Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock and soul into contemporary terms. This gift has been a matter of common knowledge since 2002, when Broussard released his debut album, Momentary Setback, which he recorded and released independently at age20. It was no secret before then, going back to those lucky witnesses who heard him belt "Johnny B. Goode" onstage at age 5 while sitting in with his father's band-Louisiana Hall of Fame guitarist Ted Broussard’s-legendary The Boogie Kings.
In 2004, he released his major-label debut; Carencro, after the Louisiana town where he was born and raised, and the itsthematic centerpiece was a hickory-smoked slab of Bayou soul called “Home.” That album and the subsequent ones that followed revealed Broussard as an old-school Southern soul singer blessed with rarefied talent and innate stylistic and emotional authenticity.
On April 5th, Marc Broussard will be releasing a live albumHome (The Dockside Sessions). Broussard wanted to offer his fans something different prior to the release of his next studio album. Rather than a standard greatest hits package or a perfunctory live album, he had something different in mind. His upcoming release Home (The Dockside Sessions) accomplishes both, but in a unique way. It provides the audio tracks from the various videos Broussard has compiled over the course of his career, all of them recorded live at Dockside Studios near hisLafayette Louisiana home. The album includes a telling remake of Broussard’ssignature song - “Home.”
Although each of the 15 songs represents Broussard’s best-known material and fan favorites from throughout his storied career, Home (The Dockside Sessions) is more than simply a reminder of past glories. The material has been retooled and reinterpreted in stripped down aural settings, the result of which provides an intimate opportunity to share the inherent emotion Broussard invested in each of these soulful sessions.
While all the songs resonate as essential additives in Broussard’s repertoire--one informed by soul, blues, ballads and Americana–there is one song in particular that is of special significance to the artist himself. “Home,” the album’s title track, dates back to the dawn of his career. Once an anthem of hope and determination, it’s come to represent the tack and trajectory of both his life and career. Now, however, he sees the song in a different way, one that’s reflected in his earnest and emotive delivery.
“This song has given me a career,” Broussard remarks. “Without it, I don’t think I'd be where I am. However, when I hear the original, I hear a boy trying to sound like a big man. It needed a redo; something swampier and dirtier than before. Something that showed its age a little more honestly.”
Likewise, the connection with these videos is clear; these live performance videos have become an eagerly anticipated, ongoing endeavor. Collectively, they have garnered more than 30 million plays. His acoustic version of the classic “Cry to Me” has gained over 11 million views alone on YouTube.
Broussard is currently on his 2019 Winter/Spring Tour which includes a date at this year's New Orleans Jazz Fest on May 2nd. Tour dates below with more to be added soon. For more information visitwww.marcbroussard.com.
“A ‘yoke’ is something that holds things together. ‘Lore’ means a set of stories or a collection of ideas about an event, time, or culture,” explains Adrian Galvin, when asked about the meaning behind his musical moniker Yoke Lore. New York indie pop project Yoke Lore is the solo musical venture of Adrian Galvin, previously of Yellerkin and Walk the Moon. Yoke Lore layers the harmonies of Panda Bear, the soulful beats of M83, and the modern pop of Blackbird to tell“the stories of how we are bound.” Galvin’s songs combine echoing waves of banjo, vocals, and percussion to create arresting pop music with tactile candor and conviction. Galvin continues, “I want to tell stories about how memories, relationships, apprehensions, and big dreams hold us together. I think that exploring universal experiences both emotional and spiritual are best conveyed through the potency of personal stories. And music wields a power to render the very personal, epic.”
After putting out three acclaimed EPs which gained him a loyal following--FarShore(2016), Goodpain(2017), and Absolutes(2018)--2019’s Meditations strips several of Galvin's familiar songs to their core by trading the usual electronic elements for arrangements of piano, horns, and strings. “In re-interpreting it, I wanted to clear out everything but the song itself, so that people to whom it means something can glean a more refined experience of the song itself. Clear out the clutter, unburden yourself,” Galvin explains of “Beige (unburdened),” the reimagined version of his song “Beige” from theGoodpainEP. In addition to these re-interpretations, listeners will also find two new studio songs on the new Meditations EP.
