Podcasts about Americana

In Episode 30, DDSWTNP once again use the occasion of the Nobel Prize (which on October 9, 2025, was awarded to Hungarian author László Krasznahorkai) to talk about a prize Don DeLillo did win: the 2013 Library of Congress Prize for American Fiction. We dig into the award presentation and an interview he gave then about his whole career, from how he begins his novels and finds their structures, to the reading he did on a park bench in the 1950s, the influence advertising work had on his writing, and the inspiration he has found in the artistry of jazz and film. This episode culminates on the title question, “So what?”, which is the revealing remark DeLillo remembers making upon seeing Americana in published form – and a key, we think, to understanding the humility, ambition, and restless work ethic that has driven his work over the five decades since. For the reader new to DeLillo, this interview and episode offer a good overview of his major concerns and literary techniques. And for readers at any stage with DeLillo's fiction, this one also goes well with our previous two Nobel episodes, 3 and 17, where we discuss his “The Artist Naked in a Cage” and “A History of the Writer Alone in a Room.” Listen to this episode too for many other callbacks to our earlier episodes, including 5 and 28. For video of the Library of Congress Prize presentation and the interview of DeLillo conducted by Marie Arana, an editor at the Washington Post, go to: https://www.youtube.com/watch?v=AObZbCKlEc8&t=722s Thanks for pointing out and providing some sources for this episode to: Tim Personn (https://linktr.ee/timpersonn), Joel in Toronto, and Curt Gardner (https://perival.com/delillo/delillo.html). Texts and passages referred to in this episode: John Freeman, “Q & A: Don DeLillo – It's not as easy as it looks,” San Francisco Chronicle, March 5, 2006. (On DeLillo seeing the film Satantango; see an excerpt at https://perival.com/delillo/ddinterviews.html) From William Gaddis's J R, Gibbs's thoughts on writing a novel: “Sixteen years like living with a God damned invalid sixteen years every time you come in sitting there waiting just like you left him wave his stick at you, plump up his pillow cut a paragraph add a sentence hold his God damned hand little warm milk add a comma slip out for some air pack of cigarettes come back in right where you left him, eyes follow you around the room wave his God damned pillow change bandage read aloud move a clause around wipe his chin new paragraph God damned eyes follow you out stay a week, stay a month whole God damned year think about something else, God damned friends asking how he's coming along all expect him out any day don't want bad news no news rather hear lies, big smile out any day now, walk down the street God damned sunshine begin to think maybe you'll meet him maybe cleared things up got out by himself come back open the God damned door right there where you left him . . .” David Foster Wallace, “The Nature of the Fun” (1998). Reprinted in Both Flesh and Not: Essays (2012). 

Episode 335: Leslie Jordan, the Nolensville, TN-based songwriter not the late comic actor and singer, makes a major statement in her pivot from a robust career in Christian folk/pop to storytelling Americana with The Agonist. It's a song cycle that fleshes out the story of her late grandfather, a conflicted and complex man who left his family in Indiana when Leslie's mother was four years old. Through a unique collaboration with a collection of his posthumous journals and writings, she builds a world and a character, holding him accountable while investing his story with dignity. It's beautifully produced with Kenneth Pattengale and is one of the most impressive albums of 2025.   

Chris Hillman, the original bassist of The Byrds, comes on the Goldmine Podcast to talk to staff contributor Lee Zimmerman. As a frequent collaborator with guitarist Gram Parsons and the Flying Burrito Brothers, Hillman became a key figure in the development of country rock. His work with not only The Byrds and the Flying Burrito Brothers, but also Manassas and the Desert Rose Band, helped define the Americana genre. On this podcast episode, Hillman discusses the past — especially his relationships with Parsons and David Crosby — and what he is up to in the present (the release of a limited-edition, double live album by The Desert Rose Band titled Live at The Country Music Hall of Fame and Museum). Learn more about your ad choices. Visit megaphone.fm/adchoices

Rhett sits down with Philip Lupton and Truett Heintzelman, the two young Texans behind Briscoe, a harmony-rich Americana duo making waves with their sophomore album, Heat of July. Recorded in Nashville during AmericanaFest, the conversation covers the band's early days at UT Austin, their musical roots, and their thoughtful approach to songwriting and performance. Rhett and Briscoe discuss the realities of being a young band in a fast-moving industry—balancing ambition with patience, dealing with imposter syndrome, and staying true to their craft. Out now! Listen to Rhett's new album “A lifetime of riding by night” https://rhettmiller.com/ Wheels Off is hosted and produced by Rhett Miller. Executive producer Kirsten Cluthe. Music by Old 97's. Episode artwork by Mark Dowd. Show logo by Tim Skirven. This podcast is available on Apple Podcasts, Spotify, or wherever you get your podcasts. You can also ask Alexa to play it.   Revisit previous episodes of Wheels Off with guests Rosanne Cash, Rob Thomas, Jeff Tweedy, The Milk Carton Kids, and more. If you like what you hear, please leave us a rating or review. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode was recorded on August 24th, 2025 at the Robinson Grand Performing Arts Center in Clarksburg, WV. The lineup includes Robert Randolph, Carolyn Wonderland, Patty Larkin, and Nellie McKay. https://bit.ly/472AlQd

What a great show we have for you this week! The hilarious and talented John Craigie travels to eTown Hall from Portland, Oregon along with his band. Also on the bill is the Americana songstress, Jobi Riccio who comes to us from just down the road in Morrison, Colorado. She shares songs from her Nashville debut - Whiplash. Nick also interviews the first Native American Chair of the National Endowment for the Humanities - Shelly C. Lowe. That's all this week on eTown!  Visit our Youtube Channel to see artist interviews, live recordings, studio sessions, and more! Be a part of the audience at our next recording: https://www.etown.org/etown-hall/all-events/ Your support helps us bring concerts, tapings and conversations to audiences while fostering connection through music, ideas and community. If you'd like to support eTown's mission to educate, entertain and inspire a diverse audience through music and conversation, please consider a donation: https://www.etown.org/get-involved/donate-orig/.

Chris X Blayney, host of The Chris X Show on KSEV Houston interviews Amie Ichikawa, Independent Women Ambassador, at Texas Values 8th Annual Texas Faith Fest (2025). ABOUT THE CHRIS X SHOW Native Houstonian Chris X Blayney has been known in Houston's Talk Radio circuit for gripping dialogue and his high profile guests such as Congressman Allen West, Rocker Ted Nugent, Project Veritas' James O'Keefe and many others. Chris X got his start in radio in 1999 where he soon began co-hosting ‘Streettalk' weekday afternoons and in a short amount of time, the show became a hit in the Houston market. Chris invites callers to join him in a dialogue that sometimes gets heated, but always entertains. ChrisX radio takes a unique look at our world and all of the issues that drive the sociological environment that we call “Americana.” Even though the debate is often fierce, humor and quick wit is what keeps ChrisX radio far from mundane. With a stream of high-profile guests and steady callers, ChrisXradio educates and entertains. ~ Help us build our channel so we can maintain a culture of Faith, Family, & Freedom in Texas by interacting with us; like, comment, share, subscribe! For more about Texas Values see: Txvalues.org To support our work, go to donate.txvalues.org/GivetoTexasValues

Chris X Blayney, host of The Chris X Show on KSEV Houston interviews Keisha Russell, Senior Counsel, First Liberty Institute, at Texas Values 8th Annual Texas Faith Fest (2025). ABOUT THE CHRIS X SHOW Native Houstonian Chris X Blayney has been known in Houston's Talk Radio circuit for gripping dialogue and his high profile guests such as Congressman Allen West, Rocker Ted Nugent, Project Veritas' James O'Keefe and many others. Chris X got his start in radio in 1999 where he soon began co-hosting ‘Streettalk' weekday afternoons and in a short amount of time, the show became a hit in the Houston market. Chris invites callers to join him in a dialogue that sometimes gets heated, but always entertains. ChrisX radio takes a unique look at our world and all of the issues that drive the sociological environment that we call “Americana.” Even though the debate is often fierce, humor and quick wit is what keeps ChrisX radio far from mundane. With a stream of high-profile guests and steady callers, ChrisXradio educates and entertains. ~ Help us build our channel so we can maintain a culture of Faith, Family, & Freedom in Texas by interacting with us; like, comment, share, subscribe! For more about Texas Values see: Txvalues.org To support our work, go to donate.txvalues.org/GivetoTexasValues

