Podcast appearances and mentions of Justin Vernon

Kurt Wagner from Lambchop is here to discuss Punching the Clown, not working from home, his close collaborators Ryan Olson and Andrew Broder and the inclusion of drops, producer tags, and dramatic, powerful choral singers, which might surprise some listeners and why surprises are a great thing, why he appreciates happenstance noises and thoughts making it onto his recordings, what prompted his recent interest in lined out singing and how Justin Vernon of Bon Iver wound up playing banjo on this record, why the film Punching the Clown resonated with him so much, pondering Larry David, upcoming shows, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts.Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Win You've Changed Records by Fiver and G̱amksimoon in August 2026!Ep. #1116: Robyn HitchcockEp. #970: William TylerAll Things Konsidered: The Beatles AnthologyEp. #587: Vic Berger IV & DJ DouggpoundEp. #562: Bill CallahanEp. #481: David BermanEp. #48: Ben Blackwell of Third Man RecordsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

What up Fellas! Wir befinden uns auf der Zielgeraden, denn in der neuen Folge schließen wir das Track by Track zu "My Beautiful Dark Twisted Fantasy" ab und legen die Weichen zum Fazit nächste Woche. Mit "Lost In The World" und "Who Will Survive In America" findet Kanye einen Abschluss zu seinem Magnus Opum und schließt den Bogen zu verschiedenen Facetten des Albums. Neben seiner persönlichen Entwicklung holt er sich zudem Unterstützung, um einen gelungenen Abschluss dieses Projektes zu finden. Zum einen holt er sich ein weiteres Mal Unterstützung von Bon Iver, und untermauert sowohl seine Erkenntnisse aus der Zeit im Exil, und knüpft durch den mittlerweile vertrauten Umgang mit Justin Vernon zudem an die bisherigen Strukturen des Albums an. Das Outro überlässt er zudem vollends Gil Scott-Heron, um auch die gesellschaftlichen Botschaften des Albums adäquat zu beschließen. Wenn euch das interessiert und ihr darüber hinaus auch noch wissen wollt, welche Parallelen "Lost In The World" zu dem Sample von Bon Iver hat, und worauf die tiefgründigen Zeilen des Outros basieren, dann checkt gerne die Folge aus! Checkt gerne die neue Folge „Rap gehört zum guten Ton“ aus! Habt ein schönes Wochenende! Stay strapped und seid lieb zueinander!

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.

Eaux Claires, the music festival, returned to Wisconsin after an eight-year hiatus. Organizers, including Bon Iver frontman Justin Vernon, pulled together national artists, some with deep ties to the Chippewa Valley.

Folktronica songwriter Ásgeir didn't plan on becoming a singer. When he was younger, all he wanted to do was to make music with his garage band. He only found himself singing in front of a microphone because “somebody had to do it.”  As he grew into his musical identity, Ásgeir immersed himself in the music of his vocal heroes, including Jeff Buckley, Jónsi of Sigur Rós, and Justin Vernon of Bon Iver. Their ethereal falsetto tones influenced his own approach to singing and a new Icelandic star was born. Ásgeir's first record, titled Dýrð í dauðaþögn, became the best-selling debut album in Iceland to date in 2012, beating the debuts of Björk and Sigur Rós. Since then, he's been singing his songs mostly in English, often with lyrics borrowed from the poetry of his father, Einar Georg Einarsson. In his fifth studio album, Julia, Ásgeir takes the pen in his own hands for the first time, interpreting his life experiences from a singular lens. He plays some songs from that record and reflects on their inception. (- Sırma Munyar) 1. Smoke 2. Ferris Wheel 3. Sugar Clouds Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Here's The Way It Is -- Brad Paisley fell in love with Bruce Hornsby's bold and brilliant new album, "Indigo Park," and that inspired this special "Naked Lunch" that allowed David to catch up with Bruce and Brad to finally meet him and find out they have a mutual admiration society going. With guest questions from Justin Vernon of Bon Iver and director Allen Hughes, and great stories from Bruce's career, including his time with the Grateful Dead. For more on Bruce Hornsby, to https://www.brucehornsby.com. For more on Brad Paisley, go to https://www.bradpaisley.com/home. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at ⁠⁠⁠philrosenthalworld.com⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bon Iver abandona el estudio para publicar, por primera vez, un álbum en directo —o quizá, un álbum de directos. Ha buceado en sus propios archivos para dar forma a 'VOLUMES: ONE “SELECTIONS FROM MUSIC CONCERTS 2019-2023 BON IVER 6 PIECE BAND”', un cofre que reúne actuaciones seleccionadas grabadas entre 2019 y 2023. Como quien hojea un álbum de fotos, Justin Vernon revisita quién fue para comprender quién es hoy: un proyecto que se afirma, cada vez más, como una banda cuya fuerza emotiva nace de la sinergia. Además, Guille Galván responden a nuestro cuestionario cultural en FAQ! Y hacemos un análisis sobre la escucha. Hablamos con la artista Lyra Pramuk, con la musicóloga y artista sonora Gema Hernández y el creador audiovisual José Salas, Josephine.  Playlist:King Gizzard & The Lizard Wizard - Phantom IslandBIG SPECIAL, Rachel Goswell - THIN HORSEScrushed - starburnYung Lean - I'm Your Dirt, I'm Your LoveDepresión Sonora - Me Va la Vida en EstoKevin Abstract, Dominic Fike - GeezerRavyn Lenae, Dominic Fike - ReputationSalvana - DesiertaThe World Is A Beautiful Place & I Am No Longer Afraid To Die - Auguries of GuiltMilitarie Gun - Throw Me Awaybar italia - CowbellaErykah Badu, The Alchemist - Next To YouHermanos Gutiérrez, Leon Bridges - Elegantly WastedLEISURE - DominoesLewis OfMan, Alicia Tequiero - Siesta FreestyleThundercat, The Lemon Twigs - What Is Left To Say54 Ultra - TurnaroundLola Young - Not Like That AnymoreKurt Vile - Chance to BleedCourtney Barnett, Waxahatchee - Site UnseenM.I.A - EVERYTHINGLykke Li - Lucky AgainGelli Haha - Klouds Will Carry Me To SleepLauren Auder - PraxisRobyn - Light UpCarolina Durante - Probablemente Tengas RazónBestia Bebé, Diego Ibáñez - Si me voy no significa que te quiera menosCarrera Blanca - Lo que pasa es que te quieroPaco Te Quiero - tus amigosLos Punsetes - Tus AmigosThe xx - IntroArlo Parks - Get GoDJ Seinfeld, Confidence Man - The RightBon Iver - HEY, MA (Pitchfork Music Festival, Chicago, IL. July 23 2023) Olof Dreijer - Plastic CameliaSofia Kourtesis - Los Poemas No Siempre RimanMy New Band Believe - Target PracticeThe Lemon Twigs - 2 or 3Belle and Sebastian - Another Sunny DayFcukers - if you wanna party, come over to my houserusowsky, Ravyn Lenae - pink + pinkJosé González - A Perfect StormGuitarricadelafuente - Port PelegríRalphie Choo - D’amor traficanteAmaia - Volando VoyEscuchar audio

