Podcasts about Folk

John celebrates his 200th Folk Show with music from artists appearing at this year's Shrewsbury Folk Festival - and a possible prize for loyal listeners!

Jess is joined by fellow Long Islander ROSIE O'DONNELL! Topics: the inception of The Rosie O'Donnell Show, the infamous episode where Whitney Houston no-showed, her experiences with Britney Spears, being in the studio as Madonna recorded "This Used to Be My Playground" for A League of Their Own, why Barbara Walters disappointed her on The View, Kathy Griffin and Roseanne not taking her advice, The L Word, Queer as Folk and more!  Jess' docu-series FINDING FIRE ISLAND about the history, mystique and lore of Cherry Grove & The Pines. 

There were two winners out of the August primary: Former federal prosecutor and Acting U.S. Attorney for Minnesota Anders Folk and State Rep. Cedrick Frazier. It sets up a November matchup for the seat being vacated by Mary Moriarty. We spoke with both candidates and will air those conversations Wednesday and Thursday, starting with Anders Folk.Folk signed the federal indictment against Derek Chauvin in the murder of George Floyd. He was also a senior counsel in the Department of Justice under President Joe Biden.Voter's Choice: Rep. Cedrick Frazier leans on 'wide variety of experience' in Henn. County Attorney race

Martin Simpson got backstage when he was 15 and met Jimmy Reed and Big Joe Williams and it changed his life forever. He's been on the folk circuit ever since, still at the top of his game and with the wealth of knowledge and experience reflected in this extremely entertaining podcast. His ‘Some Kind Of Jubilee' album celebrates 50 years since his first record and he's on tour in September. And talks to us here about … … his operatic Dad born in the 19th Century … the message carved with a knife on the door of the Bodmin Trad Music Club … hearing Paul Robeson aged four and thinking “I want to make people cry for a living” … ‘60s folk circuit snobbery and its disdain for “foreign songs” … signing Big Joe Williams' walking stick in a space between Bob Dylan and Joan Baez … memories of Alex Campbell, Matin Carthy, Dave & Jo Ann Kelly and “that swarthy bunch of lunatics from Hull, the Watersons” … the Nun & Ice Cream Cone, the Frog & Afterbirth: imaginary pub venues cooked up with June Tabor … being managed by Tony Secunda, “an extremely unpleasant human being” … “the only damage you can do to a folk song is to not sing it” … supporting Steeleye Span and the night cash rained from the heavens … Don't Think Twice It's All Right, These Days by Jackson Browne, Mississippi John Hurt and other songs that never let you down onstage … second-lining at a New Orleans jazz funeral: “the slow drag and the racing return” … and how folk songs travel abroad and evolve. Order copies of ‘Some Kind Of Jubilee' here: https://martinsimpsonmusic.com/pre-order-the-new-album/ Martin Simpson tickets here: https://martinsimpsonmusic.com/Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Hailing from Boston, Will Dailey has spent over 15 years carving out his own lane of off-kilter Americana psychedelia - drawing comparisons to icons like Cass McCombs, Kevin Morby, and Jeff Tweedy. His unique approach to music has landed him collaborations with legends like Eddie Vedder, Peter Buck of R.E.M., Jakob Dylan and The Wallflowers, and honoring Richie Havens at the 2024 Folk, Americana, Roots 