Chris X Blayney, host of The Chris X Show on KSEV Houston interviews Kylee Alons, ICONS Ambassador, at Texas Values 8th Annual Texas Faith Fest (2025). ABOUT THE CHRIS X SHOW Native Houstonian Chris X Blayney has been known in Houston's Talk Radio circuit for gripping dialogue and his high profile guests such as Congressman Allen West, Rocker Ted Nugent, Project Veritas' James O'Keefe and many others. Chris X got his start in radio in 1999 where he soon began co-hosting ‘Streettalk' weekday afternoons and in a short amount of time, the show became a hit in the Houston market. Chris invites callers to join him in a dialogue that sometimes gets heated, but always entertains. ChrisX radio takes a unique look at our world and all of the issues that drive the sociological environment that we call “Americana.” Even though the debate is often fierce, humor and quick wit is what keeps ChrisX radio far from mundane. With a stream of high-profile guests and steady callers, ChrisXradio educates and entertains. ~ Help us build our channel so we can maintain a culture of Faith, Family, & Freedom in Texas by interacting with us; like, comment, share, subscribe! For more about Texas Values see: Txvalues.org To support our work, go to donate.txvalues.org/GivetoTexasValues

Chris X Blayney, host of The Chris X Show on KSEV Houston interviews Payton McNabb, Independent Women Ambassador, at Texas Values 8th Annual Texas Faith Fest (2025). ABOUT THE CHRIS X SHOW Native Houstonian Chris X Blayney has been known in Houston's Talk Radio circuit for gripping dialogue and his high profile guests such as Congressman Allen West, Rocker Ted Nugent, Project Veritas' James O'Keefe and many others. Chris X got his start in radio in 1999 where he soon began co-hosting ‘Streettalk' weekday afternoons and in a short amount of time, the show became a hit in the Houston market. Chris invites callers to join him in a dialogue that sometimes gets heated, but always entertains. ChrisX radio takes a unique look at our world and all of the issues that drive the sociological environment that we call “Americana.” Even though the debate is often fierce, humor and quick wit is what keeps ChrisX radio far from mundane. With a stream of high-profile guests and steady callers, ChrisXradio educates and entertains. ~ Help us build our channel so we can maintain a culture of Faith, Family, & Freedom in Texas by interacting with us; like, comment, share, subscribe! For more about Texas Values see: Txvalues.org To support our work, go to donate.txvalues.org/GivetoTexasValues

October 2025's edition of Roots Rendezvous. Playlist: Artist - Album - Track. 1 Carson McHone - Pentimento - Interlude. 2 Alex Williams - Space Brain - Night Train. 3 Caitlin Canty - Night Owl Envies the Mourning Dove - Electric Guitar. 4 Otis Gibbs -The Trust Of Crows - Holy River Blues. 5 Ashley Monroe - Tennessee Lightning - Hot Rod Pipe Dream. 6 Freight - Old Bones - Big Bright Moon. 7 Nicki Bluhm - Rancho Deluxe - Falling Out Of Dreams. 8 Robert Plant - Saving Grace - As I Roved Out. 9 Ron Sexsmith - Hangover Terrace - Camelot Towers. 10 Coyle Girelli - Out Of This Town - Out Of This Town. 11 Liam St John - Man Of The North - Greyhound Bus Blues. 12 Morgan Wade - The Party Is Over - Left Me Behind. 13 Rubi Ate The Fig - Desert Electric - Caress The Moon. 14 Janet Devlin - Not My First Emotional Rodeo - Daddy. 15 Cass McCombs - Interior Live Oak - Asphodel. 16 Mountain Climer - Before You Turn Out the Lights - From a Bedroom in Denver. Size: 169 MB (177,905,664 bytes) Duration: 1:13:58

Nuestra abogada de inmigración nos va a echar una mano despejando algunas dudas sobre un tipo de visa que te pueden dar en Estados Unidoa a pesar de tener algunas faltas penales o incluso que hayas estado en la cárcel. Mantente al día con los últimos de 'El Bueno, la Mala y el Feo'. ¡Suscríbete para no perderte ningún episodio!Ayúdanos a crecer dejándonos un review ¡Tu opinión es muy importante para nosotros!¿Conoces a alguien que amaría este episodio? ¡Compárteselo por WhatsApp, por texto, por Facebook, y ayúdanos a correr la voz!Escúchanos en Uforia App, Apple Podcasts, Spotify, y el canal de YouTube de Uforia Podcasts, o donde sea que escuchas tus podcasts.'El Bueno, la Mala y el Feo' es un podcast de Uforia Podcasts, la plataforma de audio de TelevisaUnivision.

Welcome to this new episode with Nashville based singer-songwriter Noah Floresch. If you are a first time listener to the podcast we welcome you. If you have listened before, you know how we love discovering new artists and sharing their story with you. Noah is an Americana artist who shares his creative process and discusses his brand new project "Francis Aquarius." I hope you love Noah as much as we do. Thanks to Claude for supporting us. Try Claude for free by going to Claude.ai/buzz Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Friend of the show Kashena Sampson returns to discuss her transformative new album, Ghost Of Me—a powerful cycle of letting go and rising again, structured around the phases of the moon. Kashena details her shift from Americana to a dark, industrial pop/rock sound, how she intentionally aligned her singles ("Rear View Mirror," "Phases") with specific lunar milestones, and the "vampire-style" arrangement she demanded for her song "Heartache." The Power of Shadow Work: When she started her journey of introspective growth and why quitting alcohol 19 years ago was the catalyst for her personal transformation. The New Nashville Dilemma: The contradiction of maintaining spirituality while navigating the demands of social media and the pressure to constantly compare yourself to other artists on stage. The making of the defiant torch song, "F*cked Up Love." Working with producer Jon Estes and guitarist B.L. Reed. Find Kashena Sampson's new album, Ghost Of Me, everywhere you listen to music today. ___ Uber Eats: Get up to 40% off Halloween essentials. Order now, on Uber Eats. https://www.ubereats.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, we spend quality time with new records from Wednesday and Amanda Shires, spin fresh tracks from Parlor Greens, Tune-Yards and The Mountain Goats, and give it up for season two of HBO Max's Peacemaker. All this and much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

Welcome to this new episode with Nashville based singer-songwriter Noah Floresch. If you are a first time listener to the podcast we welcome you. If you have listened before, you know how we love discovering new artists and sharing their story with you. Noah is an Americana artist who shares his creative process and discusses his brand new project "Francis Aquarius." I hope you love Noah as much as we do. Thanks to Claude for supporting us. Try Claude for free by going to Claude.ai/buzz Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

In this episode, we sink our teeth into Near Dark (1987), the gritty, neo-western vampire classic directed by the legendary Kathryn Bigelow. This film blends horror, romance, and blood-soaked Americana in a way that still hits hard decades later — and we're kicking off our month-long vampire movie celebration with it!But I'm not going at it solo this time… Joining me for this dark ride is Joe La Scola from @MovieDumpster⁩ . Together, we'll dig into the film's unforgettable cast, haunting atmosphere, and what makes Near Dark stand out from your typical vampire flick.It's the start of our Spooky Month — all vampire movies, all October long!#NearDark #KathrynBigelow #VampireMovies #MovieReview #SpookySeason #MovieDumpster #HorrorCommunityFollow Us: Instagram: https://www.instagram.com/video_villa_entertainment TikTok: https://www.tiktok.com/@videovillaentmt Facebook: https://www.facebook.com/profile.php?id=100086204155260&mibextid=LQQJ4d Website: https://www.videovillaentertainment.com

The podcast returns to talk about another Kacey Musgraves album in The Deeper Well with Americana artist Pien! She and Matt talk about the influence of the album on her own music alongside how complex the country genre can be. Host: Matt LathamGuests: Pien------------Listen to The Spotify Hall of Fame PlaylistEmail: Pick A DiscFollow us on:Bluesky | Instagram | FacebookPick A Disc(Ord) Discord ServerListen to We Dig Podcasts Shows: @wedigpodcasts | LinktreeLogo designed by: Dan Owen