2017, the year the Goodpain EP was released, was a turning point for Yoke Lore. His stand-out single “Goodpain” roused fans old and new--including Spotify, who invited Galvin to their New York City studio to record an acoustic version of the track, as well as two covers for his Spotify Singles: “Last Christmas” by Wham! and “Truly Madly Deeply” by Savage Garden. His holiday song graced Spotify’s Holiday Singles playlist alongside covers by Demi Lovato, Sam Smith, and Miley Cyrus. Yoke Lore also found an unexpected new fan in popstar Taylor Swift, who added his cover of “Truly Madly Deeply” to her “Songs Taylor Loves” Spotify playlist in 2018.
Three years of non-stop touring (supporting acts like Bastille, LP, Frenship, Overcoats, The Pains of Being Pure at Heart, and Aquilo) and playing festivals worldwide (SXSW, The Great Escape, Field Trip, Billboard Hot 100) led to Yoke Lore’s first US headline tours, selling out shows all over the country. In 2019, Yoke Lore will make appearances at Bottle Rock Napa Valley and Firefly Festival, following an east coast headline run and some European dates as well. The new acoustic EP, Meditations, is due out June 2019.
your favorite band's favorite band
On their new album Glazed, *repeat repeat delivers a batch of songs entirely true to the album’s title: sugary and sticky and impossibly shiny, all glistening harmonies and candy-coated hooks. But beneath the gloss lies something more jarring and jagged, a raw vitality generated by the Nashville band’s buzzy rhythms and blistering guitar work. Fortified by the distinctly thoughtful songwriting of husband-and-wife duo Jared and Kristyn Corder, the result is an album that finds an unlikely power in irrepressible sweetness.
The follow-up to 2017’s Floral Canyon, Glazed marks a period of major growth for *repeat repeat, who’ve spent the better part of the last few years touring, highlighted by a 2018 debut at the Bonnaroo Music and Arts festival that saw them lavishly praised by Rolling Stone, who hailed them as “Most Enthusiastic Rockers”. In bringing the new album to life,*repeat repeat worked closely with producer Patrick Carney (drummer for the Black Keys and producer for such artists as Arctic Monkeys, BlackLips, and Tobias Jesso Jr.), immersing themselves in a more rigorous songwriting and recording process than they’d ever attempted before.
“Patrick was deeply involved in every aspect of the album, and it sparked this whole new level of creativity in all of us,” says Jared, who serves as lead vocalist, guitarist, and main songwriter for *repeat repeat. “He was adamant about pushing us and working on something until we got it exactly right. It was really challenging at times, but I think it taught us how to make the best song that we can possibly make.”
In another monumental shift, Kristyn expanded her role far beyond anchoring *repeat repeat’s bold harmonies, playing keyboards, and directing the band’s design aesthetic, moving on to writing guitar parts and lyrics for the band. On lead single “Hi, I’m Waiting,” the increased depth of their collaboration reveals itself in tender expressions of affection, unfolding in swinging melodies and crunchy guitar riffs and lyrics capturing a quiet sensitivity (e.g., “You say when you want me/I want you when you do”). “So many love songs come from a place of demanding love, or feeling like it’s owed to you,” Jared points out. “I liked the idea of conveying a different romantic sentiment, especially as an astraight white male—I mean, the least we can do as dudes is wait.”
All throughout Glazed, *repeat repeat bring a certain defiance to their songs, a passionate refusal to let the world crush their optimism. With its dizzying textures and driving beat, “Head On” makes a glorious case for defining your own destiny. Darkly charged but no less exuberant, “Apocalyptic” finds the band facing a doomsday scenario with unabashed romanticism (“The idea behind that song is, ‘If this is the end of the world, let’s go down holding hands,’” notes Kristyn). And on “Pressure,”*repeat repeat lament the endless stresses of modern times, while their determined vocals and urgent guitar work speak to sheer indomitability.