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Martin Simpson got backstage when he was 15 and met Jimmy Reed and Big Joe Williams and it changed his life forever. He's been on the folk circuit ever since, still at the top of his game and with the wealth of knowledge and experience reflected in this extremely entertaining podcast. His ‘Some Kind Of Jubilee' album celebrates 50 years since his first record and he's on tour in September. And talks to us here about … … his operatic Dad born in the 19th Century … the message carved with a knife on the door of the Bodmin Trad Music Club … hearing Paul Robeson aged four and thinking “I want to make people cry for a living” … ‘60s folk circuit snobbery and its disdain for “foreign songs” … signing Big Joe Williams' walking stick in a space between Bob Dylan and Joan Baez … memories of Alex Campbell, Matin Carthy, Dave & Jo Ann Kelly and “that swarthy bunch of lunatics from Hull, the Watersons” … the Nun & Ice Cream Cone, the Frog & Afterbirth: imaginary pub venues cooked up with June Tabor … being managed by Tony Secunda, “an extremely unpleasant human being” … “the only damage you can do to a folk song is to not sing it” … supporting Steeleye Span and the night cash rained from the heavens … Don't Think Twice It's All Right, These Days by Jackson Browne, Mississippi John Hurt and other songs that never let you down onstage … second-lining at a New Orleans jazz funeral: “the slow drag and the racing return” … and how folk songs travel abroad and evolve. Order copies of ‘Some Kind Of Jubilee' here: https://martinsimpsonmusic.com/pre-order-the-new-album/ Martin Simpson tickets here: https://martinsimpsonmusic.com/Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Martin Simpson got backstage when he was 15 and met Jimmy Reed and Big Joe Williams and it changed his life forever. He's been on the folk circuit ever since, still at the top of his game and with the wealth of knowledge and experience reflected in this extremely entertaining podcast. His ‘Some Kind Of Jubilee' album celebrates 50 years since his first record and he's on tour in September. And talks to us here about … … his operatic Dad born in the 19th Century … the message carved with a knife on the door of the Bodmin Trad Music Club … hearing Paul Robeson aged four and thinking “I want to make people cry for a living” … ‘60s folk circuit snobbery and its disdain for “foreign songs” … signing Big Joe Williams' walking stick in a space between Bob Dylan and Joan Baez … memories of Alex Campbell, Matin Carthy, Dave & Jo Ann Kelly and “that swarthy bunch of lunatics from Hull, the Watersons” … the Nun & Ice Cream Cone, the Frog & Afterbirth: imaginary pub venues cooked up with June Tabor … being managed by Tony Secunda, “an extremely unpleasant human being” … “the only damage you can do to a folk song is to not sing it” … supporting Steeleye Span and the night cash rained from the heavens … Don't Think Twice It's All Right, These Days by Jackson Browne, Mississippi John Hurt and other songs that never let you down onstage … second-lining at a New Orleans jazz funeral: “the slow drag and the racing return” … and how folk songs travel abroad and evolve. Order copies of ‘Some Kind Of Jubilee' here: https://martinsimpsonmusic.com/pre-order-the-new-album/ Martin Simpson tickets here: https://martinsimpsonmusic.com/Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In this episode we chat with Kerri Stephens, the Artistic Director of Northern Lights Festival Boréal in Sudbury, Ontario and founder of Lost Cat Artists.Kerri takes us behind the scenes of programming Northern Lights Festival Boréal, sharing how she curates a cohesive lineup and considers everything from an artist's fit with the festival's mandate to the overall audience experience. She also shares practical advice for artists on pitching to festivals, preparing for industry meetings, following up after showcases, and building genuine relationships with bookers.For more information on Northern Lights Festival Boréal, visit their website and follow them on Instagram. You can also connect with Kerri on the management side through her company Lost Cat Artists via her website.About Kerri StephensKerri Stephens is the Artistic Director of Northern Lights Festival Boréal and Founder of Lost Cat Artists, an artist management and development company based in Winnipeg, Canada. With more than 20 years of experience in the music industry, she has worked across artist management, festival programming, marketing, sponsorship, fundraising, and event production.______________Tune in to the latest episodes of Refolkus, featuring latest music releases from Folk Canada members and Refolkus guests, now broadcasting on CKCU FM 93.1 in Ottawa, CKUW 95.9 FM in Winnipeg and CFBX 92.5 FM in Kamloops.Presented by Folk CanadaHosted by Rosalyn DennettProduced by Kayla Nezon and Rosalyn DennettMixed by Jordan Moore of The Pod CabinTheme music “Amsterdam” by King CardiacArtwork by Jaymie Karn

Star man and his friends battle space.

JB's starting off up north this week - far north as befits his current travels as he plays music from the outer Hebrides!

Padraic Scanlan — Multi-Part, Part One: Padraic Scanlan explores the deep-seated historical and economic causes of the Great Irish Famine, beginning with the haunting folk memory of Queen Victoria's visit to Skibbereen, a village that became an icon of social collapse and starvation. While the crisis was triggered by the failure of potato crops, Scanlan emphasizes that the vulnerability of the Irish population was manufactured through centuries of British conquest and colonial land management. By the nineteenth century, a tiny oligarchy owned the vast majority of Irish land, with 4,000 people controlling 80 percent of the island. The rural economy rested on a fragile three-legged stool consisting of the potato, the pig, and turf for fuel. The potato served as the glue of this system, allowing landlords to maintain a low-wage, capital-poor labor force that could survive on small, high-yield plots. The economic landscape was further constrained by the conacre system, short-term and expensive leases for tiny parcels of land that discouraged any improvements, as visible prosperity might prompt a rent increase. This precarious existence was justified by influential Victorian economists such as Thomas Malthus, who argued that famine was a dreadful resource of nature necessary to check population growth and compel the uncivilized poor to work. When the novel pathogen Phytophthora infestans arrived from the Americas in the early 1840s, it decimated the genetically uniform potato monocrop. The blight not only killed the growing tubers but also rotted stored supplies, leaving the two million people who relied exclusively on the potato with no buffer against catastrophe. (1)

On this week's show, we pour one out for Kavinsky and Glen Hansard, catch up on a smokin' boatload o' singles that have been piling up over the past several weeks, and spin fresh tracks from Boards of Canada, Mitch Easter, The Womack Sisters, Tom Waits, and the long-awaited collab of Steve Earle & Los Lobos.All this & much, much less! Debts No Honest Man Can Pay 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.

Black, Death, Speed, Thrash, Doom, Folk, Shred, Power, Prog & Traditional MetalPlaylists: https://spinitron.com/WSCA/show/160737/Black-Night-MeditationsWSCA 106.1 FM is non-commercial and non-profit.

