Rolling Country 2018

He has said him and his dad are very different people if that helps

I didn't really mean it in the sense that it was a problem, but it *does* help!

i really like this keith urban & julia michaels song

https://www.youtube.com/watch?v=iC7wWFQUUqU

Fans of the new Dierks album might find similar appeal on his guest Brandi Carlile's own By The Way, I Frogive You: looking out over the blue Rockies at her life's landmarks, incl. relationships w deep and still-rumbling layers, provisional peace, possible wisdom---Dierks sounds happier, but she's still strong, thriving on the drama under her boots and out there---a few tracks I haven't wrapped my head around yet, but overall good stuff.

er Forgive You

really a missed opportunity for a kermit led county classic. i have a one year old so please don't roll your eyes at me

Wish she'd thought of that!

by the way i forgive you is an incredibly powerful album, lots of great tracks with her vocals sounding very big

i have a personal quibble and it's really because i have old man ears at this point in my life

and it's that her vocals feel like they were recorded too hot and are overdriven, which affects my enjoyment of it

i think i understand why they did it though -- it's the whole raw/emotive feel of if, which is good

i just would've preferred warmer sounding vocals, but that would've removed the affect i guess

i'm sure this album is mind blowing live

party of one is one of my favourites

indeed, the Brandi album is great

ya gotta be OK with riding the blurry line between earnestness and over-the-top-ness to lock in to her, but she's definitely got the goods, imo. has for a long time.

She really sells it on party of one. My bro sent me that song and it was enough for me to want to check out the album.

Yeah you gotta be ready for her theatricality, and I kept thinking she's performed with this guy? Even before I got this update:
Elton John calls Brandi Carlile’s By The Way, I Forgive You his “Album of the Year” on his Rocket Hour radio show on Beats 1 on Apple Music. Listen to the full interview, which aired this past weekend(if you've got Apple Music or want to go to the iTunes Store yadda-yadda, anyway I can imagine her singing some of his early country-ish [& other] songs better than he did, no prob)

From Variety:

“I learned a lot about phrasing listening to Frank,” Willie said recently in an interview for AARP magazine (June/July 2018). “He didn’t worry about behind the beat or in front of the beat, or whatever-he could sing it either way, and that’s the feel you have to have.”

Nelson, who cancelled some shows earlier this year due to illness, is back on the road through the end of this year; the “My Way” tracklist appears in full below:

Fly Me To The Moon
Summer Wind
One For My Baby (And One More For The Road)
A Foggy Day
It Was A Very Good Year
Blue Moon
I’ll Be Around
Night And Day
What Is This Thing Called Love (with Norah Jones)
Young At Heart
My Way

First single and video is "Summer Wind." Album's out Sept. 14.

x-post

indeed, the Brandi album is great

ya gotta be OK with riding the blurry line between earnestness and over-the-top-ness to lock in to her, but she's definitely got the goods, imo. has for a long time.

― alpine static, Tuesday, 10 July 2018 02:27 (one week ago) Permalink

A tad melodramatic at times, but yes to Brandi Carlile

Willie doing "It Was a Very Good Year" might actually kill me

https://www.washingtonpost.com/lifestyle/style/how-lori-mckenna-writes-the-most-devastating-ballads-in-country-music/2018/07/19/544b51e2-89f4-11e8-8aea-86e88ae760d8_story.html?utm_term=.84e448afa0e0

Chr*s Richards in W. Post on folky gone Nashville country songwriter Lori McKenna who lives in Stoughton, Massachusetts

But this is how her songwriting often begins — eavesdropping and people-watching while she runs her daily errands. “We’re all people-watchers in some way,” McKenna says over the telephone from her living room in Massachusetts. “We see a person, and we make a story up in our head. . . . I don’t know if empathy is the right word, but we develop some curiosity in one another.”...McKenna has said that she feels a pressure to write airtight lyrics to compensate for her limited vocal range — and while it’s hard to hear a voice as expressive as hers as limited, it’s easy to hear how wisely she deploys her resources.

