Jason isbell

It’s a new day in country music, that’s what some might have you believe.

The Country Music Association revealed its nominees for the 51st CMA Awards on Monday on, fittingly, a morning variety show. I say fittingly because I’m certain that the CMA know full-well their demographic is shared by ABC’s Good Morning America. Soft news, fashion, food, and entertainment, in other words, lifestyle.

The nominee list for Album of the Year must have sent many GMA viewers to Google the name Jason Isbell. Just like the Grammy’s did by nominating Sturgill Simpson for Album of the Year alongside Adele and Beyoncé. The Country Music Association threw a seeming curveball to country music fans by looking outside the usually well-known names that comfortably rule the charts and mainstream country radio playlists.

Though Jason Isbell’s nomination for AOTY might have taken many by surprise fans were aware of the brilliance from the start. They have followed his troubled but brilliant career, through his time in the Alabama Southern Rock band The Drive-By Truckers through his early uneven solo output. But starting with 2013’s “Southeastern” up to his current nominated release “The Nashville Sound ” Isbell and crew have been on a charmed run of critical acclaim, chart runs, late-night TV appearances and multiple industry awards. Isbell’s always been a keen and genuine songwriter (as well as a badass and under-appreciated guitarist) To make this even more rewarding time Isbell enjoyed sobriety, married singer/songwriter Amanda Shires and started a family.

With a proven record of popular success the Country Music Association took notice. CMA is a trade group not known for taking chances with its award show, here they had an artist with critical acclaim, strong sales, and enough live cred to sell out a six-night stint at the Mother Church of country music, the Ryman Auditorium.

But Music Row Music Row adopted popular (pop) styles they believed kept the genre relevant and lucrative. Sinatra resulted in Eddie Arnold. Nickleback resulted Florida Georgia Line. This tactic has resulted in the genre becoming the #1 radio format in the country. Millions of album and ticket sales. Mainstream country has anticipated and met mass appeal as obsessively as McDonalds has tailored the McRib’s limited release model. This has resulted business success. Nothing is left to chance.

Not even Isbell’s nomination. Like nominee Chris Stapleton, Isbell is a low-risk way for Music Row to superficially address the recent bro-country backlash and give the impression to their customers that they’re new and improved. You know, like detergent.

But Isbell’s nomination, or even a win, will no more change the trajectory of Music Row than the nom/win would cause Isbell to start writing songs featuring dirt roads and girls in Daisey Dukes. Willie and Waylon didn’t change things. Neither did Dwight and Earle. Though I’m sure then, like now, there was self-satisfied chatter that Music Row finally changing for the better.

But better for who? I love the music of Americana and a recognize it’s richness, but I also recognize it’s not for everyone. Nor would I want it to be.

Much like the political landscape, there’s an element of one portion of the country wondering what the hell is wrong with the other portion. How could they possibly vote…er…listen to such garbage? There very little understanding of the fly-over states but plenty of tongue-clicking judgement. It’s the most vile form of arrogance, the kind disguised as empathy.

Music Row has taken Mark Twain’s statement about his own work, ‘My books are like water; those of the great geniuses are wine. (Fortunately) everybody drinks water.’ as it’s guiding principle of its own output. Music Row has a laser-focused bead on the NASCAR masses and work tirelessly to meet their market-tested needs. The resulting music doesn’t appeal to snobs like myself, nor is it designed to. But it makes millions happy with it’s Friday Night Lights scenarios appealing to a folks yearning for wholesome simplicity in an ever more complex world.

It’s not just music, it’s a psychological backdrop of hope, nostalgia and a little fear of the unknown. Whatever you think of that concept there’s no denying that it’s worked as a potent brand to adhere those desires to their product.

Isbell and his band deserve all the success, awards and resulting revenue currently coming their way. They came to it the hard way, roadweary and hard pressed (remember when their equipment trailer was stolen after a gig in Dallas?) Music in it’s purist form.

