Americana

Clover County: “Sweetest” [Backstage at ACL Fest]

A.G. Schiano is Clover County, an Athens, Georgia-based project that was largely chiseled and polished on the road while touring with acts like Lord Huron and Shakey Graves. Going through your twenties is like encountering constant change with a seemingly endless number of metamorphoses as you really cement who you are and what you’re all about. The result here is her debut album Finer Things, a sonic coming-of-age scrapbook brimming with reflection, love, and a collection of notions and mementos.

Schiano brought Clover County’s blend of classic country, indie pop, and Americana (which she’s cleverly branded “bootgaze”) to the KUTX tent backstage at ACL Fest last weekend to perform “Sweetest,” a poem deep with the metaphor that if love is like baking, in this case, one is the delicate, imperative sugar and the other is the naive chef, still learning how to treat and work with their most important ingredient.

The Lonesome Heroes: “Sunshine Come”

Despite the name, Austin’s the Lonesome Heroes have been releasing music and playing shows for a whopping 21 years. To mark the occasion, they’re gifting their audience with a bit of their live faire with Live & Lonesome at the Purple Bee, a collection of songs recorded at the hybrid recording studio and live concert streaming venue Purple Bee Studios, located in Volente, TX.

In this live recording, 21 years of songwriting together and cohesion on stage are front and center with country blues strings dancing through a bed that two-steps between Americana and a crescendo building to a big, jubulent finish. “Sunshine Come” will have you turning your living room into a dance floor, so boot-up, grab a partner, and get ready to cut a rug.

Find the video for “Sunshine Come” at KUTX.org.

West Texas Exiles: “Division” (ft. Kelly Willis)

All musical motifs of the Lone Star State converge in Austin’s West Texas Exiles. The quartet, made up of members hailing from El Paso, Amarillo, and Lubbock, draws inspiration from all squares of the Texas music quilt, from Willie to Buddy and everyone in between.

Their debut full-length album 8000 Days came out last Friday, and it’s already made an impression on the Americana album and singles charts. From the album is “Division,” a song that on its head is about marital woes, splitting-up your things once it’s finally over, and the raw bouquet of feelings that drove it to that point. It’s also a perfect metaphor for the members of West Texas Exiles’s own members: coming to Austin to start a new chapter and escape the “nothing for me here” burdens of home.

The dustiness around the bass and drums are given polished gimmers of hope with Colin Gilmore’s plucky mandolin and the classic country crooning of guest vocalist and Austin Americana stalwart Kelly Willis to play against the band’s own co-vocalist Marco Guitierrez.

West Texas Exiles have a Waterloo Records next Thursday, September 18th at 7PM.

Grackles: “There Will Be Time”

Well howdy! Happy Labor Day! The weather may or may not be participating in our final romp of summertime, but Austin’s Grackles are here to make the day sunny despite Mother Nature.

What began as a side project made up of touring and studio musicians for A-list artists such as the Chicks and Paul Simon and a GRAMMY winner has now produced two albums of sawdust hall bangers to keep your dirt kickers moving. From their sophomore album Grackles Deux: The Grackling, the plague gives us “There Will Be Time,” a twangy, kinetic, fiddle-led romp to get you dancing, whether you’re spending Labor Day at the pool or at home working on that honey-do list.

Murry Hammond: “Take This Heart And Lock It Up”

Old 97’s bassist Murry Hammond grew-up in Boyd, TX, a rural town outside of Ft. Worth whose population reached a staggering 1,400 residents in 2020. Growing up surrounded by wide open spaces is a metaphor for Hammond’s intrepid curiosity of the world, not only geographically, but for the people who populate it.

These themes have made their way from his lived experience into the characters illustrated in his music. Following the success of his debut solo album in 2022, Hammond got together with musical soulmates Annie Crawford, Faith Shippey, and Richard Hewitt and created a prodigious body of work yielding two albums of Hammond’s signature deeply illustrative songs and introducing strings, vintage organs, and Mellotrons for the first time.

