Another exciting night of Americana music has come to pass in Music City. As usual, an incredible litany of talent was showcased all over town, with the most active venue being the Mercy Lounge/High Watt/Cannery Row complex.
It was a night to try and catch acts in all three venues contained in this building, and the music did not disappoint. The tough decision was where to stay. It seemed the only logical conclusion was to roam around a little bit. Downstairs in the Cannery, New West Records was celebrating the 15th Anniversary of the much-celebrated record label with performances from their entire roster. I came in at the time Buddy Miller was onstage and delivering a scorching set that included guest performances with Rodney Crowell for two songs (including the classic "Leaving Louisiana in the Broad Daylight") and the McCrary Sisters. Some of the many, many great things about seeing Buddy Miller live is seeing how much he loves playing and experimenting with music, creating new sounds, and just watching how much he loves being on stage and performing. Every time I see his name advertised anywhere, I always do my best to check out his show. It's always worth the time, and you will always be entertained.
Next up was Delbert McClinton and Glen Clark, two old friends from Texas that recorded an album together 42 years ago and reunited to release an album this year called "Blind, Crippled and Crazy." McClinton is a legend in the music business, carving his legacy with crafting a hard, country-blues sound. Performing tunes that were largely from their album. Delbert and Glen put the scald on the Cannery, belting out some hard core blues such as "Been Around a Long Time" and the tongue-in-cheek "Peace in the Valley." The set closed off with a return appearance by the McCrary Sisters, additional back-up vocals on "Givin' It Up For Your Love", one of Delbert's all time best.
The final performance of the
night, at least for me, was the extended set delivered by The Bottle Rockets.
Where Delbert and Glen put the scald on down in the Cannery, The Bottle Rockets
burned the place down with arguably the best set I've attended at the Americana
Music Festival. The energy that was in the room was nothing short of
amazing, with band and audience feeding off each other in ways that are not
often replicated. Performing crowd favorites such as the guitar heavy
"Radar Gun" and "The Long Way", from the Lean Forward
album, to sing-alongs like "Welfare Music" and "$1,000
Car," the raucous crowd got the encore they were looking for with a
three song finale that included "Countin' On You" and "Take Me
To The Night."
With much respect to the
other performers that were to follow The Bottle Rockets, I left the venue after
their performance. There was no need to see anyone else, it wouldn't be
fair. The Bottle Rockets were on a rare level that no one was going to exceed
last night. Having said that, I do want to give special mention to Judah and the Lion, a group of young musicians whom I understand have just graduated
from Belmont University in Nashville. I caught a couple of their songs
earlier in the evening. They are an outstanding group of young musicians
who are well on their way to having a solid career. Do keep an eye on these young musicians, I
know I will be.
The best music in the world continued to play in Nashville on Thursday night at the annual AMA festival with arguably one of the strongest nightly lineups in festival history. Stellar lineups were presented at all of the festival venues with artists ranging from the North Mississippi All Stars, and Buddy Miller and Jim Lauderdale at the Cannery, to outstanding newcomers John Fullbright and Nikki Bluhm and the Gramblers at the Mercy Lounge. 3rd and Lindsley presented a night of Americana pioneers, and that's focus of this write up today.
Rosanne Cash has long been a supporter of outstanding Americana music, even before such a format was recognized. Her musical heritage is beyond reproach, having grown up under the influence of her famous father and stepmother, Johnny and June Carter Cash, as well as the Carter Family. Creating and releasing thoughtful and insightful albums have been the standard for Roseanne Cash for her entire career, which now spans more than 30 years. Her performance at 3rd and Lindsley last evening served as a preview for the next chapter in her storied career. The River and the Thread will be released in January of 2014, an album of original material following the release of the outstanding cover album The List. The album should speak to many of us. Its core subject is returning to ones roots, that home base that they may have left behind a long time ago. It could be for varying reasons ... work, restlessness, escape. However, when returning to that home base after an extended period, that person feels the connection to themselves, that feeling where you know that you are the person you are because of those roots. It reveals a new appreciation for where you came from. It's an important theme of the album for Cash, who mentioned she has been living in New York City for long time, and the preparation for this album brought her back to her southern family heritage. Some great material on this album with key tracks being "What's The Temperature Darlin'?", a great lifelong love story; "Tell Heaven", an all-inclusive religious song about believing in a higher power and faith; and "When the Master Calls the Role", a beautiful, lyrically stunning Civil War song written by Cash, husband John Leventhal and ex-husband Rodney Crowell.
