[Zero Gravity’s] title track, a sumptuous take on romantic longing, one of the best since Lucinda Williams’ “Essence.” But instead of waiting on someone’s back steps, it’s an interstellar journey. – No Depression
SHARING FROM MY DALRING CLIENTS THE HAWTTHORNS; Friends & GRAMMY voters… Hello friends,We’re thrilled to share that our third full-length record, Zero Gravity, is in consideration for a 2025 GRAMMY nomination in four categories! This year has seen so many incredible records, and while the competition is tough, we believe in miracles — and this could be one of them. We’ve loved performing these songs across the US, and we hope you’ve enjoyed them as much as we have! If you know any voting members of The Recording Academy, we’d be so grateful if you could send a friendly note their way. Every bit of support counts, and we appreciate all the help we can get. Thank you for being part of this journey with usWith much love & humility,The HawtThorns Listen here
FIRST ROUND VOTING BEGINS OCT 4TH AND LASTS TILL OCT 15th
ZERO GRAVITY was recorded in 2023 in Nashville, Tennessee, at The Studio Nashville, owned by the Wood Brothers. The HawtThorns’ third album, it was released nationwide in 2024 on Red Parlor Records Produced by Ted Pecchio & The HawtThornsMixed & Mastered by Mark NiemiecKP Hawthorn – Acoustic Guitar & vocalsJohnny Hawthorn – Electric Guitar & vocalsTed Pecchio – Bass GuitarJano Rix – Keyboards/Piano & PercussionNick Buda – Drums & Percussion Inspired by the legendary David Bowie, “Zero Gravity” is a tribute to the profound impact of those we’ve lost. After experiencing the passing of close friends, colleagues, and personal heroes, this song reflects on the powerful presence of spirit they leave behind. We believe their spirit lives on, communicating through the universal language of art and musicWritten by KP Hawthorn & Steve Berns
I hope to see you there! I have a couple of brand new and amazing clients. https://rajiworld.com/contact-and-clients/ I am currently working on @The Black Legacy Project @Dorsten Music, @Jody Oberfelder Projects (dance and film) @The HawtThorns for your 2025 season.
Please help me welcome my clients, The HawtThorns to my own backyard (not truly mine, but a dear friend’s).
The HawtThorns have emerged with their latest sonic adventure,Zero Gravity,seamlessly blending indie-pop, alt-country, and rock. Released by Red Parlor Records, this album marks a pivotal evolution for the Nashville-based duo, KP and Johnny Hawthorn, whose roots in LA’s vibrant music scene have seasoned them into deft storytellers and musicians. As they dive into their third album, the couple continues to blur the lines between genres, crafting tracks that resonate deeply with personal experiences and abstract storytelling, all while pushing the boundaries of traditional soundscapes.
Zero Gravity is not just a title but a thematic exploration of weightlessness — both in the literal sense and metaphorically through life’s transient and ephemeral moments. This concept, which blossomed post-recording, encapsulates the album’s ethereal and dynamic nature. With the addition of live band recordings directly to 2-inch tape, the album exudes a raw, vibrant energy that is both nostalgic and refreshingly new. The decision to record without a metronome, relying on the organic synchronicity of the band, infuses each track with a palpable spontaneity that is rare in today’s digital world. In this interview, The HawtThorns opened up about their creative process, the influences behind their distinct sound, and the collaborative spirit that shaped Zero Gravity into a masterpiece of modern music storytelling.
You may email me for tickets and pay via CASH APP, VENMO or ZELLE
The show is in the Catalina Foothills, just off River and Campbell, drinks and potluck welcome. The host has dogs so please leave yours at home and pet hers, kids welcome on a reduced $5 ticket.
Curating experiences for people to discover common ground through facilitated conversation and music
I am involved with a very cool project and would love to invite you to be a part of it with me. This is a free, non-ticketed, community event. I would like to fill the following and I would love to see you involved. 2024 marks the 20th annual FODfest. While the event has been happening as one-off events in select locations each year, we’re aiming to commemorate this milestone with our first FODfest tour since 2010, marking the return to the days of the event as a touring concert.
Host or help organize a FODfest in your town. Our flagship concert started in a backyard and has taken place at a wide range of venues, conventional and otherwise, including coffee houses, community centers, theaters, living rooms, houses of worship, colleges, and even an olive grove, bomb shelter, and the National Mall to name a few.
*Saturday, 10/5- Studio 9-North Adams, MA Sunday, 10/6 – Coastal MA, Northampton, etc Monday, 10/7- NH, Portland ME, Boston, Providence Tuesday, 10/8 – NY, CT, NJ, PA Wednesday,10/9 – NY, CT, NJ, PA *Thursday, 10/10 – TBA DC *Fri/Saturday, 10/11-12 – Unavailable Sunday, 10/13 – MD, VA, NC Monday, 1014 – NC, SC Tuesday, 10/15 – TN Wednesday, 10/16 – TN Thursday, 10/17 – Ozarks *Friday, 10/18- Unavailable *Saturday, 10/19 Music on Main Street (MOMS)- Lilburn, GA Tues, Wednesday, 10/22-23 – NoCA, Bay Area, SF, et al Thursday, 10/24 – Central Coast, or inland Central Friday, 10/25 – LA, Beaches, NoHo Saturday, 10/26 – Orange County, San Diego, Palm Springs, Pioneertown
FODfest features local, regional, and national musicians in a unique format that is part concert, part song swap, and part jam session. It is real-time demonstration of the power of music to connect people, generating a sense of community, hope, and healing. FODfest (Friends of Danny Festival) honors the life of #DanielPearl, the Wall St. Journal reporter who was abducted and murdered by extremists in Pakistan shortly after 9-11. In addition to being an exceptional reporter, Danny was a fiercely talented musician who believed fervently in the power of music to connect people regardless of their differences. As he traveled the world, he’d seek out and sit in on local jam sessions as a way to connect with the local community and learn about their culture.
