John Prine, a wry and perceptive writer whose songs often resembled vivid short stories, died Tuesday in Nashville from complications related to COVID-19. His death was confirmed by his publicist, on behalf of his family. He was 73 years old.
Prine was hospitalized last week after falling ill and put on a ventilator Saturday night, according to a statement from his family.
John Prine, performing during Coachella on April 27, 2014. Frazer Harrison/Getty Images
Even as a young man, Prine — who famously worked as a mailman before turning to music full-time — wrote evocative songs that belied his age. With a conversational vocal approach, he quickly developed a reputation as a performer who empathized with his characters. His beloved 1971 self-titled debut features the aching “Hello In There,” written from the perspective of a lonely elderly man who simply wants to be noticed, and the equally bittersweet “Angel From Montgomery.” The latter song is narrated by a middle-aged woman with deep regrets over the way her life turned out, married to a man who’s merely “another child that’s grown old.”
Bestowing dignity on the overlooked and marginalized was a common theme throughout Prine’s career; he became known for detailed vignettes about ordinary people that illustrated larger truths about society. One of his signature songs, “Sam Stone,” is an empathetic tale of a decorated veteran who overdoses because he has trouble readjusting to real life after the war. (Prine has said he based the protagonist around friends who were Vietnam War veterans, and also soldiers he encountered during his own two-year stint as an Army mechanic.)
Like “Sam Stone,” many of Prine’s songs also had an uncanny ability to address (if not predict) the societal and political zeitgeist. The understated 1984 song “Unwed Fathers” illustrates pernicious double standards pertaining to gender: The titular group “can’t be bothered / They run like water, through a mountain stream,” while the young women they impregnate are shamed and face consequences. Recorded for John Prine, “Your Flag Decal Won’t Get You Into Heaven Anymore” criticizes people who use piety and patriotism as a cover for supporting an unjust war — a theme he’d revisit on 2005’s “Some Humans Ain’t Human,” which pulls no punches slamming both hypocritical people and the Iraq War started by George W. Bush.
But like fellow songwriting iconoclast Shel Silverstein, Prine also cloaked his pointed commentary within whimsical wordplay. “Some Humans Ain’t Human” claims that inside the heart of these turncoats is “a few frozen pizzas, some ice cubes with hair and a broken Popsicle,” while “Dear Abby” has a lilting, rollicking rhythm to its verses, as it gently chides advice-column complainers to count their blessings. “Bruised Orange (Chain of Sorrow)” uses both absurdity (an altar boy struck by a train) and the mundane (a bench makeout) to encourage people to stay positive and have gratitude.
And “Christmas In Prison” boasts one of his best lyrics — “She reminds me of a chess game with someone I admire” — while embodying his quiet irreverence. “It’s about a person being somewhere like a prison, in a situation they don’t want to be in, and wishing they were somewhere else,” he wrote in the liner notes to 1993’s “Great Days: The John Prine Anthology,” adding that “I used all the imagery as if it were an actual prison. … And being a sentimental guy, I put it at Christmas.”
Prine was born on October 10, 1946, to parents with strong family ties to Paradise, Kentucky, a place that later served as the backdrop to “Paradise,” his cautionary tale about a coal country town destroyed and discarded by corporate interests.
Raised in Maywood, a suburb of Chicago,, the young Prine devoured 45s from Buddy Holly, Johnny Cash and Little Richard, and soaked up the country music his father loved, such as Hank Williams Sr., Ernest Tubb and Roy Acuff. More crucially, Prine learned rudimentary guitar skills from his oldest brother, Dave, a folk fan who memorably gifted him a Carter Family LP. “I learned all those songs,” he told NPR’s Terry Gross in 2018. “And not too long after that, I started writing when I was 14. And my melodies always came out like old-timey country stuff.” Around this time, Prine also started to learn finger-picking by playing songs by Elizabeth Cotten and Mississippi John Hurt, he added: “I’d sit in the closet in the dark in case I ever went blind, to see if I could play.”
Although Prine also started taking guitar lessons at Chicago’s Old Town School of Folk Music starting in fall 1963, he still wasn’t considering pursuing music as a full-time career. In fact, he was working as a mailman and playing gigs at night on the side when a generous live review from critic Roger Ebert in late 1970 boosted his reputation in Chicago’s nascent folk scene. A record deal with Atlantic Records came in early 1971, after then-executive Jerry Wexler saw Prine perform three songs during a Kris Kristofferson set at the Bottom Line in New York City.
John Prine, hanging out at Georgia State College in 1975. Tom Hill/WireImage
Prine received a Grammy nomination for Best New Artist in 1972, on the strength of his debut, and started turning out records at a brisk pace for the rest of the 1970s. Almost immediately, his songs were covered by other artists: Bonnie Raitt did a version of “Angel From Montgomery” (as did John Denver and Tanya Tucker), while Bette Midler, Everly Brothers, Swamp Dogg and, later, the Highwaymen also recorded Prine-penned songs.
Being in the spotlight didn’t come naturally. “I had a difficult time listening back to them because I was so nervous,” he told Fresh Air about his early records. “I didn’t expect to do this for a living, be a recording artist. I was just playing music for the fun of it and writing songs to … that was kind of my escape, you know, from the humdrum of the world.”
But Prine’s early success allowed him to start approaching his career on his own terms. With manager Al Bunetta, he formed the independent label Oh Boy Records in 1981, launching it with a Christmas single, “I Saw Mommy Kissing Santa Claus.” Prine slowed down his output in the ’80s and ’90s but expanded his sonic purview, co-writing “Jackie O” with John Cougar Mellencamp for the latter’s hit 1983 LP Uh-Huh and collaborating with members of Tom Petty & The Heartbreakers for his 1991 album The Missing Years, which won a Grammy for Best Contemporary Folk Album. (Prine also won in the same category for 2005’s Fair & Square.)