British folk legend Billy Bragg has been leaving quite the impression on Nashville and the Americana faithful, reminding everyone of why he's been so successful for so many years. Touring in support of his first album in 5 years, "Tooth and Nail," Bragg's set included many selections from that album, as well as a couple of stellar cover songs. "Handyman Blues" is a great tongue-in-cheek track from "Tooth and Nail" about the life, times and indeed, perils of loving a songwriter. "Swallow My Pride" is a beautifully written song of reconciliation, penance and healing a relationship with ones other half. "Chasing Rainbows" is a straight up country song loaded with pedal steel, featuring strong lyrics with that always wry, British sense of humour. A very poignant moment in Bragg's set saw the return of Roseanne Cash to the stage, where they performed the Johnny Cash standard "I Still Miss Someone." Their vocals melding together beautifully, a true highlight of the show performing the song to a hushed crowd.
Fellow British folk-icon Richard Thompson was on stage next, making a return appearance to the Americana Music Festival stage. Similar to his on-stage predecessors, Thompson performed tracks from his latest release "Electric." A song many can relate to was the performance of "Saving The Good Stuff For You", a beautifully written song about growing up to be a better man. It's an adult song, for adults. The performance of "Salford Sunday", a whimsical song about love lost was beautifully performed. However, it was the performance of "Vincent Black Lightning 1952" that left the 3rd and Lindsley crowd spellbound. Quite frankly, the guitar work on this song is like nothing I have ever seen. The entire performance was incredible, but this particular piece was astounding. Some people have called Richard Thompson a guitar god, and the description could not be more accurate.
And now, on and out to Day 3 ...
The annual Americana Music Association Festival and Conference is in full swing with the first official night now complete. The festival kicked off with annual awards show at the Ryman which, as always, featured incredible and unique performances that one can only see at this awards show. It's the only place you'll find a finale that includes Jim Lauderdale, Joy Williams of the Civil Wars, Emmylou Harris, Rodney Crowell, Roseanne Cash, Dr. John, Richard Thompson, Billy Bragg, Shovels and Rope, Tift Merritt, Dr. John and as wonderful a house band as you'll ever gather with Buddy Miller at the lead performing "Leaving Louisiana in the Broad Daylight", an old hit on separate occasions for Emmylou and the Oak Ridge Boys. What was especially great about this particular performance was hearing Rodney Crowell and Roseanne Cash perform a few lines together, something that rarely happens these days. Steven Stills just tore it up with a performance of the iconic Buffalo Springfield tune "For What It's Worth." The Milk Carton Kids made an astounding case as to why they could easily have been presented with the Emerging Artist award, an honour that was bestowed upon Shovels and Rope. Two very different styles of music between the two duos, both excellent acts and all tremendous artists.
Speaking of duos, they were front and center during the awards show with the Association giving much love to Emmylou Harris and Rodney Crowell, awarding them with the Duo/Group of the Year award and Album of the Year for "Old Yellow Moon." In addition to Emerging Artist, Shovels and Rope also picked up the award for Song of the Year for their performance of "Birmingham." The AMA Awards are truly the most unique award show presentations in the industry today. I always find it a treat to attend this show. For those who could not attend, Austin City Limits will be featuring a special broadcast of the music portions of the show at a later date (I suspect in November), and AXS TV in the United States has carried the show live for the past two years. Be on the lookout for a replay. Click here for a great rundown of the rest of the award proceedings.
It doesn't happen that often, but on occasion, a plan can go astray. My plan last night was to cover the Lone Bellow and JD McPherson's portion of the showcase. However, to their deserved credit, the Mercy Lounge was at capacity when I arrived at the venue so I was not able to get in. Fortunately, the Mercy Lounge, High Watt and Cannery Ballroom are all connected, so I ventured to the High Watt where I soon discovered how gifted and amazing Drew Holcomb and The Neighbours are. Performing a set largely comprised of material off their latest release "Good Light", Drew and the Neighbours delivered a powerful set that ranged from the autobiographical ("Tennessee") to the haunting ("A Place To Lay My Head"), from the romantic ("The Wine We Drink" -- which is a powerful, beautiful song) to the inspirational ("Good Light"), all delivered with complete heart and soul. This group has a real diverse sound to it. They can transition from a straight up, heartland rock and roll sound as heard on "Good Light" to a slightly Celtic delivery on "A Place to Lay My Head." A group of excellent musicians who are creating music that speaks to them, look for Drew and the Neighbours in your area as they hit the road soon. Judging by the reaction of the crowd at the High Watt, their music speaks to the people as well.