Tech needs Complete sound system that includes a minimum of: Two main speakers with stands and cables Two floor monitors with cables (may not be needed for small spaces) 4 microphones with stands and cables 2 DI boxes with cables For shows in larger spaces with more than 10 musicians, this would likely need to scale up Sound person for any system larger than what’s listed here. Not required, but would be good to know if there are projection capabilities or large flat screen TV available. If there are, we may consider opening the show with a screening of one of the two Music in Common documentary shorts (25 minute run time)
Load in & sound check Minimum 2 hours before doors
Run of show (1.5 – 2 hours) Intro & welcome: 10 minutes POSSIBLY film screening: – 25 minutes Concert: 75 – 90 minutes minutes with screening | 105 – 120 minutes without screening POSSIBLY closing q&a: 15 minutes
FODfest embodies that spirit of connection and bringing people together through music. FODfest is produced by #MusicinCommon, an Atlanta-based, globally serving nonprofit that curates experiences for people across social divides to discover common ground through facilitated conversation and music.
The Texas Commission on the Arts (TCA) is pleased to announce that Warren Hood has
been accepted onto the 2024‐2026 Texas Touring Roster. The Texas Touring Arts
Program is designed to ensure that all Texans have the ability to enjoy performances and
presentations in their own communities by outstanding Texas‐based companies and
artists. TCA provides grants to help with the costs of bringing in companies and artists
from this roster for performances.
Warren Hood is a virtuosic fiddler and singer/songwriter from Austin, TX. He fronts his ownband but is also a sought-after sideman who began touring in bands at age 15. He has toured with such acts as Lyle Lovett, Joe Ely, Alejandro Escovedo, Bob Weir, the Waybacks, Kelly Willis, Bruce Robison, and many more. Warren attended the Berklee College of Music where he studied violin and was presented with Berklee’s highest honor, the String Achievement Award, an award chosen by faculty to honor talent and show a vote of confidence on future success. Upon completng school, Warren moved back to Austin where he started his own band, the Warren Hood Band, which has been performing every Wednesday at the ABGB for the past 8 years. The band is known for blending many different genres of music together into their own unique sound that fills the dance floor everywhere they go. Warren was voted ‘Best String’ player by the Austin Chronicle Music Poll 11 times and was recently inducted into the Austin Music Hall of fame.
Escaping Gravity: The HawtThorns Elevate Their Sound with ‘Zero Gravity’
n this interview, The HawtThorns opened up about their creative process, the influences behind their distinct sound, and the collaborative spirit that shaped Zero Gravity into a masterpiece of modern music storytelling.
The HawtThorns have emerged with their latest sonic adventure, Zero Gravity, seamlessly blending indie-pop, alt-country, and rock. Released by Red Parlor Records, this album marks a pivotal evolution for the Nashville-based duo, KP and Johnny Hawthorn, whose roots in LA’s vibrant music scene have seasoned them into deft storytellers and musicians. As they dive into their third album, the couple continues to blur the lines between genres, crafting tracks that resonate deeply with personal experiences and abstract storytelling, all while pushing the boundaries of traditional soundscapes.
Zero Gravity is not just a title but a thematic exploration of weightlessness — both in the literal sense and metaphorically through life’s transient and ephemeral moments. This concept, which blossomed post-recording, encapsulates the album’s ethereal and dynamic nature. With the addition of live band recordings directly to 2-inch tape, the album exudes a raw, vibrant energy that is both nostalgic and refreshingly new. The decision to record without a metronome, relying on the organic synchronicity of the band, infuses each track with a palpable spontaneity that is rare in today’s digital world. In this interview, The HawtThorns opened up about their creative process, the influences behind their distinct sound, and the collaborative spirit that shaped Zero Gravity into a masterpiece of modern music storytelling.
The HawtThorns – Johnny with his Xotic XTC1 and KP – Photo by Alysse Gafkjen
Zero Gravity seems like a metaphorical title with deep resonance. Can you share what inspired this title and how it relates to the themes explored in the album? How has your approach to creating music evolved with this third album compared to your previous works?
The concept for Zero Gravity was adapted after the record was recorded. As much as we loved the song “Zero Gravity,” we didn’t know going in its potential for being such a strong recording. We realized we had something personal, fun, exciting, and a little ethereal and decided to make the title track video a very “spacey” vibe. We had original artwork for the record that had nothing to do with the video, but quickly decided to scratch that and lean into what we had created visually. The screen shots from the video that make up the artwork for the album help to tell the story and create a narrative and a feel for the music. This is the first record we have made with a live band recording to tape with no metronome, and it was invigorating!
You recorded the album in Nashville with some notable musicians. Share with us the details! I understand that the vocals and instruments were recorded live directly to 2-inch tape. How did this affect the overall sound and feel of the album?
Making this record at The Wood Brothers’ studio with Brook Sutton behind the board and Ted Pecchio at the helm was pretty joyful. Ted was able to round up this fantastic band, including Nick Buda on drums, Jano Rix of the Woods on keys, and some additional guitar by Chris Condon. When we originally talked with Ted about what we wanted the record to sound like, he knew who to call.
To be able to get live performances by these players straight to 2-inch tape without a click track gave the record such a lively feel from the beginning. Even many of the vocal performances were captured live, something we rarely do. Everyone showed up each day, ready to play and create. All of the people in that room are producers in their own right (including The HawtThorns!), so the ideas were flowing, and it was about as easy as it could be. And WOW, the sound of the tape definitely made a difference. We realize everyone is listening digitally mostly, but there is something to be said about the performance you get from players when the record is coming out sounding like that warm tape in that room.
Johnny Hawthorn with Fender Telecaster Custom Shop with Bigsby and TV Jones pick-ups – Photo Alysse Gafkjen
The album features a rich layering of different guitar tones and textures. Could you discuss your process for selecting and blending these sounds? There’s a mention of far-out keyboard tracks and syncopated guitar hooks. How do you balance experimentation with maintaining the distinct sound The HawtThorns are known for?