Starting in the mid-’90s, Prine also dealt with several serious health issues. He had a cancerous tumor in his neck removed in 1996, successfully beat lung cancer in 2013, and had a heart stent implanted in 2019. In 2018, he admitted to NPR’s Terry Gross that his 1996 cancer surgery changed his voice. “It dropped down lower, and it feels friendlier to me,” he said. “So I can actually sit in the studio and listen to my singing play back. Before, I’d run the other way.” He debuted his new voice — which did feel a bit rougher of comfort, like a rock swathed in moss — with 1999’s In Spite of Ourselves, which featured duets on covers with female artists such as Iris DeMent, Patty Loveless and Lucinda Williams. He released a kindred-spirit sequel in 2016, For Better, or Worse, that also featured DeMent, in addition to duets with contemporary artists Miranda Lambert, Kacey Musgraves and Morgane Stapleton.
John Prine at the Edison Hotel in Times Square, 1999. New York Daily News Archive/NY Daily News via Getty Images
Prine’s career received another boost more recently, too, after his work was championed by modern Americana acts such as Jason Isbell and Amanda Shires — two artists with whom Prine collaborated — Sturgill Simpson and Margo Price. In 2019, he was inducted into the Songwriters Hall of Fame, the year after releasing The Tree of Forgiveness, his first album of all-new original songs since Fair & Square. The album featured co-writes with Dan Auerbach and long-time foils Pat McLaughlin and Keith Sykes, and debuted at No. 5 on Billboard‘s Top 200.
The Tree of Forgiveness ends with a song called “When I Get to Heaven,” a detailed look at what Prine said he intended to do after he dies: start a band, see dearly departed family members, order a cocktail, shake God’s hand, and encourage rampant forgiveness. (In a nod to his usual wryness, he also said he’d enjoy a cigarette that’s “nine miles long,” no doubt because he gave up smoking after his cancer bouts.) The lyrics are sentimental and freewheeling, making it clear that Prine planned to keep the good times going up in heaven. It’s likely that the song was intended to be a winking bit of foreshadowing about his own mortality, although now, perhaps it’s better interpreted as Prine providing a blueprint for how to live life with gusto while you’re still here.
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To be eligible for nomination, an individual artist or band must have released its first commercial recording at least 25 years prior to the year of nomination. Six out of 15 of the Nominees are on the ballot for the first time, including: Def Leppard, Devo, John Prine, Roxy Music, Stevie Nicks, and Todd Rundgren.
Inductees will be announced in December 2018. The Rock & Roll Hall of Fame 2019 Induction Ceremony, presented by Klipsch Audio, will be held at Barclays Center in Brooklyn, New York on March 29, 2019. Ticket on-sale information will be announced in January.
Ballots will be sent to an international voting body of more than 1,000 artists, historians and members of the music industry. Factors such as an artist’s musical influence on other artists, length and depth of career and the body of work, innovation and superiority in style and technique are taken into consideration.
The Rock & Roll Hall of Fame will again offer fans the opportunity to officially participate in the induction selection process. Beginning October 9 and continuing through 11:59 p.m. EST on December 9, 2018, fans can visit rockhall.com to cast votes for who they believe to be most deserving of induction into the Rock & Roll Hall of Fame. The top five artists, as selected by the public, will comprise a “fans’ ballot” that will be tallied along with the other ballots to choose the 2019 inductees. Fans will need to login to vote. Voting is capped at one ballot per day.
After two bouts with cancer and at the age of 70, John Prine’s spirit is tireless. He says he still feels like the 22-year-old kid who wrote “Hello in There” all those years ago. In 2018, he released new music for the first time in 13 years with “The Tree of Forgiveness.” And, even in the middle of a move, he and his wife (who is also his manager) are going on the road.
Photo by Danny Clinch
With the loss of his long time manager and business partner, Al Bunetta in 2015, he says that his music is now a family affair. His wife, Fiona, and his oldest son, Jody, are now running Oh Boy Records. When talking about his recent success on the Billboard charts, he says that the album has been working wonders for “us,” not for “me.”
He’d been telling them about “The Tree of Forgiveness” for years.
Prine says, “I kept telling my family, ‘You know, the next record, whenever I write enough songs for it, I’m going to call it ‘The Tree of Forgiveness.” Nobody paid much attention to me. One night I looked it up on the internet, and there’s a painting from Greek mythology, I don’t know how famous of a painting it is. I tried to buy the painting for the cover of the record, but evidently it’s worth too much for me.”
But that’s not where his original idea for the title came from.
“My wife and I used to eat at a restaurant outside of Dublin, Ireland called The Tree of Idleness. I liked that title so much that I stole an ashtray from there. I just kept thinking that’s a cool title: The Tree of Idleness. So, I just morphed it from there, to forgiveness.”
It also made it’s way into a wistful lyric in the last song on the album, “When I Get to Heaven.”
Then as God as my witness, I’m gettin’ back into showbusiness I’m gonna open up a nightclub called “The Tree of Forgiveness” And forgive everybody ever done me any harm Well, I might even invite a few choice critics, those syph’litic parasitics Buy ’em a pint of Smithwick’s and smother ’em with my charm.
I brought up that the beginning of that song reminded me of Tex Ritter’s “Hillbilly Heaven.”
He realizes, “Wow. That may be, because that was one of my favorite records when I was a kid. I never steal anything on purpose, just by accident.”
Then, he starts singing in a low voice, “I dreamed I was there/ in hillbilly heaven…”
Photo by Danny Clinch
With a similar nostalgia, he talks about his inspiration for the song “The Lonesome Friends of Science.”
