Jim Lauderdale, Donna the Buffalo and the Many Collaborations of MerleFest

When it comes to artists like Jim Lauderdale and Donna the Buffalo, I think back to a comment that Jerry Douglas made to me in an interview for this series, when he talked about what he called roots music 12 O'clock. Whereas the mainstream comes back around to roots music only so often in this metaphor, for artists like himself it is always roots music 12 O'clock. Like Jerry Douglas, our guests in this episode have always looked to it as their north star, even while they have wound their way around to some of the more prime time hours on the dial in their storied careers. 

Since it debuted in 1988, MerleFest has also shown the world what roots music 12 O'clock means on its now 12 stages over the decades, and is a phenomenon that has become much more than the sum of its parts. It made the blueprint for so many other festivals and events, a format which has gone on to become more and more prevalent as one of, if not the, primary way to experience live music.

I caught up with Tara Nevins and Jeb Puryear of Donna the Buffalo and Jim Lauderdale at MerleFest in late April 2024, where we talked about their extensive history which goes back before even coming to the festival, memories of time spent with Doc Watson, key differences between old time music and bluegrass music, and much more, including music excerpts from MerleFest performances from Doc Watson as well as Donna the Buffalo, and music from Jim Lauderdale and Donna the Buffalo’s collaborative album Wait ‘Til Spring.  

Songs heard in this episode:

“Wait ‘Til Spring“ by Jim Lauderdale With Donna the Buffalo, from Wait ‘Till Spring

“Blue Moon of Kentucky” by Doc Watson, Earl Scruggs, Alison Krauss et al, from MerleFest Live!: The 15th Anniversary Jam, excerpt

“Conscious Evolution” by Donna the Buffalo, from MerleFest Live!: The Best of 2003, excerpt

“Holding Back” by Jim Lauderdale With Donna the Buffalo from Wait ‘Til Spring

Thanks for visiting, and we hope you will follow this series on your podcast platform of choice, and also give it a top rating and a review. When you take a moment to give great ratings and reviews, Southern Songs and Stories and the artists it profiles become much more visible to more music, history and culture fans just like you. You can find us on Apple here, and YouTube here — hundreds more episodes await, including performers at MerleFest in recent years like Ketch Secor of Old Crow Medicine Show, Colin Hay, Bella White and Peter Rowan.

This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to the staff at MerleFest for their help in making this episode possible. Thanks also to Jaclyn Anthony for producing the radio adaptations of this series on WNCW, where we worked with Joshua Meng, who wrote and performed our theme songs — you can link to his music here. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Rural Roots That Run Deep With Nick Shoulders and Adeem the Artist

In the first of two episodes from MerleFest in April 2024, we highlight two artists making their debuts at the festival, Nick Shoulders and Adeem the Artist. Following this episode are two artists who have made MerleFest a regular stop over its history — 24 and 26 times, respectively — Jim Lauderdale and Donna the Buffalo.

Gallery images above: (left to right) Nick Shoulders, Adeem the Artist, Adeem the Artist performing at MerleFest 2024, Nick Shoulders’ comic in his series “Country Music History”

Nick Shoulders is from Arkansas, while Adeem the Artist, who now lives in Tennessee, has lineage from North Carolina going back seven generations. As with so many roots music artists, the place where their roots are found is central to their art, and you will hear more about that from both in our conversations here, including excerpts of their latest music.

Songs heard in this episode:

“Hoarse Whisperer” by Nick Shoulders, from All Bad

“Plot of Land” by Adeem the Artist, from Anniversary, excerpt

“Appreciate’cha” by Nick Shoulders, from All Bad, excerpt

“Arkansas Troubler” by Nick Shoulders, from All Bad, excerpt

“Rotations” by Adeem the Artist, from Anniversary, excerpt

“There We Are” by Adeem the Artist, from Anniversary

Thanks for visiting, and we hope you will follow this series on your podcast platform of choice, and also give it a top rating and a review. When you take a moment to give great ratings and reviews, Southern Songs and Stories and the artists it profiles become much more visible to more music, history and culture fans just like you. You can find us on Apple here, and Spotify here — hundreds more episodes await, including performers at MerleFest in recent years like Ketch Secor of Old Crow Medicine Show, Colin Hay, Bella White and Peter Rowan.

This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to the staff at MerleFest for their help in making this episode possible. Thanks also to Corrie Askew for producing the radio adaptations of this series on WNCW, where we worked with Joshua Meng, who wrote and performed our theme songs — you can link to his music here. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Family Ties and Roots Music Foundations: Jonathan Wilson and Bella White

For Jonathan Wilson and Bella White, family figures prominently not only in their lives behind the scenes, but also in the musical paths both chose early on. It should come as no surprise that as a boy in rural North Carolina, celebrated producer and artist Jonathan Wilson played in a family band of sorts (he would fill in for various band members in his father’s band at their practices), or that rising star Bella White’s father played in old time and bluegrass bands in Calgary, Canada when she was growing up. What may seem much more novel is that the common thread between their two experiences, separated by decades of time and thousands of miles, is also roots music like country and bluegrass. 