The first album is Trail Songs of the Deep, a title that has a little bit of Hammond in every word. “Take This Heart And Lock It Up” finds us whistling out on the trail, far between pockets of civilization but in good spirits, taking in the scenery and passing the long hours with the posse sharing good songs and heavy stories. It’s a veritable example of what Old 97’s bandmate Rhett Miller calls, “the perfect distillation of [Hammond’s] grand vision.”

Trail Songs of the Deep is out July 11^th on Fluff and Gravy Records.

Cactus Lee: “Rabbit”

Austin’s Cactus Lee could be described as merely a country artist, but to be truly accurate, it’s Texas country. Frontman Kevin Dehan, a lifelong fanatic and student of the Lone Star State’s tenured history of folk and country, has dedicated his music career to being a concrete contributor.

In late March, Cactus Lee released their self-titled album, the project’s sixth—an album delving into all of the classic themes the genre exhibits. The album’s opener “Rabbit” is a bright shuffle, jauntily dotted with accordion flares. A road tune detailing the journey of a traveling musician, Dehan sets the stage for the album’s upbeat, midtempo good time.

Cactus Lee plays a couple of shows this month to dare you to keep from clapping along. They play Community Garden on Cedar Avenue on Thursday, May 22^nd and Buddy’s Place on Burnet on Saturday, May 24^th.

Cactus Lee is out now.

Melanie MacLaren: “Get It Back”

Nashville indie folk artist Melanie MacLaren has garnered praise for her music all across americana outlets. In just three years, she’s released dozens of songs and several EP’s and live tracks. Her warm, effortless vocals tend to be just one of the many patterns running through her tapestry of many orchestrated layers. Not shying away, but simply being part of the fold.

“Get It Back” has a bit of a Lilith Fare flair, dancing somewhere between americana and indie alternative, punctuated by the duality of a steel guitar prominently featured in a song about a day spent spreading ashes and reminiscing about a loved one around New York City.

Melanie MacLaren plays tomorrow night at the Soundspace at Captain Quack’s on Menchaca Rd. with Hannah Aldridge.

Roaring Sun: “View So Blue”

Austin’s Larry Llodra has fronted a couple of Austin groups including noise rock band UVH. Llodra’s new project Roaring Sun is a hard turn from the hard, fuzzy songs of UVH, opting for a bristly, folk rock sound. The debut album Turn and Wave is melancholic and tender, raw and unflinching. The project was born after Llodra left the corporate 9-5 grind after a health scare for a cross-continental journey to get a hard reset on life and a renewed sense of direction.

“View So Blue” details Llodra’s first brush with lightness and optimism after seeking a fresh start, sitting on a flight heading towards the first leg of his journey, reveling in that first feeling of hope after bucking the burnout.

Turn and Wave is out today, and Roaring Sun’s FREE album release show is THIS SATURDAY, APRIL 26TH AT THE CACTUS CAFE with Jeff Gallagher.

Taylor Rae: “Cologne”

Austin singer-songwriter Taylor Rae released her debut album Mad Twenties in 2021, a release that led to a 30-week stint on the Americana radio charts and opportunities to hit the road opening for bands like the Head and the Heart and Band of Heathens.

After a stretch of playing an average of 200 gigs a year, Rae went back in the studio and last week released The Void, an album that turns inward towards reflection rather than external commentary of forces around her. She teamed up with Grammy-winning producer Eric Krasno, who’s worked with groups like Lettuce and Tedeschi Trucks Band, to fully realize her sophomore album that plays with a lot of different genres, reflecting the growth and changes Rae bears throughout the record.

“Cologne” takes a blusier route as a song that began with simply a riff and a line. It’s about yearning in love and missing your partner, throwing on something that smells like them, and watching the clock tick until they can finally pick up the phone.

Playing the 04 Center this Wednesday, here’s Austin’s Taylor Rae with “Cologne.”

