Browsing Tag

country

Locked and Loaded: The Country Icon, Chris Erasmus, Fires Off with ‘Shotgun

Chris Erasmus’ latest single, Shotgun, finds its mark with a fusion of deep, resonant vocals and a dynamic full-band sound that finds new country roads to rhythmically explore. Opening with a voice that carries the haunting depth of Nick Cave, Erasmus sets a reflective tone with acoustic strings that soon give way to the invigorating swell of gospel-like backing vocals. The augmented choruses, brimming with vibrant energy, draw listeners into a rhythmic trance, emblematic of the single’s narrative of liberation and emotional revival.

Crafted as a sonic journey through the highs and lows of personal growth, Shotgun artfully captures the essence of moving beyond a toxic dynamic with the instrumentals mirroring the ebb and flow of introspection and realisation. It’s a narrative of empowerment, underscored by the thematic and literal movement the title suggests—moving forward, unburdened and unchained.

With a diverse background that spans continents—from Zimbabwe to London—and a rich litany of musical experiences, from classical training to theatrical performances, Erasmus brings a unique, cultured perspective to his work. This eclectic background shines through in Shotgun, which marries Americana sensibilities with a palpable emotional depth and expert craftsmanship.

Shotgun first blasted onto the airwaves on September 6th; stream the single on Spotify.

Review by Amelia Vandergast

Ross Flora – Santa Ana Wind: A Whiskey-Soaked Country Blues Rock Ode to a Femme Fatale

If you’re looking for a track that anchors itself in the quintessence of bluesy country rock, look no further than Ross Flora’s latest single, ‘Santa Ana Wind’, which speaks rhythmic volumes of the singer-songwriter’s seasoned artistry as a fret veteran.

With the sublimity of the single manifesting through the gravelly timbre of whiskey-soaked vocal lines that caustically cut across the winding, sustained guitar notes, it is destined to become a sonic sanctuary for anyone who feels at home in the Nashville sound.

Ross Flora, with a guitar in hand, Flora becomes a conduit of hypnotism, weaving an alchemic spell that prompts you to ponder just when his visage will grace the halls of rock n’ roll fame. His cultivated ability to wrap an aura of seductive soul around his virtuosity is a testament to his rightful place in the annals of music legends.

Raised in the shadow of the Blue Ridge Mountains of Virginia, Ross’s origin story was written early after exposure to a tapestry of R&B and Bluegrass influences. From harmonising in church pews under his father’s tutelage to shredding Van Halen tracks in his youth, his path has always been marked by intrepid sonic exploration, which continued when he put down roots in Nashville and amassed a legion of fans with his unique ability to paint panoramic portraits through sound and soul.

With ‘Santa Ana Wind’, Ross Flora ensnares the listener in a narrative wrought from his rural roots and life’s meanderings, underscored by his literary acumen and deep respect for his musical forebears like Gregg Allman and Chris Cornell.  It’s impossible to reach the last note without finding equal amounts of room in your heart and on your music radar for Ross Flora.

Santa Ana Wind was officially released on September 6th; stream it on all major platforms via this link.

Review by Amelia Vandergast

Jojo and Wo shook up country hip-hop with ‘Beer Money (Champagne Wishes)’ ft Fred Lockett

JoJo and Wo, the self-made sibling duo from Houston, have once again proven their genre-blending mettle with their latest single, Beer Money (Champagne Wishes). It’s a track that hits all the right notes for fans of country hip-hop, with Fred Lockett adding an extra layer of grit to an already unapologetic banger.

If Yelawolf, Kid Rock, Colt Ford, and Lil Nas X are staples in your playlists, you’ll instantly be gripped by the beat in Beer Money, which slams and slaps over acoustic guitars that pull you straight into the soul of the country scene.

The dynamic interplay between JoJo’s fiery, polished vocals and Lockett’s gruff, whiskey-soaked tones gives the track its undeniable edge. It’s impossible not to lose yourself in the rhythmic magnetism of the hit that kicks you into a foot-stomping groove.

JoJo and Wo’s legacy started in Houston, where they discovered their passion at just five years old. With appearances on NBC’s America’s Got Talent and Clash of the Choirs, and performances alongside the likes of Kelly Rowland, Alicia Keys, and The Pussycat Dolls, they’ve proven they were born to be on the big stage.