Mumford & Sons' Marcus Mumford and Ben Lovett talk about the writing of the band's latest record, Prizefighter. The pair reflect on working with producer Aaron Dessner, the trust required to take creative risks as a band, and how collaborations with the likes of Hozier, Gracie Abrams, Chris Stapleton and Justin Vernon shaped the final record.

Holy hell, somebody done showed up a little late to the top-albums-of-2025 party. List week = missed week. NBD, better late than never, right? RIGHT? It's the sixth annual big episode, where Jay and Deon discuss their favorite twenty-two vinyl releases of this past year. That be eleven each, because Lickers go to eleven while these other suckaz be stuck on ten. LLR goes deep. LLR goes long. LLR wishes what you just read was code for something way cooler, but it isn't. It's just really long. The flippin' Free Bird of podcats.Dig this list? What did they miss? Let ‘em know your favorite long player releases in the year of our Lord 2025, it's never too late to share what sonically inspires you. Lightnin' Licks Radio Podcast's one big beautiful twenty twenty-five year in review episode SAMPLE SOURCES include: NPR, Beastie Boys, James Todd Smith. John Ussery, Prince Paul, Frukwan, Method Man, Brothers Johnson. Harry Shearer, Larry David, Cheryl Hines, Lynyrd Skynyrd, Kankles McTaco Tits, Elton John, The Time with Prince. Jeremy Gan, Josh Heath Scott, Jim DeRogatis, Anthony Fantano. Molly Sanborn, Matt O'Leary, Eli Enis, Ian Cohen. A Tribe Called Quest, Bon Iver, Justin Vernon, Missy "Misdemeanor” Elliot, Nicole “Lady” Wray, Tropical Fuck Storm, The Bee Gees, The sisters Haim. Calvin Harris, The Beatles… always. Kaytranada. Janet Jackson, De La Soul, Kelly Moonstone, Quelle Chris. Uncle Tupelo, Wilco, The AutumnDefense. NewDad, Aesop Rock, Blockhead. Verity Den, …And You Will Know Us by the Trail of Dead. Winter, Debby Friday. Water From Your Eyes, This Is Lorelei. Greg Freeman, Richmond Fontaine, Poison, The Darkness, KISS, Jimmy Jam and Terry Lewis, Aerosmith. Lael Neale, The Cars, Weakened Friends, Buckethead. Liquid Mike, The Rentals. Pile, Cody Maresec, YUM! The Smith Westerns, Whitney, Billy Nomates, Sleaford Mods. Fleetwood Mac, Eric Gale, Faces, Ry Cooder, Randy Weston. Pines, Greet Death, Christian Science Reading Room. Momma. Chris Keys (a lot), Amosdoll, Atlys, The Zombies. Cozy Cole, Andy Cohen, Raúl "El Gordo" De Molina, Tommy Chong, James Austin Johnson, Tim Robinson (YOU CAN'T DO THAT!), and lastly - and certainly least… Swamp Thing. Alternate links to the uninterrupted 2025 EOY mixtape will be available in short order,Have a great year!LLR's Top 22 albums of 2025 SPOTIFY PLAYLISTHear the mix via Soundcloud here!Part 1(Deon) : Intro _ Liquid Mike – AT&T _ HAIM – Everybody's Tryin' to Figure Me out! _ Pile – Bouncing in Blue _ NewDad – Entertainer _ Kelly Moonstone – Nananabooboo _ Weakened Friends – Queen of Town _ This Is Lorelei – Mouth Man _ The Autumn Defense – More Than I Can Say _ KAYTRANADA featuring TLC – DO IT! (Again) _ Debby Friday – Lipsync _ Greet Death – Love Me When You Leave Part 2(Jay) : Greg Freeman – Gulch _ Lael Neale – Down on the Freeway _ Aesop Rock – Full House Pinball _ Momma – Last Kiss _ Bon Iver – S P E Y S I D E _ Billy Nomates – Nothin' Worth Winnin' _ Lady Wray – Best of Us _ Whitney – Damage _Verity Den – Wet Glass _ Winter - The Beach _ Tropical Fuck Storm – Stepping on a Rake.Lickers drink champagne and shop at Electric Kitsch.Please act kindly to our neighbors and be patient with those who serve us. Let some light in. Good will prevail. Cheers and later.Dedication: Rob Ervin 1961 - 2025

An all-time favorite artist sits for an all-time favorite interview! Bon Iver's Justin Vernon is my guest in this episode of the LSQ podcast — the final episode of 2025 and season 8 of the show. We recorded this at his home studio back in June, shortly after the release of Bon Iver's brilliant latest album, SABLE, fABLE, which recently earned him another couple well-deserved Grammy nominations. I loved this conversation so much, and I'm so grateful to Justin for his openness in a talk that explores his entire history as a creative person and music maker. Justin and I go back a ways and have done shorter interviews over the years. But this gave us a chance to go super in-depth, and I loved hearing stories about his early life and definitive creative experiences — about listening to John Prine's “Hello in There,” on his Discman in the back of his my parents' minivan and realizing music was his calling, about discovering music he loved by Fugazi, Mighty Mighty Bosstones, the Dave Matthews Band, and Baaba Maal, about his dad driving him and his friends from Eau Claire, Wisconsin to Minneapolis to see Stone Temple Pilots and Soundgarden, about the deep camaraderie of his high school band with friends he still collaborates with today, and the vital growth that came from moving the band to Raleigh, North Carolina when he was in his twenties. Oh, and you've also gotta hear the story about Prince coming to a Gayngs show at First Avenue, and nearly joining the band onstage.