In this episode, I shine the spotlight on The Unfaithful Servants through a conversation with singer, guitarist, and songwriter Dylan Stone From Vancouver Island's roots scene to a week immersed at IBMA in Chattanooga, the Servants have built a sound that slips past easy labels: tight three- and four-part harmonies, fearless arrangements, and a blend of bluegrass, folk, alt-country, and Americana that still feels unmistakably like one band.Dylan walks me through the Servants' arc: his partnership with mandolinist Jesse Cobb (a founding member of The Infamous Stringdusters), the jolt of energy when fiddle phenom Quinn Etheridge-Peddon joined, and the final puzzle piece in bassist Mark Johnson. We discuss the chemistry that's palpable onstage and how trust enables them to push beyond genre boundaries while always prioritizing the song.Their new album, Fallen Angel (out October 17), captures that identity. The band converted Quinn's basement into a studio. It brought in producer Adrian Dolan to keep it honest and alive, arrangements evolving in real time, performances that breathe, and the raw cohesion of a working band. We also explore their next steps: incorporating listening-led improvisation into writing (akin to jazz school rather than “endless solo”) and planning U.S. runs in 2026 from the Pacific Northwest down the coast and inland.The title track “Fallen Angel” is out now on all platforms.Band lineupDylan Stone — vocals, guitar, songwritingJesse Cobb — mandolin, instrumental writing, vocalsQuinn Etheridge-Peddon — fiddle, vocalsMark Johnson — bass, vocalsTo learn more about The Unfaithful Servants, visit their website.Music from the Episode:Fallen Angel (The Unfaithful Servants)Real to Touch (The Unfaithful Servants)Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

London-based photographer and writer Michael Collins talks about: The flat where he's lived for 35 years, which is getting ‘Wallace & Gromit' crowded; how he keeps film in his deep freeze (aka freezer) as opposed to anything edible, and how he's happy to shop for the day, while he points out that Brits see American refrigerators and are overwhelmed by how large they are; and by the way, we're also bludgeoned by advertising here, compared with the UK and Europe; how he sees our social media consumption as giving in to the impulsive at the expense of the rational, a battle he gives in to daily for a half hour on IG…and how sometimes, you just want to look at a panda falling out of a tree; why readers (of books) make better viewers of artworks; how when his photographs are printed at full scale (4 x 5 feet) you can walk into them and how part of photography's schtick is that it's nosy, that it admits everything in it; his takeaways from giving a presentation at the Hampstead Photographic Society, in which have the members bolted for the door at the break; the importance of 19th century photography to understanding the history of photography, and how it's not shown enough in museums (at least in London); how he started studying politics, but switched over to art, initially stumbling into photography as an editor at a teenage girl's magazine, then moving to The Observer, and then he became picture editor at the Daily Telegraph, where he realized, amidst a more rushed editorial structure that went with predictable stock photographers, that the most interesting photography was not there to fulfill another's agenda, but in pursuit of independence, to fulfill its own agenda.  This podcast relies on listener support; please consider becoming a Patreon supporter of the podcast, for as little as $1/month, here: https://www.patreon.com/theconversationpod In the 2nd half of our conversation (available on Patreon), Michael talks about: The challenges of evolving and following your own path at the expense of taking the more marketable route, which means maintaining your integrity, and how his photographs, and his writing are both better than ever; the complex and fulfilling experience he had visiting and re-visiting a Jeff Wall museum exhibition; how the photographer Martin Parr dominates the scene in Britain, and how all his pictures look roughly the same, and yet he's kind of this hero in the country, through the ‘steamroll of publicity,' and how there's far more depth, wealth and nuance out there than we're being allowed…; his first art review (for The Daily Telegraph), of Andreas Gursky's exhibition at Tate Liverpool, which uncovered a surprising digital edit, one he was turned on to by one of the museum custodians, and when he wrote the review that included his misgivings about the work, the Tate press office told him he was being cruel (to which he replied, “that's not being cruel, that's being honest”), and how another artist's agent threatened to sue for a negative review; our respective takes on art writing and criticism, in terms of what he appreciates vs. can't tolerate, and what I appreciate and can't tolerate; more about the world of magazine editing, which he describes as being a lifetime ago…; and finally, to wind down our conversation, we talk about his book, Blind Corners, which features several essays exploring across the spectrum of photography and photography's history; in particular we review a passage where he compares Americana via Kodachrome and Hollywood light with the dull, austere light of Britain, and he goes on to call out Dubai as the culmination of late capitalism.

There are so many great apocryphal stories in the long history of classical music, from the reason Tchaikovsky wrote his Sixth Symphony to what famous composers supposedly said on their deathbeds, to my favorite story: how Joseph Haydn's Symphony No. 96, The Miracle, got its name. Apparently, during the premiere of the symphony, a chandelier fell, but miraculously didn't hit anyone. Hence, The Miracle Symphony. The chandelier did, in fact, fall, but we now know it happened during the premiere of Haydn's Symphony No. 102, which has no nickname. Coincidentally, or perhaps not so coincidentally, the 96th Symphony is performed far more often than the 102nd, likely because of its nickname, even though it's the nickname of the wrong symphony. The Barber Violin Concerto has a great and true story behind it. But before certain information was revealed in 2010, the story everyone knew was quite different. The original version goes like this: Barber had completed the first two movements of his Violin Concerto and sent them to the soloist scheduled to premiere the work, Iso Briselli. Briselli didn't like the concerto, claiming it wasn't virtuosic enough, and asked Barber to write something more difficult. Barber, perhaps with an evil laugh, obliged and returned with the third movement. When Briselli received it, he realized he couldn't play it because of its extreme difficulty and ultimately withdrew from the premiere, which instead went to violinist Albert Spalding. It's a perfect “Icarus flying too close to the sun” kind of classical music story, but as it turns out, it isn't the full story. In 2010, letters were released between Barber, Briselli, and the real instigator in this little operetta, Briselli's violin teacher, Albert Meiff. I'll get into the whole story later, but it's a good one, even if it's not quite as cinematic as the legend. More important than the dispute over its last movement is the remarkable beauty and creativity of this masterful 20th-century concerto. Barber's Violin Concerto is one of my favorite pieces to play and to conduct, and it has charmed audiences ever since its premiere. It features Americana music of a kind only Copland could equal, as well as a heartbreaking oboe solo that might be one of the greatest moments in the history of American classical music. And then there's that pesky third movement, a challenge to every violinist (and orchestra) and a movement that remains controversial for many reasons.

This nation's troubled history with Manifest Destiny will continue to haunt us for some time. Throughout the decades some Native voices have emerged and contributed to the ongoing cultural conversation: most recently on the Broadway stage, on film, and television, and this awareness might move us towards some, if not restitution for atrocities past, at least a dialogue that might point the way towards the future.Today Double Trouble features the efforts of two important Americana artists, neither one Native American, but both identifying with them. Johnny Cash believed that he was part Cherokee- (a notion disproved by DNA). They both raised their voices in advocacy with the dispossessed. Pete La Farge wrote The Ballad of Ira Hayes, which Johnny Cash delivers here, and then Mr. La Farge himself mourns the disappearance of the Coyote as a consequence of Capitalism's rapacious destruction of sacred lands.JOHNNY CASHFrom his 1963 concept album “Bitter Tears: Ballads of the American Indian”, The Ballad of Ira Hayes tells the story of a WW2 War Hero, one of the men raising the flag over Iwo Jima in that iconic photo. Upon returning to the states, Ira had to confront the irony of his impossibly low status on home soil, and descended into alcohol addiction and death. Pete La Farge wrote 5 of the songs on Cash's album, and became known, along with Buffy St. Marie, as one of the most prominent singer-songwriters concerned with Native themes. Johnny Cash was a life-long representative of Native peoples, trying through his popular status to bring about an awareness of the wrongs that had been committed in the name of “progress”. PETE LA FARGEGiven the focus of his creative output during his short life - he died, age 34, of a stroke - one might assume that Mr. La Farge was Native American, but not so: he was the son of an anthropologist and Pulitzer Prize winning novelist and a Rhode Island heiress. Growing up in New Mexico and Colorado, he developed a love of Native American culture, and that became his artistic touchstone. Most famous for The Ballad of Ira Hayes, his tribute to a discarded, fallen hero, the song has been covered by Bob Dylan and Pete Seeger among many others. Here, in Coyote, La Farge channels the mournful sound of the dispossessed animal as it fades away into the ether, after losing its habitat to business interests - an issue we're still dealing with today. 