Celtic Connections festivali ajal Glasgows kohtuvad BBC stuudios haldjarahva bändid, et tähistada muusikat koos raadiosaatega "Travelling Folk".Saate teeb Liina Vainumetsa.

Hailing from Boston, Will Dailey has spent over 15 years carving out his own lane of off-kilter Americana psychedelia - drawing comparisons to icons like Cass McCombs, Kevin Morby, and Jeff Tweedy. His unique approach to music has landed him collaborations with legends like Eddie Vedder, Peter Buck of R.E.M., Jakob Dylan and The Wallflowers, and honoring Richie Havens at the 2024 Folk, Americana, Roots 

 Learn more about your ad choices. Visit megaphone.fm/adchoices

En una semana marcada por la expectación generada por el eclipse, nosotros no hemos querido ser menos y hemos preparado todo un catálogo de eclipses cinematográficos. En este episodio también repasaremos los estrenos de la semana, que no son pocos. El más comercial de la semana es la "spielbergiana" 'El final de Oak Street', la nueva película de dinosaurios dirigida por David Robert Mitchell, producida por J.J. Abrams y protagonizada por Anne Hathaway y Ewan McGregor. También llega a los cines 'Cuenta atrás', una película de atracos protagonizada por Aaron Taylor-Johnson y Sam Worthington; y otras propuestas como 'Palestina 36', un drama histórico protagonizado por Jeremy Irons y Hiam Abbas o la alemana 'Este/Oeste' con Sandra Huller. De cine español, el debut cinematográfico de Pau Simón, 'Días de agosto'.  Pero hay mucho más, porque en SkyShowtime se estrena el drama romántico de Josh O'Connor y Paul Mescal 'La historia del sonido' y en Netflix la mexicana 'Un hijo propio'. Y, por si fuera poco, hablaremos de Bergman gracias a un libro que ha escrito la periodista, profesora y crítica cinematográfica Lucía Tello Díaz; y, como se cumplen 65 años desde el comienzo del levantamiento del muro de Berlín, de cómo lo ha retratado el cine. Por último, seguiremos con nuestra serie veraniega "La conquista del espacio", esta vez sobre los satélites artificiales que orbitan alrededor de la Tierra.

Freunde treffen, nur um sich abzudaten: Raphaella merkt irgendwann, dass sich das nicht richtig für sie anfühlt. Sie will lieber etwas im Hier und Jetzt erleben. Was die Catch-up-Kultur mit Leistungsdruck zu tun hat, erklärt eine Soziologin.**********Ihr hört: Gesprächspartnerin: Raphaella, versucht, aktiv aus Update-Freundschaften wieder mehr ins Hier und Jetzt zu kommen Gesprächspartnerin: Claudia Neu, Professorin für Soziologie ländlicher Räume an den Unis Göttingen und Kassel Gesprächspartner: Alexandre Mueller, Psychotherapeut mit Schwerpunkt auf u.a. Freundschaftstherapie Autor und Host: Przemek Żuk Redaktion: Anton Stanislawski, Friederike Seeger, Yevgeniya Shcherbakova, Celine Wegert Produktion: Philipp Adelmann**********Quellen:Langheit, S. & Pulin, F. (2022). Developmental changes in best friendship quality during emerging adulthood. Journal of Social and Personal Relationships, 39(11). S. 3373-3393.Yücel, E., & Dincer, D. (2024). The Transformative power of friendships: Examining the relationships among friendship quality, self-change, and well-being. Personal Relationships, 31(2), S. 301–332.Folk, D., & Dunn, E. (2026). Everything Is Better Together: Analyzing the Relationship Between Socializing and Happiness in the American Time Use Survey. Social Psychological and Personality Science, 17(4), S. 426-435.Bosch, M., Fernandez-Borsot, G., Miró I. Comas, A. et al. (2022). Evolving friendship? Essential changes, from social networks to artificial companions. Social Network Analysis and Mining, 12(39).**********Mehr zum Thema bei Deutschlandfunk Nova:Alle immer busy: Wie führen wir enge Freundschaften mit wenig Zeit?Freundschaft: Wie finden wir unsere Gruppe?Einseitige Freundschaft: Wie setzen wir Grenzen? **********Den Artikel zum Stück findet ihr hier.**********Ihr könnt uns auch auf diesen Kanälen folgen: TikTok und Instagram .**********Meldet euch!Ihr könnt das Team von Facts & Feelings über Whatsapp erreichen.Uns interessiert: Was beschäftigt euch? Habt ihr ein Thema, über das wir unbedingt in der Sendung und im Podcast sprechen sollen?Schickt uns eine Sprachnachricht oder schreibt uns per 0160-91360852 oder an factsundfeelings@deutschlandradio.de.Wichtig: Wenn ihr diese Nummer speichert und uns eine Nachricht schickt, akzeptiert ihr unsere Regeln zum Datenschutz und bei Whatsapp die Datenschutzrichtlinien von Whatsapp.