Mainstream Country and Americana are first cousins that fight at family gatherings. Both share the same cultural, thematic and instrumentation roots but each have taken them in their own direction. In many ways each exists as a result of the other. Alt.country spawned as a Johnny Cash finger response to the gloss of 80’s country. Americana to Bro-country. If one were to cease to exist the other would suffer in it’s unique role.

Any Americana artist that can, just for a moment, pierce the veil of Music Row’s brand to remind the world how inspiring and challenging music can be has done something special and hopefully enriches the cultural landscape and gives hope to aspiring country music artists that there’s something more to sing about than old trucks (maybe just in a more poetic way.)

Let’s just try not to be arrogant music dicks while all that greatness happens.

The 51st CMA Awards Monday, Nov. 8 at Bridgestone Arena in Nashville and will be televised on ABC.

Americana Music Association Announces Second Round of 2017 Americanafest Showcases

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AmericanaFest Announces Second Round of of 2017 Americanafest Showcases
Photo: (L-R) Top Row: Yola Carter, Drive-By Truckers, Iron & Wine
Bottom Row: Lukas Nelson, The Secret Sisters, Amanda Shires

Following the already stellar first round line-up announcement the Americana Music Association turned the yearly roots music showcase greatness meter firmly to 11.

The second round list of almost 300 artists slated to perform at the 18th Annual Americanafest roots music festival & conference plumbs deeper into the depths of Americana’s excellence than any other shocase of it’s type. Aside from stalwarts like Buddy Miller you get the new tradiitionalist like Elizabeth Cook and Hayes Carll as well as exciting young guns like Jade Jackson and Sammy Brue. Then there are my personal favorites Boo Ray, Angaleena Presley, Doug Seegers, Quaker City Night Hawks, The Secret Sisters, The Texas Gentlemen and don’t miss live performance by Whiskey Shivers. It’s also cool to see legendary folkers Iron & Wine’s Sam Beam on the list for the first time.

Conspicuously missing from the full list isthe most popular representatives of the genre – Chris Stapleton, Sturgill Simpson and Jason Isbell, though Amanda Shires is on the list and Jason’s been known to show up as a guest.

With the list of the 84 performers announced can be found below, bringing the current line-up to 187 artists, which can be viewed here.

Resister for the full six-day festival here, or get festival showcase wristbands here.

AMERICANAFESTâ„  Conference Registrations (currently $299 for members/$399 for non-members) offer priority admission into all showcase venues, sanctioned parties and events, daytime educational panels, and can be purchased here. At this time, only Conference Registrants may purchase Honors & Awards show tickets. If you’re just interested in the nightly showcases, a festival wristband will be your most suitable option at the wallet-friendly price of $75. Available on their website, a festival wristband grants admission into all showcase venues as well as select sanctioned parties and special events.

Second Round of Artists Confirmed to Play AMERICANAFESTâ„ :
The Accidentals
Amanda Shires
Angaleena Presley
Becky Warren
Ben Smith & Jimmy Brewer
Birdtalker
Bonnie Whitmore and Her Band
Boo Ray
Boy Named Banjo
Buddy Miller
The Cactus Blossoms
Cary Morin
Charly Markwart
Cody Canada & The Departed
Colin Hay
Cory Branan
Cris Jacobs
Dalton Domino
Darling West
Darrin Bradbury
David Ramirez
The Dead South
Dean Owens
Doug Seegers
Drive-by Truckers
Dustbowl Revival
Elijah Ocean
Elizabeth Cook
Emily Barker
Flatland Cavalry
Great American Canyon Band
Hayes Carll
Humming House
Iron & Wine
J.P. Harris
Jade Jackson
Joan Osborne
John Hiatt & the Goners
Joshua Hedley
Kaitlin Butts
The Kernal
Larry Campbell & Teresa Williams
The Last Bandoleros
Lee Roy Parnell
Lilly Hiatt
Lori McKenna
LUCETTE
Lukas Nelson
Marc Broussard
Mark O’Connor featuring the O’Connor Band
Matthew Ryan
The Mavericks & Friends
Michigan Rattlers
Nicole Atkins
Noam Pikelny
Nora Jane Struthers
North Mississippi Allstars
Phoebe Hunt
Quaker City Night Hawks
Robert Cray & Hi Rhythm
Rogue + Jaye
Romantica
Sammy Brue
The Secret Sisters
Shannon McNally
Steelism
The Steel Wheels
Suzanne Santo
SZLACHETKA
The Texas Gentlemen
The Tillers
Timmy The Teeth
Tom Brosseau
Tommy Womack
Travis Linville
Twisted Pine
Whiskey Shivers
Whitney Rose
The Wild Reeds
Willie Nile
The Wood Brothers
Wood & Wire
Woody Pines
Yola Carter

