By Brent Thompson

He may be the hardest-working man in show business and this album supports that claim. For the uninitiated, Warren Haynes has been (and some cases, is still) associated with Gov’t Mule, Allman Brothers Band, various Grateful Dead offshoot projects  – and, oh yeah, a solo career. Haynes also hosts the charity-driven Christmas Jam every December in his hometown of Asheville, N.C. On Dreams & Songs: A Symphonic Journey (Evil Teen Records) – recorded live in 2019 – the ever-ambitious vocalist/guitarist touches on various phases of his career, backed by the 64-piece Asheville Symphony Orchestra. In addition to the orchestra, Haynes is accompanied by Oteil Burbridge, Jeff Sipe, John Medeski, Greg Osby, Edwin McCain and Jasmine Muhammad. Highlights include “Thorazine Shuffle,” “Terrapin Station,” “It Makes No Difference,” “Shakedown Street” and “One.” The material here retains its integrity, even with its full and lush symphonic presentation. We are glad to have this addition to Haynes’ catalog and we can’t wait for his next adventure.

By Brent Thompson

There are no fans more loyal than David Wilcox fans. And, fortunately for his Birmingham following, the singer/songwriter will perform at the Woodlawn Theatre on Friday, September 11. Wilcox, an artist that regularly places Birmingham on his tour stops, is currently touring in support of his 2025 release The Way I Tell The Story. In a recording career spanning nearly 40 years, Wilcox has consistently written songs that form a deep, lasting connection with his listeners. Advance tickets the 8 p.m., all-ages show can be purchased at www.woodlawntheatrebham.com.

By Brent Thompson

You would think that covering Grateful Dead songs would be an easy proposition given the Dead sprinkled a healthy number of covers into its own set lists over the years. But it’s also precarious to take on the band’s material as its fan base can be highly critical and opinionated, even when it comes to the Dead itself. But, fortunately, blues vocalist/guitarist J.P. Reali does the band justice on his latest release, Grateful Blues. Of the course of the album, the Delaware-based Reali places his own unique stamp on the songs while maintaining their original integrity. It also seems a wise move that he chooses to interpret some less-obvious songs from the Dead’s catalog, including “Mr. Charlie” and “Easy Wind.” Tracks “Tennessee Jed,” “West L.A. Fadeaway,” “I Need A Miracle” and “Loose Lucy” round out the album’s six songs. Producer Jim Larson and GRAMMY-nominated engineer Andy Kravitz give Reali and his band the space to to keep the material relaxed and loose. Bottom line, Deadheads and blues aficionados alike will benefit from the fresh coat of paint Reali puts on this material.

By Brent Thompson

Over the course of a nearly 50-year recording career, Steve Forbert has remained true to himself. Best known for his 1979 smash hit “Romeo’s Tune,” the singer/songwriter and Mississippi native has released a steady stream of acclaimed albums. On Wednesday, August 12, Forbert will perform at WORKPLAY. Recently, he spoke with us by phone from his New Jersey home.

Southern Stages: Steve, thanks for your time today. Are you at home or on the road right now?

Steve Forbert: I’m home now and I’ll be leaving tomorrow.

Southern Stages: Where is your home base these days?

Forbert: Asbury Park, N.J. I’ve been here since 2017.

Southern Stages: How many dates do you play per year?

Forbert: Maybe 50.

Southern Stages: If you will, talk about your latest recording projects.

Forbert: Daylight Savings Time is the most recent album of original songs. We’ve also remixed a record from 2015 that was called Compromised. We remixed it and it’s now called The Things That I See. It’s confusing – it’s the most recent release, but it’s not the most recent material.

Southern Stages: Of all of the albums you have recorded, how did you choose Compromise as the one to be remixed and re-released?

Forbert: One reason is that I own the material, the other being that I always felt it needed a little more space in the mixes.

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

Forbert: It almost always starts with a song called “Thinkin’.” The show always ends with “Romeo’s Tune” for obvious reasons. If things go well, we do as many encores that are doable. In between there, it’s all up for grabs. After we start with “Thinkin’,” it’s just a big list of songs that can be drawn from 40 years. I’m going to be playing with Anthony Crawford and Savana Lee at WORKPLAY. They’ll open the show and then Anthony will accompany me on lead acoustic guitar. We’ve already done a Two shows in Texas a couple of months ago, so we’re going to do some more.