Valley Flower: “Run Buddy”

Rolling into Austin like a quiet, yet alluring fog from the Midwest and Appalachia is Valley Flower, a groovy bluegrass quintet that brilliantly weaves in those regional influences to offer something a little different to the stalwart, homegrown scene here in Austin. And 2024 was very fertile for Valley Flower. They opened for several national bluegrass/folks acts, held a residency at Sagebrush, played festivals, and had songs featured on some of Spotify and BMI’s most coveted playlists.

“Run Buddy” finds the string band putting a little alt-country veneer on their bluegrass soul, and it suits them well. The self-produced EP shows the band is a true ensemble: every layer is distinct and each instrument has a voice.

“Run Buddy” is from their self-titled EP, out tomorrow. You can see Valley Flower at their EP release show this Friday at Sam’s Town Point.

Hayden Butler: “Old News”

Feeling comfortable can quickly devolve into a dangerous game. One weekend you decide to kick back and relax with a six pack, then the next thing you know you’re stuck in a daily routine of gettin’ smashed and trashing your home. Yeah, substance abuse and addictive tendencies aside, that “recliner decline” is a slippery slope towards self-destruction that we all risk at some point or another.

And it’s not like it only happens to the chronically lazy. Naw, take Hayden Butler, who on top of singing and songwriting, keeps busy as a bookmaker, painter, photographer, and professional copywriter. The native Austinite’s portfolio paints the picture of a highly-driven individual who’s got the gumption to go places, and the release of Butler’s debut LP Hand of God this July only reinforces that sentiment.

Still though, Hayden’s only human, and the appeal of Lone Star-assisted hedonism can easily overcome any period of productivity. And that’s masterfully reflected in Hand of God‘s midpoint (and music video) “Old News”. So before getting off your ass to see Hayden Butler at The White Horse 10PM tomorrow night alongside Taylor Graves at 8PM and The Shiglers ’round midnight or next Thursday at 10 between Gilded Lows at 8 and Jonathan Terrell at 12, indulge in this double-wide southern rocker that treats Hayden like a Texas twist on The Wall or Citizen Kane. And if you can’t watch the wanton meltdown til the closing bell, might as well crank up “Old News” and let Butler’s simple-yet-sophisticated country twang struggle inspire you to maybe make a much-needed change in what could be problematic monotony.

Josie Lockhart: “Every Kind of Light”

One of the more intriguing musical migrations as of late has been the blurring of lines between psych, Americana, and synth. Ya know, that hint of trippy in the twang. That splash of pop songwriting against a Southern backdrop. And between our geographical position and Austin’s ever-expanding melting pot status, we’ve witnessed it unfold firsthand.

For a recent example, look no further than Aaron Miller, the former frontman of ATX synth-pop trio Sphynx who’s currently best known by his solo handle Josie Lockhart. As heard on his 2021 debut Santa Rosa, Josie Lockhart’s a genuine innovator of the Cosmic Americana sound first familiarized ’round these parts by the likes of The Bright Light Social Hour, and the international impressions that followed show that interest isn’t regionally limited. What also arrived in Santa Rosa‘s immediate shadow was a retreat by Miller to Durango, Colorado to draft Josie Lockhart’s sophomore follow-up, What Golden Hues.

While those initial sketches maintained the auteur approach of Santa Rosa, the final version of What Golden Hues that we’ll hear next February is more of a full house; Miller recruited session players from both Austin and Nashville, plus Leon Bridges/Steve Earle engineer Steve Christensen and Wild Child/Modern Medicine producer Carey McGraw to elevate this second installation of Josie Lockhart’s discography. The result is a shimmering, contemporary twist on Miller’s heartland rock roots, as introduced by the LP’s lead single, “Every Kind of Light”.

In other words, by dusting off any tired antiquities of Americana and replacing them with a clean sheen of synth and psychedelia, “Every Kind of Light” locks in Josie Lockhart as the sonic cowboy destined to shake up expectations in 2025.

Rett Smith: “Stop Signs”

For well-established acts, keeping faithful to the formulas that first made ’em famous is often the key to longevity. We’re talking AC/DC, legacy acts that dare not alienate longtime fans by trying to fix what ain’t broke. But the big difference between AC/DC back then versus now is how frequently they put out new material. Yeah, for up-and-comers cranking out at least one studio album a year, staying in just one lane ain’t exactly a great strategy.