Folk-rock artist Allie Sandt returns to the Planet LP Podcast to talk about her debut album, In Pursuit of a Good Time. Known for blending folk, blues, jazz, and vintage rock into songs that feel both intimate and timeless, Allie opens up about the years-long journey behind the record — from songs that trace back to her time in the upstate New York indie circuit to new material written specifically for this project. We dig into the stories behind some tracks, and Allie talks about self-producing the album and assembling the accomplished group of musicians who helped bring it to life (also documented in her behind-the-scenes YouTube mini-doc). She shares how listeners have responded to the record so far, and looks ahead to her upcoming tour plans — including an exciting run opening for British-Brazilian folk-pop and bossa nova singer-songwriter Liana Flores on the U.S. leg of her tour. We also get into her thoughts on breaking through in an era of endless new music releases. As a Planet LP exclusive, Allie also performs a stripped-down acoustic version of "In Pursuit of a Good Time" — a highlight you won't want to miss. This episode of Planet LP is brought to you by Steve Fox's Old School, celebrating classic soul and R&B with the timeless grooves, voices, and culture that shaped generations. Tune in and relive the hits at stevefoxoldschool.com.

It has come down to Anders Lee and Cedrick Frazier in the Hennepin County Attorney - we discuss the race, the wave of progressives in the DFL party, what separates his leadership as potentially the next Hennepin County Attorney compared to Mary Moriarty and Cedrick Frazier!

Ny meningsmåling med mer av det samme, Rødt er dobbelt så store som SV. Ny skolepolitikk med mer lek og mer kos. Trump har ny hårsveis, og Iran setter hardt mot hardt. Oljefondsjef Nicolai Tangen frykter oljefondet blir utslettet ved en atomkrig. Folk i Russland begynner å skjønne at de er i krig. Live fra Ardendalsuka. Med Anders Giæver, Shazia Majid, Ayesha Wolasmal, Hanne Skartveit og Frøy Gudbrandsen. Produsent NRK (Vegar Erstad) og Magne Antonsen. Ansvarlig redaktør Gard Steiro. Kontakt redaksjonen på giaeveroggjengen@vg.no. Giæver & gjengen gir deg de viktigste nyhetene hver dag på drøye 20 minutter når du skal hjem fra jobb. Hør «Mediebobler» hver lørdag om feilene pressen gjør og dilemmaer VG står i. Alltid på Podme.

It is the inaugural 'Roots' podcast 'Revisited & Remastered'. The track list from 2007's podcast 43 includes some gems that are well worth revisiting. Playlist: Artist - Album - Track. 1 Mary Gauthier - Filth & Fire - Sugar Cane. 2 Neko Case - Furnace Room Lullaby - Furnace Room Lullaby. 3 Magnolia Electric Co - Hard To Love A Man EP - Hard To Love A Man. 4 Clem Snide - End Of Love - The Sound Of German Hip Hop. 5 Shane & The Money Makers - Leopard Skin Print - Lay It Down. 6 Butch Hancock - The Wind's Dominion - Personal Rendition of the Blues. 7 Karen Dalton - In My Own Time - Katie Cruel. 8 Shelley Evans - Big Horse Black - Big Horse Black. 9 Beth Gibbons - Out Of Season -Tom The Model. 10 Archer Prewitt - Wilderness - Without you. 11 Laura Veirs - Year of Meteors – Galaxies. 12 Tom Pacheco - Woodstock Winter - Four Angels. Size: 141 MB (148,090,771 bytes) Duration: 01:01:33

Sista veckan med sommarsatsningen best of fredagsfrågan! I nästa vecka är vi tillbaka med nya, vanliga avsnitt och varje fredag kommer som vanligt färska fredagsfrågor.För en reklamfri upplevelse klicka här: https://dummamanniskor.supercast.com/ Hosted on Acast. See acast.com/privacy for more information.

High kicking cats.   https://folkinscotland.wixsite.com/mysite http://derekfindas.bsky.social/    

Czechia bids to host one of Europe's giant AI Gigafactories, Hantec added to South Moravian folk culture list as enthusiasts eye UNESCO recognition, Prague Pride survey highlights unknown chapters of Czech queer history, Who reads what? The surprising patterns hidden in 17 million library loans

Americana, Roots, Folk, Blues and Country music. A LINDA RONSTADT SPECIAL.

Moody music this week, perhaps?Playlist: Goldings Bernstein StewartGoldings Bernstein Stewart - RhombusJazzLab Orchestra - Thanks CollierRebecca Patterson & Ron Wilkins - Near eastBilly Bang, A. R. Penck - Duo 1Ensemble Infini - CartoonElton Dean, Mark Hewins - Merilyn's caveAlexis Martin Ensemble - PimbinaBruce Williams - Why can't weRachel Grimes - Waltz for Sarah

Episode 35 - In which Gordon Stewart delves into the reign of king James IV of Scotland, the battle of Flodden Field, and the king's unusual afterlife. Recorded, produced and radiophonically designed by Nick Cole-Hamilton. The thumbnail image for this episode is The Battle of Flodden Field by Edward Burne-Jones The Tales From Wyrd Scotland logo was designed by Andrew Cowan: www.andrewcowan.co/ This is a You Better Run Media production.

