By Brent Thompson

 

UK-based guitarist Clive Carroll toured alongside the likes of John Renbourn and Tommy Emmanuel before going solo in 2006. In addition to releasing several solo albums, Carroll has garnered attention from fans and critics alike while winning multiple awards. On Thursday, February 20, Carroll will perform Upstairs at Avondale Brewing. Advance tickets to the 8 p.m. all-ages show can be purchased at www.avondalebrewing.com.

By Brent Thompson

In a recording career spanning over 20 years, Marc Broussard has created a style that expands boundaries while holding true to his Louisiana roots. Last year, the singer/songwriter/guitarist released Time is a Thief (Artist Tone Records), his first album of original material since 2017. Written in a short, creative burst, Time is a Thief was produced by noted guitarist Eric Krasno (Soulive, Lettuce). On Friday, February 14, Broussard will perform at The Lyric Theatre in a show presented by Code-R Productions. Recently, Broussard spoke with us by phone from his Louisiana home.

Southern Stages: Marc, thanks for your time today. We are really enjoying Time is a Thief.

Marc Broussard: Thanks, man – I’m really proud of this one. It was really written over the course of about a week in March 2020. It took a little longer than expected to get finalized, but I think it was well worth the wait.

Southern Stages: Of course, Covid hit in 2020 so I’m sure that accounted for some delay. Other than that, why was now the right time to release the album?

Broussard: I ended up recording a blues record with Joe Bonamassa that came out in 2023 so it just took a little longer than expected.

Southern Stages: Written in a week? That’s quite a creative burst!

Broussard: It was. I reached out to (producer/musician) Eric Krasno to produce the record in March 2020. I was sitting on a batch of about 30 songs that I had previously written and had decided that I wanted to work with “Kras.” I figured that we should write a little bit together just to get the juices flowing and to see if we liked working together. Within a week, we had an entirely new album.

Southern Stages: Will we ever get to hear the 30 songs you mentioned that haven’t been released yet?

Broussard: It’s a real good question. I just actually made another blues album with Joe Bonamassa two weeks ago. Quite frankly, I think that my writing in the past four years has gotten substantially better than it was throughout the course of my career. I would say the chances are pretty slim that that stuff will ever see the light of day.

Southern Stages: How would you describe your writing process?

Broussard: It comes in fits of spurts. What I’ve found really helps me these days is when I have a co-writing partner that can handle the arrangements. I don’t fancy myself a great arranger, so when I have a co-writing partner that can take care of the arrangements and I can focus on lyrics, I find that the process goes a lot quicker. This Joe Bonamassa stuff – I wrote the entire record over the course of three days and I wrote three more songs while we were in the studio. Joe’s bass player, Calvin Turner, was my first sideman and he’s been one of my best friends for the last 20-plus years. He and I wrote everything together – he would send me an instrumental demo and I would knock out the lyrics on my own.

Southern Stages: Where do you prefer to write – at home or on the road?

Broussard: I typically write at home. It comes in seasons and it doesn’t always hit me. Calvin had sent a big batch of material and I sat on it for several weeks until I could get to my home studio and hone in on what I was trying to do. Generally, it comes in waves.

Southern Stages: With such a large catalog of songs under your belt now, how do you comprise your live setlists these days?

Broussard: It can be a struggle. There are fan favorites that have stayed in rotation like “Home” and “Lonely Night In Georgia” and those songs will probably stay in rotation for the foreseeable future. It can be very difficult [laughs]. Sometimes I want to play a song because I miss playing it from years ago, sometimes we need more upbeat material in the setlist – there are a variety of reasons that songs make the list.

Southern Stages: How do songs stay fresh after you’ve performed some of them literally thousands of times?

Broussard: Some of them, like “Cry To Me,” are so good as they are and you really enjoy playing them every night. There are songs,  like “Home,” that have had several evolutions over the years. The latest iteration of “Home” has this gospel-inspired section in the last verse that we’re having a lot of fun with. Arrangements get updated over the years – “The Wanderer” is a very different song now than it was on [2004 album] Carencro. It’s a much funkier version that we really enjoy playing a whole lot.

Code-R Productions presents Marc Broussard at The Lyric Theatre on Friday, February 14. Advance tickets to the 8 p.m. show are $35 – $44.50 and can be purchased at www.lyricbham.com.

By Brent Thompson

Few artists have created a buzz like MJ Lenderman lately and he showed us why on Saturday night. Performing at Saturn, the singer/songwriter/guitarist had the beyond-capacity crowd mesmerized throughout his set. Lenderman highlighted songs from his latest album, Manning Fireworks, along with a well-known cover (“The Shape I’m In”) and some obscure covers.

