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Molly Tuttle

Molly Rose Tuttle is an American vocalist, songwriter, banjo player, guitarist, recording artist, and teacher in the bluegrass tradition. She is noted for her flatpicking, clawhammer, and crosspicking guitar prowess. Wikipedia

“A female flat picker extraordinaire with agility, speed, and elegance who distinctively brings American roots music into the spotlight.”—NPR

“A vibrant blend of bluegrass with flashes of Old West, anchored by Tuttle’s earthy-yet-angelic vocal and the entire group’s ace musicianship.” —Billboard

Raised in northern California, singer-songwriter and bluegrass musician Molly Tuttle moved to Nashville in 2015. In the years since, she has been nominated for a Best New Artist Grammy and won awards for Album of the Year at the 2023 International Folk Music Awards, Female Vocalist of the Year at the 2022 International Bluegrass Music Awards, and Instrumentalist of the Year at the 2018 Americana Music Awards. She also won consecutive Guitar Player of the Year awards from the International Bluegrass Music Association in 2017 and 2018—and was the first woman to win the award, let alone win it twice.

Tuttle and her band, Golden Highway, released their latest album, City of Gold, in July 2023. The Grammy-winning album followed Tuttle’s acclaimed 2022 record, Crooked Tree, which also won a Grammy for Best Bluegrass Album. Produced by Tuttle and celebrated progressive bluegrass musician Jerry Douglas, City of Gold was inspired by Tuttle’s constant touring with Golden Highway, during which she and the band have grown and cohered as musicians and performers. Musical Instrument Museum

Her song Crooked Tree (video w/Jerry Douglas) also visits the subject of Alopecia Areata (article) and Molly.

Steinar Ytrehus

This is what is online:

Steinar Ytrehus is a guitarist and recordingartist from Norway. He started out playing the guitar when he was 15 years old, and soon after he started recording music on his Tascam 4track Taperecorder. Since then he has always been making and recording music . Some of his songs were even used on several Norwegian TV shows. The music is a mix of blues, rock, country, jazz and Americana.

For some years he was an active remixer on Indaba music, and he won several contests. When Indaba Music was discontinued he decided to just write and record his own music. Until the end of his remixing career he only made instrumentals, but from now on he started writing lyrics and doing the vocals too.

The result was the release of his debut album Dark Songs in early 2020. The following year he also released 4 singles and he did some collaborations with other artists.

After building up a brand new studio in 2021, he has now finished a new album called “Black Coffee and Sweet Lovesongs” which was released on the 17th of June 2022.

What makes this musician interesting to Roaming the Arts:

Given, he is channeling the sound of other artists, especially Mark Knopfler, but he is writing very good original music, recording and marketing it himself on platforms such as Spotify, and creating a brooding, melancholy sound that is hard to stop listening to. His recent single “Call me King,” is another good example why Steinar Ytrehus deserves, and will be getting more attention well beyond the borders of Norway.

Follow him on Facebook and Instagram.

Randall Bramblett

Jesup, Georgia native, multi-instrumentalist Randall Bramblett may be known as Southern Rock Royalty for playing on stage with rock heroes like Bonnie Raitt, The Allman Brothers Band, Steve Winwood (16 years), Widespread Panic. And respected for his songwriting – Bettye LaVette, “The Great Lady of Soul” just released an album of 11 of his songs in June 2023. He also penned the title track for the Grammy nominated Blind Boys of Alabama’s album Going Home, adding to a long catalog of songs covered by Raitt, Gregg Allman, Bonnie Bramlett, Hot Tuna, Delbert McClinton and more. But it’s Bramblett’s own career as frontman, creating 12 albums, where his artistry is in full display.

“One of the South’s most lyrical and literate songwriters.” Rolling Stone

“Randall Bramblett is the William Faulkner of Southern music” Hittin’ the Note

“He’s a soulful, poetic badass if ever there was one.” Marc Cohn

The video featured above is an old one, but a favorite song. (ed.) For more recent video click onto his website below.