Jackson Scribner is a musician, singer, and songwriter from North Texas. His latest album, Depression Kids, marks his continued growth as a writer, composer, and performer in the folk, indie, and Americana scene. The album is available for streaming everywhere but, be sure to grab a vinyl while you can. Enjoy! I'M A FAN OF: https://linktr.ee/Imafanof Jackson Scribner: Depression Kids Vinyl: https://statefairrecords.myshopify.com/collections/pre-orders?fbclid=PAZXh0bgNhZW0CMTEAAacNyKHk86WPUbR0V8YlKIU7fm9wCxWlQE7AJTbLyyS32wTGMNquuxZocdqgpg_aem_733HGHXAS9jYQh3MtiBgcQ Spotify: https://open.spotify.com/artist/4lL98HhHgazdQYmygf5WWT IG: https://www.instagram.com/scribnerjackson/ FB: https://www.facebook.com/jackson.scribner.1/  

This episode was recorded on August 17th, 2025 at the Culture Center Theater in Charleston, WV. The lineup includes Vanessa Collier, Margaret Glaspy, Matt Andersen, Amythyst Kiah, and Ron Sowell. https://bit.ly/3KBVSX2

Pete Scobell is a former U.S. Navy SEAL Lieutenant with 17 years of service, including six combat deployments, best known as the real-life member of the SEAL team that rescued Captain Richard Phillips from Somali pirates in 2009, inspiring the film Captain Phillips. Scobell served in the United States Navy as both an enlisted and officer in the SEAL Teams. He served at SEAL Team EIGHT, ONE, SEAL Delivery Vehicle Team ONE and Naval Special Warfare Development Group. Prior to the Navy, Pete was a ski racer in New York State and the Pennsylvania State Champion in the Pole Vault. While working as a lifeguard for the state of Pennsylvania, he was awarded the Pennsylvania Department of Environmental Resources Heroism Award for a rescue he made at Presque Isle State Park. A graduate of the United States Naval Academy with a BS in Political Science, he was the third (and last) enlisted SEAL selected to attend the United States Naval Academy. After a four-year hiatus from pole vaulting, he walked onto the Naval Academy Track Team (Division I), set the freshman record, and placed in the IC4As. He was also a starter on the A-side Naval Academy Rugby team. Scobell suffered a traumatic brain injury (TBI) from an explosion in Afghanistan in 2010, which ended his active duty career. After rigorous rehabilitation at the National Intrepid Center of Excellence, he transformed his experiences into advocacy for TBI and PTSD recovery, speaking to military audiences and veterans' groups. Transitioning to civilian life, Scobell pursued passions in music, releasing country-Americana albums like Wild (2015) as the Pete Scobell Band, acting in films such as Plane (2023) alongside Gerard Butler, and competing as a professional skier after a 17-year hiatus. A father of three and husband, he consults on security, writes, and motivates others through resilience stories, emphasizing mental health and second chances. Shawn Ryan Show Sponsors: https://betterhelp.com/srs This episode is sponsored. Give online therapy a try at betterhelp.com/srs and get on your way to being your best self. https://bunkr.life – USE CODE SRS Go to https://bunkr.life/SRS and use code “SRS” to get 25% off your family plan. https://blackbuffalo.com https://meetfabric.com/shawn https://shawnlikesgold.com https://helixsleep.com/srs https://hillsdale.edu/srs https://ketone.com/srs Visit https://ketone.com/srs for 30% OFF your subscription order. https://patriotmobile.com/srs https://prizepicks.onelink.me/lmeo/srs https://ROKA.com – USE CODE SRS https://simplisafe.com/srs https://trueclassic.com/srs Pete Scobell Links: IG - https://www.instagram.com/pete.scobell X - https://x.com/PeteScobell LI - https://www.linkedin.com/in/pete-scobell-a066b0285 Spotify - https://open.spotify.com/artist/62k89pP03yln7cMANadnQ1 YouTube (Pete Scobell Band) - https://www.youtube.com/channel/UCKKtdjkBgRv20sxrUre5QSg IMDb - https://www.imdb.com/name/nm14533987 Speaker Profile - https://speakerpedia.com/speakers/pete-scobell Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sitting quaint in local Orchard Studios, the folky Americana artist Daniel Young is always stretching the definition of "country music." … read more The post Episode #486 — Daniel Young first appeared on SLUG Magazine.

Americana often becomes a place for artists or music industry types who don't fit neatly elsewhere. And for Tamara Saviano, it was a place for a writer and publicist who was shunned by country music. Saviano moved to Nashville and quickly found herself crossways with industry heavyweights. A fateful firing over politics led to a phone call from actor and singer/songwriter Kris Kristofferson, and the rest is a history that's in her new memoir, "Poets and Dreamers." Produced by Blake FarmerMore on Tamara Saviano: NPR: Tamara Saviano on Guy Clark lost recordings WMOT: A warm account of the Americana movement Nashville Post (2003): Everything you ever wanted to know about the Charlie Daniels/Saviano dispute

What happens when heavy riffs meet raw emotion? This week, Don and Dude dive into two landmark albums that launched Nu Metal from underground oddity to global phenomenon, blending hip-hop, metal, and vulnerability in ways rock had never witnessed.Born in the late '90s, Nu Metal fused bruising guitar riffs, hip-hop swagger, and electronic experimentation, connecting deeply with fans wrestling alienation, trauma, and identity. These albums didn't just soundtrack angst, they rewrote heavy music's rulebook.Korn – Korn (1994)Background: Debut record by Bakersfield's five-piece, produced by Ross Robinson at Indigo Ranch, captured mostly live for maximum intensity. Jonathan Davis's anguished vocals, Fieldy's clacking bass, and down-tuned Ibanez 7-string guitars created Nu Metal's foundation.Sound/Legacy: A claustrophobic nightmare of sludgy riffs, twisted nursery rhymes, and unfiltered emotion—Korn's first single “Blind” became a genre's birth cry, while “Daddy” redefined honesty in heavy music. The album's “bounce metal” sound, real-time aggression, and confrontational lyrics inspired an army of imitators.Key Tracks: “Blind,” “Shoots and Ladders,” “Faget,” “Clown,” “Helmet in the Bush,” “Daddy.”Linkin Park – Hybrid Theory (2000)Background: Los Angeles band, renamed and reimagined when Chester Bennington joined, fused emotional rock, rap, and DJ effects for a style that stormed radio, MTV, and the hearts of millions. Producer Don Gilmore's perfectionist approach resulted in a polished sonic punch.Sound/Legacy: Hybrid Theory delivered universally relatable lyrics—paranoia, frustration, failure—through a seamless interplay of Mike Shinoda's rap and Chester Bennington's soaring melodies. Every song packs arena-ready hooks and emotional weight, making the album a nu metal, rap-rock, and emo touchstone.Key Tracks: “Papercut,” “One Step Closer,” “Points of Authority,” “Crawling,” “In the End,” “A Place for My Head,” “Pushing Me Away.”Diggin'Dude:Mirador – Mirador (2025)Debut from Greta Van Fleet's Jake Kiszka and company, recorded live, blending rock, folk, blues, country themes of myth, hope, and identity.“Feels Like Gold”The Go-Go's – Beauty and the Beat (1981)Punk to new wave classic, hit singles “Our Lips Are Sealed” and “We Got the Beat.”Don:The Pink Stones – Thank the Lord… It's The Pink Stones (2025)Athens, GA cosmic Americana, rootsy punk, country, and psychedelic mix.“If I Can't Win (With You)”Andy Bell – Ten Crowns (2025)Erasure frontman's third solo, produced by Dave Audé, mixes Eurodisco, synth-pop, gospel; features Debbie Harry.“Hearts a Liar”What song helped you survive your angsty years?Connect on Instagram, Facebook, Threads, and BlueSky @albumnerds or at albumsnerds.com. Support the show: subscribe, rate, review, and spread the word!