The final act I caught was based on a recommendation from my friend Nelson of WDVX radio in Knoxville, TN. St. Paul and the Broken Bones opened up for Jason Isbell in Knoxville earlier this year and apparently blew apart the stage they were so good. From Birmingham, AL, this group of young men have quite the future ahead of them. Reaching in to the soul, jazz and blues portion of Americana, St. Paul and the Broken Bones could have taken people to church last night, as there were moments you thought you were in a tent revival. The powerful, soulful and strong vocal delivery of St. Paul, paired with the outstanding musicianship of the Broken Bones created the most unique act I have seen in my 3 years attending this conference and festival. A real highlight of the show was a cover of the Aretha Franklin classic "Respect." Young, professional and talented, St. Paul and the Broken Bones are going places. They are ones to watch, indeed.
And to think this was only the first night ...
I've said it many times before, but I'll say it again: I love Nashville. While commercial/mainstream country music is the single biggest driver of the economic engine in town, what truly makes this town Music City USA is the musical diversity that exists when you walk off the beaten path. I was fortunate enough to experience this on three different levels last night.
My first stop was at the Grand Ole Opry, where last night Old Crow Medicine Show were inducted as the Opry's newest member. The induction of Old Crow to the Opry is significant in many ways. As a string band playing an old-time style of music, Old Crow isn't your prototypical artist that one would think would be an ideal inductee. This thought isn't a stretch, given that the Opry typically inducts members who are in the middle of a successful chart run (Keith Urban, Darius Rucker) or have had significant chart success previously (Charlie Daniels, Mel Tillis, Charley Pride). While Old Crow has done well selling albums, chart success has been elusive. This clearly did not matter to the Opry selection committee, and it's a refreshing change.
It's with great hope that with the induction of Old Crow to the Opry, that this is a signal where the Opry selection committee has expanded their reach with respect to new prospective members. There are many great, well known and exceedingly popular entertainers in the broader country music landscape, which includes elements of Americana, that are stellar candidates for induction to the Opry. For example, Elizabeth Cook comes to mind.
It was a special night at the Opry to be sure. I would be remiss if I didn't mention how great it was to see Little Jimmy Dickens make an appearance for the first time at the Opry in a long time. Mr. Dickens has been in ill health of late, and it was a great moment when he took the stage. Mr. Dickens did not perform, rather he answered a few questions from the wonderful Eddie Stubbs. It is with great hope Mr. Dickens returns to performing again in the near future. Congratulations to Old Crow Medicine Show on their Opry induction. It was my first time attending an Opry induction and it was wonderful.
From the Opry I made my first foray in to East Nashville, where my friend Sloane Spencer of Country Fried Rock fame was co-hosting "AMA Eve" at the 5 Spot with Twang Nation's Baron Lane. I was looking forward to this event as the burgeoning music scene in East Nashville has been well documented but something I have not experienced. If you're coming to Nashville for mainstream country music, you won't find it on this side of the Cumberland. And that's not a bad thing. AMA Eve was my first showcase of music in East Nashville and it didn't disappoint. East Nashville mainstay Derek Hoke put on an absolutely killer set, with the great Robyn Hitchcock joining Derek on stage for a few songs. There's nothing like watching a group of solid, veteran musicians when they find their groove on a club stage. As emcee for the show, Derek was bang on when he called Great Peacock the best band in Nashville today. A solid group of young musicians, they delivered an amazing set that was worthy of the earlier praise effused upon them by Hoke. East Nashville is starting to become a happening place with its music scene leading the renaissance. It's truly great to see what music can do to help build a community.
My final stop of the night was in Midtown, where for the first time I'm taking up residence this week. About a mile or so away from the bustle of Lower Broadway, there is still plenty of music to be found on the west side of town. At Winner's, a young trio called Haggard's Halo were churning out some great old hits that I hadn't heard in a while. Songs like "Past The Point of Rescue" by Hal Ketchum and "Soulshine" by the Allman Brothers. It was near the end of the set when I happened upon Halo playing at this neighbourhood gem. Their closing set of the night was an outstanding version of "Takin' Pills" by the Pistol Annies. Haggard's Halo is a group worthy of your time and attention, and I would encourage you to be on the lookout for them on your next trip to Music City.