“I remember around 10 years ago, when the scientists decided that Pluto was no longer a planet, just a star. That really ticked me off,” Prine says. “I just let that simmer for a few years, and then I thought, ‘I’m gonna get these guys.’ I mean they have nothing better to do than to take an old planet and make it into an ordinary star. And then they come back years later and say that it is a planet, but a dwarf planet. I mean, that was adding insult to injury. So, I thought I’d write something about the humiliation of the planet Pluto.”
Humor like this has always been a cornerstone of his songwriting. But, in “Caravan of Fools,” a song that hints at our comical current political organization, he takes a serious tone instead.
He wrote this song with Dan Auerbach from The Black Keys, Pat McLaughlin and David Ferguson. Originally, he thought they were writing it for Dan. Eventually, it ended up fitting better on Prine’s album.
“We didn’t discuss what the subject was while writing ‘Caravan of Fools.’ For me, it was about the current administration, but I didn’t ask the guys, so I couldn’t say that’s what they had in mind. I knew we all thought the song was about impending doom. That’s a good definition of the current administration.”
He says that if he would have written a song directly about Trump, he would have made it funnier, because according to Prine, “Humorous protest songs last longer than serious ones.”
$12 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 7pm, showtime 8pm
Zach Pietrini’s Midwestern, indie-americana songwriting aesthetic is the sonic embodiment of a well-worn denim jacket. At the forefront of the Americana resurgence, the band takes its cues from Tom Petty, Bruce Springsteen, and David Ramirez, reinterpreting and rejuvenating American roots styles through a contemporary lens. Pietrini came up on the Chicago music scene before moving to Milwaukee, where he honed his signature “foot-tapping and pensive steel-guitar-driven” style (Milwaukee Magazine). The band has also toured prolifically throughout the United States, including opening for Huey Lewis and the News and playing SXSW. Pietrini’s dynamic live performances are intimate, yet high-energy, and his laid-back stage presence brings a very Wisconsin sense of Gemütlichkeit to his shows.
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Christopher Gold is a Kentucky-born songwriter living in Wisconsin. Together with his band The New Old Things he has written and recorded folk songs, country songs, rock & roll songs, and everything in between citing a love for songwriters like Townes Van Zandt, Bob Dylan, Tom Petty, John Prine, and anybody else whose work begins with paper and pen. He travels primarily as a solo act, carrying on the folk tradition of performances that blend music, storytelling, and humor.
$12 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 7pm, showtime 8pm
$10 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 7pm, showtime 8pm
Laney Lou and the Bird Dogs are an energetic Americana band from Bozeman, Montana, that infuses four-part harmonies, engaging songwriting, and rock-n-roll drive into a modern approach to traditional folk music. Coming from varied musical backgrounds, the five-person ensemble creates a sound unique to them, but one that finds common ground by adding the energy of Montana’s big sky country into their music. The Bird Dogs weave stories through their songs that are reflective, joyous, longing, or meant to share a journey with the listener. Through it all, the band is able to convey heartfelt honesty, getting the audience to immerse themselves in the moment by dancing, singing and laughing along.
The Bird Dogs have been taking their infectious sound on the road since 2013, supporting acts such as The Travelin’ McCourys, The Steeldrivers, The Steep Canyon Rangers, The Jeff Austin Band, Amy Helm, Leftover Salmon, Town Mountain, and many more.
The most recent album from Laney Lou and the Bird Dogs, Through the Smoke, was recorded in February of 2021 at The Panoramic House in Stinson Beach, CA. This album is one of personal transformation. The concept of letting things go, processing past and current situations, and moving forward has been ever present in 2020-2021, as the world went through trials beyond words. Laney Lou and the Bird Dogs found a way to represent their journey through hardship, while also celebrating the silver linings and breakthrough moments in their lives. Through the Smoke brings energy to the darkness, and proves that resilience can get us through the hardest of times.
The Bird Dogs released a live self-titled studio album in 2016, recorded at Basecamp Studio in Bozeman. Their follow-up album, titled The Vigilante Session, was recorded live at a forest service cabin in the Ruby mountains. In 2019 Laney Lou and the Bird Dogs recorded their first full-length studio album, Sweet Little Lies, at Prairie Sun Records in Cotati CA. Their live album, Live at the Filling Station, was recorded in 2019 at the Filling Station in Bozeman MT and released in 2020.
Laney Lou and the Bird Dogs consists of Lena (Laney) Schiffer on vocals/guitar/percussion, Matt Demarais on vocals/banjo, Ethan Demarais on bass, Brian Kassay on fiddle/mandolin/harmonica, and Josh Moore on vocals/guitar.
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Joseph Huber hails from the state of Wisconsin, and seems to bring forth the varied voices of whatever it may be that lies dormant within either the fertile soil or the callous concrete of that world. It has been said, “You don’t just like Joseph Huber’s music. You feel it’s something that the rest of the world needs to hear, and how criminal it is that it isn’t spreading far and wide.” That sentiment could be related to the fact that the voices which Huber unearths are subtle and take more than a hurried listen to truly absorb. A person who appears reserved and matter-of-fact in everyday speech brings forth songs that are anything but that.
As the singer, songwriter, performer, recorder and producer of all of his own material, Huber has his hands full, but never seems to miss a beat. And his own ‘solo’ material has now certainly surpassed the output of his past efforts, both in volume and substance. As one of the founding member of the .357 String Band–a group that would probably fit better in today’s ‘Americana-saturated’ environment than in the early to middle aughts–he’s gradually honed a sound that seems to fill a very real gap within the still-emerging genre. Having progressed, Huber continues moving onward and upward captivating folks with his sincere and well-crafted songs under his own name along with the impeccable musicianship of his fellow touring partners. Whether it’s irresistible, fiddle-driven, dancing tunes or honest, heart-wrenching “songwriter” songs, Huber’s songs and shows spans the spectrum of ‘Roots’ music while preferring not to stay within the boundaries of any strict genre classification.