Like check out Rett Smith, who flexes the nexus between Austin and Nashville. His post-covid discography alone (of one release per year starting in 2020) speaks to Rett’s relentless work ethic. So with that impressive volume of work already under his belt in such a short time, weighing in on the steady shift towards “shoegaze-icana” isn’t necessarily a threat to Rett’s brand at all. No, we welcome the move for its variety, innovation, and evasion of letting Rett’s style get stale.

Sandwiched right in between a free Waterloo Records in-store performance 5PM today and a headliner show 9PM this Saturday at The Mohawk alongside Travesura, tomorrow we receive Rett Smith’s fifth, A Weighted Remorse, in its entirety. And to help give the LP its official green light, “Stop Signs” (and yet another abstract Super 8 music video that evokes the psychedelic side of “Old Austin”) ought to halt any RS haters dead in their tracks. Revving through tremendous dynamic range in just over two minutes, “Stop Signs” is the hard rock equivalent of alternating a souped up muscle car between peeling out and slamming on the brakes while commuting from a love making session to a late night dive bar gig. So just make sure you’re at least attempting to obey traffic laws when blasting Rett’s latest in your car stereo.

Anna May: “The Show”

As much as we admire an intricate arrangement and a progressive song structure, not every tune needs to tout itself as a pocket symphony. I mean, we’ve already got one “Bohemian Rhapsody”, right? So while house and hip-hop may spring to mind when thinking about repetition, there’s an intrinsic simplicity to other styles of songwriting – chiefly in the acoustic corner of things – that makes “one note” compositions truly compelling.

With that in mind, turn your attention to Nashville’s Anna May. Hailing out of Connecticut, this rising singer-guitarist-songwriter specializes in what she calls “alternative tragic Americana”, an unyielding take on the classic Western sound through intimate intersections of jazz and folk. But despite Anna May’s immersion in the healing powers of meditation, so far she’s refrained from recording anything close to what you’d call a raga in terms of runtime.

That is, until today. This morning Anna May rolled out her lengthiest original to date, “The Show”. At almost eight minutes, the duration might be daunting to those who haven’t already pressed “play”. But rest assured, once you fire up “The Show”, you’ll be fully engaged in the jam. Because not only does it showcase Anna May’s endurance, innovation, and country-adjacent charm on both vocals and six-string, but also the poetic, stream-of-consciousness, and scene-setting lyrics that makes old school blues so timeless.

A bit “one note”? Of course. But intriguing front to back? Absolutely.

Deer Tick: “Sacrosanct”

When it comes to asking about major milestones like birthdays and anniversaries (whether it’s a piece of media, a pet, or a friend’s kid), sometimes the answer leaves you thinking, “it hasn’t been that long…has it?”. Well that’s exactly what went down when we recently realized that in 2024 Deer Tick is officially two decades old.

Yes, just like other early-mid-aught memories that feel like they just happened yesterday, we’re amazed that the passion project of these Providence rockers is nearly of legal drinking age. To clarify, we’re not saying anything like “ew these dudes are old and irrelevant now”. No. Quite the opposite. Instead, we’re pleasantly impressed with the endurance of these indie alt-Americana darlings and their ability to try out fresh formulas and latch onto new listeners while maintaining much of their signature, twang-adjacent sound – particularly if you keep major musical migrations of the past twenty years in perspective.

And there’s ample evidence beyond Deer Tick’s big list of upcoming headliner tour dates. Just look at Contractual Obligations, album number nine that rolled out a little under a month back. Collating the eight absentees from last June’s Emotional Contracts, Contractual Obligations proves that for Deer Tick, even the stuff that initially ended up on the cutting room floor is worth well more releasing to the masses, and not just as shoddy demos. If you haven’t yet heard Contractual Obligations, we won’t hold you to it (at least not in a binding way). But we do insist you spin the EP opener and lead single “Sacrosanct”. Because on top of the high probability it’ll entice you to enjoy the remainder of the record, the sheer quality of “Sacrosanct” makes us reflect on its titular descriptor in a different way; Deer Tick, seemingly determined-as-ever, is simply too vital for the state of modern music to upend anytime soon.