It was a great night to get one in the mood for the musical diversity that is the Americana Music Festival. The Opry induction of an Americana group. Some great rockabilly and other Americana music in East Nashville, mixed with a little mainstream hits to close off the night. Where else can you find that musical diversity on a Tuesday? I suspect nowhere.
As a music fan, this question is now more than a George Jones song title. It appears that we're living in a rare musical age, where we are now in the position of saying goodbye to the musical greats who have helped to shape music in all genres. The page, for better or worse, is turning.
It's a thought that crossed my mind first with the passing of George Jones, but struck me again with the recent passing of singer-songwriter J.J. Cale. The world itself lost a treasure with the most recent passing of "Cowboy" Jack Clement. Where Mr. Jones helped define country music with his voice, Mr. Cale helped define music with his words and musical styling. To give an idea of the diversity of Mr. Cale's recorded catalog, look no further than these three classic recordings: "After Midnight" by Eric Clapton, "Clyde" by Waylon Jennings, and "Call Me The Breeze" by Lynyrd Skynyrd. All three are signature offerings from those artists ... all three are written by J.J. Cale ... and all three couldn't sound more different from each other.
When considering these works (and this is but a small sample of Mr. Cale's catalog) and their musical diversity, one has to wonder where is the next visionary? There are many great storyteller's out there and this is not to discount their work, but where is the next songwriter to exert his or her influence to the extent that J.J. Cale has? My guess is, that it will be a long time before we see the likes of Cale again.
The passing of "Cowboy" Jack Clement cannot be understated either. A virtual music historian, one cannot begin to imagine how many stories involving Elvis Presley, Waylon Jennings, Johnny Cash, Charley Pride and so on, passed on with Mr. Clement. The Tennessean's Peter Cooper wrote an excellent essay on the passing of Mr. Clement, beautifully showing the diversity, spirit, talent and wit of this man. I encourage you to read it. There is one phrase that sticks out in my mind from Mr. Clement, and I keep it in focus every time I start to feel stressed out about how this blog is working out: "Remember, we're in the fun business. If we're not having fun, we're not doing out job." How many people can claim that attitude?
I say this as it seems the music business, by and large, has changed. Profits are the number one priority in most circles, creativity is an afterthought except in the most rare of circumstances. With record labels being focused on the next big fad and/or trend in order to maximize profit, diversity of material becomes a victim. Having said that, I would suggest that with the rise in popularity of Americana, it should be clear to the recording business that people will always come back to what is real. Fads and trends will come and go, but authenticity is forever. People will ultimately come back to anything that is authentic. It can then be argued that if creativity and musical diversity becomes the priority, the profit margin will take care of itself. One can only hope that the business side of the music business will recognize this fact sooner rather than later.
Which brings us back to the original question: Who's Gonna Fill Their Shoes? At this time, there really isn't an answer, at least not an easy one. The 1960's and 1970's, when Mr. Jones, Mr. Cale and so many other great artists were at their creative apex was arguably the greatest period is music. The list of influential musicians, vocalists, groups and songwriters from all genres is fairly exhaustive. But as I noted above, it was a different time. Artists were allowed to develop and create, today this is not the case. Perhaps the more appropriate question to be asked is "How do you replace the irreplaceable?" which certainly describes Mr. Jones, Mr. Cale and Mr. Clement. I think the clear answer is, you don't. You appreciate the gift of their time, their talent and their incredible body of work that is their legacy. And carry it with us as we move forward.
It isn't very often that you will find a review of a mainstream country music album in this space. But as with all things, to every rule there is an exception, especially when the album is as good as the one being written about today.
Country Music Hall of Famer's Alabama have been on a steady rebound since appearing on Brad Paisley's hit single "Old Alabama." Their appearance on this single, as well as joining Paisley on stage to perform the song at select events, was a great re-introduction of Alabama to the country music scene. It also served as a revelation of Alabama to virtually an entire generation of young country music fans who may not be familiar with the music of this vitally important group. Another huge step in this introduction is set to continue.
August 27th will see the release of "Alabama and Friends" (Show Dog/Universal), a tribute album that pairs Alabama up with the hottest country stars of today, a few rising stars and one legendary lady performing some of Alabama's biggest and greatest hits. The boys from Fort Payne also contribute to the album as well, with their first new recordings for an Alabama album in roughly a decade. Most of the new versions of these great songs stay true to the original recordings, which is ample proof of the influence that Alabama's music has on the younger stars of today.