Band of Heathens

Performance Video — Heaven Help Us All

When The Band of Heathens decided to dub their sixth studio album of original material Stranger (its first since 2017’s Duende), the veteran band, formed in Austin, TX nearly 15 years ago, had no idea how prophetic that title would turn out to be. Although the name references the famed existential Albert Camus novel and Robert Heinlein’s sci-fi classic Stranger in a Strange Land, it also touches on the “strangers” who make up the band’s loyal fan base, who supported the band during this period with all touring canceled.

As co-founder Ed Jurdi acknowledges, it is certainly an unusual time to release a new album. “The strangest,” he says. “Maybe no time stranger. Since we started, there have been sweeping, revolutionary changes in the music business, but, in this global pandemic, we’re just a microcosm.”
“We’re really fortunate that we have been able to turn directly to our fan base during the pandemic,” adds fellow co-founder Gordy Quist. “The last few months we’ve spent four nights a week live-streaming personal private concerts to fans, and one night a week publicly live-streaming with the whole band Zooming in from their respective homes in California, Texas, North Carolina and Tennessee. At first it seemed very strange until
these walls started coming down and we realized how connected we are by the fabric of music.”

Extending the metaphor of Stranger even further. The Band of Heathens traveled to another city, Portland, OR, with a brand-new producer, Tucker Martine [The Decemberists, My Morning Jacket, Modest Mouse, Camera Obscura], and the result is something different – a more airy, intimate atmosphere, with added emphasis on songcraft and intricate arrangements set in a spacious sonic landscape that reinvents the band’s sound. These are songs stripped of pretense, but teeming with the emotion borne of personal experience, as has been The Band of Heathens’ method from the very start. Stranger moves off into a new place, but still echoes the group’s artful songwriting and multi-layered narrative observations.

The Stranger was released in 2020 and is a top ten roots rock album riding high in the charts.

Eilen Jewell

From: Bernard Zuel – Music Journalist

FULL DISCLOSURE: WHY THE RULES HAVE CHANGED FOR EILEN JEWELL

MAYBE IT’S THE MIDWEST UPBRINGING of politeness and reserve that lay behind it. Maybe it’s the natural defence of someone who already was out and exposed as an artist in a corner of Americana that values the personal as much as the historical. Whatever it might be with Eilen Jewell, in about 13 years of interviewing her, she has always shown herself adept at talking about her songs and her life in a way that deflected personal revelations.

It’s not that she didn’t answer questions, but those answers made the generalities of her characters the focal point and gave just enough to let us see how she’d build relationships to them but not be defined by them. It was politely done of course, and was not without things to chew on given a sharp intelligence and an eye on American culture whether it was her love of Loretta Lyn and Howlin’ Wolf, the pay gap between the sexes, or political resistance as something of a progressive island in a state that’s anything but.

Well, things have changed with the coming record, Get Behind The Wheel. Not only has Jewell written an album that came out of the Covid-era breakup of her marriage to long-time drummer, co-manager, and co-parent, Jason Beek, and some deaths in her wider family, but she has been talking openly, frankly, about her circumstances.

It’s hard to imagine that was a comfortable transition, not least because growing up in Idaho you kept your business to yourself, but you have to wonder if it has been dragged out of her, or did she feel it was inevitable and stopped fighting.

“It is really new for me to talk about anything having to do with my personal life,” the Boise-based Jewell says. “But this time around it seemed like it would be wrong to not discuss it because this album is so, so directly influenced by everything that I’ve gone through in the past couple of years. I just feel like I would be lying if I said ‘oh, I don’t know, it’s just about people and things’ [she laughs].

“Also the pandemic taught me that that there’s something really important about sharing parts of ourselves. That’s what sharing my music is [and] I guess it dawned on me this actually could be a good thing for me, it could open me up to my fans and there’s a chance there could be some cathartic sharing on both sides.”

There probably won’t be any problems getting her fans to share their thoughts next month when she will spend several weeks in Australia (heaven knows we’re not a quiet bunch), but when you put these things out like Jewell is now doing, not only are you exposing yourself but you are setting the agenda for how things are interpreted. And this is before even considering that Beek is still playing in her band and will be on the tour.