 

 

By Brent Thompson

He is a solo artist, songwriter, sideman and producer. Now, you can add Grammy nominee to Will Kimbrough’s dossier. The Alabama native and Nashville resident has recently been nominated in the Best American Roots Song category for Shemekia Copeland’s “Blame It On Eve.” The song – and album’s title track – was co-written by Kimbrough and John Hahn. Currently, Kimbrough is touring in support of his latest release, For the Life of Me. On Saturday, December 14, he will return to WorkPlay Theatre. Recently, Kimbrough spoke with us by phone.

Southern Stages: Will, thanks for your time and congrats on the Grammy nomination.

Will Kimbrough: I’ve worked on records that have been nominated before, but this is the first time I’ve been nominated myself. The album is nominated for three Grammys and I produced it, played on it and co-wrote eight of the songs. I had a big hand in this record – it’s the fourth record of Shemekia Copeland’s that I’ve produced in a row. I had worked on a previous record and that’s how we met, so I’ve actually worked on five albums in a row. It’s definitely a labor of love – I love Shemekia and I love my co-writer John Hahn. It’s a good team.

Southern Stages: We are really enjoying For the Life of Me. Are the songs on the album newer compositions, older ones or a mixture of both?

Kimbrough: There are always brand new songs and there almost always a couple of songs that have been around for a while. I write a song or two and a little bell rings in my mind that says, “These could be on an album.” That must be inspiring to me because I start to write more songs just for myself; not thinking about other people or co-writing for someone else’s project. There will always be a few songs that have been around for a while that pop up in my consciousness and I realize that those songs have finally found a home. I have a lot of songs that have never been released and that used to give me anxiety – now I realize it’s a good thing to have.

Southern Stages: If you will, talk about recording the album.

Kimbrough: I was offered studio time at Blackbird Studio, which is a wonderful studio that I would not be able to afford. They have a recording academy there and they need professionals to come in and do recording sessions so that the students get some experience. They offer you a serious discount to do a session there, but the session is only a day and a half of full band recording and two days of overdubbing. It’s a really good way to force yourself to make some decisions. I got a call from the studio manager and he said, “Are you available next week?” I said, “I am, but I wasn’t planning on doing a recording session,” but they needed somebody and gave me the studio time. I called my wife and said, “I guess I’m making a record.”

Southern Stages: I’m not sure you always want to record in that manner, but are you glad you recorded this album in such quick fashion?

Kimbrough: I have a home studio, but there’s something about going into a studio and just saying, “I’m making a record now.” After all, the word “record” means capturing a moment in time.

Southern Stages: Your career offers you quite a variety.

Kimbrough: I’ve worked in music for so long that I always have a job. That doesn’t mean I don’t lay awake at night and wonder if I’ll stay busy enough. But as of right now, I know what I’m doing into next summer on a weekly basis. I’ve learned to really adore working with artists as a sideman because it’s such a great education and I’m kind of addicted to it. The main person I play for is Emmylou Harris and she doesn’t play much anymore –  she’s writing a memoir, she’s in her late seventies and it’s time for her to see her grandchildren more often. I love the adventure and privilege of trying to get inside someone else’s head and that’s helped me be a producer and a songwriter. I’m going to one of these songwriting with soldiers trips right now called Warrior PATHH. It’s a post-traumatic growth program for combat veterans and first responders that are struggling with the after-effects of trauma. It’s a relatively new way from to learn to use their experiences – even if they’re negative – as a strength.

Southern Stages: If you will, talk about your specific involvement with Warrior PATHH.

Kimbrough: For this Warrior PATHH group, I ‘m going to work with a group of women who are combat veterans. I’ll sit down with them, ask questions, write down what they say and two hours later we’ll be singing a song that we wrote. It’s an intense job, but there’s great power in knowing you have to do something. It isn’t like getting together with a friend to write a song and saying, “Oh, we didn’t get one today.” I’m heading into a mystery tonight and, at the same time, the assurance of knowing that we will write a song.

On Saturday, May 14, Will Kimbrough will perform at WorkPlay Theatre. Advance tickets to the 7:30 p.m. show are $20 and can be purchased at www.workplay.com.