Southern Stages: You’ve obviously seen a lot of industry changes over the course of your career. How do you view the current musical climate?

Forbert: In folk-rock and Americana, there just seems to be so many people now. I guess, just because I’m older [laughs], I’m constantly hearing of people I’ve never heard of. It seems like music and sports are so much bigger now – everything is just bigger, bigger, bigger. I don’t know why everybody got so interested in doing it. Maybe college got too expensive and people said, “What else can I do? Maybe I’ll look at this music thing.”

Southern Stages: How would you describe your songwriting process?

Forbert: I just started on something now and I know it’s going to take me a while – that’s the way it’s gone in the last few years. It may take a couple of weeks to write a song. I just kind of return to it throughout the day. It’s very rare that I can sit down anymore and write one in a burst. The last time that happened was “Buffalo Nickel” from [2022 album] Moving Through America. There was a tribute to Tom Petty called “Say Hello to Gainesville” that was pretty fast.

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

Forbert: Basically, I’m just incorrigible [laughs]. People want to hear “Romeo’s Tune” and I wouldn’t be in the theatres and clubs I play if it wasn’t for that calling-card song. It’s fun to know at the end of the show I can sing it and people are going to sing along with it. It’s very rewarding, so it doesn’t get old.

Southern Stages: It seems the Americana genre is getting more broad in a good way. Do you feel your inclusion in the genre has helped your career?

Forbert: I think it’s easier for people to see where I fit in. [Record label] Rhino is going to put out a vinyl version of a record I did in 1996 – the record is called Rocking Horse Head. It’s never been on vinyl and it may have something to do with what you just said – the Americana thing being broader.

Southern Stages: As a guitarist, do you tend to seek out new gear or stick with your setup?

Forbert: I have what I have and stick with it – very much so. I’ve been playing this 1949 Gibson SJ since forever. It was actually pictured on my first record [1978’s Alive on Arrival]. Years ago, I settled on it as my main guitar and I play it at every show.

On Wednesday, August 12, Steve Forbert will perform at WORKPLAY. Anthony Crawford will open the 7:30 p.m., all-ages show. Advance tickets can be purchased at www.workplay.com. 

By Brent Thompson

“Supergroup” is an overused term in music, but in the case of Texas Headhunters it’s entirely accurate. The trio – Jesse Dayton, Ian Moore and Johnny Moeller (Fabulous Thunderbirds) – are each acclaimed musicians and fixtures in the Austin, Texas music scene. On October 9, the band will release Rise and Shine (Hardcharger/Blue Elan), the follow-up to its self-titled debut. On Friday, July 24, Texas Headhunters will perform at WORKPLAY. Recently, Dayton spoke with us by phone from his Austin home.

Southern Stages: Jesse, thanks for your time today. How did the Texas Headhunters project take flight?

Jesse Dayton: This whole thing is a full-circle thing. We’ve all known each other since we started out and we were all found by [legendary venue and record label founder] Clifford Antone in Austin. When I got off a 17-month tour with Samantha Fish – which was the most successful record for both of us – Rueben Williams, who manages me and Samantha, said, “You should do something with your friends” and I said, “I just did something with my friends.” He said, “You should do some Texas stuff.” I said, “I should call up Ian Moore and Johnny Moeller – we’ve known each other forever.” We went out to Willie Nelson’s studio and made the whole record in five days and now we’ve got a new record that we did in four days.

Southern Stages: We are really enjoying Rise and Shine. Are these songs mostly newer compositions, older ones or a mixture of both?

Dayton: They’re all new ones and we wrote them all right before we went into the studio.

Southern Stages: How would you describe the band’s writing process?

Dayton: We all just bring in songs and we end up playing all over each other’s songs. We can write songs together, but it’s just been working out where we all bring in three songs and an instrumental. We go with our four best songs and we end up getting 12 songs on the record and we let each other play whatever they want – there is total trust there.

Southern Stages: If you will, talk about the band’s efficient recording process.

Dayton: The weird thing is we are all at that place in our lives where we know exactly who we are. We don’t do a lot of overdubs. All the early blues that we love were cut in a matter of days. We are all three big Freddie King fans. Listen to his version of “Going Down” – there wouldn’t be Led Zeppelin, Eric Clapton, Jeff Beck or any of that stuff without him. We were the last generation to get to see all that kind of stuff. When we were kids, we got to see everybody.