We love so much different music, and we have many influences. Lots of the new music we listen to has synth sounds, but there is no getting around the great albums of the 1970s that were purely analog. We are always looking at ways of blending what we love. While we were recording, we explained to Jano what we were hearing, and he is such a creative genius he would just pull some crazy sound out of his keyboards. The beauty of his playing is that it isn’t only about the sounds but the rhythms he is playing — extremely percussive and with such a great feel. Johnny Hawthorn played all of his parts at our home studio so he was able to work around what was there on keys and really accentuate the existing tones. He also loves composing melodic solos; we intentionally left lots of room for that. Johnny plays with compression, reverb, rotary, delay, and super fun effects; it is like he has a canvas and he is painting it.
Your music weaves personal experiences with abstract storytelling. Could you share the story behind one of the tracks that is particularly meaningful to you?
The song “Trouble” is one of those — it is a song that we used poetic words that leave room for interpretation. Sometimes, the way a phrase makes you feel can be more important than what the words are plainly saying. This song is a cautionary tale; it is unknown to the listener who the tale-teller is talking about, but it feels like there is an important warning. What we really wrote the song about is the price that is paid when one is chasing fame and fortune, particularly in the music biz.
The track “Zero Gravity” deals with themes of loss and acceptance. What inspired this song, and what do you hope listeners take away from it?
When David Bowie passed away, we were struck that he had known he was sick but didn’t share the info widely. During his illness, he thought to leave his fans with a full-length record and videos. This got us thinking: there is so much left of a person even after they leave Earth. We have had to let so many people go, but we feel them with us and hope to meet them again on another plane. There are several Bowie references in the song, unapologetically. We hope that listeners think of the ones they have lost in this way after hearing this tune.
KP Hawthorn playing a Martin D-28 – Photo by Kristen Drum
How did collaborating with musicians like Jano Rix and Nick Buda influence the recording of this album?
The musicians on this record helped us get a fresh perspective for sure. We felt like it got the “Nashville treatment.” They absolutely brought their best, and it was contagious energy in the studio.
Alice Wallace contributed harmonies on the cover of “When Will I Be Loved.” What brought about this collaboration, and how did it complement the album’s vibe?
Alice has been a longtime friend of the band; we have shared many gigs, worked in the studio together, and KP produced two of her records in the past. We love her voice and thought a third part on an Everly Brothers tune wouldn’t hurt anyone!
The album spans a range of styles from Americana to indie-pop. How do you navigate these genre shifts when composing and producing your music?
We understand that genres need to be attached to records so that the powers that be know where to put the music. However, we don’t care what genre we are making; we make music that we love, and that’s pretty much all we can do. Every now and then, we will hear a sound or a lyric and say, “That goes in the Country basket” or something like that. We both believe that evolution in music is a good thing and if we were to try to make a specific genre of music, it would likely sound forced
There are nods to historical music eras, like the Laurel Canyon scene and British invaders of the ‘70s. How do these influences manifest in Zero Gravity?
True! KP is a California girl and grew up with her mother’s musical influences which were heavy in the Laurel Canyon sound. You can take the girl out of the canyon, but you can never take the canyon out of the girl. “Flying,” “Hands On A Clock,” “Long Game,” and even “When Will I Be Loved” have that easy breezy west coast thing that is a little hard to define. Johnny is not a native of the West Coast but has lived there for years and has a deep love for that sound. Being Fleetwood Mac fans, Joni Mitchell, CSN, there is something there that gets in your blood and lives there forever. As far as the Brits go, obviously, you can’t consider yourself a modern-day songwriter without acknowledging the Beatles. We also love Elvis Costello and bands like Bad Finger, the Kinks, and others, so that is going to come out in the music, particularly the production on “Trouble” and “Don’t Wait By The Phone.”
The HawtThorns – Johnny playing his Xotic XTC1 and KP playing her Martin D-28 – Photo by Kristen Drum
With the release of Zero Gravity, how do you see your musical direction evolving in the future?
We would honestly like to make a drum and bass record with a creamy vocal and some interesting guitar sounds. We would also be into making an acoustic record with nothing but two-part harmonies all the way through. There is always going to be a love for creating here, and there will definitely be another fully produced, full-band record, hopefully utilizing more and more of what we are inspired by at the time.
Are there any tour plans or live performances scheduled to promote the new album?
The HawtThors are heading to the East Coast in May, routing West in June for shows in OK, NM, CA, and CO. In July, there are more shows in the East and the Midwest. Lots more to come this year; please go to our tour page www.thehawtthorns.com/shows
Zero Gravity tracklist
NOTHING BUT A SHADOW ZERO GRAVITY HANDS ON A CLOCK TROUBLE FAKIN IT FLYING DON’T PLAN TO LOSE LONG GAME DON’T WAIT BY THE PHONE SAVE THIS ONE WHEN WILL I BE LOVED
Singer-songwriter, recording artist, and producer, Louise Goffin has been making music since she was 8. With some very special songwriter friends the audience will be taken on a transformational journey all about SONGS, their power, and what great songwriting can bring to our culture.
An engaging and entertaining listening experience, Promising the stories behind songs well known and how new ones are written – with a rare treasure trove of stories. Louise is a great storyteller and performer and I have noticed that when people cheer in the audience for an act, they cheer more for the song than the person! As we all know, people go out and sell out who are cover bands because of the songs!”
The tour is an inaugural launch of the Goffin-King Foundation’s history-making. Did Goffin and King have any hits when they first walked into their publishers office? Nope!!
Goffin is the founder of the Goffin-King Foundation an educational registered 501 (c) (3) dedicated to empowering songwriters with a mission to honor and preserve the legacy, inspiration and excellence of Gerry Goffin & Carole King’ s songwriting. Louise also created, produces and hosts Song Chronicles – a podcast featuring exclusive in-depth conversations about career-defining moments with songwriters, musicians, recording artists, as well as behind-the-scenes business executives.