How people interpret your songs and your album, and inevitably yourself, will be shaped by these revelations and explanations. Is that a good thing? Was it even planned?

“The label was saying you’ve got to figure out how to talk about this new album, so I was like, yeah, shoot, I’ve gotta decide how much do I want to disclose? How much do I want to set the stage for these songs?,” she says. “Because, yeah, in the past I’ve not done that and thought that the songs should stand on their own and people can interpret them how they want. People are still free to interpret them however, obviously, but this album really did occur at a particular point in time for me. It was a disaster of a moment in my life this album was born out of, beyond anything else I’ve ever experienced, and I felt this album deserved an exception to my normal rule.” It was time? At 43, maybe it’s as simple as that.

“I guess I do want to talk about this stuff, this stuff being the pandemic, the divorce that came out of that, or coincided with it, and then family losses, people near and dear to me – not even Covid-related, but just one after another,” Jewell says. “For the first time in my life it feels cathartic to talk about what was going on behind the scenes. I don’t think it’s necessary information to appreciate the album, but there’s a few Neil Young albums where I gleaned he was going through a particular thing in his life and then read later that in fact, yes that’s happening, and something about that makes me appreciate the album just a little bit more. I have a sense of who he is more.”

From a long low base of knowledge about the album so far – it’s not yet available to media, let alone the public, though we will hear some songs from it at her March shows – a title like Get Behind The Wheel suggests maybe taking control of her life, or at least setting the direction. How did she handle this resetting and reclaiming of control?

“It’s really been a mixed bag,” she confesses. “I think when I wrote that song – the song that contains that phrase ‘get behind the wheel’ is called Alive – I felt so inspired to take control and have agency, it was all very new. I was like, well, so much is crashing down around me but this is an opportunity to just up inside my life in a really authentic way. And that’s still present, but I’m also realising that it’s much harder than it sounds, and sometimes [she laughs ruefully] it’s awful.” No one would blame her for looking away.

“There’s part of me that would just love to drift around and say ‘I don’t know, someone else take the wheel: I’m getting tired already’,” says Jewell. “But I was guilty of some of that for many years, going with the flow with my career, and my personal life too … being cooperative, and they really comes at a cost eventually. You can’t keep whittling your life away like that. Eventually you realise that your heart is not fully in it, and there’s always a reckoning with that.” When she looks at who she was, even three years ago, and who she is now, how does she judge that person?

“I … think … that … person … was … somewhat,” she says slowly, before a long pause. “Somewhat overeager to find distractions. The old me really didn’t want to look at life just as it is. The old me was always kind of looking into the future, thinking about how things will be better or should be better, or the past. The here and now was something that I tended to avoid. “But all we really have is the here and now. The past is gone and the future is a fantasy.”

Hiss Golden Messenger

Describing the Durham-based Hiss Golden Messenger is like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook—the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano—provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness—our delicate, tightrope balance of dark and light—that offer fully engaged contemporary commentary on the present. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it. Merge Records

Jimmy Carpenter

Jimmy Carpenter is on a roll. For over 40 years Carpenter has plied his trade as Saxophonist, singer-songwriter, and arranger. Having won the 2021 and 2022 Blues Music Award for Best Instrumentalist/Horn, he is nominated again in ’23, his 8th nomination overall. He is also a Grammy-Winning Composer, for a composition he contributed to the New Orleans Nightcrawlers’ winning album, Atmosphere. After many years living and working in New Orleans, Jimmy now resides in Las Vegas, where he serves as Musical Director of The Big Blues Bender.

Praise for The Louisiana Record, Released September 2022 on Gulf Coast Records:
The Louisiana Record is the kind of set that will get your whole neighborhood dancing if played loud enough. Get it and get going! Mike O’Cull, Rock and Blues Muse

“I enjoyed this album from start to finish. Carpenter does a great job on vocals and tenor saxophone throughout and the bands does an exceptional job, too!” Steve Jones, Blues Blast Magazine

“Carpenter’s singing seems to get more soulful with every outing..” Grant Britt, No Depression

“This has really become an album that can really get a party started.” Bluestown, The Netherlands