Southern Stages: Given that you all have projects outside of Texas Headhunters, how do you coordinate your schedules?

Dayton: It gets a little weird sometimes on our scheduling, but we have done a really good job of communicating. For some reason, it’s always worked out. The universe is on our side with this thing.

Southern Stages: If you will, talk about your ongoing projects outside of the band.

Dayton: Texas Headhunters is the focus right now. I also just licensed a script of mine to Hollywood and they’re going to make it into a movie in 2027. It’s the third script that I’ve licensed. It’s a western crime drama – it’s all shot in Texas and Mexico. I also have some solo stuff that I’m working on. I don’t look at it as having a bunch of stuff going on – I just look at it like everyday I need to be productive. You’ll get overwhelmed if you start thinking about everything. Rome wasn’t built in a day – just knock stuff off your list. One thing I’ve learned is that there are no shortcuts, even if you get super lucky. We’re all lucky that we didn’t get too big too quick while we were young because half the audience would leave if we didn’t play “that” song. Our audience wants to hear the new stuff and that’s a huge blessing.

Southern Stages: How do you feel about the current music industry climate?

Dayton: It is what you make of it. I also think that we are drowning in a sea of mediocrity. I feel sorry for the younger artists – I don’t know how they afford to do what they do. When I started going on the road, we had dollar [per gallon] gas and $25 hotel rooms. My son’s girlfriend got signed to Sony over the weekend and she’s really good – her name is Bee Blackwell. She’s leaving to go on tour and they’re trying to figure it out because it’s so expensive. I’m lucky because I had enough of a cult following to be able to make a living. But my fear is that the working-class musician is dying out.

Southern Stages: You’ve certainly seen the industry’s “before and after” – pre-Spotify, Youtube, satellite radio and other modern outlets.

Dayton: Pre-cell phone! My first record came out in 1995 and it went to number one on the Americana charts and at the same time I was playing guitar for Waylon Jennings. A lot of the stuff that’s happened to me has been weird.

Southern Stages: If you will, tell us about your 2021 memoir, Beaumonster (Hachette Book Group). 

Dayton: During COVID, we got the rug yanked out from under us – we didn’t have any way to make a living. I started writing these stories on everything you could imagine – from recording with Willie [Nelson] to making horror movies with Rob Zombie – all this crazy shit that’s happened to me in my life. I’m watching an Astros baseball game and my phone rings and this girl says, “I’m a literary agent and I’m sitting here with the head of Hachette Books. We’ve both read your Facebook posts and we think you have a book in you.” They told me to send them three stories and two days later they offered me a book deal. They gave me an advance and I lived off that advance for the first year of COVID. The book came out and did pretty well, especially considering I’m not a mainstream guy.

On Friday, July 24, Texas Headhunters will perform at WORKPLAY. The Mills will open the 8 p.m. all-ages show. Advance tickets can be purchased at www.workplay.com. 

By Brent Thompson

For more than 40 years, Drivin N Cryin has been a stalwart band with an especially devoted Southeastern following. Led by the distinct vocals of frontman Kevn Kinney, the Atlanta-based trio isn’t resting on its laurels. Earlier this year, the band released Crushing Flowers, a 10-track collection of new material. On Friday, June 19, Drivin N Cryin will perform at Saturn. Recently, we spoke with Kinney via Zoom.

Southern Stages: Kevn, thanks for your time today. We are really enjoying Crushing Flowers. If you will, tell us about the new album.

Kevn Kinney: Two of the songs have been around for 30 or 40 years or so. The one called “The Death of Me Yet” – we tried to do that one back in the ’80s. “Keep the Change” was a riff I had a long, long time ago. I really wanted to make this record for Drivin N Cryin fans. I don’t want to make a record to make people like me – this is just a record to make the people who have supported us for 40 years a little dessert [laughs] – a little final course for the community in our little world here. It’s a little bit of everything – “A band that’s like a record collection” is the first thing we used to tell people. I was arguing with myself the other day because people would say, “You guys are all over the place – you don’t play one genre” and I thought, “Where did we get that from? And I then I thought, ‘Wait a minute – (The Beatles) The White Album. There’s ‘Helter Skelter’ and ‘Rocky Raccoon’ on the same album.”  I didn’t invent this – it’s just something I’m comfortable doing. My idols have always done it.