His lyricism and introspective writing style has received high acclaim from music enthusiasts looking for a more substantive substitute to much of today’s music. Maintaining a solid touring schedule, playing all throughout both the U.S. and all around Europe, Huber continues to gain positive press, including being listed on L.A. Weekly’s ’10 More Country Artists To Listen To.’ Blue Ridge Outdoor writes, “Songwriters like Townes Van Zandt, Chris Smither, and John Prine can marvel listeners in the simplest of acoustic settings,…From time to time, I stumble upon a new singer/songwriter whose work warrants comparison to the luminaries on this list. …Huber’s songwriting has me comparing him to my favorites above.” He’s had the pleasure of sharing the stage with many artists including Tyler Childers; Hackensaw Boys; Scott H Biram; The Tillers; Possessed By Paul James; Dave Simonett; Robert Earl Keen; Ben Nichols; The Tossers; Charlie Parr; Amy Lavere; Horseshoes & Hand Grenades; Reverend Peyton’s Big Damn Band; Henhouse Prowlers; Keller Williams, and more…
As of now, Huber has delivered five solo records: ‘Bury Me Where I Fall’ (2010); ‘Tongues Of Fire’ (2012), ‘The Hanging Road’ (2014); and ‘The Suffering Stage’ (2017), ‘Moondog’ (2019) and now 2021 give us ‘The Downtowner’–Huber’s latest effort which rollicks between social and personal spheres while mixing elements of rock and folk music that fans will immediately see as maintaining a solid continuity of sound and attitude with his previous two albums–rollicking between the feelings of freedom and severity, with both wit and earnestness.
$10 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 7pm, showtime 8pm
“Smoky soul, folk-pop and heart-wrenching alt-country, all in a rich voice” – Q Magazine
Danni Nicholls
With the wind in her sails from receiving two consecutive Americana Music Association UK award nominations (2017 UK Album of the Year for Mockingbird Lane and 2018 UK Artist of the Year), singer/songwriter Danni Nicholls has embarked upon her next artistic journey – her third studio album The Melted Morning with a new producer at the helm. Once again, Nashville, Tennessee, has played host to her musical undertaking, as the city has long held a special place in Danni’s heart.
From the honky-tonks of Broadway to the woods of Whites Creek, Nashville has become something of an adopted hometown for Danni, with the creative community warmly welcoming her presence. “My time in Music City making music with incredible musicians has been a life altering experience” she says. “It has fuelled my inspiration, forced me out of my comfort zone and pushed me to raise my game”
Over the past few years, Danni has played shows with the likes of Shakin’ Stevens (28 date UK wide tour), Lucinda Williams, Sturgill Simpson, The Secret Sisters and other notables and been invited to perform at festivals around the world, including Cambridge Folk, Tønder, Denmark, Folk Alliance International and AmericanaFest, Nashville.
The word that recurs most often in reviews of Danni’s songs and performances is “elegance.” She’s too modest to agree, but it’s a style she has lovingly, honed across what is truly an entire lifetime in music, and one with all sorts of interesting cultural twists and artistic turns.
The small town of Bedford, UK, served as the backdrop to Danni’s childhood, scored by her grandmother’s collection of American folk, country, and rock ‘n’ roll records. “The Anglo-Indian side of my family — my mum’s side — are real party animals,” she laughs. “We had constant house parties at my grandparents’ place, parties in halls, or with family in London. There would just always be great American roots music blasting out, jive dancing, and singing. Music from rock ‘n’ roll to country and western to soul. My grandmother loves country music. It would always be playing in the house. She would often talk about the Grand Ole Opry so it was just in my psyche from a really young age.”
Then, at 16, Danni inherited her Uncle Heathcliff’s 1963 Burns London short-scale jazz guitar which was rumoured to have once belonged to Billy Fury. Danni’s connection with the guitar was instantaneous, and having played saxophone since age 9, she had a musical foundation upon which to build her songwriting skills. As soon as she knew two chords, she was off writing her own songs and, before long, performing at school assemblies, selling homemade albums of her songs.
Eventually, she recorded and released two EPs, Heavy Shoes (2009 produced by Tim Bidwell in Brighton, UK) and Time (2012 produced by Iain Archer in London) before meeting bassist/producer Chris Donohue in 2011. “I went to see one of my sheroes, Emmylou Harris, at the Royal Festival Hall with a friend who knew her bass player, Chris,” she says. “We got chatting for a while, and I mentioned I was heading to Nashville in a few weeks. He gave me his card and said to let him know when I got to town. Five minutes later, he was up on stage with Emmylou. Obviously, I got in touch and the rest is history.” With some of Nashville’s finest musicians in tow, the pair have now made two critically acclaimed albums — 2013’s A Little Redemption and 2015’s award nominated Mockingbird Lane.
2019 sees the release of her third. The Melted Morning was produced by Jordan Brooke Hamlin (The Indigo Girls, Lucy Wainwright-Roche) at the idyllic woodland studio MOXE, Nashville TN.
“I needed a new challenge, a new landscape to work in sonically, physically, energetically and viscerally. Collaborating with Jordan and this incredible team of women gave me that opportunity and we have created a delicate, vibey, honest and vulnerable collection of songs that we dove deep into to find out who they wanted to become”
Closely personal yet widely relatable, the themes of this album span an array of life’s takeaways; from the pain and darkness of rejection, the fear of losing yourself and the power of human connection to offering up hope and new perspectives in the face of adversities.
