AmericanaFest 2024 – Awards
Day 2 of AmericanaFest is a hit-the-ground-running kinda day, with panels, performances and, of course, the Americana Music Association Honors and Awards. It’s a good day to sample a little bit of everything.
Hurray for the Riff Raff
HFTRR singer-songwriter Alynda Segarra was joined in conversation by Dallas-based journalist Natalie Weiner to discuss the origin and recording of her AMA-nominated album, The Past Is Still Alive. The record, much of which was written during the pandemic, came from emotions brought out by the death of Segarra’s father. Particularly interesting was Segarra’s notion of the “womb of the recording studio” as a way to work out their grief, which also allowed them to be less of a strict perfectionist and let producer Brad Cook gently take the reins when that’s what was needed. Segarra and Weiner also shared stories of the recording of the videos that came with the record – much of it shot in arid, dusty New Mexico, reflecting a few of the many, many people in this country who spend as much time “getting by” as they do living. The setting also allowed Segarra to inhabit a twist on the archetype of the straight, white, male James Dean-esque image of a drifter. Referencing the album’s title, Segarra reinforced the idea that past experiences and people stay with us indefinitely by pointing out, “I’m playing the Ryman later!” Segarra honors that past, and those ghosts, with their deeply personal, yet somehow universal, songs.
Songs of Yellowstone
Held at Nashville’s City Winery and presented by the Fort Worth Film Commission, this low-key affair collected roughly a dozen artists who’ve had their songs placed on America’s highest rated scripted series (back on your screen in November! Really!!!). Moderated by Yellowstone music supervisor Andrea von Foerster, there were some absolute legends on the stage – Robert Earl Keen played “Shades of Gray,” which appeared in a flashback scene, and Mary Gauthier was genuinely grateful for her “Mercy Now” soundtracking the end of the Season One finale. Even more impressive were the artists who had their (sometimes very literal) fortunes change by having a single song in the show. Gethen Jenkins (“Bottle in My Hand”) and Aubrie Sellers (“Far from Home”) had their first-ever placements via Yellowstone. Myron Elkins actually had an album release (Factories, Farms & Amphetamines) changed after having two songs appear in a single episode. Kevin Galloway of the once-disbanded Uncle Lucius stated that the inclusion of “Keep the Wolves Away” started the ball rolling toward a reunion. And closing out the afternoon was Yellowstone’s greatest success story, Shane Smith & The Saints. From having a song placed – with a name drop from show creator Taylor Sheridan! – to a band appearance in another episode, these Texas gentlemen, who were playing together for roughly a decade before this big break, are now able to do near-unimaginable things like selling out Red Rocks becausee people heard “All I See Is You” and loved it. All the folks (also including Dani Rose, Eliot Bronson, Brent Cobb and Cleto Cordero) on the City Winery stage on Wednesday afternoon were proof that listeners will seek out good music when given a nudge in the right direction.
Americana Honors & Awards
In its 25th year (and for the 23rd time), the Americana Music Association honored its very best on Wednesday at the Ryman Auditorium. Winners (Sierra Ferrell for Artist and Album of the Year, Larkin Poe for Duo/Group, The Red Clay Strays for Emerging Act, Grace Bowers for Instrumentalist and Brandy Clark and Michael Pollack for Song of the Year, “Dear Insecurity”) were properly feted, but the true measure of any music awards show lies in its performances. Highlights (backed, as always, by Buddy Miller’s incomparable house band) included Katie Crutchfield and MJ Lenderman performing Waxahatchee’s “Right Back to It,” The Blind Boys of Alabama following up their Lifetime Achievement Award presentation with a ridiculously energetic gospel performance, Larkin Poe shreddingly reminding us of why they’re the best duo of the past year, Jobi Riccio absolutely filling up every corner of the Ryman with “For Me It’s You,” and Dwight Yoakam chasing his own Lifetime Achievement Award with with a leg-shakin’ performance of “Fast as You.” Earlier in the evening, T Bone Burnett said, “If you want to know what’s good about the United States, listen to our music.” To close the night out, Emmylou Harris and Rodney Crowell’s semi-surprise tribute to Gram Parsons drew a line straight from the 1970s to today’s artists, the very best that Americana (and America) have to offer.
Caitlin Cannon
As someone who’s lived in Colorado for a dozen years, I’m a sucker for anyone from the Centennial State, so Caitlin Cannon’s showcase at Jane’s Hideaway was the perfect way to end the evening. The former Southwest Coloradan (since relocated to Nashville) managed to squeeze her entire six-piece ensemble onto the tiny stage and, with her unique comedic flair, dealt out songs about psychiatrists and the perils of dating older men with a twangy sense of fun. More serious, though, was “Waiting,” from this year’s EP Beggar. The song, about her incarcerated brother and, more pointedly, the people he left behind, asks us to consider more than just one perspective (a test we’re badly failing in this country right now). At the end of a long day and night full of excellent music and even better people, it was an important thought to chew on during the late-night Lyft home.
Check out the Americana Music Association website here: http://www.americanamusic.org