On this week's episode of Local Legends Martin chats with veteran British broadcaster and host of Folk on Foot Matthew Bannister. In a conversation that folds in some of Matthew's other wonderful projects including The Song Detectorists and Last Word, while Martin and Matthew don't quite go on a wander together, our main focus is Matthew's multi-award winning podcast Folk on Foot, which combines folk music, outdoor walking, and acoustic on-location performances. In each episode, Matthew walks with a prominent folk artist through a landscape that has inspired their craft, capturing natural ambient sounds and intimate live sessions that cast a bit of a spell. Though how does a person go from being a budding fiddle player and chorister from Yorkshire to becoming not just a radio presenter but a BBC Executive, managing a huge whack of TV production for this nation's state broadcaster? Moreover, how has Matthew found routes through to a creative career that has lasted longer than Martin's entire life?We of course get into all that, and, because our theme on Three Ravens this week is Harvest, we'll also be chatting about Matthew's favourite Harvest folk song, his experiences walking across England to raise money for Help Musicians, and so much more. So, gather in close around the Three Ravens campfire and listen in to a conversation about the power of radio, Ley Lines, and what it's like to hang out around the kitchen table with the entire McCarthy and Waterson extended family, with a true Local Legend, Matthew Bannister! Three Ravens is a myth and folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on a historic county, exploring the heritage, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?REGISTER FOR THE TALES OF SOUTHERN ENGLAND TOURVisit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Black, Death, Speed, Thrash, Doom, Folk, Shred, Power, Prog & Traditional MetalPlaylists: https://spinitron.com/WSCA/show/160737/Black-Night-MeditationsWSCA 106.1 FM is non-commercial and non-profit.

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

Disciples!! Here we go – after a schedule shift, Nate and yours truly are back to another ‘A’ episode playing catch-up and talkin’ news. Oh – a ‘two-fer’ of bands from Sweden: Oxidize and Outshine! Enjoy! What’s Nate been listening to?Artist: Oranssi PazuzuAlbum: VarahtelijaSong: Vasemman Kaden HierarkiaLearn more: https://en.wikipedia.org/wiki/Oranssi_Pazuzu CURRENT EVENTS—————————————–G1:METAL HALL OF FAME LAUNCHES PODCAST WITH MEGADETH … Continue reading (399) DotW Featuring ‘Oxidize’ and ‘Outshine’ →

Soggy socks again.   https://folkinscotland.wixsite.com/mysite http://derekfindas.bsky.social/    

“My mom went to Juilliard, graduated from Juilliard. She taught us all of our instruments. We performed very high-level classical music, but we never felt a connection with the audience. And that's what we really yearned for.” — Dan Fedoryka You might not guess that the Fedoryka brothers, the core of the four-piece band Scythian, would have started their musical journey in such a formal setting, judging from their freewheeling, sweat-soaked and jet-engine-loud performances. As spontaneous and loose as you may think they are, however, Scythian is actually leaning hard into that foundational experience with their approach. It is the second part of Dan's quote that is obvious from the first notes they play on stage, as Scythian is well known for getting their audiences fully engaged in their show — wide swaths of spontaneous dancing, pockets of shoulder surfing, and much of the audience singing along at full volume. You might not expect that such a scene would be commonplace at a music festival founded on the music of the decidedly non-raucous flat-picking guitar legend Doc Watson and the festival's namesake, his son and frequent musical partner Merle. But they are a staple at the festival over their now 17-year tenure there, and Doc gave them their first opportunity to play the festival himself. In April 2026, I caught up with Scythian for a conversation that touched on everything from their first time playing at MerleFest, to their nomadic warrior ancestors from Ukraine and much more. We also dive into brand new music from the band as we salute the memory of Doc and Merle with a hearty toast from their homeland, “Nostrovia!”. Happy Warriors of Folk - Scythian Joe Kendrick Download Songs heard in this episode: “Get There” by Scythian“Bulgarian Suite” by Scythian, from Paste Studio's “On The Road” session at the 7th Annual Suwannee Spring Reunion“Life To Live” by Scythian Thank you for dropping by! We encourage you to follow this series wherever you listen to podcasts, and to share it with a friend. We are especially grateful for top ratings and your reviews. You can follow this series on social media: @southstories on Instagram, at Southern Songs and Stories on Facebook, and you can view these episodes and a lot more on my YouTube channel, at the handle JoeKendrickNC. We can also send you newsletters via Substack, 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. This is Southern Songs and Stories, where our quest is 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