Love and guts, moxie and magic… that’s the stuff dreams are made of, and Danni Nicholls’ dreams are coming true.
“Her passion for her craft is unparalleled. Her depth of emotion, commitment to the song, and ability to go deep makes her a rare artist”
Jed Hilly, Director of the Americana Music Association
“An artist with the elegance and imagination to restore your faith in the visceral power of an original song”
Paul Sexton, BBC Radio 2 and freelance print/broadcast journalist
“I absolutely love the elegance and beauty of her music” – Bob Harris, BBC Radio 2
“Smoky soul, folk-pop and heart-wrenching alt-country, all in a rich voice” – Q Magazine
“Sumptuous…a warm wry line in confessional songwriting” – UNCUT
“One in a million…” – Maverick Music Magazine
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Derek Pritzl
Derek Pritzl is a Wisconsin singer/songwriter. He brings a style and narrative that is reminiscent of some of the great songwriters of yesterday and today, continuing a tradition of songwriting developed by artists such as John Prine, Guy Clark, John Fogerty and Bill Walkner. His songs evoke visions of the struggles of the working man, the road weary traveler and of love found and love lost. Regardless of the size of venue, his music and songs create an atmosphere of intimacy, reflection and fellowship that brings the audience into his world.
$10 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 5pm, showtime 6pm
$10 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 7pm, showtime 8pm
COVID POLICY FOR LIVE SHOWS
We want to ensure we are doing everything we can to help keep our community safe, so we are now requiring the following for entry to Live Shows:
Proof of Vaccination -OR- Proof of a Negative COVID 19 Test taken within 72 hours of the show.
Masks are encouraged but not required.
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Four years since their debut release, Adrian + Meredith take their fearless, blistering, and Balkan-tinged Americana to new heights on their sophomore record, Bad for Business. Recorded in the living room of their midcentury East Nashville house with friends like Paul Niehaus (Justin Townes Earle, Calexico), saxophonist Ken Francis Wenzel (Carlos Santana, Bobby Parker), and banjo player Fats Kaplan (Jack White), Bad For Business is a raucous, rebellious and home-spun variety show. The record’s intimate connection with the recording space and personnel creates the right conditions for Adrian + Meredith to soar sonically and lyrically, as they consider disillusioning times for the country—and the world.
Off the top, Bad for Business highlights the elements that make Adrian + Meredith’s music truly theirs—and then pushes those talents further. Adrian Krygowski’s gritty vocals, Meredith’s Krygowski’s fiery fiddling, and the band’s distinctive, foot-stomping bounce and sense of eclecticism—all of it has ferocious intentionality. And, from there, the pair get innovative. They use Meredith’s foot percussion on the introduction to “Kids These Days,” they add not one horn but a whole Balkan brass section on “Too Far,” and they give “California,” with its surf-a-billy guitar flourishes, an unexpected indie rock lean. Clearly, Bad for Business goes big, highlighting Adrian + Meredith’s confidence in their vision, as well as the influence of their musical mentors, particularly The Legendary Shackshakers’ JD Wilkes and Mark Robinson, the latter of whom produced and mixed the album.
The lyrical content of Bad for Business is bold too —particularly in its candid exploration of current political issues that have left many artists tight-lipped. “Even” offers unforgiving commentary on the Trump-era political divide and the obsession with getting “even,” which Adrian puts to rest on “Chalk,” just a few tracks later: “The rain falls equally on everyone,” he sings. Similarly, the klezmer-inspired track, “Kids These Days,” dives into the impact of gun violence in American schools, “California” balks at climate change deniers, and even “Valley View,” a lilting folk tune written from the perspective of an immigrant at Ellis Island, asks “Did we forget who we are?” in the face of current anti-immigration attitudes. That said, the vaudevillian-inspired pair go big with quirky lightheartedness, too. Songs like “Too Far,” highlight their sense of humor as they describe a Thanksgiving dinner political discussion gone bad, and a rousing rendition of the 1963 polka-pop hit, “Who Stole the Keishka,” and upbeat tunes like “Hungover Eyes,” balance Bad for Business’s heavier ruminations with rip-roaring fun.
In the end, Bad For Business is the sound of Adrian + Meredith’s front door, left wide open. The listener is drawn inside by the couple’s warmth, intensity and frankness—and in the end, left with a sense of easy joy and friendship they’d all but forgot.
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Nathan Kalish has spent the past decade averaging 200 shows a year at bars and honky-tonks across the country. It’s from this experience he cultivated his new collection of story songs for his 10th album, the self-produced Songs for Nobody. His sound has been described as a “unique brew of Americana, rockabilly and outlaw country.” Through his cutting and intimate lyrics, he transports listeners from the passenger seat of his touring van to behind a magnifying glass aimed at the darker side of American culture. It’s not only his experiences that he shares, but the experiences of the people that he has met along the way.
The music he’s released has landed him on stages with Lucinda Williams, Molly Tuttle, and Lucero. He’s earned accolades from Rolling Stone Country, Saving Country Music and dozens of alt-weeklies. Kalish has lived the life of a curious wanderer, taking his music from town to town, creating a catalog of songs that act as colorful snapshots, like polaroids in a photo album. His music has been compared to American icons like Merle Haggard, John Prine, Gram Parsons, and the Sun Records’ rockabilly roster, circa 1956.