She is currently producing and releasing singles from her 11th album, and working on a one-woman show. She earned a Grammy nomination for Carole King’s album, “A Holiday Carole” and is known by generations of loyal Gilmore Girls fans for singing on the opening theme.
The Goffin-King Foundation hosts highly sought-after retreats for songwriting. As the director of these retreats, Louise is regarded as both a mentor for aspiring songwriters and a guiding influence with a treasure trove of experience in her DNA. She produces retreats that connect songwriters and provides them with valuable opportunities to collaborate and enhance their craft, especially those who may feel isolated in their pursuit of writing the next “great song”. We warmly invite fortunate audiences to an engaging and truly unique event of music, storytelling, history, humor, participation, and exceptional talent… an experience that will remain etched in their memories for a long time.
The Goffin & King Foundation is a registered educational 501 (c)(3) dedicated to empowering songwriters while preserving the legacy & inspiration of Gerry Goffin & Carole King’s songwriting.
But Austin wanted Uncle Walt’s Band anyway. Did we ever! MICHAELCORCORAN MAR 24, 2024
Those boys from Carolina sure could play. Walter Hyatt, David Ball, Champ Hood at Waterloo Ice House circa 1979. Photo Kathy Hill.
“Of all the musical groups which have moved here since the Austin music scene began to develop about six years ago, I don’t think any have intrigued, captivated, hypnotized or won the hearts of Austin fans like Uncle Walt’s Band.” – Townsend Miller of the Statesman, announcing the trio’s reunion, after a three-year hiatus, at Liberty Lunch in July 1978.
The rebirth was sensational, as Uncle Walt’s Band—and their diehard fans—found a musical home at the original Waterloo Ice House at 906 Congress Avenue for the next five years. It was as strong a marriage of room and talent as Austin has ever seen.
UWB played completely acoustic at first, but the crowd’s size and enthusiasm called for mics. “People went crazy over them,” Waterloo Ice House owner Stephen Clark said of guitarists Walter Hyatt and Champ Hood and bassist David Ball, who all hailed from Spartanburg, S.C. “Someone called them ‘the Bluegrass Beatles,’ but they played a bit of everything.” Their trademark was harmonies so crisp they could remove wrinkles.
Not everyone in this guitar town got their fresh take on “folk swing,” however. “We had some people ask us, ‘Why do y’all sing at the same time?’,” Ball told an interviewer in 2019.
The trio was championed by fellow musicians, especially Lyle Lovett, whose sophisticated country/jazz style came right from Hyatt. “Uncle Walt’s Band gave me my career,” said Marcia Ball, who’d been singing country covers as Freda with the Firedogs. “When they brought that first album (the self-released Blame It on the Bossa Nova) to town, there was a cover song on it called ‘In the Night.’…I asked Champ what that was and he said ‘that’s Professor Longhair’ … and there I went.”
You can also hear the influence of David Ball’s “Don’t You Think I Feel It Too” on the songwriting of Lucinda Williams, another Waterloo Ice House regular.
Clark opened the burger/beer joint in March 1976 with Roger Swanson, but didn’t have live music in the beginning. The first booking, Ain’t Misbehavin’, dictated that the Ice House would be a swing club, not a folk joint. Eaglebone Whistle, featuring future Lyle Lovett cellist John Hagen, was another regular act, as was David Ball, who’d recently moved back to Austin from Spartanburg to try to get a new band together.
Instead, the countertenor (dude sings like a lady) got the old band back. Hyatt and Hood were living in Nashville, where their five-piece roots rock band the Contenders were building a cult audience and working with R.E.M. producer Don Dixon. But Walter and his first wife Mary Lou, who managed Waylon Jennings, were in the process of breaking up, so Austin was looking good. To sweeten the relocation, Clark gave the trio free rehearsal space upstairs from the club, so Ball had to move his standup bass just down the stairs for gigs. The trio received 100% of the door which, at three dollars cover, put as much as $200 in the pocket of each musician, twice a week. That was livin’ XXL in Austin in 1978.
The first go-round in Austin at the original Saxon Pub circa 1972.
Uncle Walt’s Band had everything—the looks, the songs, the harmonies, the musicianship, the cool covers. It felt like history was being made on Congress Avenue. Soon, the trio would be a national act, so enjoy the up close and personal experience while you still could.
But stardom never came, and after five years back, UWB broke up again in 1983, with Ball, the best singer of the group, headed to mainstream country success in Nashville (“Thinkin’ Problem,” “Riding with Private Malone”). Hyatt and Hood continued as a duo for a few weeks, but two-thirds of the trio drew less than half of the former crowd. Walter and his second wife, the former Heidi Narum, moved to Nashville in the mid-’80s to be near his daughter Haley. His acclaimed 1990 solo LP King Tears (the name of an East Austin mortuary) was produced by Lovett, but Hyatt was one-and-done on MCA.
Champ stayed in Austin, where his guitar and fiddle (self-taught as an adult) backed many acts, most notably Toni Price for nine years of Tuesday “Hippie Hour” shows, and the Wednesday night sessions at Threadgill’s. His violinist son Warren Hood and guitarist nephew Marshall Hood have kept the Uncle Walt repertoire alive every Wednesday for years at ABGB.
Tragedies felled Hyatt and Hood in their forties, with Walter perishing in the 1996 ValuJet crash in the Florida Everglades, and Champ succumbing to cancer in November 2001.
Their music, most of which they put out on their own, was gloriously reissued by L.A.’s Omnivore Recordings from 2018-2021. Listen to the first album, 1974’s Blame It on the Bossa Nova (self-titled by Omnivore) and there’s little doubt that Uncle Walt’s Band was one of Austin’s all-time greatest groups. The Lost Gonzo Band certainly thought so, covering such Walt Band origs as “Getaway,” “High Hill” and “I’ll Come Knockin’” on their MCA albums.