At the heart of Glazed is the kinetic tension that’s fueled *repeat repeat since the band’s inception; the wildly differing sensibilities of Jared (a former punk-rock kid raised on Bad Religion and Black Flag) and Kristyn (a California girl who grew up on the Beach Boys and the Mamas and thePapas). “This band is truly a combination of Jared’s most authentic and creative self and my most authentic and creative self, and how those two things combine to make something new,” says Kristyn. But despite their undeniable chemistry, the two initially had no intentions of forming a band together. Meeting soon after Jared moved to Nashville, the couple got engaged several months later, as Jared first set about getting *repeat repeat off the ground. It wasn’t until Jared teamed up with producer Gregory Lattimer and set to work on the band’s first album that Kristyn made her way into the lineup.
“Gregory told me that the most punk-rock thing you can do is write a good love song, and I took that to heart and started writing all these songs about our relationship,” Jared recalls. “I knew I wanted a female singer in the band so I had Kristyn on a couple demos, and as soon as Gregory heard them he said, ‘I think you just found your girl singer.’ It all just took off from there.” Adds Kristyn: “ I have a performing arts degree, but being in a band isn’t an adventure I necessarily saw myself going on. Joining *repeat repeat has certainly made everything so much more fun, so maybe it’s something I was subconsciously moving toward the whole time.”
Through the years, the duo’s singular dynamic has manifested in *repeat repeat’s magnetic stage presence, with Jared bringing a joyfully rebellious spirit and Kristyn channeling a subtle effervescence. “The music we make is really an extension of our life together,” says Jared. “A day on the road is no different from a day on our honeymoon.” To that end, the title to Glazed partly nods to a greeting card Jared gave to Kristyn on a recent anniversary. “It was a picture of donuts and the message said, ‘You’re a rainbow sprinkle in a sea of glazed,’” Jared explains. “I thought that was a really sweet sentiment, but there’s also a double meaning to it: the world right now has such a frenetic energy, and it makes people kind of glaze over after a while. We wanted to create something that takes you out of that reality—music that makes you feel hopeful and positive and empowered, and just completely leads with love.”
An orphan who turned into a preacher
A preacher who turned into a songwriter
A songwriter that turned into a drunk
A drunk that is learning to be a human being
Travis Meadows spent years trying to escape himself. He’s anything but selfish, so he’d find a way to get away––a bottle, a bag, a sermon––and he’d share it with everyone. That was then. Now, Meadows isn’t trying to get anybody lost or high. Instead, he’s trying to get every single one of us to settle in deeply to ourselves––and love what’s there.
“I feel like what I’m doing is giving people permission to be okay with who they are, where they’re at now,” Meadows says. “A lot of us say stuff like, ‘If I’d been married to this guy or this girl, or if I had enough money, or if I had a better job. If I wasn’t an alcoholic, or if I drank more. If this, if that, then, I think I could be a better person.’” He pauses. “I think the key to life is being okay with who you are.”
Meadows isn’t just waxing poetic about the perks of self-acceptance. The 52-year-old has clawed his way to the peace he’s found, and his willingness to map that journey through his songs has saved more lives than his own. On his anxiously awaited new album First Cigarette, Meadows proves once again that when he sings the truth he’s living, he can set us all free. “I’ve always put secrets in my records, but I had this ring of fire that nobody could get in––a defense mechanism from my childhood. Nobody gets too close,” he says. “I think this record is a way of me letting people in a little more, inside the ring of fire.”
Disciples have been dancing by Meadows’ fire for years. Eric Church, Dierks Bentley, Jake Owen, Mary Gauthier, Brandy Clark, Blackberry Smoke, Hank Williams, Jr., Wynonna Judd, Randy Houser, and others began writing with, recording, and praising Meadows as soon as they heard his work. Songs such as “Riser,” the title track for Bentley’s 2015 album; Church’s “Knives of New Orleans” and “Dark Side”; and Owen’s “What We Ain’t Got” are all Meadows-penned chart-climbers.