For Bella White, roots music like bluegrass is easily identifiable in her sound; for Jonathan Wilson that foundation is not nearly as obvious. But as you will hear in our conversations, their love of music began with their shared background in acoustic roots music in places far beyond the limelight of Nashville or Los Angeles, where their paths eventually led. Bella White brought on Jonathan Wilson to produce her second and latest album Among Other Things, while Jonathan’s latest album Eat The Worm takes off into decidedly psychedelic territory. 

I caught up with Bella White after her debut performance at MerleFest last spring, which followed her debut on the Grand Ole Opry, while Jonathan Wilson spoke with me recently by video call from his studio in Topanga Canyon, California. This episode features music from both artists as well as their conversations which touch on everything from Jonathan’s wife using AI in creating his latest music videos to Bella White’s intentional honesty and vulnerability in her songwriting, and much more. 

Songs heard in this episode:

“The Way I Oughta Go” by Bella White, from Among Other Things

“Charlie Parker” by Jonathan Wilson, from Eat the Worm, excerpt

“Break My Heart” by Bella White, from Among Other Things, excerpt

“The Village Is Dead” by Jonathan Wilson, from Eat the Worm, excerpt

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng, who wrote and performed our theme songs. A big thank you to Ayappa Biddanda at Concord, Jonathan Wilson’s manager Peter Sasala and father Al Wilson for their help in setting up interviews for this episode.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Connections, Reflections and Collaborations: Peter Rowan’s Cosmic Americana

We talked for an hour and a half and could have easily talked for much longer, although even in this relatively short time, it felt like our conversation was far greater than the time it occupied, almost like seeing the whole world in a grain of sand. Collaboration was the main topic we discussed, and as you will hear, collaboration for Peter Rowan comes naturally, and goes a lot deeper than just the songs themselves. Sixty years ago, he set foot on a path that would lead to one of his most noteworthy collaborations with Bill Monroe, joining the Blue Grass Boys in 1963. It was with Bill that he wrote the song “The Walls Of Time”, and in our conversation he details its genesis in a fateful sunrise experience with an enduring impact on him all those years ago. 

Following his years with Monroe, Peter Rowan collaborated with Jerry Garcia, Tony Rice, Flaco Jimenez, David Grisman and more recently, Molly Tuttle, to name just a few. Peter and I talk about those collaborations; about standing close to the fire of the great Bill Monroe; which roots music artists from younger generations have that fire today; we dive into a bit of music theory as well as Buddhist concepts that can also apply to music, and much more in this easy going and far reaching conversation.

Peter Rowan

Songs heard in this episode:

“The Walls Of Time” by Peter Rowan, from Crucial Country

“Doc Watson Morning” by Peter Rowan, from The Old School, excerpt

“Midnight On The Stormy Deep” by Bill Monroe, excerpt

“Midnight Moonlight” by Old & In The Way, from Old & In The Way, excerpt

“Squeeze Box Man” by Peter Rowan, from Texican Badman

Thank you for visiting, and are even more grateful whenever you share this with someone. Please follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to our guests, and we encourage you to check out their work.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

From #1 Hitmaker to Roots Music Torchbearer: Colin Hay

Music artists often face a difficult choice: do I make songs that people likely expect me to make, or do I go in a new direction? Artists who are successful become associated with the style of music that got them their fame, and the stakes are then higher, the question harder to answer. Success can become a gilded cage, and is a large reason why some artists make records that sound the same over and over.

With very few exceptions, fame is fleeting, so the gilded cage that once seemed like a creative impediment can look better and better in the rear view mirror. Very many artists get locked into a pattern of trying to get back into that cage, which mostly plays out with diminishing returns as they go on. For aging pop music stars, this can be a really bad look. The artists that are continually rehashing their old hits are reminiscent of people that were popular in high school and never matched that later in life, but who keep focusing on early achievements decades later. It all becomes quite tedious. Who wants to be solely defined by something they did in their teens or twenties?

In his late twenties, Colin Hay was on top of the world. His band Men At Work had two #1 singles and a number one album, Business As Usual. Against a lot of odds, he helped crack open a door that had shut out Australian artists for over a decade. But by his early thirties, Men At Work was done — their third album flopped and the pop music machine spat them out. This could have easily ended his career, or like many artists, made for a kind of creative Groundhog Day that he never escaped. Thankfully, he did not stay in that mode, and went on to make many solo records that charted a new, rootsier course.