(EDIT) –FINAL ROUND ADDITION–

A.J. Croce
Amelia White and The Blue Souvenirs
Amy Black
Belle Plaine
Big Star’s Third Live
Billy Strings
Blackfoot Gypsies
Blair Crimmins and The Hookers
Bonnie Bishop
Brigitte DeMeyer
Caitlyn Smith
Cale Tyson
Carson McHone
Carter Sampson
Cat Clyde
Cereus Bright
Charlie Mars
Christian Lopez
Colin Hay
Colter Wall
Danni Nicholls
Danny Burns
Darling West
Dave Alvin
David Mayfield Parade
David Myles
Don Gallardo
Early James & the Latest
Eddie Berman
Escondido
Falls
Faustina Masigat
Front Country
Gill Landry
Grant-Lee Phillips
Harrow Fair
High Plains Jamboree
India Ramey
Jack Ingram
Jamie Kent
Jamtown
Jason Wilber
Jesse Dayton
Jimmy Lumpkin and the Revival
Joana Serrat
Joey Kneiser
Jon Langford
Joseph Huber
K Phillips
Kaia Kater
Kamara Thomas
Korby Lenker
Kristina Murray
Lee Ann Womack & Friends
Leyla McCalla
Liz Cooper & The Stampede
Lucie Silvas
Mark Erelli
Mary Bragg
Max Gomez
Me And My Brother
Motel Radio
Muddy Ruckus
Natalie Hemby
Old Sea Brigade
Otis Gibbs
Parsonsfield
Rachel Baiman
Rayna Gellert with Kieran Kane
Reckless Kelly
Reuben Bidez
Robby Hecht
Robyn Hitchcock
Ryan Tanner
Sam Outlaw
Sarah Shook & the Disarmers
Shane Nicholson
Shelby Lynne & Allison Moorer
Shelly Fairchild
Skyway Man
Taasha Coates
Tattletale Saints
Ted Russell Kamp
The Americans
The Lowest Pair
The Mulligan Brothers
The Steel Woods
The Stray Birds
Tony Joe White
Trout Steak Revival
Vikesh Kapoor
Webb Wilder
Wild Ponies
Will Hoge
Will Kimbrough
Zach Schmidt
Zephaniah O’Hora

Sturgill Simpson’s Unlikely Road to the Grammys

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Sturgill Simpson - Club DaDa - Dallas, Tx - 11/15/14

My first impression of Sturgill Simpson was of a man that embodied a duality of seemingly contradictory attributes – carefree determination. It was September of 2011 and over a pitcher of beer Simpson and I discussed his custom made telecaster (by him), the wonders of Bill Monroe and his recent debut on the stage at the Pickathon festival in Oregon a few days before. We also talked about his mini-tour he was then undertaking, with his then band Sunday Valley and his dad helping out with the driving, making way toward their new home in Nashville.

“Nashville? Why would you go there?” I asked him, believing Simpson’s “Outlaw” throwback style that placed him among contemporaries like Whitey Morgan or a more genteel Hank Williams III, would not fit well within the Music Row ear confection machine.

I believed this in 2011 but no longer do. After many trips, meeting many brilliant musicians and seeing dozens of great shows in Nashville and experienced the music community thriving outside of Music Row. I’m assuming that Simpson was aware of that burgeoning scene and had a long plan to work within that community and follow his music wherever it led him.