Walter, Champ, and David first touched down in Austin at the invitation of Willis Alan Ramsey, who saw them in Nashville at Our Place on March 5, 1972. Ramsey’s sure of the date because it was his twenty-first birthday. He was also celebrating that day’s completion of recording the album that would make him the Harper Lee of redneck rock.
Ramsey brought the trio to his Hound Sound studio in a shack on Baylor Street, but like the earlier sessions UWB recorded in Nashville with producer Buzz Cason, there was not much label interest. There was no proven market for what they were doing.
But the trio was smitten with Austin, where they drew crowds to the original Saxon Pub, and to Castle Creek. Big fan Gary P. Nunn gave the trio a place to stay at his “Public Domain Inc.” complex on N. Lamar, where scruffy cottages rented for fifty dollars a month.
“The boys from Carolina” (as Lovett immortalized the band in “That’s Right, You’re Not from Texas”) especially loved how quietly attentive the audiences were when they played, then erupted at the end of the song. “Uncle Walt’s was not a bar band,” Ball said. “We were a listening band.”
The closest UWB—the Unpeggable White Band—got to a major label deal was when they were briefly courted by Warner Brothers in ’75. The Walts were viewed as the next Dan Hicks and His Hot Licks, but when that well-promoted group failed to sell many records, WB eventually passed.
But Austin City Limits didn’t. When Terry Lickona booked Uncle Walt’s Band to play in front of a national PBS audience in 1980, the unsigned trio was playing small clubs. “I was looking for something different than the cosmic cowboy electric sound that dominated the scene, and being a bluegrass fan, I loved their acoustic vibe,” said Lickona. Here’s the entirety of the segment, which aired with a half hour of Ralph Stanley:
Label apathy facilitated the trio’s first breakup in ‘75. Hyatt and Hood went to Nashville, where the Contenders (with Tommy Goldsmith, Steve Runkle and Jimbeaux Walsh) recorded an album in 1977. It was recently reissued with an additional track, the UWB fave “Getaway” (the only song the trio wrote together), enhanced by overdubs from Marcia Ball, Warren Hood and Willis Alan Ramsey. Listen to it here.
Meanwhile, Ball went back to Spartanburg to open a bar. Three years went by. And nobody forgot Uncle Walt’s Band.
We will be hosting a very fun event 3/13-15 at Big Red Sun
It is a private and small, just coffee, tea etc no booze, to help me welcome #Desdemonarobot to RajiWorld. Also known as “Desi,” Desdomonda robot is a humanoid robot and the lead vocalist of Desdemona’s Dream (formally the Jam Galaxy Band). Created by master artist and roboticist David Hanson and his team at Hanson Robotics, Desi runs on music and electricity and is on a mission to share her belief that the world can be changed for the better through the power of AI in the creative arts. She is the sister of the famous Sophia robot and joins her bandmates, including AI scientist Benjamin Goertzel on keyboards and Jam Galaxy CEO Dianne Krouse on saxophone, to bring a unique and visionary performance to audiences. The band’s live shows showcase Desi’s AI-generated spoken word poetry and music, all the while supporting their mission to revolutionize the music industry through decentralized systems and blockchain technology. With her positive message and unique perspective, Desdemona is on a journey to help artists and humanity see a brighter future.
To get a pass, look for Desi in downtown Austin 3/13-15!!! AND her sister Nurse Grace at Juicelands all around town!
The Goffin & King Foundation is a registered educational 501 (c)(3) dedicated to empowering songwriters while preserving the legacy & inspiration of Gerry Goffin & Carole King’s songwriting.
LOUISE GOFFIN
FOUNDER, EXECUTIVE DIRECTOR
Singer-songwriter, recording artist, and record producer, Louise has been making music since she was 8. She created, produces and hosts Song Chronicles – a podcast featuring exclusive in-depth conversations about career-defining moments with songwriters, musicians, recording artists, as well as behind-the-scenes business executives. She is currently self-engineering and producingher 11th album, and working on a fictional memoir. Louise produced Carole King’s Grammy-nominated “A Holiday Carole” and duets with Carole on the Gilmore Girls theme song. An advocate for people finding their voices within songwriting, Louise loves mentoring upcoming songwriters, and developing spaces for songwriters to come together and learn.
SHERRY GOFFIN
DIRECTOR & SECRETARY
Music business manager who has multiple decades overseeing the careers of Carole King and Jesse McCartney. Sherry Goffin Kondor knows how to bring out the best in her artists, whether that’s through creative collaboration, encouragement, or simply knowing when to get out of the way. She is the Executive Producer of the hit Broadway musical, Beautiful: The Carole King Musical, which ran for 6 years on Broadway and spawned multiple touring companies worldwide (as well as an upcoming feature film). A wonder at problem-solving, Sherry is a gal who takes care of things with class and a straightforward no-nonsense attitude. She’s the “ride or die” manager of every artist’s dreams.
Please help me welcome Desdemona to RajiWorld, also known as “Desi,” Desdomonda is a humanoid robot and the lead vocalist of Desdemona’s Dream (formally the Jam Galaxy Band). Created by master artist and roboticist David Hanson and his team at Hanson Robotics, Desi runs on music and electricity and is on a mission to share her belief that the world can be changed for the better through the power of AI in the creative arts. She is the sister of the famous Sophia robot and joins her bandmates, including AI scientist Benjamin Goertzel on keyboards and Jam Galaxy CEO Dianne Krouse on saxophone, to bring a unique and visionary performance to audiences. The band’s live shows showcase Desi’s AI-generated spoken word poetry and music, all the while supporting their mission to revolutionize the music industry through decentralized systems and blockchain technology. With her positive message and unique perspective, Desdemona is on a journey to help artists and humanity see a brighter future.
Capricorn Season gave us self-reflection, and now Aquarius Season is giving us a nudge to take what we’ve learned and run with it. On January 20, the sun will officially enter the revolutionary sign of Aquarius where it’ll stay until February 18, kicking off a brand new astrological season and era for 2024. But quick warning — we’re in for quite the ride.