For this week's story, sticking with our theme of Harvest, we present a slice of US-set folk horror for you to enjoy!The tale begins with Robin, a recently widowed wheat farmer whose crops have failed due to drought. At his farmhouse Mother rules, although a new feminine energy has arrived in the shape of Amelia, who believes Robin's loss might open space in his heart for her. Though out on Robin's farm, too far to walk from town, Amelia begins to wonder if the the scarecrow in the vegetable garden out back is watching her, or if, even across the long days while Robin works the land and Mother forages in the nearby woodland, she is ever truly alone...We really hope you enjoy Eleanor's reading of this one, which Martin wrote back in 2019 - as we dig into in the post-story discussion, which engages with themes of natural cycles, the land's response to mankind's interference, and why we find scarecrows so unsettling...Speak to you again on Saturday for this week's Local Legends interview with Folk on Foot's Matthew Bannister who, along with lots of other interesting things, speaks about his favourite traditional English Harvest folk song.Three Ravens is a Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on a historic county, exploring the heritage, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?REGISTER FOR THE TALES OF SOUTHERN ENGLAND TOURVisit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Track listing:MAN & ERROR - Bargain BinCINDY - The Thousand FirstALASTAIR GALBRAITH & DEMARNIA LLOYD - Merry-Go-RoundTHE GORDONS - Right On TimeTHINKING FELLERS UNION LOCAL 282 - PrelmnlrlVIOLENT CHANGE - Production LifeTHE WHINES - Cut MeatTHE PORTAGE - SinEDIBLE ARRANGEMENTS - Teenage QuicheXYX - MicrovibracionesTHE ER BAND - All Around The Street CornersJACKIE-O MOTHERFUCKER - Nice OneICKY BOYFRIENDS - Pay n' PackTHE GERMS - My TunnelSETTING - Heard a Bubble

Fae Folk Extravaganza - Modern Fairy Sightings PLUS The Missing and the Fae TheoryBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Turn On & Tap Into Independent + Original Music from Wisconsin & the Midwest with WAPL Home Brewed Radio!                                   This Week's Featured Mile of Music 13 ArtistsSurfing For Daisy / Hannah Geller / Dave Hause / Koyal / Buddy Red / Saint Cecilia / Descartes a Kant / R-NØT / Don't Panic / wht.rbbt.obj / Sweet Lizzy Project / WatershedSaturday Mornings - LIVE - 9am on 105.7 FMStreaming LIVE at wapl.com & the WAPL Mobile App.Podcasts - iTunes or the WAPL MobileProduced & Hosted by John JordanContact > john.jordan@wcmnew.comBRAVO to the Cool Venues That Book Original LIVE Music!CHEERS to Your Ears!

As a follow up to Episode 171 - Krystle sits down with Erin and Daniel from Faith Baptist School in Virginia to discuss effective ways to set beginning band students up for success.Full PresentationSupport the Show HereTo gain access to all show notes and audio files please Subscribe to the podcast and consider supporting the show on Patreon - using the button at the top of thegrowingbanddirector.comOur mission is to share practical  advice and explore topics that will help every band director, no matter your experience level, as well as music education students who are working to join us in the coming years.Connect with us with comments or ideasFollow the show:Podcast website : Thegrowingbanddirector.comOn Youtube The Growing Band Director Facebook-The Growing Band Director Podcast GroupInstagram @thegrowingbanddirectorTik Tok @thegrowingbanddirectorIf you like what you hear please:Leave a Five Star Review and Share us with another band director!

Tobbe har haft en dunderfest på Urban Deli's tak!När det gäller Prideparaden - vad händer om man begränsar hur folk ska få uttrycka sig?Vad sa egentligen Ebba Busch till Tobbe i Paraden??Har Gabriel förlovat sig på Mallorca?Äntligen sätter Europa ner foten mot FIFA.Till sist avslutar vi med en positiv lista!Nu kör vi!kontakt: hello@poddagency.comI säng med Tobias & Gabriel produceras av Poddagency Hosted on Acast. See acast.com/privacy for more information.

Americana, Roots, Folk, Blues and Country music. A CHARLEY CROCKETT SPECIAL.

I Sør-Afrika krever demonstranter at utlendingene drar. Nå flykter migranter fra landet, og regjeringen har deportert over 50 000. Både folk i gatene og regjeringen mener innvandring er årsaken til arbeidsledighet, fattigdom og kriminalitet. Men stemmer det? Med utenriksjournalist Tora Carlsen Haaland og forsker ved OsloMet Einar Braathen. Foto: Oupa Nkosi / Reuters

Grab your favorite tonic and settle into your comfiest chair! In this episode of The Twilight Tonic, host DeeDee Moonflyer welcomes back author, historian, and folklorist Mark H. Roe to explore his book, The Ohio Witch's Field Guide. Rooted in his own Appalachian upbringing and Cherokee heritage, Mark takes us on a deep walk through the forest hollows of Southern Ohio. Discover the forgotten wisdom of mountain "grannies" and cunning folk—from the healing and moisture-retaining power of forest moss poultices to the protective virtues of angelica root and cedar heartwood. Learn why you should think twice before throwing away dandelion roots, how Native American traditions blended herbs and cherry bark into soothing smoke infusions like Kinnikinnick, and how to spot nature's warnings (including why you must always trim the center dot out of Queen Anne's Lace bloom!). Whether you're curious about traditional herbal remedies, dowsing for water with willow branches, or spirit protection charms, Mark shares a treasure trove of historical lore and practical folk wisdom.