This eventually led him to a gig at The Basement where artist manager Marc Dottore first heard him. That led to representation by media relations firm
Sacks & Co, and the RED Distribution team. All working on the little more than faith that the man they represented tied the past to the future with a biting snarl and unabashed twang.

By 2013 I had a feeling that a tipping point had occurred. His performances at the Americana Music Association conference, a Bluegrass Situation and Groove records BBQ (see a clip below) showcases are still vivid memories, were heavily attended by people that didn’t go to any of the other conference’s live showcases. Many showed up in Sturgill concert t-shirts they had snatched up at one of the multiple sold-out shows he had performed tirelessly throughout the year.

Several years before I had merely strolled up to Sturgill in a seedy bar to engage him. Now I was in a journalist que at the Nashville Marriott, waiting my turn to be shepherded upstairs to the empty dining area overlooking the bustling lobby of the hotel. Once there Sturgill was the same man I remembered. Relaxed smile, talking about classic country, the fickleness of the music business, the absurdity that country music needs a savior. The discussion was insightful and the hour went by fast and, unfortunately, the recording of the discussion is lost to the ages due to a technology glitch.

Then came the breakout second album ‘Metamodern Sounds in Country Music’ produced by Dave Cobb. The album had universally positive reviews and helped to put both men on the hot musical map.

Then came the Late Show with David Letterman, Conan (twice), Jimmy Fallon, the Grand Ole Opry and at Austin City Limits and Keith Urban wearing a Sturgill concert shirt on American Idol.

What ‘Metamodern Sounds…” began 2016’s ‘A Sailor’s Guide to Earth’ completed in spades. The album bowed in at No. 3 on the Billboard 200, and No. 1 on the Top Country Albums chart, eventually hitting No. 1 Folk and
Rock Albums charts.

Now Sturgill is a two-time Grammy nominee up for Best Country Album for his least country album and for the big prize, Album of the Year award.

This isn’t Sturgill’s first Grammy nomination. ‘Metamodern Sounds in Country Music’ was up for Best Americana Album against John Hiatt, Keb’ Mo’, Nickel Creek and the winner Rosanne Cash.

Sturgill nomination for Album of the Year award isn’t the category’s first roots album. That distinction belongs to Ray Charles ‘Modern Sounds in Country and Western Music’ (where ‘Metamodern Sounds in Country Music’ cribbed its title) in 1963. If he wins Sturgill won’t be the first roots artist to win in that category. That would be Glen Campbell ‘By the Time I Get to Phoenix’ in 1969.

But Sturgill’s nomination for Album of the Year is significant in that it shows a teenage Sturgill out there watching that dogged diligence and a guiding independent spirit can lead you to a place where you can not only play your music to pay your bills, but you could be placed in contention with Adele, Beyoncé, Justin Bieber and Drake for national attention.

Win or lose this can open doors.

Simpson’s path is one of sheer will and self-determination that surprisingly touched a nerve in music fans starving for something real.

I’m pulling for him.

2016 Grammy Awards Nominees : Sturgill Simpson , Bob Dylan, Loretta Lynn – Margo Price Snubbed

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images

Nominations for the 2016 Grammy Awards have wee announced with the usual fanfare and one big surprise. let’s get the big one out of the way first, Reluctant outlaw country revisionist Sturgill Simpson might very well be on his way to achieving ‘the biggest country star on this planet‘ status by joining the glitterati ranks shared with Beyoncé, Drake, Justin Bieber, and Adele as nominees for the Album of the Year. there hasn’t been this much attention on the Grammy nominee announcements since Chorney-gate. This would seem improbable except that so many extraordinary things have happened since Simpson’s psychedelic-roots-soul epic ‘A Sailor’s Guide to Earth’ that it’s hard not to believe that it’s not all part of some master plan.

If Sturgill wins I dare Kanye to climb the stage to contest the decision.

Then there was the nomination of Simpson’s least country album for Best Country Album. But I’ve given on trying to read the recording academy mind a long time ago.