Merriam-Webster's Word of the Day for October 4, 2025 is: repertoire • REP-er-twahr • noun Repertoire typically refers to a list or supply of plays, songs, dances, etc. that a company or person is prepared to perform,. Repertoire may also refer to a supply of skills or devices, or more broadly to an amount or supply. // The band's repertoire includes both classic and modern jazz. // The couple enrolled in a cooking class to expand their culinary repertoire. // His fashion repertoire includes a rotation of vibrant floral tops. See the entry > Examples: "[Rebecca] Roudman is best known as the frontwoman for Dirty Cello, a hard-working band that has honed a rollicking repertoire of rock anthems, bluegrass standards and Americana originals." — Andrew Gilbert, The Mercury News (San Jose, California), 21 Aug. 2025 Did you know? The Late Latin noun repertorium, meaning "list," has given English two words related to the broad range of things that someone or something can do. One is repertory, perhaps most commonly known as a word for a company that presents several different plays, operas, or other works at one theater, as well as the theater where such works are performed. Repertoire, which comes from repertorium via French, once meant the same thing as repertory but later came to refer to the works a company performs, or, in extended use, to a range of skills that a person has, such as the different pitches a baseball pitcher can throw or the particular dishes that are a chef's specialty.

Through his work in Uncle Tupelo and Wilco, Jeff Tweedy has played a significant role in the shaping of Americana and alternative rock since the early 90’s. The title of Uncle Tupelo’s highly influential first album, No Depression, both spawned a resurgence in music more widely described as “Americana,” as well as gave it its name. Later in his career, Tweedy and Wilco collaborated with Billy Bragg on the Mermaid Avenue records that featured lost lyrics by Woody Guthrie, released the groundbreaking album Yankee Hotel Foxtrot, and put a total of 12 band and four solo records, four books, and helped establish the bi-annual Solid Sound Festival in western Massachusetts. Hear how how songs by Meat Puppets, Neil Young, and Blondie charted his musical course. Tweedy’s newest work, a triple record titled Twilight Override, was released on September 26, 2025.See omnystudio.com/listener for privacy information.

Em 1993, Annie McCarrick, uma jovem americana que tinha acabado de se mudar para a Irlanda definitivamente, desapareceu sem deixar rastros. Por anos Annie foi procurada no lugar errado, e pode ser que a resposta para esse mistério estivesse bem perto do apartamento dela. Vote no Premio MPB em www.premiompb.com.br ❤ Torne-se um apoiador pelo Apoia.se ou pela Orelo❤ Segue a gente no ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠ Pesquisa e roteiro: Marcela Souza Edição: Alexandre LimaSee omnystudio.com/listener for privacy information.

This episode was recorded on July 20th, 2025 at the Culture Center Theater in Charleston, WV. The lineup includes Rhonda Vincent, Neal Francis, Otis Gibbs, Cathy Fink, Marcy Marxer, Chao Tian: From China to Appalachia, and Dawn Landes. https://bit.ly/4nPfG8d