Kalish’s new LP Songs for Nobody was recorded at Nashville’s Trace Horse Studio and provides an auditory evolution of that engaging, mysterious psych-folk sound. Finding inspiration from acts like Darrell Scott and Daniel Romano, Kalish brings a gritty moodiness to his expertly-blended traditional country elements. By recruiting incredible locally-based talent that includes acclaimed guitarist Laur Joamets (Sturgill Simpson, Drivin N Cryin) and pedal steel aficionado Adam Kurtz (Great Peacock, American Aquarium), Kalish tapped into the magic of Nashville’s tightly-knit creative community to bring his vision to life. The result of this collaboration is an LP filled with heart-wrenchingly honest and reflective songs that leave a lasting mark on anyone who listens.
The haunting yet comedic title track, “Songs for Nobody,” shows the mental and emotional strain life on the road can bring. From the tedium of long hauls across the country to the stale smell of gas stop cuisine, the moments that precede and follow nightly sets in strange cities provide their own unique set of challenges and stressors. Note by note, Kalish examines what the cost of those fleeting moments on stage can bring.
Even with its unexpected curves and bumps, Nathan Kalish’s committed relationship with the road is one that still has many more miles to go. With a busy 2020 planned, Songs for Nobody will mark an important chapter in Kalish’s creative journey, which is only just beginning.
$10 adv/ $15 at the door (advance sales until 3pm day of show, then available at the door). Doors at 7pm, showtime 8pm
For Jade Bird, the second that lockdown lifted, there were no aimless summer days spent meeting friends in parks; no languorous evenings in pub gardens. She was headed straight back to Nashville to complete her second album — albeit via a strict two-week quarantine in Mexico City. She allowed herself to see no more of the Mexican capital than the local store and a leg-stretching walk around the block, not wanting to jeopardise any chance of being allowed into the States to finish what she had started with Grammy-winning producer Dave Cobb (Brandi Carlile, John Prine, Lady Gaga). The highlight of her stay in Mexico was literally her boyfriend pointing out a particularly gnarly spider he spotted as he had a cigarette on the balcony. “I move on really quick,” Jade explains of the urgency she felt. “My partner always says there’s no in between with me whatsoever, it’s on or it’s off. My feeling was: I’m in it, I love these songs, I want to sing. That’s why we made heaven and earth move so I could do that in that moment.”
For Jade, moving fast was about staying connected to the music that she had written (as always), not capitalising on momentum or anyone else’s idea of a career plan. She had a taste of the UK hype cycle, making the BBC’s 2018 Sound Of… poll and being tipped everywhere from Vogue to Rolling Stone. Her self-titled debut album arrived a year later. Despite those early garlands, she didn’t become an overnight success. “I was really glad,” she says. “Musically I was not ready. Lyrically I was not ready. And mentally I was not ready.” Nevertheless, Jade Bird — as barnstorming an album as came out in 2019 — received plaudits from the likes of Pitchfork and NPR. And it showed Jade, an obsessive at bettering her craft, how she wanted to build on the foundations she had laid. She was grateful that her label, Glassnote, was invested in letting her develop album by album. “If you lose a sense of who you are, to re-establish that is really difficult,” she says of the pressures hype puts on developing artists. “And the time that it takes for you to re-evaluate your life, your sound, who you are, the UK doesn’t have time for that either.”
That mature perspective is typical of Jade, who even at 21 was wise to how young female musicians are expected to become cute ambassadors for feminism. (“I’m not sure how to do anything but what I’m doing because what I’m doing is feminism,” she told the Guardian. “You don’t need to wear a hashtag T-shirt.”) Still, as all 21-year-olds tend to, she thought she had life pegged. A standout from her debut, Love Has All Been Done Before, looked at her mum and her grandma’s respective divorces and confidently concluded that any relationship of hers would also end up doomed. She proved herself wrong: she’s been with her boyfriend (he’s also her guitarist) for three years. “I ended up realising I’m really happy and stable,” she says.
Her new song, Houdini, puts to bed the part of her past where she was obsessed with literal abandonment. If her debut reflected on “literally every male family member being absent, present, absent, present,” she says, Different Kinds of Light reflects on what it means to stay, to love, to allow yourself to be loved. It’s about “being with somebody who you adore more than the whole world that hasn’t got the foundations to believe in themselves,” she says. “Hasn’t had people supporting them in a way that their potential can be realised, ’cause they’ve been crippled by the people or environments that surround them.”
Jade translated these conflicted emotional states into sharply observed narrative vignettes that show her flair as a storyteller: the guy oblivious to what’s in front of him, the escape artist who confesses to being “asleep at the wheel my whole damn life”; the wastrel burning through their promise. “If I had a penny for all your potential, I’d be left drowning in my mouthful of metal,” Jade sings on Now Is the Time. It speaks to how quickly her writing has matured from the more polemical storytelling of her debut. “When you’re young, you sit in a chaos of emotions and desperately try to write out of it,” says Jade, who’s still only 23. “But when you’re older, you work out what’s affected you and why more clearly. It’s amazing what two years can do: it’s like you’re writing as you’re watching instead of writing to see.”
Different Kinds of Light was properly born in a rental in upstate New York in January. (When Jade finished her day’s writing in the shed and walked back to the house, there were often bear tracks in the snow.) Some came from the song-a-day project that she undertook during lockdown, which she spent with her boyfriend, her mum and grandma at home near Gatwick. In Mexico, she pushed herself to write more and found her British influences — the Smiths, Cocteau Twins — coming out. She used to road-test songs live; not being able to do so this year brought out a different side of her writing. One new highlight, I’m Getting Lost, “is quite a bizarre riff to jam out,” says Jade, “so it helped me evolve at the same time.”