After signing to Pulse Publishing as songwriters, their global influence skyrocketed, securing placements on major TV shows and penning hits for LMFAO and Flo Rida. Now, with Beer Money (Champagne Wishes), JoJo and Wo are making waves yet again.

Beer Money was officially released on August 24 and is now available on Apple Music.

Review by Amelia Vandergast

Honkytonk echoes the unspoken in The Stone Hill All-Stars’ seminal single, What I Left Unsaid

If their latest standout release, What I Left Unsaid, is anything to go by, The Stone Hill All-Stars more than live up to their moniker. The band may have borrowed from the blues in their honkytonk country folk-rock track, but the aural escapade is anything but mournful; the track exhilarates as it pulses with a liveliness that’s downright infectious, supported by the band’s unmistakable charisma.

Hailing from Baltimore’s music scene, the members of The Stone Hill All-Stars originally played with notable groups such as Two Legs, Mambo Combo, and The Polkats. Together, as a powerhouse, they traverse a smorgasbord of genres, adding depth, vigour and devil-may-care soul wherever they see fit.

With the production quality throwing back to the timbres of college radio rock nostalgia, image-evoking folk tales running through the lyrics and the confluence of crying harmonicas, blazing horns, fiddles flaring and guitars amplified through old tube amps, the band constructed a solid sonic foundation that celebrates musical roots while forging new expressive pathways.

Through their craft, The Stone Hill All-Stars pay homage to their diverse influences while offering and distinct take on what modern folk-rock can be.

What I Left Unsaid is now available to stream with the Wednesday in Winter LP on Spotify.

Review by Amelia Vandergast

Behind the Music: An Interview with Rising Country Star Samantha Rae

In an exclusive interview with Samantha Rae, a name quickly becoming synonymous with contemporary country supremacy, we discuss her debut LP, The High Road, which has positioned her as an infectiously unreckonable force in the industry.

Samantha discusses her approach to maintaining emotional authenticity within her polished sound; we also gain insight into her collaborative dynamics with co-writer and manager Jay DellIsola, the creative challenges they navigate, and her vision for her burgeoning career.

Samantha Rae, it’s a pleasure to sit down with you after discovering your talent through your debut album, The High Road. The single, Gaslighter, was particularly infectious, how did you hone your superlative command over vocal hooks?

Thank y’all so much for your kind words and interest in The High Road! Gaslighter sits right in my vocal wheelhouse which helped us produce the way we originally envisioned it. We really wanted the chorus hook to pop so we set it up with a little rhythmic anticipation in the prechorus “I’d do anything for you”. This is a good example of how Jay and I construct our rhythmic textures. In the studio, we went through each lead vocal take again and again to find the one we loved the most. We really love this song and I am so happy with how it turned out!

You notably have a profound ability to keep the emotions raw in your polished productions, what’s your secret? 

Many others have probably said it better than me but I truly think if you write your own songs or create something lyrically that you’ve been through, or deeply relate to, then the truthfulness comes out on its own.

Have you found a formula for writing your singles or is each new track a new beast to tame? 

Just keep writing and creating what you love! No formula or secret button, although having a co-write partner like Jay has been critical to staying creative and energized to make your ideas and music come alive! Our songs are usually a product of our combined influences that span classic rock, mainstream radio pop, rhythm & blues and classic country. There’s usually a deeper personal meaning behind a lyric but we love that people relate to the lyrics based on their own life experiences.

What was the most gratifying aspect of creating your debut album?

Honestly, for me, it was when all the songs finally dropped and they were born into the world for people to enjoy! We also really love developing as artists and songwriters. There’s always something we’ve learned that we can apply to our new material.

How did you come to work with your creative partner and manager Jay DellIsola?

Jay and I have been friends and worked together for a long time, we played in bands together up in Boston where he played drums and I was the lead singer. Before this journey together, Jay always had a vision and would get things done with his passionate drive. He has always supported my talent and when we decided to spin up “Samantha Rae” as a solo artist, we knew we could create something special together. When we combine our song parts and creative ideas we end up with something that works well for us.

Undoubtedly, your fans will be desperate to hear when the next release will drop, what else do you have in store for 2024?

We definitely are always working to create for the fans and I’m sure they’ll see some behind-the-scenes and the making of The High Road album in the future 😉

We’re already writing a brand new batch of songs and we also have about a dozen on the shelf we really love that haven’t been released yet.