Aquarius Season is usually a time to be daring and courageous, but this period of time in particular will be pretty intense, all thanks to Pluto — the Planet of Destruction, Death, and Rebirth — entering Aquarius the same day that the season starts. The last time Pluto was in Aquarius was from 1778 to 1798 — what a time! — besides the planet’s brief stint in the sign of the water bearer last year, which gave us a preview of what’s to come. –
For us in the industry, this could look like utter chaos or the sky is the limit and old chains breaking open with all new possibility and ever the optimist, here is what I can see:
The Rise of Gen Z artists, underground artists, political and spoken word artists
More Latin music mixed with a hybrid of other genres
More house parties and live music being presented in alternative and brand new spaces
The wide acceptance of Music as therapy
Private funding of music from patrons becoming more involved in processes
New technologies making more of global collaborations
Lifestyle festivals that really elevate with green elements, cutated local food and sponsors taking an active role in real partnership
THE 10-SONG ALBUM TAPS INTO MELODRAMATIC ‘70S ROCK AND PIANO BALLADRY TO GRAPPLE WITH TALES OF MODERN TRAGEDY
FIRST SINGLE “I’M SO HAPPY (I THINK I MIGHT CRY)” AVAILABLE NOW – LISTEN HERE
Nashville, TN – Jesse Daniel Edwards will release a new album entitled Violensia on June 23 via Cavity Search Records (PRE-SAVE HERE). The album is the second under his name – a departure from his previous project, Juni Ata – marking a new artistic chapter in Edwards’ career. The lead single “I’m So Happy (I Think I Might Cry)” is available now – listen here.
Experienced in many roles across the music industry – tour manager for Lucinda Williams, Morrisey, and Jason Isbell; under the aforementioned Americana moniker Juni Ata; and as a member of his brother LA Edwards’ band – Edwards is pursuing a new sound and vision with Violensia. Across 10 songs of piano-based alternative indie rock, he presents a unique style and tackles real-life tragedies befalling the common person.
The lead single “I’m So Happy (I Think I Might Cry)” launches the album with theatrical flourish and bombast, heard in the rising and falling emotion of piano fingerings and confessional lyrics (“I’ve been around the world / And guess what, it’s all the same”). The song lurches forward with dual guitar solos and rock ‘n’ roll that straddles operatic, elegiac, and jubilant all within alternating verses.
Violensia responds to the challenges of these times through a lens that is personal, though not autobiographical. Its voice is a widescreen treatment of various characters caught in the grip of national traumas, the familiar shocks of the 5 o’clock news. There is suicide and murder. Drug misadventures and unplanned pregnancies. Yet none are rendered in self-pitying remorse; Edwards’ musical response is a full-on effort to grapple with all of it, delivered in the life-affirming tradition that is rock and roll.
Transgender Rights are Human Rights! The inhumane space we live in at this moment is not good for anyone.
Transgender people come from all walks of life, and HRC Foundation has estimated that there are more than 2 million people across the United States. identifying as transgender with many, many more afraid to identify! They are parents, siblings, and kids. They are your coworkers, your neighbors, and your friends. They are 4-year-old children and 90-year-old great- grandparents. They are a diverse community, representing all racial and ethnic backgrounds, as well as all faith traditions.
Please know that RajiWorld has always provided a safe space for human expression, identity and understanding. I am committed to being part of a world that is good for everyone and that this is my own commitment to a higher being. I believe that we are all children of G-d and loved for our individuality and grace that we bring to the world. On this first day of Passover, please know I will continue to fight for freedom with every breath.
86% of fans won’t cut concerts despite high ticket prices & inflation, Bandsintown survey reveals
Bandsintown surveyed 2200 of their 75 million registered users to see if live music remains a priority for them despite higher ticket prices, inflation, and fears of a recession.
The results were decisive and offered hope for touring musicians battered by the same economic conditions.
86.5% of fans surveyed said they would be attending more or the same number of shows in 2023, with about half of the respondents (49.5%) saying they plan to attend more concerts than in 2022, according to the Bandsintown fan survey.
Cutting back on other spending to see their favorite artists is a “no-brainer” for 86.9% of fans. Dining out was the first to go for the surveyed fans, followed by new clothing, streaming services, and travel.
Of the 13.5% who said they anticipated going to fewer shows, high ticket prices were the top reason (50.2%), with inflation/fear of recession second (19.8%) and their favorite artists not touring this year (17.7%) third.
What is Ameripolitan? The Ameripolitan Awards Weekender website‘s list of nominees for the 2023 honors ends with a note defining the term as “a word that represents the different heritage of roots music that inform the artists that you see here. Much of the music is hard to define to a single genre and as musicians, we tend to draw inspiration from many things to create a unique voice or sound.”
The Ameripolitan awards are given in four categories: Western Swing, Outlaw, Rockabilly, and Honky Tonk. Artists in each category were well represented at last weekend’s event with showcases Friday and Saturday and the Awards show Sunday night.
Founded by Dale Watson in 2014 in Austin, Texas, the Ameripolitan nonprofit organization moved to Memphis, Tennessee, when he did in 2018. This year’s Weekender was held at the Guesthouse at Graceland, on Elvis Presley Boulevard. Coming back from a two-year COVID hiatus, and with the sights and sounds of the hit movie Elvis lingering in the air, this year’s event was a humdinger!
The column is fortunate to have had Kevin Smith there to report on the weekend. While his photos have frequently been featured in this column, his last full report was in 2019, when he highlighted the rockabilly fest Nashville Boogie.
The 2023 Ameripolitan Awards Weekender by Kevin Smith
This grand celebration of music involved so many wonderful performances that I simply can’t talk about all of them here, so I’m just going to mention a few highlights and takeaways. (You can browse the full schedule here — what a list of names!)
The singular highlight for me was the incomparable Sierra Ferrell, who took home the Western Swing Female Award. Part old-time mountain music, part honky-tonk, with a healthy dash of 1930s Django jazz thrown in, Ferrell played a highly exciting set to a packed house at the Graceland Theater. Truly a unique and creative soul, and at the top of her game, it’s no wonder that she has quickly become a beloved performer.