Una de les grans refer

Send us a textOn this episode, Nashville-based, Australian-born singer-songwriter Emma Swift introduces Al to Bon Iver's 2007 album For Emma, Forever Ago. Emma talks about how she first learned about Bon Iver and this particular album as a DJ in Sydney. She explains what drew her to Justin Vernon's music and what set him apart from other indie artists of the late 2000s. Emma also highlights some of her favorite aspects and moments from For Emma, Forever Ago. She and Al wind up by discussing her latest album, The Resurrection Game, how it came to have its full, cinematic sound, and what she has planned for the months ahead.TRIGGER WARNING: At 44:47, Emma makes a brief reference to suicidal ideation. Skip ahead to 45:14 to resume with the next topic.Correction: Al says that For Emma, Forever Ago was Justin Vernon's solo debut. However, prior to that album, Vernon had made two albums under his own name and one as “JD Vernon.”There is no shortage of ways to keep up with Emma, so make sure you visit/follow her on the following platforms!Socials: @emmaswiftsings on Instagram, Facebook and YouTubeWebsite: https://www.emmaswift.com/Blog: https://emmaswiftsings.substack.com/Be sure to sign up for the YMAAA Newsletter at youmealbum.ghost.io. The first four episodes of Bonus Tracks—YMAAA's subscriber-only podcast series—are now available at patreon.com/youmealbum. More monthly episodes and other good stuff are soon to come. Please consider subscribing! Your support will make it possible for Al to keep this podcast going.To keep up with You, Me and An Album, please give the show a follow on Instagram at @youmealbum.1:31 Emma's introduction2:10 Emma and Al were not trying to be cute with this episode's album selection3:00 Emma shares her reasons for picking For Emma, Forever Ago6:47 Emma admires the introspective creative process that Vernon employed for making this album11:40 Al explains why he had a difficult time getting into the album14:04 Should Al have chosen a different album from Emma's short list?15:51 Emma talks about what distinguishes For Emma, Forever Ago from other late-Aughts folk20:36 Listening to Bon Iver is part of Al's effort to catch up on music he missed in the 2000s and 2010s24:31 Emma names some artists that she has caught up on recently26:23 Vernon's honesty about his struggles caught Emma's attention28:44 Al talks about some of the features of Vernon's production that he liked31:47 Emma focuses on two of the tracks she enjoys from the album37:09 Emma explains why she thinks this album is “uncoverable”41:03 Emma talks about why she opted for a cinematic approach with The Resurrection Game46:57 Emma notes the ascendancy of a new model of masculinity in indie music52:41 Emma talks about her upcoming touring and recording plans59:02 Emma tells us about the concerts she has recently attended1:00:58 Emma has another covers album coming out1:03:24 Emma talks about some of the music she's been listening to1:07:27 Emma has a theory about Al's musical tastes1:10:28 Emma recommends the Michael Shannon/Jason Narducy R.E.M. showsOutro music is from “No Happy Endings” by Emma Swift.Support the show

In celebration of Sharon Van Etten's breakthrough third album, Tramp, we take a detailed look at how it was made. Growing up in New Jersey, Sharon Van Etten studied music by learning several instruments and singing in the choir. After graduating high school, she went to Middle Tennessee State University to study recording. Though she started writing songs around the year 2000, she didn't perform or release music until 2005 when she moved back to New Jersey. Later she moved to New York and started working for Ba Da Bing Records. She signed to the Language of Stone label and released her debut album, Because I Was in Love in 2009. Her next record, Epic, was released in 2010 and included the song “Love More,” which was recorded for the Shaking Through documentary series. After a group of musicians, including Aaron Dessner of The National and Justin Vernon of Bon Iver, covered the song “Love More,” Sharon reached out to them to see if they'd be interested in collaborating. She began recording songs with Aaron Dessner in his garage studio in Brooklyn. Her third album, Tramp, was eventually released in 2012. In this episode, Sharon Van Etten describes this pivotal moment in her career when she was gaining confidence as an artist and learning how to collaborate with other musicians. She talks about how Aaron Dessner's garage studio offered a her a place of refuge during a time when she was living between sublets and keeping her belongings in her car. In the garage studio, they were able to spend the course of a year building up her songs from minimal demos into fully fleshed out arrangements. Aaron Dessner describes his first time producing for another artist and how he was immediately struck by Sharon's voice and musical mind. He talks about the music culture in Brooklyn at the time where he would be able to call in friends and collaborators to come over and record whenever they had time. This allowed them to have a community of voices, string arrangements and a full band sound for the record, which was new for Sharon's music at the time. From touring with The National, to excavating songs from a hard drive, to bringing in friends like Bryan Devendorf, Zach Condon, Jenn Wasner, Julianna Barwick, Matt Barrick and more, to learning to deal with anxiety and crowds, to taking inspiration from Patti Smith's Just Kids, to a turning point moment for both Sharon as an artist and Aaron as a producer, we'll hear the stories around how the record came together.

In this episode, Chris Johnson sits down with Wisconsin's own Michael Perry—best-selling author of Population 485, celebrated music artist, and humorist known for his wit and wisdom. Mike shares what it was like growing up on a farm and how those rural roots shaped his creative journey. Discover how Mike hustled his way into a writing career, taking every job he could find, and hear about his early influences—including a unique friendship with Justin Vernon of Bon Iver. Mike opens up about the inspiration behind his new book, Improbable Mentors, and the surprising story of why he turned down an invitation to appear on the Oprah show. The conversation also dives into Mike's relationship with PBS Wisconsin, where he crafts original comedy content, and his personal picks for favorite artists and music venues across the Midwest. From laughter to life lessons, this episode is packed with heartfelt stories and creative inspiration. Tune in for: Growing up on a Wisconsin farmMike's first steps into writing and storytellingBuilding a career by saying yes to every opportunityFriendship and collaboration with Justin VernonBehind the scenes of Improbable MentorsTurning down the Oprah showCreating comedy for PBS WisconsinMidwest music, venues, and more