After a session together earlier in the year that minted their studio chemistry, Jade returned to Nashville with more new material to bring to life with Dave Cobb, though she maintained an equally monastic lifestyle, moving strictly between her apartment and the studio to protect herself and her collaborators. She and Dave had clicked in an earlier session thanks to how he treated her potent yet weathered vocals. “I love anyone who can make you sound so imperfect in a great way,” she says. They let her sound find its groove, joining tough 90s alt-rock and the melodicism of Blur and Oasis at their sweetest to the taut rattle of Iggy Pop’s The Passenger. “That rock element that I’ve been missing and deeply love,” is how Jade describes it. “If I’m in the car, that’s what I put on.”
There’s also the spirit of Fleetwood Mac’s pop epics. Stevie Nicks’ Storms inspired Different Kinds of Light’s title track, written last summer while Jade toured the US with Jason Isbell and Father John Misty. “It says so much: ‘did not deal with the road,’ ‘I have always been a storm.’ There’s so much in that record that breaks my whole being,” she says, melting. She had experienced her own hard times on tour. Anxiety would come and go: a side-effect of being hyper-productive, as she’s observed in many young women. “The problem with me is that if you push me, I tend to do well,” she says. “The line where I’ve had enough is hard to find. I think so many artists are crippled by guilt, ’cause you know that opportunities aren’t handed out every day so you end up trying to do them all. It’s toxic, but it comes with the nature of the industry.”
Last summer, that blind work ethic resulted in Jade sometimes becoming physically unable to perform and having to cancel shows. It felt devastating at first. “After that tour, we went to Cornwall and I remember sitting on a rock and listening to Storms over and over and over again, crying and crying and crying, and it being really cathartic,” she says. It wasn’t that the skies cleared and suddenly everything was fine. “What frustrates me is that if you have a mental illness, it gets marketed like it’s going to go away,” says Jade. “I think it’s counterproductive to a lot of families who are dealing with people with mental health illnesses, like depression — you know you’re going to love that person that way for life, you love them with it, and you’ll never love them without it. That’s who you are and that’s why you love them.”
In the US, Jade became part of a community of songwriters and career artists who showed her that a happier, more holistic and sustainable way of working was possible. The likes of Isbell, Sheryl Crow and Jade’s friend and champion, Brandi Carlile, promote a nurturing environment, she says, and often tour with their families in tow. It was inspiring. “Especially for a young, female artist, knowing that you can be happy and do your job is really underrated,” says Jade. (Also inspiring: for a truly life-affirming vision, look up footage on YouTube of Jade, Brandi and Sheryl performing 9 to 5 with Dolly Parton, Linda Perry, Maggie Rogers, Natalie Hemby, Maren Morris, Amanda Shires and more at last year’s Newport Folk Festival, a vision in jewel-coloured pant suits.) Jade resents the modern idea that musicians are also expected to be marketers and businesspeople; for her, musicians are meant to be artists. She admires Brandi’s longevity: “It took her six albums before she hit By the Way, I Forgive You. The work ethic! The belief!”
Hence why Jade and her partner are moving to the US — flying out on the date of the 2020 election, no less. Plus she’s young and she’s never lived away from home before, bar the many months spent on the tour bus: why not? They’re starting in Austin, moving in with a photographer friend, but Jade calls it “the move before the move” — next they might go to Nashville, or Portland. Jade isn’t releasing Different Kinds of Light until autumn 2021, in the hope that touring is possible again by then. (You’ve never heard anyone sound as unconvinced as Jade talking about how it’s been to perform virtually.) “I want the album to have a moment,” she says.
In the meantime, maybe she’ll work on the punk album she’s been making with iconic songwriter Linda Perry, a concept record inspired by the B-52s, the Raincoats and riot grrrl, and based on feminist author Charlotte Perkins Gilman’s utopian 1915 novel, Herland, about a society composed entirely of women who can reproduce asexually. “It’s in my back pocket,” says Jade, brimming with excitement. “Third album, fourth album.” There’s no rush. The trepidation she felt about her profession on her debut has dissipated. “I never felt like I could call myself an artist — like, we’ll see. Whereas I know that’s my occupation now. That’s who I am, and that’s incredibly reassuring.”
Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.
The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced folklore, which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.
Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”
Getty Images for The Recording A Beyoncé and Megan Thee Stallion accept the Best Rap Performance award for ‘Savage’ onstage during the 63rd Annual GRAMMY Awards at Los Angeles Convention Center on March 14, 2021 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for The Recording Academy)
Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.
The complete list of nominees and winners of the 63rd annual Grammy Awards, presented on March 14, 2021, is below.
1. Record Of The Year
“Black Parade” by Beyoncé
“Colors” by Black Pumas
“ROCKSTAR” by DaBaby feat. Roddy Ricch
“Say So” by Doja Cat
Winner: “Everything I Wanted” by Billie Eilish
“Don’t Start Now” by Dua Lipa
“Circles” by Post Malone
“Savage” by Megan Thee Stallion feat. Beyoncé
2. Album Of The Year
Chilombo by Jhené Aiko
Black Pumas (Deluxe Edition) by Black Pumas
Everyday Life by Coldplay
Djesse Vol. 3 by Jacob Collier
Women In Music Pt. III by HAIM
Future Nostalgia by Dua Lipa
Hollywood’s Bleeding by Post Malone
Winner: Folklore by Taylor Swift
3. Song Of The Year
“Black Parade” by Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice, songwriters (Beyoncé)
“The Box” by Larrance Dopson, Samuel Gloade, Rodrick Moore, Adarius Moragne, Eric Sloan & Khirye Anthony Tyler, songwriters (Roddy Ricch)
“Cardigan” by Aaron Dessner & Taylor Swift, songwriters (Taylor Swift)
“Circles” by Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh, songwriters (Post Malone)
“Don’t Start Now” by Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren, songwriters (Dua Lipa)
“Everything I Wanted” by Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
Winner: “I Can’t Breathe” by Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)
“If The World Was Ending” by Julia Michaels & JP Saxe, songwriters (JP Saxe feat. Julia Michaels)
4. Best New Artist
Ingrid Andress
Phoebe Bridgers
Chika
Noah Cyrus
D Smoke
Doja Cat
Kaytranada
Winner: Megan Thee Stallion
Pop
5. Best Pop Solo Performance
“Yummy” by Justin Bieber
“Say So” by Doja Cat
“Everything I Wanted” by Billie Eilish
“Don’t Start Now” by Dua Lipa
Winner: “Watermelon Sugar” by Harry Styles
“Cardigan” by Taylor Swift
6. Best Pop Duo/Group Performance
“Un Dia (One Day)” by J Balvin, Dua Lipa, Bad Bunny & Tainy
“Intentions” by Justin Bieber feat. Quavo
“Dynamite” by BTS
Winner: “Rain On Me” by Lady Gaga with Ariana Grande
“Exile” by Taylor Swift feat. Bon Iver
7. Best Traditional Pop Vocal Album
Blue Umbrella by (Burt Bacharach &) Daniel Tashian
True Love: A Celebration of Cole Porter by Harry Connick, Jr.