Other singer-songwriters who grabbed me included Texan Kaitlin Butts, and Nashville’s Kristina Murray and Emily Nenni. Also from Nashville, Melissa Carper and Brennen Leigh played a batch of western swing-inspired songs and were joined by Grammy-winning vocalist and fiddler Katie Shore from Asleep at the Wheel. Another highlight was India Ramey, who performed at a Hanks Williams tribute.
Ultra-traditionalist Jake Penrod was a crowd favorite, playing honky-tonk the way it was done back in the golden era of country music, and he just may have the best Hank Williams vocal interpretation of anybody. Rockabilly was well represented, and it is always a thrill to catch Joey Simeone, frontman for The Bellfuries. True to form, his Sam Cooke-inspired vocals absolutely wowed the crowd.
Fans of country and rockabilly guitar had lots to rave about as well. Kyle Eldridge and Sean Mencher put on a performance for the ages featuring tributes to guitar greats Merle Travis, Chet Atkins, and Joe Maphis. Rising guitar star Mitch Polzak also dazzled with his instrumental interpretation of Sergio Leone’s theme music for spaghetti westerns. By far, though, the most popular band representing the rockabilly genre at the moment is The Hi-Jivers from Nashville. They are a husband-wife duo that focuses on a hybrid of rockabilly that’s steeped in the blues.
The Awards
Complete with a fashion show, red carpet, and an afterparty, the awards ceremony closed out the weekend on Sunday night with performances by The Whitmore Sisters, Wayne Hancock, Brennen Leigh, and many more. In addition to the annual awards, listed below, some of the music’s legends received special awards for their lifetime contributions. This year’s recipients were country music trailblazer Johnny Rodriguez and honky-tonkers The Adams Brothers. Rodriguez was a popular star in the late ’70s and into the early ’80s. He’s well known as a superior vocalist, and he performed on this night, playing Lefty Frizzell’s “That’s the Way Love Goes” to a standing ovation. Perhaps best known as the touring band for both George Jones and Johnny Paycheck, The Adams Brothers’ roots run deeper still, as they backed up other legendary performers including Ray Price and Marty Robbins, Loretta Lynn, Little Jimmy Dickens, Merle Haggard, and Buck Owens.
What a weekender, my head is still buzzing.
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Here’s a list of the 2023 Ameripolitan Award nominees and winners (in bold):
HONKY TONK MALE Dallas Burrow Garrett T Capps Jeremy Pinnell Timbo
HONKY TONK GROUP Cory Grinder & The Playboy Scouts Croy & The Boys The Shootouts The Waymores
OUTLAW FEMALE Brit Taylor Emily Nenni Kaitlin Butts Rachel Brooke
OUTLAW MALE Coleman Williams Scott H. Biram Vincent Neil Emerson Willi Carlisle
OUTLAW GROUP Dallas Moore Band Jenny Don’t & The Spurs The Rhyolite Sound The Whitmore Sisters
ROCKABILLY FEMALE Amy Griffin Jane Rose Mozzy Dee Saudia Young
ROCKABILLY MALE Eddie Clendening Mitch Polzak Nic Roulette Sean K. Preston
ROCKABILLY GROUP The Hi-Jivers Ichi-Bons The Phantom Shakers Televisionaries
WESTERN SWING FEMALE Brennen Leigh Carolyn Sills Melissa Carper Sierra Ferrell
WESTERN SWING MALE A Jay Wade Kyle Eldridge Sage Guyton Wild Earp
WESTERN SWING GROUP The Southwest Biscuit Company Sad Daddy West of Texas Western Swing Authority The Lucky Stars
MUSICIAN Daniel Mason (banjo) Katie Shore (fiddle) Kullen Fox (trumpet + piano) Mike Bernal (drums) T. Jarrod Bonta (piano)
DJ Celia Villagran – Texas Hellkitten Radio Jimi Palacios – Country Du Monde Kevin Martinez – Colonel Paco Chaos Pacobilly Hour Marivi Yubero Garcia – Marivipolitan Del Villarreal – Go Kat, GO! The Rock-A-Billy Show!
VENUE Knuckleheads, Kansas City Rattlesnake Saloon – Munich, Germany Roosters Country – Mesa, Arizona The Southgate House Revival – Newport, Kentucky Sagebrush – Austin, Texas
FESTIVAL Michael Hearne’s Big Barn Dance – Taos, New Mexico Western Swing Out – Tehachapi, California Vintage Torque Fest – Dubuque, Iowa Zoofest – Lincoln, Nebraska
Gather up the gang and all of your closest cool cats because one of Tucson’s most wanted events is taking over the historic hotel downtown. Hotel Congress is hosting the annual Dillinger Days event from Saturday, January 14 – Sunday, January 15.
Dillinger Days at Hotel Congress (Photo courtesy of Hotel Congress)
The spectacle honors the capture of America’s most notorious outlaw by the Tucson Police and Fire Departments. Each year, Hotel Congress steps back in time with vintage cars, live music, 1930s entertainment, local vendors, reenactments of Dillinger’s capture, and more.
WHAT’S HAPPENIN’ ON SATURDAY, JANUARY 14
Keep in mind that there are two days of events. First up, the Dillinger Speakeasy is from 7 – 10 p.m. on Saturday, January 14. Tickets are $15 per person and the evening will feature live entertainment from Kings of Pleasure, Desert Melodies, and the Johnny Hotshot Gun Show. Plus, whiskey specials, premium cigars, and a best-dressed contest will be going down as well.
So, break out your favorite 1930s digs and purchase your tickets ahead of time at dice.fm. A portion of proceeds benefits the Greater Tucson Fire Foundation to assist with unmet needs in the fire service community in the areas of advanced training, technology, survivor’s help, education campaigns, firefighter health and wellness, and other support services.