McKenna’s exquisite new album, “The Tree,” directs that curiosity toward families — her family, other people’s families, imagined families, families where the kids grow up too fast, and the parents grow old too soon, families that make her new songs feel as mundane and urgent as life and death. And while many have praised McKenna for her ability to elevate our most piddling pedestrian life-stuff to profound heights, for her, there’s no heavy lifting involved. When the ordinary is already extraordinary, the music is all around us.

this is kind of big I think https://www.rollingstone.com/music/music-features/eric-church-desperate-man-nashville-country-700750/

Church says he’s not a member of the NRA and never has been. “I’m a Second Amendment guy,” he emphasizes again, “but I feel like they’ve been a bit of a roadblock. I don’t care who you are – you shouldn’t have that kind of power over elected officials. To me it’s cut-and-dried: The gun-show (loophole) would not exist if it weren’t for the NRA, so at this point in time, if I was an NRA member, I would think I had more of a problem than the solution. I would question myself real hard about what I wanted to be in the next three, four, five years.”

Church knows he’ll get blowback from some fans for this. “I don’t care,” he says. “Right’s right and wrong’s wrong. I don’t understand why we have to fear a group [like the NRA]. It’s asinine. Why can’t we come together and solve one part of this? Start with the bump stocks and the gun shows. Shut a couple of these down. I do think that will matter a little bit. I think it will save some lives.”

Was just about to post. One of the best interviews I've read in months.

roger mcguinn, chris hillman and marty stuart & his fabulous superlatives, sweetheart of the rodeo full album show, los angeles, tuesday night. opening night of a short-ish tour. it was ragged, loose, occasionally awkward and more than occasionally great. they did one set of truncated versions of hits and deep cuts, and then the sweetheart of the rodeo set, played in full but out of order. i got the sense that stuart and the superlatives rehearsed thoroughly on their own and mcguinn and hillman maybe not so much. they missed cues left and right, were looking down frequently for chords and lyrics, and while hillman's voice was in good form, mcguinn was having a little trouble cutting through. but their instincts for harmony are still dead-on, and stuart fit right into that. i felt like i was watching a band still working out its sound, and as a result, when something gelled, when they hit a sweet spot, it was magical. like watching a band discover itself in real time. and that second set was way better than the first. it felt like having a piece of my own dna read back to me. maybe they felt the same.

encore: two byrds classics and three tom petty classics. i was wondering if maybe they would be able to coax david crosby (who i assume still lives here though i have no idea) onto the stage for a song or two. instead we got mike campbell, who joined for "american girl" -- after which they kicked him off and, strangely, played more petty songs without him. marty stuart did a bluegrassy take on "runnin' down a dream" (thumbs up) and hillman did a fairly faithful "wildflowers," which apparently petty produced for him for an album he put out last year.

they also told some stories. they're not particularly good storytellers. damn those harmonies though.

Was already hoping for an album from that tour, even more while reading your dispatch. Marty and His FS have the drive and expertise to keep those geezers functioning onstage for as long as possible.
Yeah, Hillman's always seemed better in bands, all the way back to the Hillmen, but the Petty=produced set has keepers; my comments from the most recent Nashville Scene ballot:
Have not yet made it through Chris Hillman's The Asylum Years---some hideous harmonies get wasted on the way---but will give it another shot. Some nice tracks on the new Bidin’ My Time, especially "Walk Right Back," one of the many under-covered Everlys Bros worthies, seeds of West Coast country rock at its best (he credits inclusion of this song to producer Tom Petty, who did what he could all over--Hillman's not the strongest solo artist among his peers, but has his moments, when the setting's just right, or just about) McGuinn and The Croz show up; some Heartbreakers, still radio-ready, also appear.

"Everlys Bros"? Oh well it's just a ballot.

yeah, marty and his fab superlatives really are great. versatile, too.

thanks for the hillman review, will have to check that out.

Not much of a review, but you're welcome, and thanks for the exciting concert review.