前些年在采访时，经常会和音乐人朋友聊到 Bon Iver——显然这个名字早已跨越了独立音乐圈层，其影响力也早已遍及世界各地。在这期节目中，我们以 Bon Iver 及其主脑 Justin Vernon 为线索，将目光投向那些受到他启发的音乐人。从标志性的假声演唱、构建氛围感的音乐制作，到充满抽象意象的歌词笔法、带着破坏性与解构色彩的声效实验，我们大可以把 Bon Iver 的招牌声响当做一个工具箱，任由他人取用，但 Justin Vernon 化身 Bon Iver 的发展轨迹却也恰到好处地提醒了创作者，这一切能够成立的前提，还是要回到诚恳、真挚的创作初心。 曲目单： (01:14) Bon Iver - Walk Home (05:43) Novo Amor - Emigrate (09:28) 文兆杰 - 拜了 (12:28) Montell Fish - Darling (19:18) The 1975 - I Like America & America Likes Me (22:42) 庄主恒 - 珍珍 我在这边挺好的 (27:13) Gordi - Heaven I Know (36:12) Oh Wonder - Don't Let The Neighbourhood Hear (41:03) 许钧 - 惯 (44:51) 知更 - 黑色瞳孔 (50:07) Konradsen - Baby Hallelujah (53:36) The Japanese House - Dionne (feat. Justin Vernon) (59:11) boylife - church (01:02:14) 阿力普 - 晚安：） (01:07:08) 공중도둑 - Ahhh, These Chains (01:12:03) 韦礼安 - Sounds of My Life 《周末变奏》开通豆瓣页面，欢迎标记、点评。 → 选曲/撰稿/配音/制作/包装：方舟 → 主题音乐：Yu Su → 封面摄影：Graham Tolbert → 题图版式：六花 → 私信/合作联络： 微博/网易云/小宇宙 @线性方舟 → 《周末变奏》WX听友群敲门群主：aharddaysnight

Jim-E Stack the producer of Bon Iver's 2025 record SABLE, fABLE among many other projects. We talk about how they made the record, Justin Vernon's patient creativity, playing drums in San Francisco, remixing songs in the blogging glory days, the novelty of this record's EP/LP track listing, working with Lorde, playing with LEGOS, Vernon on the mixing board, whether they discussed this as the last Bon record, and a little bit about the King of the Hill reboot.  CONTACT: delugepodcast@gmail.comPATREON / ZINE: patreon.com/afterthedeluge(Free 7 day trial for you to speed run every ep) --Justin: https://www.instagram.com/routinelayup/Jim-E: https://www.instagram.com/jimestack/

Listen to an interview with the experimental Indiana hip-hop group 81355. Also hear music from their new album Bad Dogs. 81355 was formed in 2021 as a trio, featuring Oreo Jones, Sirius Black and David Moose Adamson. Each member brought a rich and varied history to the project, leading some to label the band an Indianapolis super-group. Their debut album This Time I'll Be of Use was issued that same year on 37d03d, a label founded by Justin Vernon of Bon Iver, and Aaron and Bryce Dessner of The National. The album received national attention, earning praise from Pitchfork, Consequence and Flood. Bad Dogs is the group's second album and it finds the trio expanding into a full band, with Sharlene Birdsong on bass, Dimitri Morris on guitar, and Pat Okerson on drums.

A new 15 percent tax on recreational marijuana products goes into effect July 1. It's one of the highest taxes on such products in the US. We heard from a business owner and a lawyer on how this could impact the budding industry. The state's newest budget lowers funding for Minnesota's disability waivers system. We learned more about the program and how the measure could impact people with disabilities. A new Supreme Court ruling allows parents to pull their children from a classroom when public schools use LGBTQ+ plus themed books in lessons. An advocate joined the show to explain.We heard a conversation with Justin Vernon of Bon Iver on his partnership with the Minnesota Lynx to promote gender equity.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Ani DiFranco. ABOUT ANI DIFRANCOSinger, songwriter, musician, producer, poet, author, spoken-word artist, activist and entrepreneur Ani DiFranco has released more than 20 independent studio albums on her own label, Righteous Babe Records. Though often classified as “alternative folk,” DiFranco's musical influences span a range of genres. After relentless touring, she reached a wide commercial audience in the late 1990s and early 2000s with albums such as Little Plastic Castle, Up Up Up Up Up Up, Revelling/Reckoning, Evolve, Educated Guess, and the gold-certified live album Living in Clip. The Grammy winner and nine-time nominee achieved her sole Top 40 hit as a songwriter when Alana Davis covered the DiFranco classic “32 Flavors” in 1997. The prolific and critically-acclaimed performer developed her own uniquely percussive guitar style and has collaborated with a range of artists, including Bon Iver's Justin Vernon, Bruce Cockburn, Pete Seeger, Utah Phillips, Maceo Parker, and Prince. In addition to releasing her own music, her label has issued recordings by Sara Lee, Andrew Bird, Nona Hendryx, and others. Ani was one of the first musicians to receive the Woman of Courage Award from the National Organization for Women, and was honored with both the Woody Guthrie Award and the Southern Center For Human Rights' Human Rights Award. Her memoir, No Walls and the Recurring Dream, was released in 2019 by Viking Books. At the time we spoke with her, the New Orleans-based DiFranco's 2021 album, Revolutionary Love, was just about to be released. 

Send us a textIn this episode, Mark Waldoch stops by the show to discuss his new group, The Hallelujah Ward's, and new album Everybody Swoons. We also talk about how sometimes having a brat moment got him recognized and more.*****Everybody in Milwaukee knows Mark Waldoch. Either they met him working at the legendary Atomic Records, behind a bar at one of Milwaukee's leading cocktail locales, or most likely singing from the bottom of his heart to the top of his lungs for over the past 25 years.  A songwriter and multi-instrumentalist punk crooner with a raw, uniquely powerful voice, he has opened, guitar tech-ed, or performed with everyone from Arcade Fire, Justin Vernon's Volcano Choir, Interpol, Sylvan Esso, Daniel Johnston, Bright Eyes. The list goes on and on and on. Born to Indo-Trinidadian and Puerto Rican/Syrian immigrants in NYC, Waldoch and his brother were pulled by their mother from the big city to the deep Midwest as kids to escape an abusive father. His mother passed shortly after, and Waldoch was adopted by a Racine, Wisconsin family—out of the frying pan and into a John Hughes movie.  It's no wonder that he gravitated toward something outside the mainstream, which he found, ironically, at a store called Mainstream Records. Love and infatuation came young, aimed at the likes of the Cure, Siouxsie, the Smiths, R.E.M., the Velvet Underground, and Love and Rockets. The list goes on and on. Inspired by those things and led by a heart that's always open, Waldoch has been creating songs to match his passion and perfectionism with his pen and his pedalboard. He's played solo and in various bands over the years, but nothing quite scratched his lifelong itch until now—The Hallelujah Ward's Everybody Swoons. With drummer Dan Didier (The Promise Ring, Maritime) and bassist Paul Hancock (Testa Rosa), Waldoch finally put the pieces into place. Some of the melodies and seeds of its songs have been simmering for 10 years; some came to life just as this trio did. Waldoch's powerful lyrics range from deeply personal to complete fiction, and the music they exist inside is similarly familiar yet new, with elements of indie-pop, shoegaze, even art-rock, and Brit pop. Everybody Swoons will be out digitally and on limited-edition vinyl, out now via Foreign Leisure Records.******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