This essay explores the creation of my first released music album, Still I Am, and the fictional artist who carries it: Roxy Vale.But before diving into the music, I want to share the creative process and why I approached it this way.The first music album I created was not Still I Am. It was actually Through the Glass Daisy.Through the Glass Daisy is an album pulled directly from the pages of my upcoming series of novels, “Daisy Chain.” It is an album by a band called “Glass Daisy.” It is part of the world creation and lore in the books, which explore many aspects of our reality creation through the experiences of a reluctant time traveler. And yes, the main character is a fan of “Glass Daisy.”Still I Am, however, is an album that is most directly related to the experiences of the “WE” entering and existing in the physical universe. It is a completely different voice from Glass Daisy.Entering as a soul into a physical experience is a journey that's relatable to most souls, especially those who are here to help humanity return to the light.It is this group that I am interested in, the group that is here to assist the people of Earth in stepping back into the light.Yes, you.OK, let's begin with Roxy Vale and Still I Am.One of the issues with the WE viewpoint is that whenever I bring it to the forefront of my awareness, it seems to turn other people's minds and personalities into an unstructured and universally expanded mush (technical term) that sometimes cannot contain even the smallest amount of intellectual clarity. If I solely concentrate on my expression as a singular person, Inelia, all is usually mostly fine. There is mush involved, but at manageable amounts. There really is no difference between the “me” and the WE except at the level of frequency and band of expression, which admittedly is a lot of difference.After creating the first album, Through the Glass Daisy, which is based on the character's journey through time within a complex structure of light/dark as the WE would see it, I thought maybe we could jump through the illusion of singular expression and create songs based directly on the WE writings that would bypass the reader's “mind mush” response and go directly into one of understanding. The WE have a bunch of articles where we express our journey through humanity's temple.I ran the first WE article through a text-processing AI with the instructions to make a song out of it.The first output was a list of possible titles; there were many. I asked, “What would the human collective of Earth want and understand?” The AI, being a gestalt of the human collective's digital expression, is in a very good position to come up with an accurate answer, and it suggested a few items.However, we have to be aware that it scans the internet for answers, and the internet is a light/dark place. Ultimately, although it can come up with possibilities, the answer has to be one we take ourselves.I decided that I would simply tell the AI what paragraph or point in the article I wanted the song to be about, and it was able to come up with several reasonably good songs. Mostly, though, they missed the point, but they did contain the structure of popular songs. I soon realized that for the WE expression, we also needed a particular voice, as song structure is very dependent on genre.As I scanned the human collective for a voice, I realized that I wanted a voice that one day I might be able to express myself in. In other words, a voice that sang in a way I could sing. I had to make some decisions at this point. Looking back at my own life, I saw that the songs I loved and was able to sing with no problem were from Annie Lennox, Tina Turner, and Freddie Mercury.“What would a female singer sound like if Tina Turner and Freddie Mercury had a baby?” I asked the AI.Several hours later, I had a good grasp of what I wanted to express. I did a test run and made Larry listen to it. “I don't understand what it is; it's not rock, or country, or pop… it's confusing,” he said.At that moment I realized that not only did the voice need to express what I wanted, but it needed to be boxed into a genre.That is how Roxy became a Soul Rock singer, with Americana overtones. Unlike Glass Daisy's lead singer, who is 20 years old and clearly an Ethereal Pop singer, I wanted Roxy to be an adult with a very broad range of tones and styles of singing. And thus the character began to evolve. She is not stuck in Soul Rock and will explore other sounds, including Native songs in different areas of the world. She spends a lot of time playing with her voice and expressions.I wanted her as close to my own voice, personality, and story as I could possibly get without breaking the energy of her as the lovechild of Tina and Freddie - two musical heroes of my life. And at the same time, she had more WE expression than she does of my singular expression, Inelia.Her creation has since cascaded into several other artist personas singing in different genres, styles, and voices (both male and female). But those stories and their characters are for a different essay.Back to Roxy.Once I had her voice and proximity to a genre, I pulled all the WE articles through the AI to get different song structures and ideas.The song-creation process is multi-layered. It didn't take long for me to realize that both text-generation AI and music-generation AI have huge limitations at the moment. They are good instruments for a creator but cannot give back what a person wants 100% with prompts. If anything, the more complex the prompt, the more sideways the AI goes. Long and complex prompts confuse the AI.A cycle began: I would teach the text generator AI what the music generator AI would accept. Then I would tell the text AI what I wanted the music one to do, and it would create a prompt as short as possible to express it in AI language. This method lasts about three times before the text generator forgets the parameters of the other AI and has to be “restarted.”The songs I have in mind have a particular key, a key progression, and a definite structure of delivery. Very early in the process I realized that I had to create some of the sounds myself - a phone ringing, a native drum sound, a succession of keys on a violin or piano - all things that the AI could not understand.Still, to me the process of using these two tools - the text generator and the music generator - was like a heavy chain lifted from my neck. I was now free to create music in a frequency and speed that was not limited by people's egos, monetary concerns (sound studios are expensive to use), or limitations on the sounds of my own voice (naturally feminine and melodic).The process of learning is continuous, and the AI slowly learns (then forgets) what I like. The AI engines are being improved continuously, which brings about the possibility of expansion in the future.One thing I did not like about the music generator is that it has a very narrow band of voice sounds, and most of its songs and “artists” sound the same. The other aspect is that after I create a song with a very unique sound, I see the AI using it for other people's creations. I have heard my words and songs revamped in other users' songs even though I have not published any of my songs to be remixed or listened to on the music AI website - a unique voice no longer unique, for example, and some of my lyrics and tunes underlying other people's songs.If I read the user contract, there will probably be a line somewhere that says that the AI can reuse and learn from whatever I create.I had to process my annoyance because, to tell you the truth, my stuff is very high-frequency, and if it is being used by the AI to create music for other people, then that high-frequency is being propagated through the world. Win-win.The rest of the annoyance is all ego. Now my songs and lyrics are no longer unique. Oh dear.OK, I have given you a summary of Roxy Vale's creation, a summary of my work process using AI. With that done, let's go to the meat and potatoes of this essay.With the groundwork set, we can finally explore the heart of the album itself.Let's now talk about the album Still I Am.There is no better way to discuss this album than by looking at the lyrics in each song. I will post three of the eight songs here, and on our podcast Driving To The Rez, you can hear Larry and me going into great detail about them, as well as listening to the songs themselves. If you don't want to wait, you can get the songs at ineliarecords.com.The first song is called “Bananas and Wind”. Bananas and Wind is a funny one because it explains the experience of communicating with the people of Earth. It is a direct reference to how most direct communication between the WE and people ends up talking about bananas. Bananas came in when trying to describe what the conversation looked like from the perspective of the WE.For example, if talking about the planet Mars, the questions would be like “are there bananas on Mars? If so, what color are they? What do they taste like? How big are they?” Or, if talking about the infinite possibilities of timelines, “are bananas the same color in all timelines?” This song also talks about how when asked a question, a full on translation was needed before the WE could understand what was being asked. And even then, the answer might be so far out of the realm of what a person can conceive that further translation was then needed to explore what the WE said. To be clear, the Bananas are humorous metaphors for the things monkey boys and girls find interesting.Here are the lyrics for “Bananas and Wind”:“Bananas and Wind”You ask me questions shaped like treesI answer back in falling leavesWe talk in circles, fields and soundBut somehow always turn around.You speak in warmth, I speak in airYour stories land, but I'm not thereStill I listen, still I tryTo catch the wind beneath your sky.Bananas and wind - that's where we beginTrying to speak through the noise and the spinSand talks to ocean, trees talk to skyI'm learning your language, but don't ask me whyBananas and wind - it's where we belongLost in translation, still singing along.I hold the house, the floor, the stoneThe moss that grows, the branch aloneBut when you look, you see your faceReflected back from every place.I don't judge what's high or lowIt's just the way awareness flowsStill I wonder, still I seeHow hard it is to just let be.Bananas and wind - that's where we beginTrying to speak through the noise and the spinSand talks to ocean, trees talk to skyI'm learning your language, but don't ask me whyBananas and wind - it's where we belongLost in translation, still singing along.We laugh, we watch, we dance, we fallYour world's so big, your world's so smallI'm here to learn, not to believeI listen more than you perceive.Bananas and wind - that's where we beginTrying to speak through the noise and the spinSand talks to ocean, trees talk to skyI'm learning your language, still don't know whyBananas and wind - it's where we belongLost in translation, still singing along.Bananas… and wind…Still singing along…Don't forget, if you are only reading this, on our podcast Driving To The Rez we will discuss the lyrics further and play the music for you to sing along to :)The next song I am going to share with you is about the experience of the WE of finding a physical universe in the endless possibility of existence:“Dot on the Wall”I didn't see it at first - that tiny markHiding quiet in the darkA dot upon a painted wallBut it changed everything, after all.The ocean spoke, the sand repliedThe sky was laughing all the whileAnd you walked where I could seeFor the first time, you noticed me.It's just a dot, it's just a startBut it opens up the world and heartIt's just a door, it's just a lineBut it breaks the spell of space and timeFirst dot on the wall - now I seeHow vast, how wide, how small we be..They took a grain, they took a pieceThought they owned the earth and seasBut we were more than they could holdA thousand stories left untold.We are the waves, we are the stoneWe are together, never aloneOne moment breaks, and there we areThe space between becomes a star.It's just a dot, it's just a startBut it opens up the world and heartIt's just a door, it's just a lineBut it breaks the spell of space and timeFirst dot on the wall - now I seeHow vast, how wide, how small we be.Planets spin and oceans talkEvery grain of sand can walkDoors appear and doors dissolveStill we rise, still we evolve.It's just a dot, it's just a startBut it opens up the world and heartIt's just a door, it's just a lineBut it breaks the spell of space and timeFirst dot on the wall - now I seeHow vast, how wide, how small we be.First dot on the wall…First step, first call…Now we see…The feeling is very much like that of a sudden dot appearing on a wall that did not have a dot there before. And when you look at it, the dot seemed to have been there since the wall was built.When this happens, we often tell ourselves all sorts of stories about why we had not seen the dot before. But, as it “becomes,” it has always “been.”That is how the physical universe appeared to the WE. One moment it was not there; the next it was - and always had been. Of course, the WE then had to go investigate this dot.The third song of the eight tracks in the album I want to share with you is called “We Are The Sand”“We Are The Sand”We were the sand, golden and wideDancing with oceans, moving with tidesShining and soft, talking for yearsLaughing with water, shedding no tears.We weren't in a hurry, we weren't making plansJust shimmering softly in crystalline bandsMillions of lifetimes beneath the sunWe were the sand, and we were having fun.Oh we move, we move, through time and spaceIn grains and waves, we find our placeNot lost, not found, not trying to landWe're still dancing - we were the sand.One summer day something landed nearBig, hard, metallic, a little unclearHumans in suits, walking aroundScooping up pieces of sky and ground.They couldn't hear us, they couldn't seeHow much we giggled, how wild we could beThey took us with them, to somewhere newBut we were the sand, and they never knew.Oh we move, we move, through time and spaceIn grains and waves, we find our placeNot lost, not found, not trying to landWe're still dancing - we were the sand.Multiplicity in every grainOceans whisper and skies explainFeathers and forests, bodies and handsWe are, we are, and we understand.Oh we move, we move, through time and spaceIn grains and waves, we find our placeNot lost, not found, not trying to landWe're still dancing - we were the sandWe were the sand, and we still areCarried by oceans, cradled by starsIn laughter, in silence, in grains so grandWe were the sand… we are the sand…This song explains the experience remembered of the first time the WE (me) encountered human beings. It happens in a time far into what humans might consider the future. As time is simply the interpretation of movements of solidity through space, this experience could be said to have happened in the distant past also. When speaking of solidity, just a reminder here that thoughts, waves, or energy in any form are considered solid by the WE.I hope you enjoy the music, and enjoy our discussion of the meaning behind the lyrics. As a matter of interest, all my created artists are expressing experience and wisdom learned as WE live as Inelia. Many of these experiences are deeply felt by individuals who have gone through the veil to enter into physical life.One of the thoughts that often crosses my mind is how unique we all are on Earth, and yet how the experience of entering a light/dark containment can echo in strikingly similar ways for light-beings everywhere. By recognizing and sharing these echoes, the hold they once had over us dissolves - leaving us with the power to rise, together, into something brighter.In sharing our journeys, we shatter the illusion created by darkness - and together we embody the light. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.drivingtotherez.com/subscribe

Kelly Willis has been a stalwart of Austin’s country and Americana scene for decades, so it’s no surprise to find her on Grey DeLisle’s new project: IT'S ALL HER FAULT: A TRIBUTE TO CINDY WALKER. For the compilation, Willis chose the 1955 tune “I Don’t Care,” written by Walker and Webb Pierce, that spent 12 […] The post Kelly Willis: “I Don’t Care” appeared first on KUT & KUTX Studios -- Podcasts.