Much of the attention began in 2010, when Meadows self-released Killin’ Uncle Buzzy, a raw masterpiece that left listeners stunned. “I was in rehab, and one of my counselors suggested that I keep a journal, so I basically made a record out of that journal,” Meadows says. It became an unlikely phenomenon, handed from friend to friend and artist to artist with whispers of, Listen. It’s the best thing you’ll hear all year. In 2013, Meadows followed Killin’ Uncle Buzzy with the acclaimed Old Ghosts and Unfinished Business. “On Killin’ Uncle Buzzy, you’re listening to a guy trying to figure out how to get sober,” Meadows says. “Then two years later, I was sober, but I wasn’t that guy anymore. That’s what ‘Old Ghosts’ was––me just trying to move forward. I feel like this record is more accessible. People can listen and go, ‘Well, hell. I’ve done that, too.’”
An intimate record utilizing just Meadow’s blues-hewn voice and mostly acoustic guitar with pops of electric and other strings, First Cigarette is an intensely relatable meditation on love, acceptance, and redemption––an artistic and personal triumph, especially for a man whose early life was defined by loss and pain. At the age of two, Meadows watched his baby brother drown. When his parents divorced, he wound up living with his grandparents rather than either of his parents. “My dad went and got married and had a baby, and they were almost a normal family,” Meadows says. “And my mother also went and almost had a normal family, whatever that is.” His thick Mississippi accent makes the ‘r’ at the end of father and mother soft in his mouth. “I was over there with my grandparents like, ‘Well what the hell happened to me? Why am I not good enough to be part of that family?’ I carried that resentment for a long time.”
Adversity would remain a constant in Meadows’ youth. At the age of eleven, he began using drugs. At fourteen, he was diagnosed with cancer. He would go on to beat the disease, but not before it cost him his right leg from just below the knee. Meadows picked himself up and began playing drums––“They’d sneak me in the back door and I would play for people in bars”––but tired of lugging all that gear and picked up the harmonica. “I could put all my instruments in a Crown Royal bag, and I would sing and play the blues,” he says. Then, in his 20s, Meadows underwent another conversion: he became a Christian. He preached across the South and in 20-something countries for 17 years. “Preachers fall hard,” he says. “I had some questions I didn’t like the answers to. So I quit and went back to my old friend alcohol.”
First Cigarette benefits from all of the battles Meadows has lost and won, including his now seven years––and counting––of sobriety. Album opener “Sideways” is a gut punch. A blend of confession and advice, the song explores what happens when emotion is stifled. Meadows wrote “Sideways” after performing and speaking at an adolescent addiction treatment center. He asked the kids there, all younger than 18, if anyone wanted to share their story. A girl raised her hand, spoke, and broke Meadows’ heart. “She floored me,” he says. “I said, ‘Well, I’d want to get high too. How did that make you feel?’ One tear came down her cheek. She rubbed it away and said, ‘I don’t feel nothin’.’ One of the counselors and I were talking later. If the only tool you have is a hammer, you’re going to treat everything in your life like a nail.”
“Pray for Jungleland” channels Bruce Springsteen as it celebrates him, nostalgic for love at eighteen and a world that revolves around Friday night. Written with Drew Kennedy, the song is the first of several on the album that capture youth with misty-eyed levity––a departure from Uncle Buzzy that Meadows is clearly enjoying. “McDowell Road” serves as a thematic bookend for “Jungleland,” while the slow-building “Pontiac” offers anchoring advice and warm memories as hopes for young hearts.
A standout on an album stacked with gems, “First Cigarette” features searing vocals that shift back and forth between defiant muscle and naked delicacy. “I am little more content, I am little more content with who I am than who I was,” Meadows sings. “I have learned to love the comfort when it comes, like the first cigarette the morning buzz.” Written with Connie Harrington, “Hungry” showcases Meadows’ unique ability to haunt and soothe at the same time. “Hunger is the thing that motivates us to get up and try again,” he says. “I pray that I never lose that hunger.” The gorgeous “Better Boat” takes another moving look at Meadows’ hard-won contentment.