Southern Stages: How do older songs reappear and find their way onto an album?

Kinney: Songs have their own personalities and they’ve just got to wait in line until they’re relevant or they can find a platform that makes sense. If it doesn’t fit, I’ll just wait. If it doesn’t work today, it’ll work tomorrow. I’ve learned that sometimes just letting things breathe is a good idea until they’re ready.

Southern Stages: I know that you and Sadler Vaden have a long history together, but how did he end up producing Crushing Flowers?

Kinney: He made some EPs with us – they’re called our “Song” series. Those are all Sadler contributions from when he was in the band. I just loved how is guitar playing was and he was a positive influence  – and I’m getting him now while I can afford him [laughs]. He’s going to be a major producer I think someday. He writes all sorts of music – pop, hard rock and country. He’s a great songwriter. I had Aaron Lee Tasjan [produce] the last one (Live the Love Beautiful). I’m getting to that point now where these “kids” I’ve worked with are grown-ass men who are really accomplished musicians and producers. I really wanted to make a record that’s a nod to our influences. Me and (DNC bassist) Tim Nielsen – our biggest influence is The Who. Tim likes The Jam and I like The Ramones and The Who is our middle meeting point. Sadler’s first time to see Drivin N Cryin was when he saw The Who and we were opening for them in Charlotte. When I was putting this thing together I said, “I think I’m going to ask Sadler – he’d be the perfect fit for this record.” Me and Colonel Bruce Hampton had the same thing – we see something and get it before it’s gone.

Southern Stages: Todd Snider appears on the album – it may have been his last recorded performance.

Kinney: Todd came and visited and Tim made him sing. He stopped by for lunch and Tim said “Get in there and sing this last verse and Todd said, ‘Okay.”

Southern Stages: If you will, tell us about your recent shows with (R.E.M. guitarist) Peter Buck.

Kinney: Peter has been visiting Athens. We’ve been doing this residency in the basement of a hotel once every couple of months or so. It’s really great – they sell out and it’s a cool evening. We both stay at the hotel, so we just take the elevator to the gig and back again. It’s a perfect gig for a lazy musician like me [laughs]. I aspire to be a lazy musician – I just wish I could get my agent to agree.

Southern Stages: You’ve had a lengthy career, so you’ve seen the business before and after the existence of the Internet, Spotify, satellite radio and other outlets. How do you view the current state of the industry?

Kinney: People are getting music for free, basically, but if they hear it maybe they’ll come see us play live and maybe they’ll get a t-shirt or an album. A lot has changed. I love that people will hear what I’ve put out there in 50 years. Personally, it’s great for us. I’m not losing millions of dollars like Metallica would be or people who are losing money on streaming – we were never in that category anyway. So, for bands like us, I love it. I love that people are making records in their bedrooms – I think that’s really cool. I also love the fact that you can buy records at shows. People forget that, back when (1991 release) Fly Me Courageous came out, we were not really allowed to sell the record at the shows. We would play in Salt Lake City or someplace and we wouldn’t have a box of records. If you enjoyed the show, we would send you out to the local record store who might have two copies. You never bought albums at shows.

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

Kinney: I try to do one or two songs from every record. I always play the hits – “Fly Me Courageous,” “Honeysuckle Blue” and “Straight to Hell” – because we are a working-class band and people spend $60 on two tickets. We don’t have a setlist and that’s what’s great about seeing Drivin N Cryin. The band members have to know 160 songs and they have to know how they start and when to jump in when I start it. I used to make setlists at 5:00 or 6:00, but by 10:00 I didn’t feel like playing [those songs]. I said to myself, “I’m never doing this ever again.” If I can’t sell it, you’re not buying it.

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

Kinney: That’s a good question – I don’t think I have a choice [laughs]. The words and the stories really help. Where I put it in the set inspires how I want to do it. I used to only do “Straight to Hell” as the last song of the night and now I do it an hour into the show so people can hear it before they go home to meet the dog sitter [laughs]. I keep it fresh by keeping the arrangement fresh.

On Friday, June 19, Drivin N Cryin will perform at Saturn. Laid Back Country Picker will open the 8 p.m. show. Advance tickets can be purchased at www.saturnbirmingham.com. Show is ages 18+. 