Colin Hay (photo: Paul Moble)

I caught up with Colin when he played Merlefest in April of 2022. It was a solo performance that saw him play from his extensive solo catalog as well as from his Men At Work days. As you will hear, Colin still embraces his earlier work, which is not always the case with artists enjoying a second career in roots music. We talked about his new album Now and the Evermore, his longtime relationship with Compass Records, the music and music scenes of his native Scotland and his successive home countries Australia and the US. Colin also points out his admiration for artists like Kasey Musgraves, Sturgill Simpson and Chris Stapleton, talks about finding his way out of having been, as he puts it, too alternative for commercial labels and too commercial for alternative labels, and a lot more, including more music from Colin’s latest record.

Songs heard in this episode:

“Now and the Evermore” by Colin Hay, from Now and the Evermore

“A Man Without A Name” by Colin Hay, from Now and the Evermore, excerpt

“Undertow” by Colin Hay, from Now and the Evermore, excerpt

“Down Under” by Men At Work, from Business As Usual, excerpt

“Agatha Bell” by Colin Hay, from Now and the Evermore, excerpt

We are glad to have you visit us, and would be even more so were you to share this with someone. It is super easy to follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating, and on platforms with the option, a review. Great ratings and reviews will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you.

Southern Songs and Stories is a part of the podcast lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on WNCW, and to Joshua Meng, who wrote and performed our theme songs. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Painting a Portrait of 23 Years With Ketch Secor of Old Crow Medicine Show

How long is the average lifespan for a band? That could be hard to pin down, but it is surely a lot shorter than the time we have witnessed Old Crow Medicine Show do their thing. Starting out as strict revivalists of old-time string band traditions, they did not even believe in writing original songs. To Ketch Secor’s thinking back at Old Crow’s inception, all the great songs had already been written, so any attempts to add to that canon would be futile. Fortunately for all of us, Ketch and the band changed their minds on that point, and almost immediately discovered how much impact they could have with originals (and one whale of a co-write). Like any group starting out, they had no way of knowing how far they would go or how much they would change in time. If you had told them that they were going to sell millions of records and win multiple Grammy awards back in 1999, they would likely have laughed. If you had pointed out that a future member of their group (Mason Via) had just been born, my bet is that they would have looked at you as if you had come from another planet. But all of this would come to pass.

Fast forward to spring 2022, when Old Crow Medicine Show returned to the place that a generation before had served, as Ketch said in our interview, a lily pad, a springboard for their success. There at MerleFest, I sat with Ketch in the library at Wilkes Community College ahead of their two shows that day — the first a surprise acoustic performance off stage on the festival grounds, the second their main stage performance hours later. A documentary crew was on hand filming our conversation, which covered a wide range of topics, including the current lineup of Old Crow Medicine Show, his time living off the land in Avery County, North Carolina when the band first formed, his recent fascination with music from Equatorial Africa and Texas border country, how he always wants to be, as he puts it, a mockingbird, and more. There is plenty of music from their latest album Paint This Town featured as well.

Old Crow Medicine Show plays a surprise acoustic set on the Wilkes Community College campus ahead of their main stage performance 05-30-22

Photo: Martin Anderson

Songs heard in this episode:

“DeFord Rides Again” by Old Crow Medicine Show from Paint This Town

“New Mississippi Flag” by Old Crow Medicine Show from Paint This Town, excerpt

“Used To Be A Mountain” by Old Crow Medicine Show from Paint This Town, excerpt

“Gloryland” by Old Crow Medicine Show from Paint This Town, excerpt

“Paint This Town” by Old Crow Medicine Show from Paint This Town

We are glad to have you visit us, and would be even more so were you to share this with someone. It is super easy to follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you.

Southern Songs and Stories is a part of the podcast lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on WNCW, and to Joshua Meng, who wrote and performed our theme songs. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Side Hustles, part one: For Musicians, The Gig Economy Is Nothing New

It is a common fantasy to dream about being on stage, playing music in front of adoring fans, making meaningful art, traveling around the world, and getting fat paychecks along the way. People often think that being in a band means you get “money for nothin' and your chicks for free”, like the Dire Straits song says. But talk to musicians and artists and you quickly find out that this is, and never was, the case. Their stories paint a completely different picture than what we likely had in mind. Maybe you are like me, and you know a bit about how hard it is to make it in the arts world. I have been around musicians for decades, and thought I knew a lot about what they deal with on a day to day basis, but after preparing for and talking with artists in this episode, my eyes were opened even wider than before.

