Irwin Finger
As Roaming the Arts followers may have already guessed, I support artists both known and overlooked. RTA especially supports artists seen or known from personal connections. Irwin Finger has delighted folk audiences for over fifty years. Most recently he has performed a “live song” every morning for all of us cranky shut-ins.
Along that line and the recent passing of John Prine check out his sweet rendition of “Hello in There.”

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Honeydogs
Brothers Noah and Adam Levy were already veterans of the Minneapolis rock scene when they formed The Honeydogs in 1994. Elder brother Adam spun his favorite country, soul and rock influences into a vintage-sounding batch of songs on the band’s eponymous 1995 debut featuring bassist Trent Norton. Noah took time off to record and tour with Golden Smog featuring members of The Jayhawks, Wilco, Their second outing, featuring added guitarist Tommy Borscheid, Everything I Bet You (1996) further honed the band’s merging of country and rock, sounding like a Flying Burrito Brothers/Beatles/Clash hybrid. The band toured extensively and secured a major label deal with Mercury Records–leading to their first commercial release, Seen A Ghost (1997 )
Now, in the mid-2020s, a new Honeydogs album is in the works, while for the last five years, Adam Levy has joined forces with two lovely voices to form Turn Turn Turn and tour around the country when they venture from their hometown Minneapolis.
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Lucinda Williams
Three-time Grammy Award winner, Lucinda Williams has been carving her own path for more than three decades now. Born in Lake Charles, Louisiana, Williams had been imbued with a “culturally rich, economically poor” worldview. Several years of playing the hardscrabble clubs gave her a solid enough footing to record a self-titled album that would become a touchstone for the embryonic Americana movement – helping launch a thousand musical ships along the way.
While not a huge commercial success at the time Lucinda Williams (aka, the Rough Trade album) retained a cult reputation, and finally got the reception it deserved upon its reissue in 2014. Jim Farber of New York’s Daily News hailed the reissue by saying “Listening again proves it to be that rarest of beasts: a perfect work. There’s not a chord, lyric, beat or inflection that doesn’t pull at the heart or make it soar.”
For much of the next decade, Williams moved around the country, stopping in Austin, Los Angeles, Nashville, and turning out work that won immense respect within the industry (winning a Grammy for Mary Chapin Carpenter’s version of “Passionate Kisses”) and a gradually growing cult audience. While her recorded output was sparse for a time, the work that emerged was invariably hailed for its indelible impressionism — like 1998’s Car Wheels on a Gravel Road, which notched her first Grammy as a performer.
The past decade brought further development, both musically and personally, evidenced on albums like West (2007), which All Music Guide called “flawless…destined to become a classic” and Blessed (2011), which the Los Angeles Times dubbed “a dynamic, human, album, one that’s easy to fall in love with.” Those albums retained much of Williams’ trademark melancholy and southern Gothic starkness, but also exuded more rays of light and hope. This all lead to the 2014 release of Williams’ first double studio album Down Where The Spirit Meets The Bone. The album received overwhelming praise from the media and fans, thus proving that Williams’ songwriting is as strong and important as it has ever been.
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