Will your forthcoming material be a continuation or a departure from your debut album? 

I would say mostly a continuation but as an artist, there’s always room for growth and a little movementMy pop-rock country roots are grounded and we’ve created a ‘sound‘ that we’re proud of. So if the fans love it as much as we do then we feel like we definitely have a winning recipe!

Stream Samantha Rae’s Highroad LP on Spotify now and keep track of her latest releases via Instagramand TikTok.

Interview by Amelia Vandergast

Christa Joy and the Honeybees – Omens: Irreverently Witty Alt-Country

Christa Joy and the Honeybee’s superlatively seminal Alt-Country single, Omens, from their eponymous fourth studio album, charts a profound journey mapped by emotive storytelling and artfully affecting sonic processions. If any contemporary country singer-songwriter can instil an infinity for Americana in the new generation of music fans, it’s Christa Joy with her irreverently witty lyricism.

The single initiates with Christa’s hauntingly reflective, pensively tinged vocals, adeptly drawing listeners into a world filled with imagery-evoking melancholy before the salving honkytonk instrumentals accompany and soothe Christa’s poetically outpoured pain as a parable for the sanctifyingly uplifting nature of the soundscape.

The tale of how endless time can feel in the wake of a breakup which leaves your world feeling cold has been told countless times before. Yet, by playing with light and shade, interplaying torment with gratitude and injecting some quintessential country humour through evolving lyricism centred around the dog that was left behind, the single unravels as a tenderly heartwarming revelation of how disorientating it can feel to step into the world, unsure of what paths to take to heal.

With the 4th LP from the Western Massachusetts singer-songwriter in the pipeline and due for release on August 24, there’s never been a better time to tune into the artist’s alchemic approach to conjuring emotion through artfully orchestrated alt-country. The album promises an exhibition of the band’s chemistry and Christa’s maturation as a songwriter, featuring tracks that range from classic honky-tonk to gospel-tinged country ballads

Omens was officially released on August 2nd; stream the single on Bandcamp and SoundCloud.

Review by Amelia Vandergast

Spencer Graham built on his indie alt-country legacy with ‘Timing’

Emotions run deep in the veins of the breakthrough country artist Spencer Graham’s latest single, Timing. If there was a world record for how much emotion can be carried in vocal melodies, the singer-songwriter who is writing the next chapter for roots reverent music deserves to rhetorically hold it.

The bitter-sweet lovelorn serenade cuts deep into the wounds of romantic torment as the accordant indie alt-country instrumentals salve the scars through their caressive melodies which carry you through the vignette of how the latter part of the space-time continuum can lead to heartbreak.

While it is an indisputable fact that all talent needs to be nurtured and honed, there is no getting away from the sense that Spencer Graham is a natural-born singer-songwriter. His ability to wrap you up in his narratives and inject the emotions expressed into your senses is second to none.

After being born in Central Pennsylvania and achieving success with his 2020 debut single, Spencer Graham was torn away from his creativity after being enlisted in the US Navy. His latest release is hopefully the sign of more soul-rendered releases to come.

After debuting on August 3rd, Timing is now available to stream on Spotify along with Spencer Graham’s 3-track release, This Is Me.

Review by Amelia Vandergast

Roots reverent soulstress, Samantha Rae, is an infectiously unreckonable force in her seminal single, Gaslighter

Samantha Rae, the roots-reverent soulstress, spellbinds with her latest single, Gaslighter. Taken from her intensely anticipated debut LP The High Road, the creative conjuring combines swampy blues tones with a country twang and an arcane air of enlightenment that even Nicks would struggle to match.

Rae’s poised with conviction and sultry-to-the-senses vocals effortlessly embody empowerment as she solidifies her status as the pinnacle and poster girl of a contemporary country icon. The infectiously kinetic rhythm of Gaslighter is impossible to resist, transfixing the listener in the beating heart of the earworm which sees the lyrical delivery seamlessly integrated with the instrumental backdrop, which culminates in a raw-with-revolution rock riff.

Far from a typical exposition of the phenomenon of psychological manipulation, Rae injects working-class fervour into the track, resonating with those who feel oppressed by the gentrified elite, the lyrical dualism is an undeniable attestation to Rae’s ability to transcend the expected.