“Life can be a little challenging for all of us. It’s beautiful and it’s tragic, it’s awesome and it hurts,” Meadows says. “I hope people sense that through this record and want to come to a show, which is a lot of storytelling, a lot of tears, a lot of laughter. They’ll come face to face with a damn lot of humanity. I hope they see themselves in it.”
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Shelly Fairchild isn’t new to the industry–but she’s far from old news.
A staple in the Nashville music community, Fairchild hit the scene to much acclaim with her Columbia Records debut album Ride. The project introduced the young artist’s soulful, gospel-tinged brand of alternative country and spawned a Top 40 hit with “You Don’t Lie Here Anymore.” She toured with some of the biggest names in the format, including Rascal Flatts, Keith Urban and Tim McGraw, and began to dig her roots in the industry. She again found success in her second release, Ruby’s Money, which came steeped in a thick groove with elements of funk–but it was Buffalo, her crowd-funded 2017 release, that marks a milestone in her life and career.
“I’m sincerely grateful for both the good and bad things that have happened in my life. Everyone that I’ve met and worked with over the 20 years that I’ve lived in Nashville has made me who I am, and I will always carry that in my soul,” says Fairchild. The Jackson, Miss. native started the project in May 2014, launching a Pledge Music campaign in the hopes that she would find support of her endeavor–and after reaching her goal in just two days, she realized she had. Fairchild's 3rd full-length studio record was fully funded and buoyed by the faith of her friends, family and fans.
The next two years saw Fairchild working with some of her most inspirational industry co-writers. “House on Fire,” an aching ballad reflecting on the weight of one’s past, was the first song that she remembers finishing and feeling confident that it deserved a spot on her record. Co-written by Fairchild along with Lisa Carver and Travis Meadows, the track features subtle but classic country instrumentation and the soft harmonies of one of her favorite bands, the Fairground Saints.
From there the singer/songwriter continued to pen songs that she felt carried an important message to either herself or the world around her. Guided Jeremy Lister and Carey Ott, Fairchild recorded eight of her co-written tracks for the record that would become known to her fans as 'Buffalo'. Though she tackled some serious topics in her writing, Fairchild felt extremely uplifted by her own work and that of others.
“I love singers and songwriters,” she smiles. I love to have camaraderie and deep friendships with great singers and musicians. I feel like our community in Nashville is so rich and some of my favorite voices are my friends. I am so fortunate to have worked with so many great artists on Buffalo like Wendy Moten, Lucie Silvas, K.S. Rhoads, Fairground Saints, and of course Carey & Jeremy. My heart felt like it was going to explode by the end of the recording process.
"Not only does Buffalo emphasize its diversity by featuring guest vocalists, but it also highlights a wide array of musical styles and influences.
“There are a lot of different elements to the music that I make,” says Fairchild. “How do you describe some of the best bands that you know? They ended up on pop radio or on country radio, but are they really that kind of act? I have so many influences and I love having them show up in my songs. It feels like that kind of music lasts longer, because it feels real.”
As for the name of her last full length album to date, Fairchild says, "In many Native-American cultures, the buffalo is a symbol of gratitude and abundance. I am from Choctaw ancestry and I completely connect with the idea that though buffalo carry a lot on their shoulders, their horns are always pointing up to the sky. There’s always this hope that the weight will be lifted."
A longtime hidden gem in the trove of Nashville musicians, Fairchild continues to keep her head and her heart pointing up to the sky. Between singing background vocals for the likes of Jason Aldean, Eric Church, Martina McBride, Crystal Gayle (to name a few), appearing as a regular on The Grand Ole Opry, writing songs for film and television, touring across the country and continuously working on future projects, it is clear she is just getting started.“At times I’ve gotten down about my own path, but when I really take a good look at it–it’snot just full of detours and dead ends,” she said. “It’s a wide path, and it’s full of so many spontaneous and amazing things.”
It’s only a matter of time until Hollywood snaps up the story of how singer-songwriter Bonnie Bishop connected with Dave Cobb, one of the hottest producers in the business, to unlock her inner soul singer and record the best album of her career: “Ain’t Who I Was” (May 27; Thirty Tigers/RED).