Case in point are the first two tracks off that kick off the album. The lead track is the classic "Tennessee River" performed by one of the biggest names in music today, Jason Aldean. Listening to Aldean's ever-growing catalogue of hits, you can hear the Alabama influence in many of his tunes as evidenced by his take on "Tennessee River." This selection would fit perfectly in one of Aldean's shows and sounds like an Aldean hit ... all while staying completely true to the original version, as it's virtually a note for note remake. Luke Bryan sounds completely at home performing "Love In The First Degree," again a note for note remake that could appear on any Luke Bryan album and fits well within his range.
Rascal Flatts perform a wonderful take of "Old Flame", switching it up to have a more pop sound. Alabama lead singer Randy Owen joins the group to contribute a few lines with the vocals combining beautifully. "Lady Down On Love", one of Alabama's biggest hits, has always been identified by the opening guitar solo and Randy Owen's stellar vocal performance. Kenny Chesney switches the electric guitar intro for a more classical sounding acoustic guitar intro, and the switch is brilliant. This performance is one of the most poignant moments on the album, one that Chesney and Owen (who performs a verse and chorus on the tune that he wrote for Alabama) can be very proud of. One can tell right away that Chesney has performed this song many, many times on the club stage on his way up to superstardom.
The Eli Young Band's take on "The Closer You Get" fits right in their wheelhouse, as the Texas band rips through one of Alabama's biggest hits. They were a great choice to perform this selection. Superstar Toby Keith turns in a brilliant performance of "She and I". The smart use of a slide guitar intro and at points throughout the song gives this song a really fresh appeal. Young up-and-comers Florida Georgia Line deliver a fun and energetic turn of "I'm In A Hurry (And Don't Know Why)", showing that they too have felt the influence of this important band. Hopefully this duo will include this track in their live show, as they really crank this one out. Trisha Yearwood, the only female on the record, performs a beautiful rendition of the Mike Reid-penned "Forever's As Far As I'll Go". Yearwood's soft and stunning vocal breathes new life into one of the great country music loves songs of all time.
The honorees of this tribute album themselves step to the plate to deliver their first new music with two stellar tracks, "That's How I Was Raised" and "All American." The latter of these two could be one of the most important songs of the year. "All American" addresses an issue that seems to have been lost on many, if not most, people in recent times. It speaks to the challenges of the past few years and some of those root causes. More specifically, the song talks of the utter disconnect between the government and its people, the big bosses of large companies getting their monetary rewards while their employees are losing their jobs or starving while working for minimum wage. It speaks to the lack of understanding and/or caring for another persons point of view. The title of the song is captured in the following line, and is really the question of the day that many people ought to be asking: "aren't we All American?" It shouldn't be an we versus they situation. It should be an "us" situation, because we're all American (of course, many of you know I'm Canadian and we face the same challenges on this side of the border ... I'm sure you get my point of the song though). This song should absolutely be a hit, but as Ronnie Dunn found out with "The Cost Of Livin'", songs with substance and social relevance aren't selling nor getting played on country radio these days. Hopefully this will change with this song.
The final track on this stellar album is also the most poignant. Jamey Johnson is one of those guys who could sing the phone book and would make it sound like a country classic. Jamey's take on Alabama's first big hit and autobiographical song "My Home's In Alabama" is one of his best performances to date. Released in 1980, this song was a top 20 hit, and is the song that introduced Alabama to the world. Indeed following the release of this song, which walks the line between country and southern rock, country music was never the same. The landscape had been altered permanently and was the beginning of a long and successful march that eventually saw Alabama score 41 number one songs, countless top 5 and top 10 records and induction in to the Country Music Hall of Fame.
It had been mentioned years ago when Alabama first came on to the national consciousness of country radio that they had the potential to be as important to country music as the Beatles were to rock and roll. When you look at the artists who perform the songs on this album and consider where they are career wise in the musical landscape today, it's hard to argue against that point. I think it prudent to paraphrase Brad Paisley for a moment, so I will. If you are a young country music fan who is not aware of or had an introduction to the music of Alabama, I encourage you to go to your local record store and purchase an Alabama album. Discover this groundbreaking band. And on August 27, 2013, go back and purchase "Alabama and Friends", because you will see the influence this band has had on country music today. To me, "Alabama and Friends" is flawless, it's an outstanding album that is a brilliant showcase for the most important band in the history of country music.