Speaking of ballots, I eventually revised my 2017 choices, aided by y'all's further listening tips.
whole thing posted here: https://thefreelancementalists.blogspot.com/2018/03/cant-stop-shakin-pt-1-nashville-scene.html, although a lot of the comments are the same as or based on Rolling Country 2017/early '18 posts.
As for the basic lists,
here we go:

TOP TEN COUNTRY ALBUMS OF 2017:

(just in the order they come to mind)

1. Lee Ann Womack: The Lonely, The Lonesome & The Gone (ATO)

2. Whitney Rose: Rule 62 (Six Shooter/Thirty Tigers)

3. Rodney Crowell: Close Ties (New West)

4. Amanda Anne Platt/Honeycutters: S/T (Organic/Crossroads)

5. Margo Price: All American Made (Third Man)

6. Shelby Lynne & Allison Moorer: Not Dark Yet (Thirty Tigers/Silver Cross)

7. Caroline Spence: Spades and Roses (Tone Tree)
8. John Moreland: Big Bad Luv (4AD)
9. Willie Nelson: God’s Problem Child (Legacy)
10. Jon Langford’s Four Lost Souls: S/T (Bloodshot)

TOP FIVE COUNTRY REISSUES OF 2017:
1. Various Artists: American Epic: The Best of Country (Lo-Max/Third Man/Columbia/Legacy)
2. Becky Warren: War Surplus (Deluxe Edition)(self-released, I think)
3.Various: Stax Country (Craft/Concord)

COUNTRY MUSIC’S THREE BEST MALE VOCALISTS OF 2017:
1. Willie Nelson
2. Rodney Crowell
3. John Moreland

COUNTRY MUSIC’S THREE BEST FEMALE VOCALISTS OF 2017:
1. Lee Ann Womack
2. Whitney Rose
3. Margo Price

COUNTRY MUSIC’S THREE BEST SONGWRITERS OF 2017:

1. Willie Nelson
2. Margo Price
3. Rodney Crowell
(and their collaborators)

COUNTRY MUSIC’S THREE BEST DUOS, TRIOS OR GROUPS OF 2017:

1. Margo Price & the Price Tags
2. Amanda Anne Platt & the Honeycutters
3. Willie Nelson, Lukas Nelson, Micah Nelson

COUNTRY MUSIC’S THREE BEST NEW ACTS OF 2017:

1. Alex Williams
2. Carly Pearce
3. Colter Wall

COUNTRY MUSIC’S THREE BEST OVERALL ACTS OF 2017:

1. Willie Nelson
2. Jon Langford’s Four Lost Souls
3. Lee Ann Womack
Comments after the following: ******************************************************************
Imaginary categories:
(They Came To And/Or From Nashville (Pop, Country-Related??):
Nicole Atkins: Goodnight Rhonda Lee, Walker Hayes, Boom, Kelsea Ballerini

Hon. Mention: Willie Nelson: Willie’s Stash Vol. 2: Willie and the Boys, Alex Williams: Better Than Myself, Carly Pearce: Every Little Thing, Lorrie Morgan & Pam Tillis: Come Lonely and Come Lost, Whitney Rose: South Texas Suite, Lindi Ortega: Til The Goin’ Gets Gone,, RaeLynn: Wildhorse, Natalie Hemby: Puxico, Lillie Mae: Forever And Then Some, Kip Moore: Slowheart, Zane Campbell: Ola Wave, Alex Williams: Better Than Myself, Brett Eldredge: s/t, Rhonda Vincent & Daryle Singletary: American Grandstand, Whiskey Gentry: Dead Ringer

Borderline: Sunny Sweeney: Trophy

About Half Good (60-45%): Nikki Lane: Highway Queen, Chris Stapleton: Songs From A Room, Vols. 1 & 2, Case Garrett: Aurora, Little Bandit: Breakfast Alone. Colter Wall: S/T, Angaleena Presley: Wrangled, Jason Isbell: The Nashville Sound, Justin Townes Earle: Kids In The Street, Steve Earle: So You Wanna Be An Outlaw, Midland: On The Rocks, Scott Miller: Ladies Auxiliary, Charlie Worsham: Beginning of Things, Marty Stuart: Way Out West

Borderline: Toby Keith: Songs From The Bus, Various Artists: Gentle Giants: The Songs of Don Williams

Less Than Half Good: Lady Antebellum: Heart Break, Little Big Town: The Breaker, Tim McGraw & Faith Hill: For The Rest of Our Lives, Thomas Rhett: Life Changes, Bruce Robison & The Back Porch Band: S/T

Countryoid/Americana/Related:

Jace Everett: Dust & Dirt

Howe Gelb: Further Standards

Jessi Colter feat. Lenny Kaye: The Psalms

Lukas Nelson & Promise Of The Real: S/T

Gregg Allman: Southern Blood

Modern Mal: The Misanthrope Family Album

Rev. Sekou: In Times Like These

David Rawlings: Poor David’s Almanack

Bonsoir, Catin: L’Aurore

The War and Treaty: Down To The River

Related Reissues:
1. Marisa Anderson: Traditional and Public Domain Songs
2. Various Artists: American Epic: The Collection
3. Lydia Loveless: Boy Crazy and Single(s)
4. Various Artists: Rough Guide To Jugband Blues
5. Various Artists: American Epic: The Soundtrack
6. Gillian Welch: Boots No, 1: The Official Revival Bootleg

Borderline (Docked A Notch For Being A Re-Recording Of A Good Old Album And Even Of Bonus Tracks From The Same Sessions):
Lucinda Williams: This Sweet Old World

Related Hon. Mention:
Pinegrove: Elsewhere, Shovels & Rope: Busted Jukebox Vol. 2, Howe Gelb: Open Road, Peter Stampfel & The Atomic Mega Pagans: Cambrian Explosion,
Valerie June: The Order of Time

Related Genealogically As Well As Musically Hon. Mention:
North Mississippi Allstars: Prayer For Peace, James Luther Dickinson: I’m Just Dead, I’m Not Gone: Lazarus Edition (also a Related Reissue)

Related Borderline:
Deer Tick: Vol. 1, Rhiannon Giddens: Freedom Highway, John Mellencamp feat. Carlene Carter: Sad Clowns and Hillbillies, Arthur Alexander: S/T
Related Less Than Half Good:
Banditos: VisionLand

Just got word about xp Colter Walls' Songs of the Plains coming out Oct. 12---link to first single, album & tour info here: http://www.sacksco.com/pr/colter_wall.html

Did not see this coming:
With ‘Blaze,’ Ethan Hawke decided to break all the rules by telling the story of an obscure singer who died in 1989.
https://www.rollingstone.com/movies/movie-features/ethan-hawke-blaze-foley-movie-biopic-texas-songwriter-703024/

I've never been able to watch Ethan Hawke since he was in Square Pegs, but have heard that he's improved. Only know Foley's actual music (vs. backstory and a few reviews of his few albums) via Merle's version of "If I Could Only Fly."

That’s awesome and adds to the many reasons why i like ethan hawke

Wrt to colter wall, I follow his music releases closely so I’ve known about that single and the new album but don’t wanna fill this thread with colter fun facts

Anyway there’s another one from the album floating around on YouTube

Also two of my all time favourite colter tracks are on the new album (sask in 1881 and wild bill hickok if it actually is railroad bill)

Gonna go to one of his shows later this year

I'm seeing Colter this weekend. Pretty excited!

Here's Brandi Carlisle's whole set, just over an hour:
https://www.npr.org/2018/08/08/636376855/brandi-carlile-live-in-concert-newport-folk-2018

Xp

How was it

He sounded great, cracked a couple jokes, but I couldn't really dig in because of distractions. Saw about 15 minutes of two different sets, neither with a decent view, either.

I also think he's already much bigger than I realize.

Last year i paid like $15 to his show

This year i paid $40

He definitely blew up

from now on when non-mainstream country/roots acts jump from 400- to 1200-cap rooms in 6 months, they're on The Sturgill Journey

mm i would talk to some people in saskatchewan about him being "non-mainstream"

just feel like it's worth noting that he's received pushback from people less than thrilled with his dad

(also what even is "mainstream" these days that isn't like... florida georgia line)

mm i would talk to some people in saskatchewan about him being "non-mainstream"

well there are these things called “legs up” you see and they tend to perpetuate hegemony on certain levels

anyway i read stuff. i don’t know if i agree with their assessment. i’m just saying, “mainstream” or non is a slippery way to define quality, especially in this fragmented time.