In this episode of "Takin a Walk," host Buzz Knight welcomes back singer-songwriter Amanda Shires to discuss her new album, "Nobody’s Girl". Amanda opens up about channeling personal challenges, including her divorce, into her songwriting and creative process. She shares stories about collaborating with producer Lawrence Rothman, finding inspiration in literature and music, and embracing vulnerability in her art. With humor and honesty, Amanda reflects on resilience, trying new things (like jujitsu), and her excitement for touring again, offering listeners an intimate look at her journey and the making of her most personal album yet. Whether you’re a longtime fan of her acclaimed albums or discovering her artistry for the first time, this episode offers a rare glimpse into the mind of one of Americana’s most compelling voices. Featured Topics: • Amanda’s new music and latest songwriting inspiration • The pain of loss • Life in Nashville’s music scene • Balancing family life with touring • Creativity • Her resilience • Mental health, authenticity, and artistic growth Guest Bio Amanda Shires is a Grammy-nominated singer-songwriter, violinist, and poet whose fearless artistry has established her as one of the most compelling voices in contemporary Americana. A founding member of the supergroup The Highwomen alongside Brandi Carlile, Maren Morris, and Natalie Hemby, Shires has released several critically acclaimed solo albums including “To the Sunset” and “Take It Like a Man.” Born in Texas and now based in Nashville, Shires continues to push boundaries with her honest songwriting and masterful violin playing. Special thanks for the support of Claude. Try Claude for free by going to Claude.ai/buzz Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Welcome to the latest episode of the series Southern Songs and Stories, which recently made it into the top 10 best Americana podcasts on this list. Yay! It reminds me to ask you to give the podcast a top rating and where you can submit one, a review. That's a huge part of making this series visible on platforms like Apple Podcasts, Spotify and everywhere you follow podcasts. Really, it makes a huge difference, and only takes a minute or two. Thanks!Another update: this week I will attend the fall Albino Skunk Music Festival, where I will record my first ever live podcast, in front of an audience. On stage Wednesday afternoon October 1, we will be recounting the history of the event, now in its fourth decade, with founder Glynn “Zig” Zeigler, along with other special guests. I would love to see you there! Our time with Jeff Tweedy continues here, with an in depth conversation about his new triple solo album, Twilight Override. Not an overtly political songwriter, Tweedy nonetheless points to broad social issues in the overall themes of the album, and in one song in particular that he details in the interview, “Enough”. Jeff also talks about the makeup of The Tweedy Band, which features his sons and other, younger artists from his home town of Chicago, and how the group is especially well suited for multi part harmonies. We do not leave Wilco out of the conversation, either, and feature several new songs from his solo record along the way. The Tweedy Band (photo: Rachel Bartz) Songs heard in this episode:“Betrayed” by Jeff Tweedy, from Twilight Override“Stray Cats in Spain” by Jeff Tweedy, from Twilight Override, excerpt“Twilight Override” by Jeff Tweedy, from Twilight Override, excerpt“Jesus, Etc.” by Wilco, from Yankee Hotel FoxtrotThank you for stopping by! We hope you can help spread awareness of what we are doing. It is as easy as telling a friend and following this podcast on your platform of choice. You can find us on Apple here, Spotify here and YouTube here — hundreds more episodes await, filled with artists you may know by name, or musicians and bands that are ready to become your next favorites.You can follow us on social media: @southstories on Instagram, at Southern Songs and Stories on Facebook, and now on Substack here, where you can read the scripts of these podcasts, and get updates on what we are doing and planning in our quest to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

In this episode of "Takin a Walk," host Buzz Knight welcomes back singer-songwriter Amanda Shires to discuss her new album, "Nobody’s Girl". Amanda opens up about channeling personal challenges, including her divorce, into her songwriting and creative process. She shares stories about collaborating with producer Lawrence Rothman, finding inspiration in literature and music, and embracing vulnerability in her art. With humor and honesty, Amanda reflects on resilience, trying new things (like jujitsu), and her excitement for touring again, offering listeners an intimate look at her journey and the making of her most personal album yet. Whether you’re a longtime fan of her acclaimed albums or discovering her artistry for the first time, this episode offers a rare glimpse into the mind of one of Americana’s most compelling voices. Featured Topics: • Amanda’s new music and latest songwriting inspiration • The pain of loss • Life in Nashville’s music scene • Balancing family life with touring • Creativity • Her resilience • Mental health, authenticity, and artistic growth Guest Bio Amanda Shires is a Grammy-nominated singer-songwriter, violinist, and poet whose fearless artistry has established her as one of the most compelling voices in contemporary Americana. A founding member of the supergroup The Highwomen alongside Brandi Carlile, Maren Morris, and Natalie Hemby, Shires has released several critically acclaimed solo albums including “To the Sunset” and “Take It Like a Man.” Born in Texas and now based in Nashville, Shires continues to push boundaries with her honest songwriting and masterful violin playing. Special thanks for the support of Claude. Try Claude for free by going to Claude.ai/buzz Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

Foster Burton is a singer-songwriter and guitarist from Salem, VA, known for his soulful, roots-driven sound. Blending elements of folk, rock, and Americana, his music is shaped by the storytelling of John Prine, the raw grit of Tom Waits, and the improvisational spirit of Jerry Garcia. Whether performing solo or with bands like Mountain Walrus, Mad Iguanas, and Dead Reckoning, Foster brings an authentic, dynamic energy to every stage. His sets feature a mix of heartfelt originals and well-curated covers, showcasing his rich vocals and expressive guitar work. A staple of the regional music scene, Foster continues to captivate audiences with his raw talent and deep musicality.

Sermon: “Luke 16:19-31” by Rev. Russell Rathbun Scripture Reading: Luke 16:19-31 House of Mercy Church in St. Paul, Minnesota is an intellectually curious, artistically forward, community--called the best church for non-churchgoers by the City Pages. House of Mercy's weekly service includes award-winning sermons, always intriguing guests playing the best in country gospel/Americana music, and regular offerings from the hardest working band in the church band business: The Grand Old Grievous Angel Band.  Find us at houseofmercy.org Contact us at info@houseofmercy.org Donate at tinyurl.com/Donate-to-HOM

What if fewer mics could help you make better records? Alan Evans (Soulive) joins me to talk 4-track recording, Iceland sessions, AI in music, and how simplicity, mindset, and health can fuel your best creative work.   Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Alan Evans, a recording, mixing, and mastering engineer, producer, and musician based in Western Massachusetts. Alan's probably best known as the drummer and co-founder of Soulive, but over the past 30 years, he's also built a deep discography engineering, producing, and shaping the sound of hundreds of recordings. He grew up in a musically rich household in Buffalo, NY, soaking in the sounds of Miles Davis, Ray Charles, and Jimi Hendrix which ignited his interest in music. As a teenager, he hit the clubs and started recording bands, teaching himself the craft of recording, mixing, and production from the ground up. These days, Alan continues to push boundaries through his label, Vintage League Music, with projects spanning jazz, funk, reggae, rock, and Americana—including recent recordings with Oteil Burbridge and MonoNeon at Floki Studios in Iceland, and a new album with Charlie Hunter and Ella Feingold at Pilot Recording Studios in Housatonic, MA. Alan's been on the show before in episodes RSR183, RSR339, and RSR440—and I'm psyched to have him back again, this time in person for video at Ready To Rock Studios. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/1F16ucxEvIBugOepkzsTkW?si=FJKiBFINRAOZrjKf0FdYJg If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/525

Not everyone instinctively knows when they've reached the point in life where they're ready for kids. For Nick Hexum, the self-proclaimed “dad” of his band 311, that moment came when he realized his wild days were behind him and he was ready to step into family life as a husband and father. Nearly two decades later, he's a proud dad of three daughters, ages 5 to 16. We caught up with him for a rare in-person conversation during a tour stop in Portsmouth, New Hampshire. Nick opens up about the challenges and rewards of raising kids while touring, the jaw-dropping story of delivering his own daughter during a home birth, how fatherhood reshaped his songwriting, and the powerful influence his own upbringing has had on the way he parents today.Episode 130 of Modern Dadhood finds the guys recording in person, outside, over a frosty fall beverage. The guys chat briefly about finding positivity in a world that can feel particularly dark at present, and why the autumn has a certain exciting energy. They catch up with Nick Hexum, lead singer and songwriter for 311, before a gig promoting his 3 new americana/bluegrass EPs (compiled on a full length album called Phases of Hope and Hollow). Nick candidly shares stories about his family and his career as a touring musician, reflecting on how becoming a dad has impacted his work and put his life into perspective. Topics include:•  Touring as a musician dad: balancing life on the road with being present for important family milestones.•  How becoming a father transformed Nick's creative process, songwriting inspiration, and outlook on life.•  Nick's incredible (and dramatic) story of delivering his daughter at home•  The evolving relationship between Nick's children and music, including their early involvement in creating songs and videos.•  The influence of Nick's own upbringing, especially his positive relationship with his father, on his parenting style.•  Navigating social media, privacy, and the shifting dynamics as his kids grow into their teen years.•  Maintaining a positive worldview amid challenging news cycles, and fostering open, vulnerable communication with his kids.•  And more!LINKSNick Hexum (website)Nick Hexum (Instagram)Nick Hexum (TikTok)311 (official)Caspar BabypantsSpencer AlbeeModern Dadhood (website)AdamFlaherty.tvStuffed Animal (Marc's kids' music)MD (Instagram)MD (Facebook)MD (YouTube)MD (TikTok) #moderndadhood #fatherhood #parenthood #parenting #parentingpodcast #dadding #dadpodcast

Daniel Muñoz comenta cómo Pedro Sánchez intenta un lavado de cara en EEUU hablando de Gaza para tapar la corrupción de su entorno.