Even though Bishop can barely believe it herself, it’s a story that will need no dramatic embellishment, because every twist of fate — and faith — is absolutely true.
Before landing with Cobb, whose credits include Jason Isbell, Chris Stapleton and Sturgill Simpson, Bishop had thrown in the towel on her country-leaning career, too frustrated, beat-up and broke to go on after 13 years, five albums and one failed marriage. It landed on the rag pile despite monogramming by her idol, Bonnie Raitt, who recorded a Bishop/Big Al Anderson co-write on her comeback album, “Slipstream.” The song, “Not Cause I Wanted To,” topped the New York Times’ year-end best-of list, then “Slipstream” won 2012’s Best Americana Album Grammy. Bishop also popped onto iTunes’ country chart in 2013 with a song delivered by Connie Britton, the star of ABC-TV’s hit series “Nashville.”
But a girl can only live so long on accolades and exposure. After spending 200 nights a year on the road — loading her own gear, running her own sound and sleeping in her van — and still not earning enough to afford Christmas presents for her family, Bishop knew she’d hit a dead end.
“I started to break down mentally and physically from the stress,” she confesses. When a panic attack sent her to a Nashville emergency room, she was told to take a rest. So Texas-raised Bishop, who’d moved to Nashville in the hopes of writing Raitt-worthy songs, retreated to her parents’ ranch in Wimberley, outside of Austin. Feelings of failure and despair gnawed at her psyche; she went into mourning for the death of her dream.
“I spent three months crying and feeling sorry for myself, then decided I had to figure out what to do,” explains Bishop, her voice bright and cheerful. “I had all these amazing stories from the road, and I started writing them down as a way of healing. Then stories from childhood started coming out, and I started seeing these threads in my stories in a way that allowed me to celebrate what I had done, instead of beating myself up for having failed. I thought maybe I could make a career doing that. So I applied to graduate school.”
But before leaving Nashville, she called Thirty Tigers co-founder David Macias, whose multi-faceted entertainment company handles Lucinda Williams, Patty Griffin, Simpson and Isbell — whose Cobb-produced release won 2015’s Best Americana Album Grammy.
“David always believed in me,” Bishop says. “I told him what was going on in my life, and he said, ‘I don’t think your music career is over. You just need to make a great record with a real producer.’”
He sent Cobb some demos. Cobb invited her to lunch. At the time, he was working with Stapleton, recording what would become 2015’s Best Country Album Grammy winner and 2016’s ACM Album of the Year.
Bishop flew to Nashville to meet him. Cobb told her she should be singing soul, not country, and that he’d been wanting to record a soul album.
She was thrilled. As a child in Houston, she’d heard her surgeon father, a former musician, playing blues piano, and her cellist mother spinning Motown singles. After they split, her mother married football coach Jackie Sherrill, who took a coaching job at Mississippi State.
“I am from Texas, but there’s a lot of Mississippi in me,” Bishop offers. “I definitely got my soul from hanging with all the black girls in choir there. That’s how I learned to sing.”
She credits her late songwriter friend Tim Krekel with helping her rediscover her “bluesy voice.” Krekel had also written with Stapleton, and when Cobb mentioned to Stapleton and his wife, Morgane, that he was meeting Bishop, Morgane said, “I love Bonnie Bishop’s voice! You have to do this record!”
Bishop didn’t even know Stapleton had co-authored her favorite Krekel song, “Be With You,” when she added it to her setlist after singing it at his funeral (he passed away from cancer in 2010). It’s one of several standout tracks on the album. But before she recorded it — or any others — she had to face another series of panic-inducing challenges.
“It was very scary for me to make the mental space for hope to live again, because I was so afraid of getting my heart broken by music,” she admits. “I had doubts about whether or not I could still even sing. I was nervous as hell.”
Plus, she had no idea what Cobb actually had in mind. “I just had to trust this person,” Bishop notes. “At the same time, I’m having this huge mental battle because I’d worked so hard to kill this dream, and then here I am … it required complete faith that there was a purpose to this.”