Black, Death, Speed, Thrash, Doom, Folk, Shred, Power, Prog & Traditional MetalPlaylists: https://spinitron.com/WSCA/show/160737/Black-Night-MeditationsWSCA 106.1 FM is non-commercial and non-profit.

In this episode Tommy and Dayna watch and react to episode 8 of Queer as Folk season 1.

You're tuned in to Indigenous in Music with Larry K, and today, from the deep shores of Ontario, JD Crosstown will be in our spotlight. His music is rooted in story, soul, and tradition. Blending folk, country, and blues. His debut album Takin' My Time is a reflection of life, growth, and staying true to your path and it's available now. JD is featured in our current issue of the SAY Magazine, read all about him at our place at our place on the web at www.indigenousinmusicandarts.org/past-shows/jd-crosstown. Enjoy music from JD Crosstown, The North Sound, Mike Paul Kuekuasheu, Aterciopleados, Teagan Littlechief, Maten, Shauit, Mexican Institute Of Sound, Burnstick, Catus Rose NYC, Melody McArthur, LILI, Diyet & the Love Soldiers, Jessica Hernandez and the Deltas, Chantil Dukart, Blue Moon Marquee, Pony Man, Donita Large, RematriNation, Sinematic, First Floor Highway, The City Lines, Eagle & Hawk, Shub, Sebastian Gaskin, Nicole Gatti, Sean1ne, Enokahe, Def-i, Ariano, Berk Jodoin and much more. Visit us at www.indigenousinmusicandarts.org to explore our programs, celebrate culture, and connect with powerful voices shaping our communities. Step inside our new Indigenous in Music Directory and meet the incredible Artists and Entrepreneurs who are making an impact today in the music industry.

Kontakta oss på dummamanniskor@gmail.com.För en reklamfri upplevelse klicka här: https://dummamanniskor.supercast.com/ Hosted on Acast. See acast.com/privacy for more information.

The BEST Independent Music Artists & Singers from around the world: EDM, Indie Rock, Indie Pop, Hip Hop, R & B, Rap, reggae, Jazz, Country, Folk, & more...Hosted by DTongAdvertising & Sponsorship: http://goo.gl/ioP6HwGuaranteed Song Play & Promotion: http://goo.gl/4aD98wBROUGHT TO YOU BY:The Sixth Sun: Aztec Mythology Reborn for the Modern Dayhttps://bit.ly/4wsE9V1Ella Podcasts w/ Ella Shermanhttps://bit.ly/4cCVe61Watching the End of the World from Bourbon Streethttps://bit.ly/4yMKjkchttps://mydrinx.shopEleven Elements by Robby Joshihttps://bit.ly/438A4Z7Essante Organics by Sharron Kwww.essanteorganics.com/sharronkThe World of Ardamak Continenthttps://bit.ly/4urdsPnhttps://jadedmayhem.comAlso New Music from:Jenson 'The 1's and 2's'JKray 'midnight coffee'KliphtOn 'Confidant Beholden'Mac Thornhill 'MacDaddy'415Fortune 'Good Morning'Instrastasis 'Cover Me'GogoNutt 'In The Middle Of The Maze'Ryot 'Away'Trip the Monkey w/ a Back2backJoshua Mika 'rest of our lives'Vallahigh 'Trinity'BrightNEarly 'Sleeper Agent'Joseph Rutakangwa 'This Song Is for Us'The Black Rose 'Lightning in the dark'Defenz 'Dreamscape'IMURME 'Locked In'Saint Kon 'No Name'J Wood Capone 'Elevation'Ab5olootfaxtz 'We About 2 Blow'Kormanec Sinkin' Hear Your Name'BeatForged 'hook in my veins'Kash Staxkz 'Weekend'Catch the show on iTunes, Spotify, iHeartRadio, PlayerFM, TuneIn, Soundcloud, & www.DTongRadio.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/dtong-radio-indie-music-showcase--954466/support.