Mike Sivilli (left) and Dan Lotti (right) of Dangermuffin interviewed in the Nap Shack at the Albino Skunk Festival, April 11 2019

In this podcast, the first of a two part series, we hear from bands and music artists about how they keep their heads above water, and how they find balance in this upside down equation. And we get at some of the larger questions involved, like why they often are not paid the equivalent of minimum wage. As always, there is lots of music along the way, including songs from our guests Dangermuffin (an acoustic cover of the Phish song “Back On The Train'“), Elizabeth Cook, Brian Swenk, David Ball and Warren Hood.

Elizabeth Cook performs on the Americana Stage at MerleFest 4-26-19. Photo: Ken Banks

I’m pretty sure you love music, so please support the music of the artists you enjoy hearing here. Would you help spread the word about this independent project? The easiest way to help is by subscribing, rating and commenting on the show where you get your podcasts. Becoming a patron is even better. You can find out more on our Patreon page here. -- and you can keep up with us on our Facebook page, on twitter and Instagram, all linked in the banner at the top of the page. Send me an email, and I will be glad to get back to you from southernsongsandstories@gmail.com.  This series is available on most every podcast platform, as well as on Bluegrass Planet Radio. Stay tuned for part two of this episode, which will feature conversations and music from The Deer, members of the band The War and Treaty, and Dan Fedoryka from Scythian. Thanks for listening! - Joe Kendrick

MerleFest Was Great Fun And I'm Still Tired

A week ago today, I was emceeing at Hillside Stage at the 30th MerleFest in Wilkesboro, NC, wrapping up a packed three days of introducing artists and traipsing all over the festival grounds, taking in a lot of great music and talking to friends old and new. It was a hoot, as usual. This year was notable for having artists like James Taylor with the Transatlantic Orchestra, The Avett Brothers doing both their own sets and a tribute show to Doc Watson, and all-star jams with Sam Bush, Jerry Douglas, Bela Fleck, Jim Lauderdale, Shawn Camp and Donna The Buffalo, for starters.

Hillside stage crowd gathers on Saturday afternoon

So, I went straight from my workaday schedule of early to bed and early to rise to the festival schedule of sleep being optional, and walking miles upon miles in weather that was more like mid-June than late April while wearing button-down shirts and slacks. Plus I'm not 25 anymore, so when Monday rolled around I was back at work, but in a semi-vegetative state. Wooo!

Sarah Jarosz

As usual, the music was tops. I still keep getting a couple of Stray Birds songs stuck in my head. Catching Mary Stuart for the first time was a real treat. Watching Jorma Kaukonen solo was goose bump territory.

Marty Stuart and His Fabulous Superlatives

The social scene was better than ever. I got to talk with an old colleague from WNCW, Charlie Purdue, whom I haven't seen in a dozen years or more, and to meet his wife. I just happened to park near Zig from Skunk Fest, who drove up his newly purchased camper van, and hung out there a good bit of the weekend. This lead to lots more interaction with Skunkers and artists alike -- members of bands like Front Country, Stray Birds and Mipso were hanging out almost constantly. I got to talk backstage with artists like Shawn Camp, Jim Lauderdale and Bela Fleck at length, and listen to Doc Watson stories from David Holt and Pete Wernick.

Donna the Buffalo and Friends -- Pete Wernick and Shawn Camp here

Some funny and awkward moments that stick out: overhearing a stage tech say to himself as he walked by, "And on jazz flute, Ron Burgundy!". Hearing a band member hauling off their gear say to a friend, "Hippy band's up next!". Watching James Taylor being cordoned off and escorted out by what seemed like every single security officer available. Finding out that no, your emcee status over there does not mean you get to hang out with the Avett Brothers over here. Getting to emcee an unfamiliar stage and trying to use the wrong mic to address the audience, leading to the burly stage manager (let's call him "Mr. Chuckles") to march over to me and point out the correct one, just a few feet to the right, barking "Come on, get with it!". Having to be the guy who told Donna The Buffalo that, no, the song they just played was supposed to be their last because time was up, and then watching Jeb Puryear start reciting a poem that said something about death and a raven (he came over and gave me a hug on stage afterward, so that made me feel better). Don't you just love being the messenger in situations like this? Yeah, me neither.

If a band goes over this 90 minute set limit, backstage folks be gettin' stressed

Soon we'll unveil more videos and the first part of the podcast in our SpringSkunk and Jon Stickley Trio series. I got another interview last week to add to the podcast, from Country Fried Rock's Sloane Spencer. She and her family are regulars on the Skunk Farm, and her perspective will be a nice addition to the piece.

Vintage organs tend to be heavy

In the meantime, I hope to catch our first episode's star, Aaron Burdett, when he has his album release show at Isis Restaurant and Music Hall next weekend. Good times! I promise to try to get more rest though. - Joe Kendrick