She also had debt from the semester she’d just completed in the graduate creative writing program at Sewanee University of the South, outside of Nashville. (Bishop earned her undergraduate degree in sociology and musical theater from the University of Texas.) When her album investor bailed at the last minute, her friend and manager, Dave Claassen, had to talk her down from another freak-out, reassuring her that it would somehow work out. (His motto, she says, is “just show up.”)
Cobb picked six songs from her list of 36, including six she co-wrote, and they found two more. One is “Done Died,” a spiritual he discovered on YouTube, sung by an old Mississippi bluesman named Boyd Rivers. Cobb had been saving it for someone special; when she heard it, she cried.
“That’s totally how I feel, like I died and I’m coming back to life,” she explains. “I’d already had that spiritual transformation years before, but now I’m having it again musically.” In Bishop’s version, which slinks like a full-bellied crocodile from gutbucket blues to raw, unfettered soul, her sandstone voice captures the frenzy of a born-again believer as it rises to the heavens.
“[Cobb] knew that I had a deep story that I wanted to tell and he really helped me do that,” Bishop says. It’s a story of transformation, expressed in lyrics of longing, loss, loneliness and finally, resurrection.
“The record is called ‘Ain’t Who I Was’ because I’m not the same person I was, personally or musically,” says Bishop. “I was at a point where I just didn’t know anymore. I didn’t even have a vision, and this amazing producer came alongside me and believed in me and pulled my voice back out and made me get back up and sing.”
She chokes up while describing the experience, but one thing is clear: Her vocal prowess was never an issue. She just hadn’t worked with someone who knew how to unleash its full power. On this release, she gets right to it with the funky opener, “Mercy” (recorded as “Have A Little Mercy” by Ann Sexton), answering wah-wah guitar licks with a gritty groove. Then she gets soft and whispery on “Be With You,” creating a sound so intimate, its almost as if the listener becomes the lover she’s singing to.
On “Not Cause I Wanted To,” she confesses to her ex how much pain she carries after leaving him; if the ballad, which takes us to church with a Wurlitzer-filled bridge, somehow sounds even more soulful than Raitt’s version, it’s because this writer lived it.
Bishop again laments that hurt, but with a completely different approach, on “Too Late,” a co-write with Ford Thurston. Here, she conjures Dusty and the Supremes while dancing through a storm of needle-sharp guitar notes.
“It was simple arrangements and cool grooves, and I loved the sounds I was hearing as we recorded,” Bishop says. “It’s the record I always wanted to make and didn’t know how. And Dave did. Without having ever seen me live, just hearing three acoustic demos, he pulled it out of me when I thought was dead. It was such an incredible thing.”
But she really gets to the heart of the matter with “Broken,” one of three she penned with keyboardist Jimmy Wallace. It’s a sweeping, emotion-filled ballad, tailor-made for playing over a movie’s closing credits. When Bishop lets loose on the chorus, singing, “I don’t wanna be /Broken anymore/Don’t wanna see pieces of me/Shattered on the floor,” you can hear every tear she spilled while writing those lines. It truly is a knockout performance.
When Macias heard it, along with the other tracks they’d done, he announced Thirty Tigers would pay for the album and help get it heard.
“All these Davids believed in me and brought me back to life,” says Bishop. “I feel like I’m truly living a fairy tale. All I do on a daily basis now is get up and say thank-you, Jesus that this is all going on and show me how to show up today. Show me how to show up and not think too hard about it and not beat myself up and not allow what happened in the past to affect what I do today. … That is the gift that Dave Cobb gave me. And I’m so grateful and so excited.”
She’s also thankful she recorded with Cobb when she did; his work is winning so many awards, he’s more in demand than ever.
If Bishop and Cobb should share an award someday, that’ll be icing for the movie. But with or without that scene, she knows the message she wants it to convey: That dreams do come true. As long as you keep believing.
“Dreams are lifetime visions,” Bishop says wisely. “And life is valleys and mountains. And if you can accept that, you’ll be fine.”