By Brent Thompson

Brad Tursi has always kept busy, both as a member of Old Dominion and as a lauded songwriter for other artists. Now, the Nashville-by-way-of-Connecticut artist has released his first solo outing, Parallel Love. The album – an efficient 10-track release that clocks in below 30 minutes – puts a spotlight on Tursi’s introspective side. Recently, he spoke with us by phone from his Nashville home.

Southern Stages: Brad, thanks for your time. We are really enjoying Parallel Love. How did you decide that this was the right time to release a solo album?

Brad Tursi: I felt like there were so many songs that had built up over the years that I knew weren’t right for my band, Old Dominion. It was sort of an epiphany and these songs need a life of their own and something internally just clicked.

Southern Stages: Are the album’s songs new compositions, older ones or a mixture of both?

Tursi: They’re a combination of both. “Oh Darlin'” and “Where You Been” – those songs are probably 12 years old. Some songs you think are good and then you go back six months later and say, “Yeah, they’re really not that good,” but those two stuck around and withstood the test of time. Some are brand new, but somehow they all fit together. They’re all coming from the same place which is my brain [laughs] -that’s the common theme.

Southern Stages: How do you decide what songs fit Old Dominion and what songs fit you as a solo artist?

Tursi: Honestly, lately it’s easier for me to separate them. If it’s something that I really want to say about my life, I usually just keep it for myself. I’ll work on it sometimes for weeks and months  – they songs I write for myself, I can take more time on them. When I was younger, I would start them and I would bring them to other songwriters to get them recorded. They would often not turn out the way that I wanted them to because we were trying to make them into something that they weren’t supposed to be. Now, they don’t all don’t have to sound like hits – I can take them in the direction I want them to go. I come from a folky, James Taylor-ish background and the band is a little more pop and rock and roll.

Southern Stages: How would you describe your writing process? Is it done by inspiration or by schedule?

Tursi: I do both. I’m about to go write a song at 12 o’clock today with a couple of people, so there’s still that professional songwriter schedule I keep because I’m still interested in writing songs with other people. I like to be creative mostly early in the morning – get coffee and play the guitar and see what happens. If you get something started that day, great – if you don’t, just try again the next day.

Southern Stages: I know this question may be premature, but are there plans or songs already in the works for another solo record?

Tursi: I definitely have the songs already. It feels a little early, like I would be offending Parallel Love [laughs]  – I’ve got to wait a few more months for it to happen. But I’m definitely excited to get back in there and do some more stuff.

Southern Stages: Some artists say that – given the accessibility provided by Spotify, Youtube, satellite radio and other modern outlets – this is a great time to be an artist. Others say – for the same reason – it makes it difficult to be found among the crowd. How do you view the current climate of the music industry?

Tursi: It is difficult, especially for someone who’s a little older like myself. The way that people break on Tik Tok doesn’t come naturally to me. It’s a struggle for me to do the social media because I’m really not that interesting [laughs]. It is an incredible tool – you can reach the whole world all by yourself. It can’t be stressed enough how important it is to make that part of your plan if you’re trying to get your music out there. But, like you said, at the same time there’s probably 100,000 songs getting uploaded to Spotify every day and it’s a big pond out there and it’s hard to get heard. All you can do is keep doing what you’re doing and hopefully people will like it.

Southern Stages: How does your schedule look from until the end of the year?

Tursi: It’s pretty light for the rest of the year. The band is going to be in the studio and there will be time to get this second solo record started. Next year is going to be a big year.

Southern Stages: As a guitarist, are you a “gearhead” that visits music stores while on tour?

Tursi: I made a couple of purchases this year. In Austin, I bought an old (Gibson) J-45 and when I’m in Seattle I go to Emerald City because they always have great guitars. Nashville has a lot of great shops, too, so I do a lot of my shopping around here.

www.bradtursi.com

 

By Brent Thompson

It’s not an overstatement to call Bob Mould an alt-rock icon. Over the past six decades, the singer/songwriter/guitarist has performed as a solo artist and fronted the influential bands Husker Du and Sugar. On Wednesday, October 16, Mould will being his “Solo Electric” tour to Saturn. Cash Langdon will open the 8 p.m. show. Fans old and new alike are in for a special evening as Mould has been playing songs from his entire catalog on this tour. Advance tickets to the 18+ show are $27.50 and can be purchased at www.saturnbirmingham.com.