Paisley was on Fallon or Myers show this week; guess he's still the mainstream, despite that there Welcome Obama song, and the one about racial tolerance in general, which caught some flak from various sides, but so far he hasn't gotten the Dixie Chicks (and Eric Church?) treatment. Miranda Lambert had all them hits, but now she's kinda weird, on her own albums and w Pistol Annies (who have a third album at least in the planning stages, according to Monroe). Chesney still keeps everything paved over, so he's real dependable mainstream. Jason Aldean has probably had some discussions with his people re future venues, at least I would hope so, but no cracks in the pavement that I've noticed.
Hot Buttered Rum have a somewhat misleading name, like they're some kind of lumberjack party band---true, they keep it moving---their mandolinist is also/maybe mainly their drummer---but one of the perkiest numbers on the well-titled Lonesome Panoramic is 'bout how when that lonesome feeling comes around, you better let it in, it might just tell you something; one of the catchiest (even some scat-singing at the end) is 'bout how "You don't know what lonesome is, 'til lonesome's gone." Some of it seems a bit murky so far, but also a spooky, almost country-noir ballad 'bout how there's shit you can't take back: a father's looking for his derelict son, his runaway daughter, while sort of acknowledging that he's not perfect.
Rec to fans of Western Centuries, the pensive-yet-limber side of Hunter-Garcia, post-Marmaduke New Riders.

Not that I'm anti-mainstream, but hard to find a mostly satisfying album of it these days (I'm mostly an album listener). Maybe I was spoiled by the late 90s-early 00s. Still, post-peak Tim McGraw units are always good for at least a few sparky, distinctive tracks, even the mostly ridiculous duet set w Faith Hill, which goes bad in a sparky, distinctive. listenable way---amwazingly bad! And how often does that happen, in any genre? Something went out of the music when the Four Seasons and Jefferson Starship stopped making new records (yes, they're probably still playing somewhere).

*amazingly* bad too

Although at least xgau is still/maybe more than ever capable of the occasional amazingly bad music pick---can't believe he recently gave Chicago Farmer's Quartet Past Midnight an A minus! A few decent tracks--though most of those don't urge me past a couple listens---but overall this is exactly the kind of
cute corny cliche, self-promoting folkie sensitivity training he used to scorn. Of course he's an expert talker, even has a routine 'bout how you too can learn the faux-Arlo delivery, but all too often the songs seem anti-climatic after the set-ups, in that common folkie club way.
But sometimes he does manage an effective anecdotal-musical merger, my fave being the one about his neighbors, offspring of the Chicago powerhouse-to-rustbelt working class, who start their own bakery, everything looking up 'til the '08 evaporation of credit etc., to which their response incl. working even harder, becoming closet methhheads. This comes to light after their children turn up at school "blind, and the other one couldn't see"---a uniquely tasteless joek/journalistic detail from the Farmer, maybe an actual anti-tearjerking move, even though this is one of his least tearjerking songs. Anyway, it's not too big a jolt, maybe because it's something a neighbor might gossip, at least to himself.
Rec. to fans of early Prine, Silverstein, Steve Goodman, his buddy Arlo, but only if you're fairly desperate for more of that good old Old Town plaid yarntunespinning Chicago stuff.

Brothers Osborne, Port Saint Joe: Oho, I like Brother John's vintage-ish etc. as contemporary country instrumental settings very well and right away; famous geezers who know they need freshening up should borry him (and producer Jay Joyce's board team). Brother TJ's vocals tend to point up the limitations of the songs, but it all comes together sometimes, often enough that I'll keep listening for sure, whole or most of it may grow on me.

xp Pistol Annies album is now far past prev. announced "planning stages," reports A Taste of Country:

The country-singing trio have been in the studio this year working on their third album. Presley reveals to the Boot that she and her Annies partners have finished recording at least an album's worth of new material, saying: "We just finished our third record."

Ruby Boots' Don't Talk About runs the two-lane from Brenda Lee to Nikki Lane (was thinking that before I read that the actual NL co-writes and sings on some of this), also Nashville to British Invasionville and back, country enough (via twangy vocal linchpin, for inst) that nearly a cappella gospelly waltz "I Am A Woman" sounds at home between garage stompers "Somebody Else" and "Infatuation" (former also feat. good fuzztone---Texas Gentlemen can go wherever she leads). Finale "Don't Give A Damn" starts with acoustic strum and shaker, goes to full kit and randomized electric howls, keeping that Maro Price Mellencamp, born-in-a-barn catchiness (yes, it's on Bloodshot). Not original atall, but/and so far mostly good.
Although a few tracks do have me looking at my watch---one prob w hot chesnut associations is when you might start to recall that old tyme radio edits weren't much over 3'30", at most, while most of these go on up for to a minute longer

Don't Talk About *It*(emphasis added)!