Samantha Rae balances her musical career with her role as a horse trainer and riding instructor in southern New Hampshire. As an accomplished songwriter and live performer, Samantha Rae frequently lights up stages across New England. She has shared the spotlight with prominent acts like Sugar Ray, LoCash, and Tyler Farr. Her talent was recognised early on, earning her the New England Country Music “Country Group of the Year” award in her debut year as an original artist.

After being mixed by Grammy-winner Chad Carlson in Nashville, Gaslighter was officially released on July 26; stream the single on Spotify now.

Review by Amelia Vandergast

Gregory Lee Pickard’s ‘Home’ is a reverent nod to roots and rebellion

Gregory Lee Pickard

In his seminal, soon-to-be-released, solo single, ‘Home‘, the illustriously revered Gregory Lee Pickard, whose career has spanned three decades and spawned countless accolades, distilled a soundscape with the culmination of his extensive experience and his ability to conjure more than sound through his panoramic vignettes.

The single melds country rock rhythms with gruff vocals, which will undoubtedly appeal strongly to fans of Dogs D’amour and The Quireboys. This cultivated ode to the concept of “home”—whatever that may signify for the listener—allows Pickard’s authenticity to shine iridescently.

The country twangs within the proto-punk-esque production allows Gregory Lee Pickard to soar above the mediocrity of artists who debase their discographies with assimilation; this is authenticity at its core. Just one hit of the single will leave you desperate to explore the treasure chest of rough-cut gems which throwback to the 70s NYC punk scene but firmly roots itself in contemporary resonance.

Gregory Lee Pickard, a storied songwriter, singer, and performer continues to lead and shape the sound of his current band, Not Las Vegas, while his foundational work with The Revelons has seen him headline venues from CBGB to the Bowery Ballroom. His broad discography spans influential releases and collaborations that touch everything from indie films to major motion pictures, cementing his place in the annals of music history.

For those who cherish musical integrity and the resonant tales of life’s wanderings, ‘Home’ by Gregory Lee Pickard offers more than just a listening experience—it invites a profound connection to the very essence of personal and musical exploration.

For more information about Gregory Lee Pickard, head to his official website.

Review by Amelia Vandergast

The Poetic Journey of Todd Hearon: An Intimate A&R Factory Interview

In this exclusive interview, we explore Todd Hearon’s latest poetically virtuosic ventures, highlighting his departure from traditional roots towards a distinctive sound with his single, “Looking Glass.” Under the influence of the esteemed producer Don Dixon, a key figure in shaping early REM’s sound, Hearon has reached his creative zenith. This interview sheds light on his upcoming album “Impossible Man,” where Hearon’s rich heritage and Dixon’s innovative production converge to forge a path that promises to redefine his musical trajectory.

Todd Hearon, welcome to A&R Factory!  We couldn’t get enough of your last single, “Looking Glass.”  We don’t want to ruin the magic of the release too much, but could you give us an inside view of how the sublime single pulled together?  What inspired it? 

There’s so much self-absorption in our world.  And with it, mental illness, loneliness, depression.  I see it in the young people I work with, and I think a lot about that connection—the one between Narcissus and his sadness.  Whether the “looking glass” is a reflection pool, a make-up mirror or an iPhone screen, sometimes you just want to get the person out of him- or herself to engage with the greater, wider world and the beautiful, vibrant other people in it.

Your new album, Impossible Man, is due for release on August 16th; what can we expect from the LP?

Eleven tracks of homegrown, hard-driving original Americana with a rootsy/retro/rock feel that takes quite a different direction from my earlier two albums.

What inspired you to move away from the sound exhibited on your debut and sophomore albums? 

The songs on Impossible Man, with exception of the title track, were all written before the songs on Border Radio and Yodelady, when I was definitely and self-consciously crafting a more classic country/alt-country/Americana and folk sound.  The new songs—which are actually the oldest songs—were among the first that I wrote after coming back to songwriting in 2016 after a twenty-five-year hiatus writing poetry.  A lot had been stored up in that time, and I think the songs harkened back to my experience in the ’nineties playing in an alternative rock band. I find the return to that type of music invigorating, and I plan to take it even farther on my next album.

If you could name one core element of the Todd Hearon sound, what would it be?