Hey guys! So I'm BACK with another episode for the free version of my podcast and I'm SO FREAKING EXCITED because I am ALMOST done with recording my album as well. I'm just waiting on the sax parts and for the female background vocals to be recorded for one more song off the album and then THATS A WRAP in terms of recording this album!!Then it just needs to get mixed and mastered and THATS IT!!! So it's LITERALLY taking me a whole year to record this album and I'm SO FREAKING EXCITED to get it all done hereAnd I also have some AMAZING guest episodes lined up for the premium version of my podcast. INCLUDING an interview with Little Anthony next month AND Gary Lewis next month. AND I'm also recording new interview episodes all of the time. This week, I'm recording a new interview with the one and only Mike Stoller who co wrote “Stand By Me” this week as well! So overall, lots of VERY exciting things going on with my music and my podcast lately, but in the meantime, I hope you guys enjoy my free episode for this month where I broke down a VERY cool instrumental song that blends two VERY niche but cool genres of music, known as Folk and Dixieland Band JazzHere's the link to that song just in case you want to check that out:https://youtu.be/lBOT6dfnerc?is=8SLwPJD5takTJ7lVPLEASE do follow me and reach out to me on Instagram and Tik Tok right here:https://www.instagram.com/iheartoldies?igsh=NTc4MTIwNjQ2YQ%3D%3D&utm_source=qrhttps://www.tiktok.com/@iheartoldies?_r=1&_t=ZT-98RaQk0xIr7PLEASE do subscribe to the premium version of my podcast so that way you DO NOT miss out on all of these GREAT interviews that I've been doing for the premium version of my podcasts with these VERY cool 60's music legends. Also, it's SUPER easy to sign up for this as well. Just click on this link, punch in your email, they'll send you a code? Then you pay for the subscription, then your'e in! AND you can listen to this version of my podcast on Spotify AND Apple Podcasts as well if you're not a fan of Spotify as well. You can check that out right here: https://themillennialthrowbackmachine.supercast.comAlso PLEASE do stream my last EP as well. So that way you guys can brace yourself for my next album that is going to sound ABSOLUTELY stellar and JUST as good if not better than my last EP. Here's where you can check that out:https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-things?ref=releaseAlso, I'm still in the middle of sorting out whether or not to use a different print on demand company for my merch as well. I'll keep you guys posted what I decide for that as well. I think I may stick with the ones that I have because this one girl who recently bought one of my merch items. The Logo has held up quite well. And with the other merch maker, it looks like they have different types of shirts that you can buy that have MUCH better quality in terms of the logo lasting for A LOT longer than others. So I'm not entirely sure what I'm gonna do about that next but we'll see what I can come up with for the final decision on that.Also PLEASE do check out the Spotify and YouTube Links for my podcast so you can hear all of the songs that I discuss for this free version of my podcast.You can find those links right here:https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?pi=CfA7yYtDTf6dp&si=rfWZsmhyT3mDux_Sq2vAfQhttps://youtube.com/playlist?list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf&si=_zuIz5YYWVbM9D66If you found out some REALLY interesting information about this month's song and you've NEVER heard this song before and your a Millennial/Gen Z then DEFINITELY email me at samltwilli@icloud.com. You can also follow me and reach out to me on Instagram and Tik Tok @iheartoldies. I will be back with more album updates next month and another song to cover for the free version of this podcast. But until then, PLEASE, Keep Things Groovy!

How was folklore woven into the everyday life of medieval Icelanders? How did they make sense of the darkness of their world?During Iceland's endless nights, tales of trolls, ghosts, elves, hidden people and restless spirits were far more than entertainment: they explained an unpredictable existence, preserved history, and warned against unseen dangers.Dr Eleanor Janega is joined by Dr. Dagrún Ósk Jónsdóttir, to explore the extraordinary legends and oral traditions that continue to shape Icelandic culture today.MORENorse Mythology: Creation MythsListen on AppleListen on SpotifyWelsh Folk TalesListen on AppleListen on SpotifyGone Medieval is presented by Dr. Eleanor Janega. Audio editor is Amy Haddow, the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe Hosted on Acast. See acast.com/privacy for more information.

We made it to the final stop on this summer's Around the World with Busy Kids Love Music tour — and what a destination to end on. The Philippines is an archipelago of more than 7,000 islands in Southeast Asia, home to over 110 million people speaking more than 180 languages and dialects. Its folk music is not one tradition — it is many, layered on top of each other over thousands of years: ancient bronze gong ensembles from the highlands and the southern islands, rice harvest chants recognized by UNESCO, Spanish-influenced string ensemble music that became entirely its own thing, and love songs that carried a secret message of resistance hidden in plain sight. In this finale episode, we explore both sides of Philippine folk music — the indigenous traditions that survived centuries of Spanish colonization, and the hybrid traditions that grew from the meeting of Filipino and Spanish culture. And woven through it all is a theme that has appeared at every stop on this summer's tour: music as the keeper of identity, the carrier of what people are not always free to say out loud. What We Cover in This Episode The Philippines' geography, history, and extraordinary cultural diversity — 7,000+ islands, 180+ languages, indigenous peoples alongside centuries of colonial influence Spanish colonial rule (1565–1898) and how it reshaped lowland Filipino culture while leaving highland and southern communities largely intact The kulintang — a row of bronze gongs played in ensemble by the Maranao and Maguindanao peoples of Mindanao and the Sulu Archipelago The gangsa tradition of the Kalinga people of the Cordillera highlands — flat bronze gongs played communally, one gong per player The hudhud — a form of epic chanted poetry sung by Ifugao women during rice harvests and funerals, recognized by UNESCO as an Intangible Cultural Heritage The rondalla — a Spanish-derived plucked string ensemble that became the sound of Filipino fiestas and community celebrations The harana — a traditional serenade tradition with Spanish roots that developed its own Filipino character, now a disappearing tradition being actively preserved The kundiman — Filipino love songs from the late 19th and early 20th centuries that carried hidden messages of patriotism and longing for independence under colonial rule How Filipino-American communities across the United States are keeping these traditions alive today Free Downloads for This Episode