Margo Margo *Margo*---sorry again!

Not sure if this is for this thread or the world music one, but I've been enjoying the reissue of Jess Sah Bi & Peter One's Our Garden Needs Its Flowers - mid-80s Cote D'Ivoire take on 70s US country & folk-rock.

https://jesssahbipeterone.bandcamp.com/

on first listen "To The Sunset" by Amanda Shires sounds like a good album from a promising artist

other ilxors hold it in high regard, so I'm thinking it may be a grower

xp Thanks, etc.! Got into it right away. Incl. lots of good info & descriptions: ... fusion of traditional Ivorian village songs and American and English country and folk-rock music. Jess and Peter sang in French and English, delivering beautifully harmonized meditations on social injustice and inequality, calls for unity across the African continent, an end to apartheid in South Africa and the odd song for the ladies, all set against lush guitar riffs, rustic harmonica and rollicking feel-good rhythms. Although I'd say "sophisticated," not "lush," the way they take what they need from what they like---title track suggests Don Williams guiding Crosby Stills & Nash in a non-snoozey, shuffley direction---"rollicking" is an overstatement, but on a foggy morning this set cleared my head right up.

Aug. 24 press release onslaught:

COLTER WALL’S “SASKATCHEWAN IN 1881” PREMIERES TODAY
NEW ALBUM “SONGS OF THE PLAINS” OUT OCTOBER 12
EXTENSIVE HEADLINE TOUR CONFIMRED

“AMONG THE MOST REFLECTIVE YOUNG COUNTRY SINGERS OF HIS GENERATION”---The New Yorker

Colter Wall’s new song “Saskatchewan in 1881” is premiering today. Listen/share HERE. The song comes from Wall’s highly anticipated new album, Songs of the Plains, which will be released October 12 on Young Mary’s Record Co. via Thirty Tigers and is now available for pre-order.
Recorded at Nashville’s RCA Studio A with Grammy Award-winning producer Dave Cobb, the album features eleven songs including seven original songs written by Wall, versions of Billy Don Burns’ “Wild Dogs” and Wilf Carter’s “Calgary Round-Up” as well as two cowboy traditionals, “Night Herding Song” and “Tying Knots in the Devil’s Tail.” Each digital pre-order comes with an immediate download of three album tracks: “Saskatchewan in 1881,” “Calgary Round-Up” and “Plain to See Plainsman,” which was released earlier this summer. Of the song, Rolling Stone declares, “…Colter Wall delivers this classic-minded cowboy song in a leathery, lived-in baritone. There’s some soft percussion and honking harmonica tossed into the mix, too, but Wall’s voice is the biggest attraction here, sounding less like the croon of a Canadian-born Millennial and more like Roger Miller after a long night of drinking.”
Of the album, Wall comments, “One thing I’ve noticed over the last few years, in the United States and playing in Europe, is that people all over the world really don’t know much about Canada at all…When you talk about Saskatchewan, people really have no idea. Part of it is because there are so few people there. It’s an empty place—it makes sense that people don’t know much about it. But that’s my home, so naturally I’m passionate about it. With this record, I really wanted people to look at our Western heritage and our culture.”
In addition to Wall (vocals, acoustic guitar), the album also features Cobb (acoustic guitar), Lloyd Green (pedal steel), Chris Powell (drums, spoons), Jason Simpson (bass), Mickey Raphael (harmonica), Blake Berglund (vocals) and Corb Lund (vocals).
The Saskatchewan native will tour extensively this fall in celebration of the release with headline shows at New York’s Irving Plaza, Nashville’s The Basement East (two nights), Washington D.C.’s 9:30 Club, Seattle’s Showbox @ The Market and Atlanta’s Variety Playhouse among many others. Tickets are on sale now. See below for complete details.