Avery Adams is a producer, musician, and chef, and Kevin W. Smith is a writer and radio host. We talk about Bon Iver's fourth album, I,i (Jagjaguar), released on August 9, 2019, an 8.8 Best New Music on Pitchfork. Also: Music writing circa 2007, For Emma vinyl sales, album “branding,” Vernon's non-falsetto register, Naeem drums, sliding on cardboard, no click, Texas, Hornsby, Beck, this album's got moments, “Hey, Ma,” bass lines, Aaron Rogers and Justin Vernon interview circa 2019, The Bee Gees, where this album stands against the discography, Radiohead, Animal Collective, Of Montreal, and indulging creative impulses. FULL EPISODE W/ PRODUCER CHRIS MESSINA ON PATREONAVERY matiakitchen.com instagram.com/rarebirdcommittee/instagram.com/realfreaque/https://www.instagram.com/nautilusenclave/KEVINhttps://kmre.org/island-time/https://keviniswriting.com/

Eben Novy-Williams, Sportico's deputy editor and co-host of the Sporticast podcast, joins Sarah to discuss his reporting on the potential sale and relocation of the WNBA’s Connecticut Sun, how pro sports team valuations are calculated, and why the WNBA’s unique ownership structure affects investment and expansion. Plus, French stars say “non” to EuroBasket, a salute to the start of our show side’s season, and one last, long mute. Read Eben’s reporting for Sportico here Listen to the Sporticast podcast here Read more about the Minnesota Lynx’s partnership with Bon Iver here And watch Napheesa Collier and Justin Vernon discuss the partnership here The USWNT training camp roster can be found here The WER schedule can be found here Leave us a voicemail at 872-204-5070 or send us a note at goodgame@wondermedianetwork.com Follow Sarah on social! Bluesky: @sarahspain.com Instagram: @Spain2323 Follow producer Misha Jones! Bluesky: @mishthejrnalist.bsky.social Instagram: @mishthejrnalist Follow producer Alex Azzi! Bluesky: @byalexazzi.bsky.social See omnystudio.com/listener for privacy information.

durée : 00:54:24 - Very Good Trip - par : Michka Assayas - Ce soir, un musicien unique, au double sens du terme, mais ce sera un programme aussi foisonnant que d'habitude. Parce que c'est un musicien dont la palette de voix, de sons, d'ambiances est vraiment très large, vous allez en juger au cours de cette heure. - réalisé par : Stéphane Ronxin

This week Jeremy welcomes singer & songwriter Will Anderson from the band Hotline TNT. On this episode, Jeremy and Will talk Linkin Park, radio festivals, Hot Topic, thank you lists, Family Values Tour, ska, basketball, not recording with Justin Vernon, leaving America for college, the rotating lineups of projects, Third Man Records, promotion innovations, the new Hotline TNT album "Raspberry Moon", and so much more! Follow the show on INSTAGRAM and The Website Formerly Known as Twitter SUBSCRIBE TO THE PATREON for a bonus episode where Will answered questions that were submitted by subscribers!

Springtime in North Carolina is gorgeous. It can't help itself. Perhaps it's oblivious to—or in radical disagreement with—the brokenness of our times. Either way, the azaleas burst into riotous bloom, the crepe myrtles frill themselves in defiant pinks. In the mornings, birds trade secrets across the creek, their calls carried on air perfumed with fresh dew on pine needles to the back porch, where I sit in my mother's rocking chair.This is the place where one branch of my family has put down roots. An invisible wheel exists here among us, with smaller wheels—wheels within wheels—turning persistently through the seasons. It's also the place where a beloved uncle passed last autumn, just as the maple outside his bedroom window flared into auburn light. In his final days, we watched that tree together and recounted long-forgotten stories. I remembered a visit to First Street in Rumson, when he swung me onto his shoulders and walked down the street. I remembered how the curves of his shoulders hummed beneath me as he laughed. How tall I felt then, how near to the canopy of trees; how the world suddenly seemed bigger and closer, and I, more a part of it—alive to everything, and everything alive around us.Memory can work like this—the way light filters through leaves or a scent pulls you backward. In a recent conversation with Krista Tippett, musician Justin Vernon (better known as Bon Iver) said, “I thought I was done being surprised… but there are things behind things behind things.” The layers accumulate, folded under the weight of time, only to surface in time, unbidden yet strangely familiar.Now the maple is green again, its leaves doing what they were made to do when touched by springtime light. Its roots drink in a soft rain. Some layers remain hidden, or slip away, only to circle back, as though time itself were not linear, but folding in on itself like fabric. And I think about how you have entered the mystery now, and maybe you are humming in some new, unknowable way.Practice—call it “mindfulness” or whatever name feels right—is an agreement to be touched by the world, by the nature of our aliveness. David Abram called it “a kindredship of matter with itself.” We learn to live in reciprocal communion, even unknowingly, and discover within ourselves gradually more tonality, more steadiness, more truth. When we plant ourselves in this moment, and notice the ways we are thirsty, and then return again and again, we begin to sense that our lives are not just motion or mechanism, but part of some deeper listening—not just hub and spoke, but spiraling motion.Hope, too, is a force of nature. It arrives unannounced. Here's another chance, another season. The word numinous comes from numen—a Latin term that means both “a nod of the head” and “divine will.” Now spring has found its fulcrum, and with a quiet nod toward resurrection, it invites us to reach for something like joy, whether or not we feel ready or agree with time's assessment.Springtime is not a promise. It's a presence. A tilt in the wheel. A shimmer in the unseen. A reminder that aliveness is not always sweet or simple—but it is, still, ours.Together, we are making sense of being human in an era of radical change. Your presence here matters. Thank you for reading, sharing, ‘heart'ing, commenting, and subscribing to The Guest House. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit shawnparell.substack.com/subscribe