Other surprising nominations include Bob Dylan’s ‘Fallen Angels’ for Best Traditional Pop Vocal Album, Robbie Fulks’s ‘Upland Stories’ and Sierra Hull’s ‘Weighted Mind’ for Best Folk Album, and Loretta Lynn’s ‘Full Circle’ for Best County Album.

Lori McKenna is up for 4 Grammys including Tim McGraw’s ‘Humble And Kind’ for Best Country Song and Best American Roots Performance, Best American Roots Song and Best Americana Album and for her latest solo Dave Cobb – produced effort ‘The Bird & The Rifle.’

The biggest snub was against the only other person to garner almost as much ink as Sturgill Simpson. Margo Price was criminally overlooked by the recording academy for her splendid debut ‘ Midwest Farmer’s Daughter.’
And no love was shown for multiple Grammy-winning ex-Civil War John Paul White for his excellent solo offering ‘Beulah.’

And no Wheeler Walker Jr for best comedy Album? C’mon now!

What are your thoughts on the Grammy noms this year? What did they miss? Let me in know the comments.

The 59th Annual Grammy Awards air Sunday, Feb. 12, 2017, on CBS.

See the full list of nominees at Grammy.com

Best Country Solo Performance:
Brandy Clark — “Love Can Go to Hell”
Miranda Lambert — “Vice”
Maren Morris — “My Church”
Carrie Underwood — “Church Bells”
Keith Urban — “Blue Ain’t Your Color”

Best Traditional Pop Vocal Album:
Andrea Bocelli — ‘Cinema’
Bob Dylan — ‘Fallen Angels’
Josh Groban — ‘Stages Live’
Willie Nelson — ‘Summertime: Willie Nelson Sings Gershwin’
Barbra Streisand — ‘Encore: Movie Partners Sing Broadway’

Best Roots Gospel Album:
Gaither Vocal Band — ‘Better Together’
The Isaacs — ‘Nature’s Symphony In 432’
Joey+Rory — ‘Hymns’
Gordon Mote — ‘Hymns and Songs of Inspiration’
Various Artists — ‘God Don’t Never Change: The Songs of Blind Willie Johnson’

Best Country Duo/Group Performance:
Dierks Bentley Featuring Elle King — “Different for Girls”
Brothers Osborne — “21 Summer”
Kenny Chesney & P!nk – “Setting The World On Fire”
Pentatonix Featuring Dolly Parton — “Jolene”
Chris Young With Cassadee Pope — “Think Of You”

Best Country Song: (awarded to songwriters)
Clint Lagerberg, Hillary Lindsey & Steven Lee Olsen, songwriters (Keith Urban) — “Blue Ain’t Your Color”
Sean Douglas, Thomas Rhett & Joe Spargur, songwriters (Thomas Rhett) — “Die A Happy Man”
Lori McKenna, songwriter (Tim McGraw) — “Humble and Kind”
busbee & Maren Morris, songwriters (Maren Morris) — “My Church”
Miranda Lambert, Shane McAnally & Josh Osborne, songwriters (Miranda Lambert) — “Vice”

Best Country Album:
Brandy Clark — ‘Big Day In A Small Town’
Loretta Lynn — ‘Full Circle’
Maren Morris — ‘Hero’
Sturgill Simpson — ‘A Sailor’s Guide To Earth’
Keith Urban — ‘Ripcord’

Best American Roots Performance:
The Avett Brothers — “Ain’t No Man”
Blind Boys Of Alabama — “Mother’s Children Have A Hard Time”
Rhiannon Giddens — “Factory Girl”
Sarah Jarosz — “House Of Mercy”
Lori McKenna — “Wreck You”

Best American Roots Song: (awarded to songwriters)
Robbie Fulks, songwriter (Robbie Fulks) — “Alabama At Night”
Jack White, songwriter (Jack White) — “City Lights”
Eric Adcock & Roddie Romero, songwriters (Roddie Romero And The Hub City All-Stars) — “Gulfstream”
Vince Gill, songwriter (The Time Jumpers) — “Kid Sister”
Lori McKenna & Felix McTeigue, songwriters (Lori McKenna) — “Wreck You”