For a sneak preview, this album is available for streaming on the offical Alabama web site. Click here to lisen. Enjoy!
Music events on the Friday night of a long weekend in Toronto can be a bit of a crap shoot. Many, many people leave town for cottage country, leaving those of us behind to seek out our weekend's entertainment. Given this challenge and environment, I cannot tell you how thrilled I was to attend the Jason Isbell and Amanda Shires show at a packed Lee's Palace in Toronto. The large crowd was rewarded with a first rate, professional, outstanding show from a group of the most gifted artists and musicians that are on the road today.
Jason Isbell, along with his stellar band the 400 Unit, are riding an incredible wave these days. Isbell has always been a compelling artist, writing and performing some of the most thought provoking songs in music. Touring in support of his recently released album Southeastern (Southeastern Records/Thirty Tigers) (which is outstanding, by the way) Isbell and the 400 Unit are at the top of their game. Opening up with "Flying Over Water", Isbell and the band showcased their talent for nearly 2 hours and held the crowd in the palm of their hands the entire time.
Paying homage to his previous life as a member of the Drive-By Truckers, Isbell turned in a stellar performance of "Decoration Day", followed by the haunting "Tour of Duty", a tale of a soldiers return home. "Tour of Duty" is a song that is relevant in any era, and is ample evidence of Isbell's outstanding songwriting. "Heart on a String", a track from his 2011 release "Here We Rest" invoked visions of the great Delbert McClinton with its blues groove and Isbell's husky vocal delivery. "Stockholm", a hard driving track that appears on Southeastern received a great reaction from the crowd, while "Codeine" produced the evening's first singalong and could very well be Isbell's signature song.
Next up were performances of three Southeastern tunes that make this album a must have. "Different Days", the incredibly written "Elephant", and the beautiful "Travelling Alone" with the lovely Amanda Shires-Isbell harmonizing. An Isbell show would not be complete without performing "Alabama Pines", the 2012 Americana Music Association Song of the Year. It was back to the Trucker days with a performance of "Outfit" to close out their main set. The crowd would not be denied an encore on this evening, as Isbell and the 400 Unit returned for a 3 song finale that included a tribute to legendary Canadian group The Band, with "Danko/Manuel", a song written by Isbell and recorded while a member of the Drive-By Truckers. From there a final preview of Southeastern with "Super 8", and a blistering cover of the Rolling Stones "Can You Hear Me Knockin'?" that would make Mick and Keith awfully proud.
Opening the night on a much softer, yet no less brilliant note was Amanda Shires. Touring to support her just released album Down Fell the Doves (Lightning Rod), an album which will be reviewed here in the coming days, Ms. Shires was the perfect opener to the evening's festivities. Performing solo with only her ukulele as accompaniment, Shires held the crowd captive with her beautiful vocals and haunting lyrics. It was an admirable performance highlighted by the cleverly written "When You Need a Train It Never Comes", the gorgeous "The Garden (What A Mess)" and the show-stopping "Wasted and Rollin'", the latter two appearing on Down Fell the Doves. Ms. Shires pulled double-duty on this night performing her own show, then taking her spot in the 400 Unit accompanying new husband Jason Isbell during his set.
In viewing this performance it is clear that Jason Isbell has a new focus, as compared to the last review I had in this space. He has quite publicly undergone two major lifestyle changes that to me, have helped shape him in to one of if not the top male act in Americana today. Amanda Shires continues to rise. The creativity and talent that this young lady brings to the stage every night cannot be measured. Together, they appear to be pushing and encouraging each other to new career heights that are only now being realized. If Americana has a power couple, that couple is Jason Isbell and Amanda Shires. Spend time at the show and you'll see what I mean.
The tour continues on August 9 in Wilkes-Barre, PA at the Kirby Center; August 10 in New York City at Lincoln Center Out of Doors (Free Show); on August 11 in Baltimore, MD at Baltimore Soundstage; and August 17 in Nashville, TN at the Ryman Auditorium with Caitlyn Rose opening. Amanda Shires has performances in Nashville at Grimey's Records on August 14; in Austin, TX at Waterloo Records on August 18; and back in Nashville at The High Watt on August 23. Check out Jason and Amanda's web sites for more tour information.