“Poetry-in-song.”  I’m a poet as well as a songwriter, and I’m always looking for ways to optimize the two, having them work in tandem, the one contributing fluently and flowing into the other.  It’s not the same as putting poems to music—poems are poems and have to work on their own; and it’s easy enough to write lyrics that satisfy the song’s superficial demands but have no substance.  I’m trying to bring all the skills I learned from those years of writing poetry to the crafting of song lyrics, to make them durable while also workable, singable and immediately accessible.  The challenge is seeing what lyrics the song itself wants, in its melodies, chord changes, inflections and moods, and then finding the words that are just right for it.

How has being born in Texas, raised in North Carolina and currently residing in New Hampshire shaped your sound? 

If you’re a songwriter from Texas, you’re going to be laboring under and within a very formidable shadow—which is also inspiring, as a night sky in Texas is inspiring, but can be artistically crippling.  Texas is the home of some of the best songwriters this country has produced:  Townes Van Zandt, Guy Clark, Steve Earle, just to name one short beeline of influence on me.  There are myriads more.  I had to leave Texas for a long time in order to appreciate my inheritance, and then begin to assimilate what I wanted to absorb from it.  To be there, immersed in it, was much too stifling, claustrophobic.  I couldn’t find a direct line to what I wanted my own voice and my own contribution to be.  North Carolina—and the greater South in general—helped me to discover other roots which turned out to be just as fructifying.  The deep-running river and song-ways of traditional folk music were wonderfully inspirational to me, and they helped me to discover the kind of sound, musically, that I wanted to make.  That sound is all over my first album, Border Radio.  New England, where I’ve lived now for more than half my life, provided an unexpected (to me) richness of local and regional music; New Hampshire in particular, and our little corner of the Atlantic seacoast, is abundantly thriving with artistic talent—so many musicians and poets all making their own sounds, which have combined into a community of artists supporting each other, playing gigs together, playing on each other’s albums.  I couldn’t ask for a more generous—and more talented—group of friends.  You’ll hear lots of them on my first two albums!

What did the legendary Don Dixon of early REM fame bring to the new album? 

Preeminently, Don brought a vision for the songs.  He said to me on the first day of our work together, “We’re making a rock album.”  I’d been listening to his sound for all of my adult life—those early REM albums, bands like Guadalcanal Diary—and so I instinctively trusted him.  Besides that, he brought the abundance of experience, instinct and wisdom that he’s known for.  When I listen back to the demos I originally sent him—just me singing with an acoustic guitar—the magnitude of his presence is driven home hard.  He made the Sistine Chapel out of a shotgun shack.

What was it like to record in the Fidelitorium Studio alongside top Nashville talent? 

It was a dream inside of a dream, from which I don’t think I’ll ever awake.

When I saw the list of musicians Don was assembling for the session—Peter Holsapple, Rob Ladd, Sam Wilson—and heard that we were heading to Mitch Easter’s equally legendary studio in North Carolina, I had trouble scraping my jaw up off the ground.  Then I had time to panic.  But they, magnanimous souls that they all are, immediately set me at ease.  I was amazed at their generosity and commitment to these songs—and to the unknown me.

How much of a role do your fans play in your music career? 

As an independent artist, I feel like I have a very small pocket of people whom I aim to please.  And they seem tolerant—supportive even—of my whims, experiments and idiosyncrasies.  It’s important to have even a small listening base; actually, I prefer it to the other thing.  I like knowing the faces and tastes, personalities and stories of the folks I make music for.  It makes their approbation more genuine and substantial.

How does your upcoming album fit into your career ambitions?

Impossible Man completes the trilogy of albums that, with Border Radio and Yodelady, I had hoped to release into the world.  Their songs are a selection of the 150+ numbers that have poured forth after “Myrtle,” the 1950 Gibson J-50 acoustic guitar—a slope-shouldered songwriting machine—came into my keeping in 2016.  Sure, there are some—lots—that didn’t make the cut, songs that I’d intended someday to record.  But this, what’s now done, is what I’d intended and hoped to do.  I’m going to do my best to promote it, and I hope it reaches the audience it deserves.  Thank you, A&R Factory, for helping it as it takes its first steps into the world.

Stream Todd Hearon’s single, Looking Glass, on Spotify now; follow the artist on Facebook to keep up to date with new album news, and head to his official website for more info.

Interview by Amelia Vandergast

Photo by Nate Hastings