Lord Buffalo: “Holus Bolus”

You might’ve caught last Thursday’s Austin Music Minute on Lord Buffalo. But even if you did, it’s a record release worth shouting out again.

You see, this Austin quartet’s been grazing across in the psych-Americana range for a dozen years now – spanning from their 2012 eponymous EP, their 2017 eponymous full-length, and their early pandemic installation Tohu Wa Bohu. And if you couldn’t tell from that last listed entry, Lord Buffalo’s got a real way with words.

Well, true to LB’s latest LP title (which translates to “all at once”), Holus Bolus gives you a bit of everything – post-punk, psychedelia, blues, and of course, Americana – across seven songs mixed and mastered by Danny Reisch and Max Lorenzen, respectively. The record dropped last Friday, just a few hours after Lord Buffalo wrapped up a release show at 13th Floor. But now that Lord Buffalo’s on the road and building up a new herd of listeners on a month-long national tour, we don’t want their hometown fandom to go the way of the…well…do we? So it’s best to set aside the full thirty-eight minutes to appreciate Holus Bolus front to back and uninterrupted, starting with the album opener, title track (and music video), “Holus Bolus”. Walking on water, banging drums against barren landscapes, shredding fiddle in the thick of the woods, curious coyotes, and enigmatic prisms – each cresting across dunes of heavy desert rock? Yeah, “Holus Bolus” has it all.

Amy Annelle: “East Texas Son”

When you look past the vast sea of love lyrics out there, songs inspired by natural phenomena are just about the greatest equalizer across music’s history. And it makes sense; there’s something so primal and timeless about evoking the rumble of thunder, the whip of wind, or the roar of the ocean. Sure, you can point to jazz or blues as place for many a rainy day refrain, but if we’re talking about a truly bucolic bond to nature, even in modern digital times, folk really relishes in reflections on the weather – be it good or bad.

Yes there are plenty of youngsters who appreciate that longstanding tradition, but here in Austin we’re doubly lucky to have a two-and-a-half decade veteran who clearly “gets” what makes folk tick – Amy Annelle. Going back to 1999’s Which One’s You?, this singer-guitarist (who also once went by The Places) has made her largely-percussion-less, Muir-esque musings a delight to listen to, whether you’re in the midst of a midday picnic or a weekend-long hike through the nearest national park. On top of a provably popular take on Townes Van Zandt’s “Buckskin Stallion Blues”, Amy Annelle’s rightfully earned opportunities to work with folk legends Bill Callahan and Daniel Johnston, and corralled her own octet of handpicked Austin talent to help enhance her transportive originals – The Velvet Hand.

Fortunately in 2024 Amy finds herself on the other side of a long struggle with chronic illness. With her health back in good shape and the life lessons of those tough years under her belt, Amy’s eager to pay that array of recent experiences forward with The Toll, out August 2nd. With the help of The Devil Makes Three’s Cooper McBean on production, Neko Case engineer-producer Darryl Neudorf on mixing, and industry icon Greg Calbi handling the master, The Toll is a one dozen offering of fine-tuned folk that sounds as pristine on home stereo as it would strumming and humming in a dilapidated deep woods cabin. At the tail end of this month, Amy Annelle’s set to play The Toll in full for the album release show on Saturday, July 27th at Scottish Rite Theater alongside opener Creekbed Carter, benefitting Communities For Recovery. But now that that’s in the forecast, let’s get back to nature.

One of The Toll‘s two originals that engage with the gargantuan aura nature wields over us all, the LP’s third lead single “East Texas Son” arrives especially poignantly as Tropical Storm Beryl leaves millions of fellow Texans without power. From flowing rivers and raging hurricanes to hungry quicksand and breezy, burning thunder, the ominous lyrical precautions of “East Texas Son” are elegantly offset by an optimistic orchestral, acoustic arrangement, one that reminds us of the healing power of nature, even after a catastrophe. But it’s also the sound of a seasoned songsmith returning to form at the top of her game.