J & the Causeways
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New-Aged original soul band “J & The Causeways” were founded on a hot summer night in New Orleans at the famous Maple Leaf Bar. Singer/Songwriter Jordan Anderson envisioned a group infectiously authentic and soulful that audiences could practically feel its warm embrace at any given show. With a powerfully energetic rhythm section, tasteful songwriting, stunning lead vocals, and wonderfully intricate guitar and horn melodies, the group began sculpting a robust festival-style sound, winning over crowds at French Quarter Fest, Po-boy Fest, Acadia MusicFest, Hogs for the Cause, Rock n Roll Marathon, Best of the Bayou Fest, and many more. J & TheCauseways have shared the stage with notable acts such as: The Revivalists, Sublime, George Porter Jr., Better Than Ezra, Marc Broussard, Sugar Ray, Young the Giant, Cowboy Mouth, Ivan Neville's Dumpstaphunk, Tab Benoit, ect. When they are not on tour, J & The Causeways regularly perform at Maple Leaf Bar, Ace Hotel New Orleans, Howlin Wolf, and Tipitina’s. J & The Causeways Debut EP will be released in 2019!
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Mississippi is a state known for its storytellers, and that’s certainly a term that applies to Jackson indie-rockers Empty Atlas.
Formed in 2014, Empty Atlas packs poignant narratives of life experience into gripping, melodic indie-rock music. Lyricist and vocalist Micah Smith fronts the outfit, which released its debut full-length album “Hestia” in December 2016,shortly before bassist Alex Ingram, guitarist Brennan Michael White and drummer Bobby Hansford joined, cementing the band’s permanent lineup.
In August 2018, Empty Atlas released its latest single, “Short Fiction,” recorded with engineer Nick Smith at Dipping Vat Studio and mixed by multi-Grammy nominee Mark Needham. They are currently recording their sophomore full-length album while performing throughout the region.
In his young career, pop/soul artist Sam Mooney has already reached #1 on the iTunes Singer/Songwriter Chart, performed from Los Angeles to Boston, and shared the stage with many of his musical heroes. The Mississippi native’s piano-driven sound has earned commercial success and critical acclaim, drawing comparisons to artists such as John Mayer, Ben Rector, and early Maroon 5. Mooney has recently opened large shows for artists including Judah & The Lion, COIN, The Band CAMINO, Dylan LeBlanc, AmericanAuthors, and Kings Kaleidoscope. Coming off the biggest year of his career thus far, Mooney released his debut full-length album, “Time Bomb” on May 10th, 2019.
Born and raised in Tyler, Texas, Chance Pena is a 19 year old singer/songwriter and producer. Making music from an early age, he has cultivated a unique style of traditional storytelling infused with modern musical influences. After building a following by writing and performing in his hometown, Chance competed on season 9 of the hit TV show, The Voice, at age 15. His experience on the show and working with coach Adam Levine further advanced his knowledge and confidence as an artist. When the show wrapped, he began working with Secret Road Music Publishing as a songwriter and saw immediate success. Peña continues to cultivate his artistry by writing, producing, engineering and performing his own songs. Peña plans to release a full EP in 2019 viaSecret Road Records.
Raised in small town Alabama, ALLY found her voice in high school and quickly fell in love with performing. However, it wasn’t until 2017 that she found her style, her vibe and her words that would soon amount to the fresh R&B sound that she has today. With her hip-hop and gospel influences, she is known for an art that doesn’t quite fit her physical appearance, yet comes straight from her soul in the form of smooth melodies, quirky rhymes, and blunt authenticity. The 20 year old Nashville resident thrives off of creativity, diversity, and a strong belief to never become a follower.
Ryan Warnick is a singer-songwriter from Tupelo, Mississippi. From Folk to Soul-Pop, Ryan writes songs for all genres and loves using music to tell a story. Ryan’s songs are a medium to communicate experiences in a relatable and memorable way. As a student at Mississippi College, Ryan has played many shows on-campus and also in the greater Jackson area, enjoying getting to meet people at each show. Ryan plans on releasing his debut album in August.