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Hello Wholigans! On today's episode of Who's There, our weekly call-in show, we hear from a lawyer who explains why divorce records are easier to find than marriage records, as well as a resident of Hershey, PA who explains why the city smells SO GOOD. Moving on, we take your questions about Justin Vernon's new merch line (and whether he's Themmier as Bon Iver), Amelia Moore's Coachella billboard, the return of Ava Max's 'Max Cut,' Chrishell Staus's feud with Bre Tiesi, Tyra Banks's love for Australian dairy products, and more! Call in at 619.WHO.THEM to leave questions, comments & concerns for a future episode of Who's There? on Thursdays. Want more? Get a ton of bonus content and support the show over on Patreon.com/WhoWeekly. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

A sweet and searching conversation between Krista and the man behind Bon Iver at this year's On Air Fest, full of wisdom and revelation. He is a person who experiences deeply, who metabolizes creatively, and who just keeps growing. He opens up with Krista about the strangeness of being loved for how he put his broken heart to music. They venture into the mysteries of God and of numbers, the problem of fame, and the deep working of time in a life. He's now released a gorgeous fifth album, SABLE/fABLE. This one tells of immense healing and learning.Justin Vernon is a singer, songwriter and producer and founder and frontman of the band — sometimes called an art project  — known as Bon Iver. He lives and makes music in Eau Claire, Wisconsin. He has been on a personal and professional adventure since releasing his first album in 2007, For Emma, Forever Ago. His new album SABLE/fABLE is his fifth. He's received multiple Grammys and collaborated with many other artists from Taylor Swift to the Blind Boys of Alabama to Travis Scott and Kanye West.This was recorded live at the 2025 On Air Fest in Brooklyn, New York. Find an excellent transcript of this show, edited by humans, on our show page at onbeing.org.Sign yourself and others up for The Pause to be on our mailing list re all things On Being — and to receive Krista's monthly Saturday morning newsletter, including heads up on new episodes, special offerings, recommendations, and event invitations.

Herzschmerz, Einsamkeit und (im besten Sinne des Wortes) Weltfremdheit von Justin Vernon alias Bon Iver haben den Folkie aus Eau Claire, Wisconsin, zu einer eigenen Liga in Sachen Pop gemacht. Jetzt hat er genug gelitten: Das neue Album SABLE, fABLE ist ein karriereumspannender Befreiungsschlag.

“Sable fable” is made up of songs that deal with Justin Vernon's identity, he's happier now and it shows in the bright, vibrant sound

Overlad dit hjerte til Bon Iver, og lad musikken fremkalde tårer, gåsehud og de stærkeste følelser indeni. Vi er alle forbundet i følelser, når vi dedikerer 6 timer til de vaskeægte singer-songwriter-pionerer med Justin Vernon i front. Syngende i falset og med en lettere ustemt guitar satte de nye standarder for indie-folk-genren allerede fra den ikoniske debut 'For Emma, Forever Ago' fra 2007. Siden har de konstant skubbet rammerne for deres musik. Et væld af artister har ladet sig inspirere af bandet, ligesom prominente kunstnere som Taylor Swift, Kanye West og mange andre har stået i kø for at samarbejde med Justin Vernon himself. I anledning af udgivelsen af Bon Ivers femte studiealbum 'SABLE, fABLE' hylder vi den musikalske kompleksitet og kreativitet. Vi dykker ned i det anmelderroste tredje album '22, A Million' fra 2016, og så skal vi desuden høre fra et væld af eksperter og fans, som alle vil bidrage til at styrke fællesskabet omkring alt det, Bon Iver skaber indeni os. Vært: Mads Gundersen. Medvært: Alicia Jordanova. Producere: Simone Kofod Nørgård & Robert Haugsted. Reportere: Jacob Zaulich. SoMe: Stine Karlsen. Redaktør: Kasper Overby.

Linktree: https://linktr.ee/AnalyticJoin Analytic Dreamz in this Notorious Mass Effect segment diving into Bon Iver's evolution and latest release. Founded in 2006 by Justin Vernon, Bon Iver blends indie folk with experimental and ambient sounds. From the raw emotion of For Emma, Forever Ago to the Grammy-winning Bon Iver, their journey continues with the 2024 SABLE, EP. Explore “There's a Rhythm,” a haunting track with sparse acoustics and introspective lyrics, earning praise from Pitchfork and Rolling Stone. Analytic Dreamz unpacks its chart performance, streaming stats, and cultural resonance, including 1.9M Spotify streams and a No. 1 spot on Billboard's Top Alternative Albums.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The chair of Wisconsin Democrats, who transformed the party during his tenure, is stepping down. Democratic state lawmakers announced a bill to crack down on election bribery. And, we've got a special interview with a Grammy-winning Wisconsinite who has a new album out today. Justin Vernon of Bon Iver.

Wisconsin’s Justin Vernon is one of the biggest musical artists to come out of the state in the past 20 years. For most of his career, most notably with Bon Iver, he has shied away from the media and chosen to quietly work out of his April Base home studio in Fall Creek. But on his new record, “SABLE, fABLE,” it’s clear a lot has changed. In a rare interview, Vernon talked with Wisconsin music reporter Justin Barney about the new record, which was released April 11.

Zan Rowe speaks with Justin Vernon in his only Australian interview about Bon Iver's first new album in 6 years, SABLE, fABLE.

The forlorn falsetto of Justin Vernon's voice has propelled Bon Iver into indie stardom. But fame only seemed to make Vernon retreat into his sadness more.Now, with the new album called “SABLE, fABLE,” out today, Vernon appears to be in bloom. He granted a rare interview to Music Reporter Justin Barney where they talked all about how Vernon changed his tune.Learn more at WNXP.org.

Grammy-winning musician Justin Vernon (aka Bon Iver) asks Handsome a surprising question, and stuns the hosts with his entertaining answer! Plus Fortune indulges in a listener-suggested drink, "dah puffer," airing grievances, and more!Handsome is streaming LIVE from Austin April 12! Get your tickets here.Handsome is hosted by Tig Notaro, Mae Martin, and Fortune FeimsterFollow us on social media @handsomepodMerch at handsomepod.comWatch Handsome on YouTubeThis is a Headgum podcast. Follow Headgum on Twitter, Instagram, and Tiktok. Advertise on Handsome via Gumball.fm.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's April and our pop culture picks for the month include a potential final album from Justin Vernon and a vampire thriller from Ryan Coogler. 