Best Americana Album:
The Avett Brothers — ‘True Sadness’
William Bell — ‘This Is Where I Live’
Kris Kristofferson — ‘The Cedar Creek Sessions’
Lori McKenna — ‘The Bird & The Rifle’
The Time Jumpers — ‘Kid Sister’

Best Bluegrass Album:
Blue Highway — ‘Original Traditional’
Doyle Lawson & Quicksilver — Burden Bearer
Laurie Lewis & The Right Hands — ‘The Hazel Sessions’
Claire Lynch — ‘North And South’
O’Connor Band With Mark O’Connor — ‘Coming Home’

Best Folk Album:
Judy Collins & Ari Hest — ‘Silver Skies Blue’
Robbie Fulks — ‘Upland Stories’
Rhiannon Giddens — ‘Factory Girl’
Sierra Hull — ‘Weighted Mind’
Sarah Jarosz — ‘Undercurrent’

Best Regional Roots Music Album:
Barry Jean Ancelet & Sam Broussard — ‘Broken Promised Land’
Northern Cree — ‘It’s A Cree Thing’
Kalani Pe’a — ‘E ‘Walea
’
Roddie Romero And The Hub City All-Stars — ‘Gulfstream’
Various Artists — ‘I Wanna Sing Right: Rediscovering Lomax In The Evangeline Country’

Best Album Notes
The Complete Monument & Columbia Albums Collection – Mikal Gilmore, album notes writer (Kris Kristofferson)
Label: Legacy Recordings
The Knoxville Sessions, 1929-1930: Knox County Stomp – Ted Olson & Tony Russell, album notes writers (Various Artists)
Label: Bear Family Productions Ltd.
Ork Records: New York, New York
Rob Sevier & Ken Shipley, album notes writers (Various Artists)
Label: The Numero Group
Sissle And Blake Sing Shuffle Along- Ken Bloom & Richard Carlin, album notes writers (Eubie Blake & Noble Sissle)
Label: Harbinger Records/The Musical Theater Project
Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1900- Richard Martin, album notes writer (Various Artists)

Best Historical Album:
The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition)
Steve Berkowitz & Jeff Rosen, compilation producers; Mark Wilder, mastering engineer (Bob Dylan)
Label: Columbia/Legacy
Music Of Morocco From The Library Of Congress: Recorded By Paul Bowles, 1959
April G. Ledbetter, Steven Lance Ledbetter, Bill Nowlin & Philip D. Schuyler, compilation producers; Rick Fisher & Michael Graves, mastering engineers (Various Artists)
Label: Dust-To-Digital
Ork Records: New York, New York
Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists)
Label: The Numero Group
Vladimir Horowitz: The Unreleased Live Recordings 1966-1983
Bernard Horowitz, Andreas K. Meyer & Robert Russ, compilation producers; Andreas K. Meyer & Jeanne Montalvo, mastering engineers (Vladimir Horowitz)
Label: Sony Classical
Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1900
Michael Devecka, Meagan Hennessey & Richard Martin, compilation producers; Michael Devecka, David Giovannoni, Michael Khanchalian & Richard Martin, mastering engineers (Various Artists)
Label: Archeophone Records

Best Engineered Album, Non-Classical
Are You Serious
Tchad Blake & David Boucher, engineers; Bob Ludwig, mastering engineer (Andrew Bird)
Label: Loma Vista Recordings
Blackstar
David Bowie, Tom Elmhirst, Kevin Killen & Tony Visconti, engineers; Joe LaPorta, mastering engineer (David Bowie)
Label: ISO/Columbia Records
Dig In Deep
Ryan Freeland, engineer; Kim Rosen, mastering engineer (Bonnie Raitt)
Label: Redwing Records
Hit N Run Phase Two
Booker T., Dylan Dresdow, Chris James, Prince & Justin Stanley, engineers; Dylan Dresdow, mastering engineer (Prince)
Label: NPG Records
Undercurrent
Shani Gandhi & Gary Paczosa, engineers; Paul Blakemore, mastering engineer (Sarah Jarosz)
Label: Sugar Hill Records