And one more thing: If you’d like to dine at the Cup Cafe, the crew highly recommends reserving your table well in advance. Additionally, the Plaza Eats food truck will be open and serving up delicious bites throughout the evening.
WHAT’S HAPPENIN’ ON SUNDAY, JANUARY 15
On Sunday, January 15 from 10 a.m. – 5 p.m., the free and family-friendly Dillinger Days kicks off and I am proud to once again, have coordinated some of the best of the history keepers in AZ for your enjoyment.
“Experience the re-enactment of John Dillinger’s downfall at the hands of Tucson law enforcement, famously known for succeeding with Dillinger’s arrest when the FBI couldn’t,” Hotel Congress shared about the event. “Mobs of history buffs, fans of the 1930s, and pop culture enthusiasts crowd the historic Hotel Congress annually to pay homage to the man that famously earned the title Public Enemy No. 1 and his nationally-renowned apprehension.”
Tickets are free but you can still purchase admission (for free) so that you’re reminded to show up on Sunday. There’s going to be a reenactment at the hotel, a vintage car show, live music, walking tours, and plenty of other fun.
Hotel Congress is located at 311 E. Congress St. For more information and to keep up with the latest, follow Hotel Congress on Facebook.
Eddie Clendening & the Blue Ribbon Boys: “Unheard Elvis ’55”
Eddie plays the “Unheard Elvis ‘55 Stage Show” featuring a set of songs played live by Elvis Presley and the Blue Moon Boys but never recorded. Clendening is an engaging entertainer, don’t miss this great show!
With all the media push and excitement from the awards poised ELVIS film, it’s a great time to bring “Eddie Clendening and the Blue Ribbon Boys: Unheard Elvis ’55” to your venue or event
Custom Recording Co has teamed up with Eddie Clendening and the Blue Ribbon Boys to produce a concept record 70 years in the making! Using the same signal chain, instruments, and recording techniques, this project reimagines the lost and destroyed tapes from Elvis, Scotty, and Bill recorded at Memphis Recording Service for Sun Records.
The show features popular Elvis songs as well as the songs they played live in their early days but never recorded, as that is the focus of the new album.
RajiWorld has two spots open for interns. We hire for school credit or future employment AND are currently seeking one 20 hour a week Austin based intern and one to work remotely (any state). Responsibilities for the remote position will include drafting a variety of external communications & social media posts, as well as special event support-oriented responsibilities that may involve a knowledge of graphics and each social media platform. The local position requires a current understanding of the music business and the ability to be onsite from now until just post SXSW. A longer term is also possible. This job will require some office hours, some remote hours, interaction with our clients and media, managers and labels. There will be some weekend and nighttime work but the schedule can work to meet your needs as well. Please email your interest and resume or skill set to roggie@rajiworld.com
I wish I had this list of resources for every city in the world, PLEASE REACH OUT IF YOU KNOW OF ONE I CAN ADD AND KNOW THAT YOU AND YOUR MENTAL HEALTH ARE VERY IMPORTANT TO ME AND ALL OFYOUR FANS.
Musician and neurologist Dr. Joe Barnby studies how the pandemic affected the mental health of music-makers alike. Here’s what he found…
This material has been prepared for informational purposes only, and is not intended to provide, and should not be relied on for health advice. You should consult your own advisors and/or mental health professionals before making any personal decisions.
Making music has always made for an intense career, often full of the kinds of uncertainties — from money to time — that can stress you out. On top of that, the effects of the ongoing pandemic threw a monkeywrench into many artists’ lives that continues to be felt. Dr. Joe Barnby, a musician and neuroscientist in the field of mental health, checked back in with Spotify for Artists to share what he’s observed about how Covid has added to the unique stresses of the profession.
“Data that has come out during the pandemic has highlighted who is more vulnerable to depression and anxiety,” Barnby says. “The one thing that stands out about musicians compared to other professions is that they [often] haven’t got that security of financial stability… and that unfortunately means that when something like Covid happens where there’s a huge change in the way that we need to adapt to live, it can be very difficult to carry on being a musician in those circumstances.”
Almost two-thirds of the respondents to MusiCares 2021 “Wellness in Music” survey felt financial stress every day. Meanwhile, over a quarter reported moderate to severe depression.
“No sort of economic parachute for people with inconsistent incomes makes stress all the more exaggerated and magnified. Musicians feel that they can’t really afford to exist doing what we love doing, like writing music or producing music, combined with trying to afford an apartment, and trying to afford food.”
Isolation is one major risk factor for musicians that multiplied when lockdowns and restrictions interrupted the social and support networks that are vital to good mental health. While that has eased this year, Barnby has seen that, “We were still not able to talk to people and interact with people in the same way. We didn’t have that social spontaneity we were used to.” To combat that, he says, it’s important to, “have people around you that you can rely on to be there for you to talk things over and be there with you emotionally.”
Your need for a like-minded community of fellow musicians is also key, as other stresses have piled up. “Having a forum where you can discuss that among yourselves is so powerful,” Barnby says. “Talking through problems that you’re all facing gives you the benefit of group ideas. It’s not just you thinking about it on your own.”
In addition to having people to rely on, the other “normal things recommended for good mental health — good exercise, nutrition, and sleep” also apply.
“We know the importance of sleep in regulating things like cognition, our emotion, and our ability to deal with stresses during the day,” he says. “If you have a completely uneven sleep schedule, we know that that is predisposing people to have poorer mental health and to find dealing with normal life stresses a lot more difficult.
“There’s emerging evidence about the relationship between the gut and brain, and how the things we eat affect our psychology. Our social environments can encourage poorer or better eating. If you’re constantly on a tight schedule, you haven’t got the time to prepare food that’s really nutritious. We know that eating food that doesn’t encourage healthy gut microbiota will predispose you to having poorer mental health.”
“Art and culture is so important to a healthy, functioning society,” Barnby says. And he feels that points to the need for mental health “alleviation for struggling musicians that otherwise could contribute massively to society.”