This week, Scott sat down with Senior Editors Kate Klonick and Eric Columbus to talk through the week's big national security news stories, including: “An Un-Airing of Grievances.” Since the assassination of conservative activist Charlie Kirk, some supporters of his—including several figures within the Trump administration—have actively sought to have individuals who have said critical or purportedly insensitive things about Kirk removed from their jobs or otherwise punished. This arguably came to a head after Jimmy Kimmel Live! was pulled from the air following statements by FCC Chairman Brendan Carr suggesting networks might face additional regulatory scrutiny for not addressing alleged misinformation about Kirk's killer he purportedly put forward. And while Kimmel is now back on the air, several major local affiliates are refusing to air his show. How do these efforts comport with the First Amendment? And what do they mean for freedom of speech regardless?“You Can't Spell Appeasement Without App.” After months of negotiations—during which it has held off on enforcing a statutorily mandated ban—the Trump administration has announced that it has reached a deal with China regarding the disposition of the social media platform TikTok and its operation in the United States. But the public details of the deal have been few and far between, and much more remains to be worked out. How close to a deal are the parties in actuality? And does it address the national security concerns motivating Congress's ban in the first place?“Playing with White House Money.” The Trump administration has been rocked by two major corruption-related stories in the past week. First, the Justice Department is reported to have closed an investigation into White House immigration czar Tom Homan, who reportedly accepted $50,000 from undercover FBI agents prior to joining the administration on the understanding that he would help the donors gain access to the incoming Trump administration. And second, new details suggest that the recent deal to permit chip sales to the UAE were tied up in a variety of major cryptocurrency deals that enriched both the Trump Organization and others in the Trump administration—only the latest in a long history of suspect cryptocurrency transactions by Trump-related businesses. How big a problem are these transactions? And what do they tell us about the state of corruption on the second Trump administration?In object lessons, Eric marked the Jewish New Year with a novel recommendation: “To Rise Again at a Decent Hour,” by Joshua Ferris, a midlife-crisis tale woven through Judaism, baseball, and dentistry—two subjects close to his heart, and one that isn't. Scott, meanwhile, is back on the D.C. concert circuit and wants you to join him at Union Stage on October 14 to see Katie Pruitt, whose rock-infused Americana sound he thinks deserves a bigger audience. Kate rounded things out with a little blue hippo—specifically the souvenir version of the famous Egyptian figurine better known as “William,” a reminder of a past mother-daughter trip to Paris that involved butchering French while scouring the Louvre.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Scott sat down with Senior Editors Kate Klonick and Eric Columbus to talk through the week's big national security news stories, including: “An Un-Airing of Grievances.” Since the assassination of conservative activist Charlie Kirk, some supporters of his—including several figures within the Trump administration—have actively sought to have individuals who have said critical or purportedly insensitive things about Kirk removed from their jobs or otherwise punished. This arguably came to a head after Jimmy Kimmel Live! was pulled from the air following statements by FCC Chairman Brendan Carr suggesting networks might face additional regulatory scrutiny for not addressing alleged misinformation about Kirk's killer he purportedly put forward. And while Kimmel is now back on the air, several major local affiliates are refusing to air his show. How do these efforts comport with the First Amendment? And what do they mean for freedom of speech regardless?“You Can't Spell Appeasement Without App.” After months of negotiations—during which it has held off on enforcing a statutorily mandated ban—the Trump administration has announced that it has reached a deal with China regarding the disposition of the social media platform TikTok and its operation in the United States. But the public details of the deal have been few and far between, and much more remains to be worked out. How close to a deal are the parties in actuality? And does it address the national security concerns motivating Congress's ban in the first place?“Playing with White House Money.” The Trump administration has been rocked by two major corruption-related stories in the past week. First, the Justice Department is reported to have closed an investigation into White House immigration czar Tom Homan, who reportedly accepted $50,000 from undercover FBI agents prior to joining the administration on the understanding that he would help the donors gain access to the incoming Trump administration. And second, new details suggest that the recent deal to permit chip sales to the UAE were tied up in a variety of major cryptocurrency deals that enriched both the Trump Organization and others in the Trump administration—only the latest in a long history of suspect cryptocurrency transactions by Trump-related businesses. How big a problem are these transactions? And what do they tell us about the state of corruption on the second Trump administration?In object lessons, Eric marked the Jewish New Year with a novel recommendation: “To Rise Again at a Decent Hour,” by Joshua Ferris, a midlife-crisis tale woven through Judaism, baseball, and dentistry—two subjects close to his heart, and one that isn't. Scott, meanwhile, is back on the D.C. concert circuit and wants you to join him at Union Stage on October 14 to see Katie Pruitt, whose rock-infused Americana sound he thinks deserves a bigger audience. Kate rounded things out with a little blue hippo—specifically the souvenir version of the famous Egyptian figurine better known as “William,” a reminder of a past mother-daughter trip to Paris that involved butchering French while scouring the Louvre. Hosted on Acast. See acast.com/privacy for more information.

This episode was recorded on June 22nd, 2025 at the Culture Center Theater in Charleston, WV. The lineup includes Kelly Willis, Sierra Green & The Giants, John Doyle & Michael McGoldrick, Sarah Klang, Craig Bickhardt & Michael G. Ronstadt. http://bit.ly/3KE3tUQ

It's sports week at THR. Cool of the week includes Strange Harvest, Alien: Earth and Americana. Trailers are Vicious, The Bride!, and Deathgasm II: Goremageddon. We shine the podcast spotlight on Little Horror Haven. And we get feedback from The Final Girls Collective, Michael Arnaz, Rob Cheshire, Tina M. Parker, Xim Vader, Robert Glonick, and Pat Caruso. Thanks for listening! The Horror Returns Website: https://thehorrorreturns.com THR Facebook: https://www.facebook.com/thehorrorreturns/ Join THR Facebook Group: https://www.facebook.com/groups/1056143707851246 THR X: https://twitter.com/horror_returns?s=21&t=XKcrrOBZ7mzjwJY0ZJWrGA THR Instagram: https://instagram.com/thehorrorreturns?igshid=YmMyMTA2M2Y= THR Threads: https://www.threads.net/@thehorrorreturns?igshid=NTc4MTIwNjQ2YQ== THR YouTube Channel: https://youtube.com/@thehorrorreturnspodcast3277 THR Patreon: https://www.patreon.com/thehorrorreturns THR TeePublic: https://www.teepublic.com/user/the-horror-returns SK8ER Nez Podcast Network: https://www.podbean.com/pu/pbblog-p3n57-c4166 E Society Spotify For Podcasters: https://podcasters.spotify.com/pod/show/esoc Music By: Steve Carleton Of The Geekz

In this episode of Americana Podcast: The 51st State, host Robert Earl Keen sits down with two of Texas's most revered creative forces—Terry and Jo Harvey Allen. A true artistic duo, their work stretches across music, theater, film, literature, and visual art, each piece carrying the unmistakable edge of West Texas grit and imagination.Terry Allen, celebrated as both a groundbreaking songwriter and a visual artist, has long blurred the lines between mediums, telling stories that are as cinematic as they are deeply personal. Jo Harvey Allen, equally trailblazing, has carved her path as a writer, actress, and performance artist, bringing the raw complexities of American life—especially through women's voices—onto stage and screen.Together, Robert, Terry, and Jo Harvey reflect on decades of creation, collaboration, and connection: from navigating the intersections of music and art to sustaining a marriage and creative partnership that defies convention. It's part one of a conversation as expansive as the plains they call home—an intimate, fearless, and unforgettable look at two artists who continue to shape the Americana landscape. Episodes and Bonus content available on YOUTUBE!https://www.youtube.com/@robertearlkeenofficial Donate to the show!https://tiptopjar.com/americanapodcastInstagram@robertearlkeen1Have questions or suggestions? Emailcreatedirector@robertearlkeen.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.