Jaason Isbell Leads Americana Music Award Nominees

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Americana Music Award Nominees
(L-R) Ethan Jodziewicz, Sierra Hull, Kenneth Pattengale, Lucinda Williams, Joey Ryan, Margo Price, Jed Hilly.
Photo by Sarah Como

The nominees for the 15th annual Americana Music Awards and Honors was announced yesterday from the historic Mansion on O Street in Washington, D.C. Aside from the odd elitism that an event from a ballroom of the luxury hotel symbolizes (the Mansion? I wonder if it’s on a hill?) it was an entertaining and fun event.

The event was streamed via Facebook’s new ‘Live’ feature exclusively through NPR Music’s Facebook page. The Milk Carton Kids — Kenneth Pattengale and Joey Ryan – were their usual droll elves. Ryan once making he connection between the event’s DC location and his vow to “Make Americana great again.” While donning a bright red cap emblazoned with that motto. It was huuuuuge.

Stellar performances by Lucinda Williams, Margo Price and Sierra Hull (who should be a nominee next year) with Ethan Jodziewicz put the spotlight on the purpose of the event – exceptional music by extraordinary musicians.

Alabama troubadour Jason Isbell continues his much-deserved success by leading the nominees with 3 nods for Album of the Year, Artist of the Year and Song of the Year. Lucinda Williams, Chris Stapleton and newcomer Margo Price each nominated for two apiece. Mainstream country crossover is reflected not only by Stapleton but also by Texan Kacey Musgraves

The 2016 Americana Music Association Festival and Conference is scheduled for September 20-25, with the awards ceremony being held at the historic Ryman Auditorium on Wednesday, September 21. Americana Music Association honors additional distinguished members of the music community with Lifetime Achievement Awards, which will be announced leading up to the event.

Jim Lauderdale is a natural as the proceedings host and Buddy Miller fronts the always exemplary house band.

Can’t make to to the event? Understandable, as it has sold out in recent years. But do not despair, the Americana Honors and Awards show will shown live on AXS TV and an edited version will show up on PBS at a later date. It will also be broadcast via SiriusXM Radio, BBC2, WSM and Voice of America.

South Carolina newcomers Shovels and Rope will lead the field with four nominations, followed by legendary Emmylou Harris and Buddy Miller each with three nods. I’m happy to report that a few of my choices made it on the list this year(Kelly Willis & Bruce Robison, YES!) and John Fullbright is up for Emerging Artist of the Year. Well if being nominated for the Americana Album of the year Grammy, as Fullbright was before losing to Bonnie Raitt, isn’t emerging the I don’t know what is. Dwight Yoakam’s dominance of the Americana charts earlier this year with his new release Three Pears (my review) also garnered him an Artist of the Year nod.

Here is the full list of the 2013 Americana Music Award nominees. Are your choices here?

ALBUM OF THE YEAR
Something More Than Free – Jason Isbell
The Ghosts of Highway 20 – Lucinda Williams
The Very Last Day – Parker Millsap
Traveller – Chris Stapleton

ARTIST OF THE YEAR
Jason Isbell
Bonnie Raitt
Chris Stapleton
Lucinda Williams

EMERGING ARTIST OF THE YEAR
Leon Bridges
John Moreland
Margo Price
Nathaniel Rateliff & the Night Sweats

SONG OF THE YEAR
“24 Frames” Jason Isbell
“Dime Store Cowgirl” Kacey Musgraves
“Hands Of Time” Margo Price
“S.O.B.” Nathaniel Rateliff & The Nightsweats

DUO/GROUP OF THE YEAR
Alabama Shakes
Emmylou Harris & Rodney Crowell
Lake Street Dive
The Milk Carton Kids
Tedeschi Trucks Band

INSTRUMENTALIST OF THE YEAR
Cindy Cashdollar
Stuart Duncan
Jedd Hughes
Sara Watkins