A conversation with Bon Iver's Justin Vernon about how the band's surprise success led to unexpected opportunities, then emotional depletion, and now a new album of reinvention, “Sable, Fable.”Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Justin Vernon's Bon Iver project returms with a new album, SABLE, fABLE, on April 11. Justin Zoomed in with Bret to talk about his songwriting process and to sing the praises of filmmaker Miranda July.

Im kalten und kargen Norden der USA schnitzte Justin Vernon an der modernen Folk-Revolution. Sein Debüt «For Emma, Forever Ago» gilt bei aller Arten Musikfans als Highlight, die folgenden Experimente waren bahnbrechend; Ye, The National und Taylor Swift wollten ihn. Auf der neusten EP «Sable» strampelt er sich frei. Rund um die drei schlichten und wunderschönen neuen Tracks gönnen wir uns das karriereumspannende Bon Iver-Treatment, unter anderem mit dem aktuellen Sounds! Mixtape zum Thema: * mxtp110: Bon Iver beeinflusst den Rap und die elektronische Musik

Each song on Bon Iver’s new EP SABLE reveals an autobiographical imprint of a different point in frontman Justin Vernon’s healing process. The title suggests the projection of built-up darkness and, ultimately, its release. “Things Behind Things Behind Things,” dates back to 2020 — a song born from a restless anxiety brought on by Vernon’s uncertain future as an artist. It’s a song through which he unpacks the past while puzzling himself back together. 

Bon Iver is the alias of Justin Vernon, who holds an unusual place in music as both a singer-songwriter in an acoustic idiom and a collaborator with the biggest stars in pop, including Taylor Swift, Charli XCX, and Kanye West. Bon Iver's new three-song EP, titled “SABLE,” is his first record of his own songs in more than five years. Vernon rarely gives interviews, so this is an extended version of his conversation with the staff writer Amanda Petrusich. They touched on the meaning of “sable,” a word that can refer to mourning and darkness. Vernon is not altogether comfortable with the acclaim he has received. “I'm not, like, famous on the street, People-magazine famous, but . . .  there's been a lot of accolades,” he tells Petrusich. “I was getting a lot of positive feedback for being heartbroken and having heartache and I've wondered . . . [if] maybe I'm pressing the bruise.”

In this episode of ProducerHead, Toru sits down with Shrimpnose, a talented producer who's known for his unique blend of acoustic and electronic music. They explore his journey from metal influences to the world of electronic music, how sadness has shaped his creative process, and the inspirations for his latest project, The World Pushed Against You. His first full-length with Nettwerk, the 12-track project ranges from frenzied jersey club-laden IDM to mellow garage-infused ballads. This conversation delves deep into the healing power of music, Shrimpnose's approach to blending genres, and how he's developed his signature sound.This episode is packed with valuable lessons on authenticity, self-expression, and the power of staying true to oneself.Throughout the episode we discuss:* Shrimpnose's journey from metal to electronic music and how he discovered his love for blending genres.* The impact of artists like Dijon, Justin Vernon, and Shlomo on his creative process.* How sadness and mental health have influenced Shrimpnose's music and journey as an artist.* The importance of juxtaposition and combining unexpected elements in music production.* The role of live performances and how they shape his understanding of music and self-expression.Three Meaningful Takeaways:* Embracing Vulnerability: Shrimpnose emphasizes how expressing sadness and vulnerability in music can be a form of healing and self-discovery.* Creative Juxtapositions: He finds inspiration in combining seemingly opposing elements, which keeps his creative process fresh and engaging.* Music as a Language: For Shrimpnose, music became a way to express emotions that he couldn't always articulate verbally, making it a vital part of his life.Timeline:0:00 - Introduction to Shrimpnose2:32 - Track 1: "Many Times" by Dijon7:14 - Track 2: "Hazeltons" by Justin Vernon19:30 - Track 3: "Places" by Shlomo29:45 - Discussing the role of sadness in creativity32:45 - Shrimpnose's unique approach to playing the guitar left-handed40:45 - How mental health influences Shrimpnose's music and journey44:45 - Embracing mistakes and letting the music "be what it wants to be"48:45 - The importance of honesty in life and art57:59 - Discussing the album "The World Pushed Against You" and its themes1:00:45 - Shrimpnose's decision to move away from Lo-Fi and create dance music1:09:45 - Quick Hits section1:21:31 - OutroList of References from the Interview:Songs:* Dijon – "Many Times"* Justin Vernon – "Hazelton"* Shlomo – "Places"* Elliott Smith – Self-titled album* YYYXX – "About You"Books/Authors:* Albert Camus (referenced in the discussion about the album title)Podcasts/Products:* Ableton Live (mentioned as his DAW of choice)Connect with Shrimpnose:* YouTube: @shrimpnosebeats * Instagram: @shrimpnose* Facebook: johnshrimpnose* Spotify: Shrimpnose* Apple Music: Shrimpnose* Official Profile: Nettwerk Music GroupConnect with Toru:* Website: torubeat.com* Instagram: @torubeat* YouTube: @torubeat* Spotify: Toru* Apple Music: ToruCredits:This episode was co-produced, engineered and edited by Matthew Diaz. From ProducerHead, this is Toru, and in a way, so are you. Peace. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit torubeat.substack.com

Since the days of Thoreau, we’ve often romanticized the idea of a creativity-spurring wilderness retreat. That’s especially true of Justin Vernon’s illness-evoked cabin sanctuary that ended up being the backbone of Bon Iver’s 2007 debut. But the product in mind doesn’t always have to be so strictly transcendentalist (or even acoustic for that matter) for […] The post Mozworth: “Postcard” appeared first on KUT & KUTX Studios -- Podcasts.