 

 

 

By Brent Thompson

You hear Sunny Sweeney prominently on the radio, both as an artist and show host. in addition to a recording career spanning nearly 20 years, the Nashville-by-way-of-Texas singer/songwriter hosts two SiriusXM radio shows – Sunny Side Up (Willie’s Roadhouse) and The Sunny Side of Life (Outlaw Country). On Thursday, June 4, Sweeney will perform at WORKPLAY. Adam Hood opens the 7:30 p.m. all-ages show. Currently, Sweeney is touring in support of her 2025 release, Rhinestone Requiem. “This is the first time I’ve made a record when I don’t have relationship problems,” Sweeney says. “My last album, Married Alone, was made right after my divorce. I’ve lived some life. Not all of it’s been pretty, but I feel like that’s what makes really good music.” She adds, “I really wanted this album to be a mixture of all the old styles of country music: Jerry Lee Lewis, Waylon Jennings, Loretta Lynn. I make music for myself and hope other people like it.” Advance show tickets can be purchased at www.workplay.com.

www.sunnysweeney.com

By Brent Thompson

A Nashvillian by way of Georgia, Ben Chapman wears a lot of hats these days – singer/songwriter, recording artist, touring musician, host (more on that later) and, most importantly, husband and father. Last year, Chapman and his wife, fellow Americana artist Meg McRee, welcomed a son, George. On May 22, Chapman will release Feet On Fire, the follow-up album to his acclaimed 2024 release Downbeat. Anderson East, a renowned artist in his own right and the producer of Downbeat, handled the production duties again on Chapman’s new album. On Wednesday, May 27, Chapman will perform at WORKPLAY. Recently, he spoke with us by phone from his Nashville home.

Southern Stages: Ben, thanks for your time. We are really enjoying Feet On Fire. Are the album’s songs newer compositions, older ones or a mixture of both?

Ben Chapman: To give a backstory on the record, 2025 was a crazy year for us. We found out on January 3 that Meg was pregnant with our son, George, and it was a little unexpected. I was already writing for Feet On Fire, so six songs were written before that time period and the rest of the record was written after that period. It was a pretty chaotic time, but a beautiful time – anxious and excited all mixed into one. Some of the songs like “Sweetheart (Ain’t It Hard)” – the song that ends the record – I’ve had that song for probably four years. I knew it was going to live on a record, I just didn’t know what record. We got to the final day of recording the record and I said, “I’ve got this song that I think that would fit on here.” I played it for Anderson and he said, “that’s got to go on there.” When I do a track listing, I like to make it cinematic and make it like a movie and end it with something I would say is the credit roll, and I feel like it’s a perfect way to sum up the record with “Sweetheart.”

Southern Stages: Do your songs continue to get tweaked even while you are in the studio recording them?

Chapman: Lord, yes. I am the king of tweaking songs and trying to get them perfect up until that final moment that it goes to tape. Anderson’s great about saying, “What if we change this word?” or “What if we change this chord?” and making these very musical moments in each song that weren’t there before. It just adds so much to each song when he does something like that.

Southern Stages: How did you an Anderson first meet?

Chapman: I think it started out through songwriting. I’ve always been an Anderson East fan, so it’s a dream come true to work with him. With Downbeat – the record I released in 2024 – I was thinking of doing it ion Texas with a guy named Beau Bedford, who is another great producer. Anderson said, “I just built a studio in my backyard – maybe you should come here and we try to work something out” and I’m so glad that I took him up on it. I was blown away by his production style and it just kind of worked out. It came together in that typical “not trying” fashion – you’re not looking for anything and it just hits you in the face, which the best things always do. Working with Anderson is definitely an example of that.

Southern Stages: You host an ongoing live series called Peach Jam. If you will, tell us more about it.

Chapman: We started that in 2021. It’s not like a jam where everybody brings their own instruments and we don’t know what song we are going to play – it’s more put together. I pick the guests and most of them are people I write songs with or people that I’ve gotten cuts with – they come up and do a song of their choice and my band backs them. It’s really turned into something that I never thought it would. We started it at The Basement in Nashville, which holds about 150 people. In the past two years, we’ve moved it to Basement East because it just keeps growing. It is my thing, but it belongs to the community and that’s how I always look at it. It’s authentic and it’s real and it’s really cool to see how much it’s grown.