 

By Brent Thompson

Austin-by-way-of-Memphis singer/songwriter Kelley Mickwee has returned to the forefront after a 10-year hiatus. In September, Mickwee released Everything Beautiful, a follow-up to her 2014 release You Used to Live Here. A former member of The Trishas and Shinyribs, Mickwee used Dusty Springfield’s Memphis sessions as an inspiration for the project. The result is a nine-track outing that sounds relevant and reverent at the same time. For the album’s recording, Mickwee enlisted producer David Boyle and session musicians that have backed Black Pumas and Gary Clark, Jr. among others. Welcome back Kelley – please don’t make us wait another 10 years for your next release.

www.kelleymickwee.com

By Brent Thompson

For music lovers, it’s a week like no other. The annual AmericanaFest was held in Nashville from September 17-21, filling concert venues, hotels, watering holes and honky-tonks with top-flight musical acts. Focusing on both the music biz industry and fans alike, the event features panel discussions and speakers in addition to live entertainment. Fortunately, the “Americana” genre has blurry lines as rock, country, bluegrass, singer/songwriter and folk acts all exist under its umbrella. The event also offers audiences opportunities to see legends perform in intimate settings while taking in shows by up-and-coming artists.

By Brent Thompson

JD Clayton accomplishes the unique task of sounding reverent and relevant at the same time. On Friday, September 27, the Arkansas-based singer/songwriter will bring his “Blue Sky Sundays” tour to Zydeco. Clayton’s critically-acclaimed debut album, Long Way From Home, was released in 2023 and a forthcoming album is in the works. Earlier this year, he released the single “High Hopes and Low Expectations”  – co-written with Nashville stalwart Kendell Marvel – via his signing with label Rounder Records. Advance tickets to the 18+ show are $15 and can be purchased at www.zydecobirmingham.com.

By Brent Thompson

Bella White has been busy of late. In 2023, the singer/songwriter released Among Other Things, a 10-track album of new material. In 2024, White released Five for Silver, a cover songs EP that finds her interpreting the songs of Neil Young and Lucinda Williams among others. On Saturday, September 14, White will perform at Avondale Brewing in support of The Red Clay Strays. Recently, she spoke with us by phone.

Southern Stages: On your covers EP Five for Silver, how did you select the material for the project?

Bella White: It wasn’t much of a detailed process or anything. We recorded those songs at the end of making my last record, Among Other Things. We just had the time to spare and didn’t have a big design for making this EP. It was more like, “Oh, we’ve got time to kill – let’s record some covers for fun.” It was nice because it took some of the pressure off.

Southern Stages: Have any of these cover songs found their way into your live sets?

White: Yeah, definitely. I’ve played “Unknown Legend” at shows and I’ve played “Concrete and Barbed Wire” a lot, so it’s fun to have them out in the world now.

Southern Stages: When covering someone else’s song, is there a challenge to retain the integrity of the song while placing your own stamp on it?

White: I try not to overthink it, but I think if a cover is too similar to the original then I’d rather just listen to the original version of the song. For me, it’s important to approach the song as though I wrote it and where it fits into my world.

Southern Stages: For the Among Other Things album, were the songs new compositions, older ones or a mixture of both?

White: It was a bit of both. Some of the songs had been around for a little while and I wrote the title track in the studio. It’s kind of fun to fuse those two things together.

Southern Stages: Some artists tell me that this is a great time to be in your position given the accessibility of music via Spotify, satellite radio, Youtube and other modern outlets. Others say, for the same reason, that the current climate makes it difficult to be found among the crowd. How do you view the state of the industry?

White: It’s a really strange time and it’s hard to say because I feel really grateful for the world of streaming and all of that because it helped me reach a larger audience. It’s incredibly accessible right now which is really great, but obviously the money isn’t following. I feel like it’s so easy to put out music, but it can feel challenging. I really don’t have one specific answer to the question because there are so many different dynamics. I appreciate the parts of it that have been helpful to me.

Southern Stages: How would you describe your writing process? Have you developed a pattern over the years?

White: Some moments it’s very fluid and it feels easy – other times it can feel dry and like I don’t have much to say and that can feel scary. I do write on the road, which has been a new thing for me in the past couple of months – I didn’t do that before. If I’m touring solo, I feel a little existential when I’m on tour and there’s a boiling pot of things to say. It’s an ever-evolving process and I’m always trying to take it as it comes.

Southern Stages: How do songs stay fresh to you after you’ve performed them literally hundreds of times?

White: They really don’t [laughs]. Sometimes it’s as simple as not playing a certain song for a little while or changing up the way that I play it. It’s about finding ways to allow it to grow with you.

On Saturday, September 14, Bella White will perform at Avondale Brewing in support of The Red Clay Strays. For ticket information, please visit www.avondalebrewing.com.