"I Wanted to be Mr. Miyagi. . .'Cause He Was the True 'G'." On this Episode 94 of The DOD45 Show #ArtByTai draws a mash-up of Labyrinth's Hoggle, an Aardvark, Writ & Gregory of Over the Garden Wall, Outkast, a Whale and Justin Vernon of Bon Iver while Cas One provides heaps of laughs for Tai & Adrienne. They also discuss Cas One's recent single "No Deer Hunter" produced by ALXNDRBRWN. It's an all-smiles kind of episode with a few jaw-dropping stories sprinkled through-out. Guest: Cas One Show Intro provided by Awol One (  @awolone  ) Social Media Lurk by Sage Francis (  @therealsagefrancis  ) Mayo or Miracle Whip question with Mr. Dibbs (  @mrfuckingdibbs ) ArtByTai.com - DOD45.com - StrangeFamousRecords.com - MrDibbs.com - Speakerface.Store Episode recommendations: "Summer School" - https://www.youtube.com/watch?v=R0zK5ggTyYQ "Sky Lark" by Sabot & M. Sayyid - https://www.youtube.com/watch?v=xWl1nL0ZBUw "Rapping4Money" by Themselves - https://www.youtube.com/watch?v=lAX7cVrqaKY - DOD45 Luvs 'song share' playlist: https://open.spotify.com/playlist/4dn8I37ew07y7aCeCs6qAn?si=b856689724da4b7c Instagram links: Cas One: https://www.instagram.com/cas_one/ ArtByTai: https://www.instagram.com/artbytai DOD45: https://www.instagram.com/dod45w Links to topics mentioned in the intro, the interview and the outro of this #DOD45 Show: TBA --- Support this podcast: https://podcasters.spotify.com/pod/show/artbytai/support

Secretly Society presents a three-episode mini-series about collaboration, friendship, and a community-driven project; originally formed by Justin Vernon and Aaron Dessner in 2008, this is the magical and illusive tale of Big Red Machine. This series is narrated by music writer and broadcaster Laura Barton, including live interviews with Vernon, Aaron Dessner, Bryce Dessner, Sharon Van Etten, Anais Mitchell, and more. The conclusion to the story, for now. Big Red Machine has been a rejection of the music industry's expectations weighing upon Dessner and Vernon, but also a place of solace for the pair amongst their sometimes painful struggles with mental health. The pair take turns grounding each other through their successes and supporting during their lows, while writing songs like “Brycie” and “Hutch” that pay tribute to close-knit family and friends. The pool of collaborators ripples out ever-further, and new methods of working to complement each others' contributions carry on the experimental spirit of Big Red Machine.   Links:  Secretly Society Podcast Link Secretly Society Podcast Store Link Secretly Society General Information Link   Big Red Machine:  Big Red Machine on Instagram Big Red Machine on Facebook

Three-time GRAMMY winner and musical omnivore Bruce Hornsby chats about his wide-ranging career, from pop to bluegrass to jazz! PART ONE:Paul and Scott talk about their Instagram, a wild Genesis fact, and more. PART TWO:Our in-depth conversation with Bruce HornsbyABOUT BRUCE HORNSBY:Thirteen-time Grammy nominee and three-time winner Bruce Hornsby has built one of the most diverse, collaborative, and adventurous careers in contemporary music. In the early 1980s Bruce was writing songs, playing sessions as a musician, and touring as member of Ambrosia and, later, Sheena Easton's backing band. By the middle of the decade he'd formed the group Bruce Hornsby and the Range, signed a deal with RCA Records, and released his debut album, which spawned the hit singles “The Way It Is,” “Mandolin Rain,” and “Every Little Kiss.” As a result, Bruce and the band won the Grammy Award for Best New Artist in 1987. Their sophomore album, Scenes from the Southside, spawned the hit single “The Valley Road” and included Bruce's own version of “Jacob's Ladder,” a song he co-wrote that became a #1 hit for Huey Lewis. In addition to his own artist career, Bruce began collaborating extensively in that era, including producing Leon Russell, co-writing Don Henley's “The End of the Innocence,” playing piano on Bonnie Raitt's “I Can't Make You Love Me,” and appearing on albums by everyone from Bob Dylan to Stevie Nicks to Willie Nelson. In the late 1980s and early 1990s Bruce increasingly began incorporating elements of bluegrass and jazz into his music. He disbanded the Range to pursue other projects, including becoming a staple of the Grateful Dead's touring lineup. His debut solo album, Harbor Lights, was released in 1993, and he won another Grammy that year, for Best Pop Instrumental, for composing “Barcelona Mona” with Branford Marsalis for the Barcelona Olympics. He released two additional solo studio albums in the 1990s before forming a new band, The Noisemakers, which released four studio albums between 2002 and 2016. In that same period, he collaborated with bluegrass artist Ricky Skaggs to release one studio album and one live album, and with bassist Christian McBride and drummer Jack DeJohnette to release a jazz album called Camp Meeting. Bruce's 2014 album Solo Concerts showcased a sampling of his one-man performances. In 2019 Bruce returned to releasing studio albums as a solo artist with Absolute Zero, an album included collaborations with Blake Mills, Justin Vernon of Bon Iver, and others. Among Bruce's many collaborations includes a longstanding partnership scoring films for director Spike Lee. Earlier this year, Bruce released Deep Sea Vents, a water-themed collaborative album with the band yMusic that was released under the name Brhym. 

Bruce is best known for his first album The Way It Is (1986), but has come light years since then through 18+ albums, experimenting with different styles, playing over 100 shows with the Grateful Dead, and scoring numerous projects for Spike Lee. He's won three Grammys and recorded with music royalty including Elton John, Ornette Coleman, Branford Marsalis, Willie Nelson, Bob Dylan, etc. We discuss "Sidelines" (feat. Ezra Koenig from Vampire Weekend) from 'Flicted (2022), "My Resolve" (feat. James Mercer of The Shins) from Non-Secure Connection (2020), and a new live version of "Shadow Hand" from the 25th Anniversary Edition of Spirit Trail. End song: "Cast-Off" (feat. Justin Vernon of Bon Iver) from Absolute Zero (2019). Intro: "The Way It Is" (Live from Köln, 2019). More at brucehornsby.com Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Sponsors: Visit GreenChef.com/60Nakedly (use code 60Nakedly) to get 60% off your first box from America's #1 Meal Kit for eating clean (plus 20% off for the next two months) Get the ultimate gift: A custom-written song from Songfinch. Use songfinch.com/NEM to get free Spotify streaming for your song. Listen to the song Mark commissioned.

This week Jeremy interviews Elizabeth Powell of Land of Talk On this episode Jeremy and Lizzy talk Guelph, Right Said Fred, fretless bass, Eddie Vedder, unique tunings, early bands, working with Justin Vernon of Bon Iver, forming Land of Talk, their new album "Performances", and so much more! SUBSCRIBE TO THE PATREON to hear a bonus episode where Elizabeth answered questions that were submitted by subscribers! Follow the show on INSTAGRAM and TWITTER Want some First Ever Podcast merch? Click here!