Is that thunder you hear? No. It’s our applause for Amy Annelle.

Honey Luck: “Red Line”

Summer’s just over a month away. And with the birds and the bees still bringing new life into Spring, it’s a great time to appreciate fresh acts. So let’s stick a dipper into one of the latest projects to come out of Austin, Honey Luck.

This Americana trio was born out of an auspicious meeting between Brian Pounds and Beth // James’ Jordan and Mikaela Burchill during a Kerrville songwriting competition. The buzz between them was too good to pass up and ever since a session at the Burchills place years later, they’ve stuck together as Honey Luck. Now technically, Honey Luck only made things official this past January. But like a nectar-encrusted horseshoe ringing the stake on the very first throw, Honey Luck’s already had a prosperous start to what’ll surely crystalize into a long-preserved career.

By that we mean Honey Luck’s landed a sweet residency 6PM each Monday in May at the Saxon Pub opening for Austin icon Bob Schneider and recruited six-time Grammy Winner Vance Powell of Chris Stapleton and Sturgill Simpson fame to produce their debut single. A viscous mix of vocal harmonies, heartfelt guitars, and Western fashion paired with a pseudo Super 8 music video that oozes with contagious laughter, sincere smiles, and joyous local performances, “Red Line” has given us our first taste of what’s to come from Honey Luck. And with more tunes already solidifying in their hive, we feel like Honey Luck’s good fortune’s still got a long way to go.

Jana Mila: “Somebody New”

In an environment as dense and competitive as Americana, a unique set of lens can really help you stand out. But if that habitat appears even remotely unnatural to others, every little bit of local color improves your odds of surviving in the long run.

Meet Jana Mila. Mila’s Amsterdam upbringing was spent in the cross-cultural intersection of her family members’ individual passions: Brazilian, Big Band, and Indian. Ultimately though it was indie folk Americana that inspired the rising multi-instrumentalist singer-songwriter to take her originals to local Dutch stages at the turn of the last decade. Fast forward to Summer 2022, when Mila moseyed over to Nashville for a songwriting excursion. The connections she made there led to a strong start to Mila’s studio discography with her introductory “When Times Get Rough”, which has already raked in millions of streams.

Turns out Jana Mila blends in so well with the Nashville aesthetic that you’d never guess she wasn’t a native. And that’s absolutely reflected on her ten-tune debut Chameleon. Tracked and produced at Todd Lombardo’s studio in the heart of Music City, USA, this introductory LP carefully camouflages Mila’s unique character against backdrops of West Coast Folk, ’70s rock, and Tennessee country. The announcement of Chameleon‘s August 30th release came last Tuesday alongside the arrival of its lead single, “Somebody New” – an honest reflection on a mid-relationship self-revelation. At just short of three minutes, “Somebody New” is a no-nonsense, straightforward piece of intimate storytelling and an ideal addition to your next breakup playlist, with one hell of an earworm hook.

Rett Smith: “Sunsets”

In terms of musical association, at least outside the world of film soundtracks, U.S. southwestern scenery often gets associated with country. But there’s a certain psychedelic quality to our regional deserts that we just love to see artists embrace.

Folks like Rett Smith, based here in Austin, but bred out of West Texas, so you know he appreciates all kinds of sandy, desolate miscellanea. Historically, Rett’s smithing has involved all things Americana blues. And while that’s certainly still his skillset, for his upcoming album A Weighted Remorse (out September 13th), Smith finds himself trudging through the dunes of shoegaze.

And the result is heavy as hell, almost bordering on sludge thanks to its subterranean six-string tone and massive drums. Alongside its music video, “Sunsets” feels less like hiking the Fort Davis trails and more like watching The Holy Mountain if it was shot on Super 8, ’70s abstract psychedelia and all. We’re getting major Black Angels vibes from this one, and we have a feeling that when Rett returns from his Western European tour, he’s gonna translate his travels into something else equally arid-inspired and aurally exciting.