Southern Stages: How often do you host Peach Jam?

Chapman: We do it quarterly. For the first year, we did it monthly and that nearly killed us because we were on the road and we came home and had to learn five or six songs in two or three days. We moved it to quarterly and that seems to be the sweet spot.

Southern Stages: Do you write with Meg often?

Chapman: Yes. On Feet On Fire, I wrote six songs with her. On the project she just cut, I think I’ve got five or six of the songs. We collaborate on everything and we write a lot together for other artists, too. We are at the same publishing company here in Nashville – it’s a family affair for sure.

Southern Stages: Aside from the collaborations with Meg, how would you describe your writing process?

Chapman: It’s a constantly evolving art. I always try to write a better song than I did yesterday – that’s my process. I like to get ideas on the road. I drive the band because I’ve got OCD and a control problem, so I have to drive everywhere [laughs] and I get a lot of ideas driving late at night. Sometimes you finish [a song] by yourself, but the best songwriters in the world are here in Nashville and I like to get help. I love the family part of it – It’s fun to write with other people.

Southern Stages: Some artists say – thanks to Spotify, iTunes, satellite radio and other modern outlets – that this is a great time to be an artist as music is so accessible. Others say – for that same reason – that the current climate is oversaturated, making it difficult to be found among the crowd. How do you feel about the current state of the industry?

Chapman: There are two sides to that coin. I would agree with the people who say it’s harder to be found now, but I feel like it’s the best time to be making the music I’m making. It’s not that mainstream and it’s not going to be on commercial country radio. I wouldn’t consider my music country – it’s just American music and it’s a melting pot of all types of genres. I would say that we are at the best time to be found as an independent artist. From what I see, people respect independent artists these days and artists are getting out of their record deals. Sturgill Simpson and Tyler Childers – that’s the in-crowd now. When that stuff does great it helps artists like me, Brent Cobb, Adam Hood, my wife Meg, Taylor Hunnicutt and all these people that are in our class.

On Wednesday, May 27, Ben Chapman will perform at WORKPLAY. Advance tickets to the 8 p.m. all-ages show are $20 and can be purchased at www.workplay.com. 

 

 

By Brent Thompson 

He’s still the hardest working man in show business – his calendar stays full. On Sunday night, Warren Haynes and his band – bassist Kevin Scott, drummer Terence Higgins and keyboardist Matt Slocum – performed to a captivated audience at Birmingham’s Iron City. In addition to solo material, Haynes pulled from his catalog of projects that include Gov’t Mule, Allman Brothers Band and Phil Lesh & Friends. Highlights of the two-set evening included “Sco-Mule,” “Man In Motion,” “Patchwork Quilt,” ” Soulshine” and a cover of Steely Dan’s “Pretzel Logic.”

 

 

By Brent Thompson

Guitarist/vocalist Slim Dunlap is best known for his days in The Replacements, having played on the band’s Don’t Tell A Soul and All Shook Down albums. But following his days in the beloved ‘Mats, Dunlap released two acclaimed solo records – The Old New Me and Times Like This. Long out-of-print, the albums have now been re-packaged and remastered on a new double-CD entitled Every Little Word (Curation Records). Overseen by Dunlap’s family and Peter Jesperson (a well known figure in The Replacements’ camp), the project brings Slim’s recorded output back into a well-deserved spotlight. Start with “Cozy,” “Partners In Crime,” “The Ballad Of The Opening Band” or the beautiful instrumental “Love Lost” and you’ll be instantly hooked. Enthusiastic fan Bruce Springsteen stated that Dunlap was “a really unique guitarist, singer and songwriter, and one of the deepest and truest rock and roll souls I’ve ever heard. He has two fabulous solo albums out that I would tell everyone to run out and get.” If you already own the two Dunlap albums, you’ll want to own this remastered collection, thanks to the work of Justin Perkins at Mystery Room Mastering. For the most avid fans, the vinyl companion Every Little Word – The Best of the Bonus Tracks is scheduled for a March 2026 release. Slim Dunlap passed away in 2024 after 12 debilitating years, the result of a massive stroke.  But his music endures and, thanks to Every Little Word, it has never sounded better.

www.curationrecords.com