“Tenor sax man Jimmy Carpenter reminds me of 50s and 60s R&Ber King Curtis, with his big sound grooving through vintage juke box tunes of that period.” George W Harris, JazzWeekly.com

“I have been a Jimmy Carpenter fan for 20 years, from the first time I heard him play with Jimmy Thackery. He’s always been one of the premier sax players around. But Jimmy is also a stellar songwriter and singer. His voice is at its best on ‘Soul Doctor’, Jimmy’s best record to date. This album oozes cool and rocks hard with a classic sound that only Jimmy Carpenter can bring to the table.” — Mike Zito

Willie Porter

Willy Porter is a contemporary American rock musician and singer-songwriter from Mequon, Wisconsin. He is a graduate of the University of Wisconsin-Eau Claire. In April

Willy Porter Biography

by Richard Skelly – from Allmusic.com

Like Greg Brown, John Hammond, Leo Kottke, Stephen Fearing, Richard Shindell, Kelly Joe Phelps, and so many others, Willy Porter is often at his strongest as a solo act. He does work with a band periodically, but given the economics of touring in recent years, he seems to perform more frequently accompanying himself with guitar and mandolin. Porter honed his chops the natural way, busking across Europe and playing every little coffee house and dive bar on both sides of the Mississippi. He’s a veteran performer who takes his audiences with him on the journey. He elicits a rare kind of communication between artist and audience, mostly because he’s able to read his audiences so well.

Porter was raised near Milwaukee, and his first big breaks were playing theater-sized shows there and in Madison. As could be expected from someone from this part of the country, there’s an element of blues in Porter’s singing and songwriting and in most of his live shows, although he’s best thought of as a contemporary singer/songwriter, straight out of the world of folk music. He began playing viola, a notoriously difficult instrument to master, in his youth, but found he lacked the discipline for classical music as a career path. He had a revelation in his teens when he found Leo Kottke’s album, “6 & 12 String Guitar.” Kottke‘s playing opened up new vistas for Porter, who began playing guitar after dropping his viola studies.

As the occasion or tour dictates, you can catch Porter solo or with a backing band of veterans from Wisconsin.

Neal Francis

Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n’ roll. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Colemine Records

“The reincarnation of Allen Toussaint.” Craig Charles, BBC Radio 6

“Think New Orleans meets the Midwest with a little bit of California sun shining in the background.” -TwinCitiesMedia.net

“There’s a good chance you’ll have heard of Francis by the time the year is over…classic Funk, Soul and R&B.” Cincinnati CityBeat

“…gleefully mired In 70s style funk.” – NPR

“Soulful style…uplifting vibe…” – Dusty Groove

“Instant Americana-funk classic…R&B, blues and touches of gospel and good old fashioned funk merge into pure beauty and soul here, making the appetite and excitement for whatever Francis does next all the more intense.” – Record Crates United

The Cactus Blossoms

“Hey baby, do you wanna take a trip with me? / I’ve got a feeling there might be a silver lining all around.” So begins One Day, the captivating new album from critically acclaimed Minneapolis duo The Cactus Blossoms. Written and recorded during the COVID-19 pandemic, the record explores the tension between optimism and despair that’s defined much of the past few years of American life, examining the power (or naïveté, depending on your perspective) of positive thinking in the face of chaos and uncertainty. The songs here are tender and timeless, with straightforward arrangements centered around brothers Jack Torrey and Page Burkum’s airtight harmonies, and the performances are warm and intimate to match, delivered with a soulful, ’70s-inspired palette of playful Wurlitzer, breezy guitars, and muscular percussion.

The Cactus Blossoms broke out nationally in 2016 with their JD McPherson-produced debut, You’re Dreaming. Dates with Kacey Musgraves, Jenny Lewis, and Lucius followed, as did raves from the New York Times and NPR, who praised “the brothers’ extraordinary singing.” The band was further catapulted into the spotlight in 2018, when David Lynch tapped them to perform in the return of Twin Peaks, and continued to build on their success with their 2019 sophomore LP, Easy Way, which led Rolling Stone to laud the duo’s “rock-solid, freak of genetics harmonies.” High Road Touring

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