Back in 2012, Audra dedicated the entire year to recording and cataloging 60 of her own songs. She didn’t have a place or plan for them yet, but she systematically went back and gathered those missing “song children” so they wouldn’t end up orphaned, triggering the shame that comes with abandoned art.
While recording his new album, Undivided Heart & Soul, at Historic RCA Studio B, JD McPherson discovered some unexpected collaborators.
The year 1976 may have been “Year Zero” for punk rock in London, New York, and a few other scattered cities, but in Nashville, anarchy was in short supply.
Jack White got his first real taste of Nashville more than 20 years ago, when the White Stripes played at The End on a steamy night in September 2001.
Ask Oliver Wood about The Wood Brothers’ upcoming album and you’ll receive a large helping of enthusiasm. In this case though, the passion for Kingdom in My Mind is a special kind of zeal.
When the coronavirus pandemic hit U.S. shores in early March, The Wild Feathers — Ricky Young, Joel King, Taylor Burns, Ben Dumas, and Brett Moore — were on the verge of a new chapter of their career.
It’s a week before Christmas, and Adia Victoria is riding out the final hours of an early-winter rainstorm in the home she shares with her mother and sister. Victoria moved here — to a historically black neighborhood on the border of North Nashville and Midtown — in November 2010.
Chuck Mead wraps his fingers around an oversized cup at a window table tucked in the back of East Nashville’s Ugly Mugs, talking about life, old school country music, DIY punk, Broadway shows, and maintaining one’s truth while also maintaining the bottom line.
Jim Lauderdale was hard at work on an album of traditionally minded country songs when the pandemic brought his progress to a halt in early 2020.
On the inside of Will Hoge’s left forearm is a tattoo of a motor scooter with a red line through it.
“No scooters,” he says, tilting his arm outward to illustrate his point. He half smiles, but he’s not kidding.