Photo credit: Little Jack Films
The release of Songs of the Plains follows a breakthrough year for the Canadian artist, whose self-titled debut album was released last May to widespread critical acclaim. The album entered the Billboard charts at #2 on “Top New Artist Albums” as well as #6 on the “Americana/Folk Albums” chart, #11 on the “Independent Current Albums” chart and #14 on the “Current Country Albums” chart. Additionally, it landed on several “Best of 2017” lists including Rolling Stone, Paste, Stereogum, The Boston Globe and UPROXX, who praised, “…this self-titled slow burner is surprisingly fresh, full of existential dread and gorgeous, meandering melodies that occasionally whip themselves up into frenzies. For all your friends who declare pop has cannibalized country, play Colter Wall for them, and watch them slip back into the outlaw past with glee.” Moreover, The New Yorker declared, “Wall is among the most reflective young country singers of his generation... His ace in the hole is his showstopping voice: a resonant, husky baritone, wounded and vulnerable.”
SONGS OF THE PLAINS TRACK LIST:
1. “Plain to See Plainsman” (written by Colter Wall)
2. “Saskatchewan In 1881” (written by Colter Wall)
3. “John Beyers (Camaro Song)” (written by Colter Wall)
4. “Wild Dogs” (written by Billy Don Burns)
5. “Calgary Round-Up” (written by Wilf Carter)
6. “Night Herding Song” (Cowboy Traditional)
7. “Wild Bill Hickok” (written by Colter Wall)
8. “The Trains are Gone” (written by Colter Wall)
9. “Thinkin’ on a Woman” (written by Colter Wall)
10. “Manitoba Man” (written by Colter Wall)
11. “Tying Knots in the Devil’s Tail” (Cowboy Traditional)
COLTER WALL CONFIRMED TOUR DATES
August 24—Tonder, Denmark—Tonder Festival
August 29—London, U.K. —Scala
August 30—Manchester, U.K. —Gorilla
September 1—Salisbury, U.K. —End of the Road Festival
September 2—Stradbally, Ireland—Electric Picnic
September 12—Nashville, TN—AmericanaFest
September 14-15—Athens, Ontario—Festival of Small Halls
September 16—Lansdowne Park, Ottawa—City Folk
September 23—Indianapolis, IN—Holler on the Hill Festival
October 12—Saskatoon, Saskatchewan—O’Brian’s Event Centre
October 13—Saskatoon, Saskatchewan—O’Brian’s Event Centre (SOLD-OUT)
October 16—Regina, Saskatchewan—Conexus Convention Hall
October 18—Edmonton, Alberta—Union Hall
October 19—Calgary, Alberta—Macewan Hall Ballroom
October 21—Missoula, MT—Top Hat
October 22—Bozeman, MT—The Rialto
October 23—Billings, MT—Pub Station Taproom
October 25—Omaha, NE—The Waiting Room
October 26—Des Moines, IA—Woolys
October 27—Maquoketa, IA—Codfish Hollow Barn
October 28—Detroit, MI—Majestic Theatre
October 30—Columbus, OH—A&R Music Bar
October 31—Pittsburgh, PA—Club AE
November 2—Somerville, MA—Somerville Theater
November 3—South Burlington, VT—Higher Ground Ballroom
November 5—New York, NY—Irving Plaza
November 8—Charlotte, NC—Neighborhood Theatre
November 9—Richmond, VA—Richmond Music Hall
November 11—Carrboro, NC—Cats Cradle
November 14—Nashville, TN—The Basement East
November 15—Nashville, TN—The Basement East
November 16—Asheville, NC—The Grey Eagle
November 17—Atlanta, GA—Variety Playhouse
November 18—Charleston, SC—Charleston Music Hall
November 24—Toronto, Ontario—Opera House
November 28—Washington, D.C. —9:30 Club
December 1—Madison, WI—Majestic Theatre
December 2—Columbia, MO—The Blue Note
December 10—Santa Fe, NM—Meow Wolf
December 12—Solana Beach, CA—Belly Up
December 14—Los Angeles, CA—El Rey Theatre
January 19, 2019—Vancouver, British Columbia—Commodore Ballroom
January 20, 2019—Seattle, WA—The Showbox @ The Market

www.colterwall.com