Winner: American Standard by James Taylor
Unfollow The Rules by Rufus Wainwright
Judy by Renée Zellweger
8. Best Pop Vocal Album
Changes by Justin Bieber
Chromatica by Lady Gaga
Winner: Future Nostalgia by Dua Lipa
Fine Line by Harry Styles
Folklore by Taylor Swift
Dance/Electronic Music
9. Best Dance Recording
“On My Mind” by Diplo & SIDEPIECE
“My High” by Disclosure feat. Aminé & Slowthai
“The Difference” by Flume feat. Toro y Moi
“Both of Us” by Jayda G
Winner: “10%” by Kaytranada feat. Kali Uchis
10. Best Dance/Electronic Album
Kick I by Arca
Planet’s Mad by Baauer
Energy by Disclosure
Winner: Bubba by Kaytranada
Good Faith by Madeon
Contemporary Instrumental Music
11. Best Contemporary Instrumental Album
Axiom by Christian Scott aTunde Adjuah
Chronology of a Dream: Live at the Village Vanguard by Jon Batiste
Take the Stairs by Black Violin
Americana by Grégoire Maret, Romain Collin & Bill Frisell
Winner: Live at the Royal Albert Hall by Snarky Puppy
Rock
12. Best Rock Performance
Winner: “Shameika” by Fiona Apple
“Not” by Big Thief
“Kyoto” by Phoebe Bridgers
“The Steps” by HAIM
“Stay High” by Brittany Howard
“Daylight” by Grace Potter
13. Best Metal Performance
Winner: “Bum-Rush” by Body Count
“Underneath” by Code Orange
“The In-Between” by In This Moment
“BLOODMONEY” by Poppy
“Executioner’s Tax (Swing of the Axe)” – Live by Power Trip
14. Best Rock Song
“Kyoto” by Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)
“Lost In Yesterday” by Kevin Parker, songwriter (Tame Impala)
“Not” by Adrianne Lenker, songwriter (Big Thief)
“Shameika” by Fiona Apple, songwriter (Fiona Apple)
“Do It” by Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende, songwriters (Chloe X Halle)
“Slow Down” by Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson, songwriters (Skip Marley & H.E.R.)
20. Best Progressive R&B Album
Chilombo by Jhené Aiko
Ungodly Hour by Chloe X Halle
Free Nationals by Free Nationals
F*** Yo Feelings by Robert Glasper
Winner: It Is What It Is by Thundercat
21. Best R&B Album
HAPPY 2 BE HERE by Ant Clemons
Take Time by Giveon
To Feel Love/d by Luke James
Winner: Bigger Love by John Legend
All Rise by Gregory Porter
Rap
22. Best Rap Performance
“Deep Reverence” by Big Sean feat. Nipsey Hussle
“BOP” by DaBaby
“WHATS POPPIN” by Jack Harlow
“The Bigger Picture” by Lil Baby
Winner: “Savage” by Megan Thee Stallion feat. Beyoncé
“Dior” by Pop Smoke
23. Best Melodic Rap Performance
“ROCKSTAR” by DaBaby feat. Roddy Ricch
“Laugh Now Cry Later” by Drake feat. Lil Durk
Winner: “Lockdown” by Anderson .Paak
“The Box” by Roddy Ricch
“HIGHEST IN THE ROOM” by Travis Scott
24. Best Rap Song
“The Bigger Picture” by Dominique Jones, Noah Pettigrew & Rai’shaun Williams, songwriters (Lil Baby)
“The Box” by Larrance Dopson, Samuel Gloade, Rodrick Moore, Adarius Moragne, Eric Sloan & Khirye Anthony Tyler, songwriters (Roddy Ricch)
“Laugh Now Cry Later” by Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron LaTour & Ryan Martinez, songwriters (Drake Featuring Lil Durk)
“ROCKSTAR” by Jonathan Lyndale Kirk, Ross Joseph Portaro IV & Rodrick Moore, songwriters (DaBaby Featuring Roddy Ricch)
Winner: “Savage” by Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Featuring Beyoncé)
25. Best Rap Album
Black Habits by D Smoke
Alfredo by Freddie Gibbs & The Alchemist
A Written Testimony by Jay Electronica
Winner: King’s Disease by Nas
The Allegory by Royce 5’9″
Country
26. Best Country Solo Performance
“Stick That In Your Country Song” by Eric Church
“Who You Thought I Was” by Brandy Clark
Winner: “When My Amy Prays” by Vince Gill
“Black Like Me” by Mickey Guyton
“Bluebird” by Miranda Lambert
27. Best Country Duo/Group Performance
“All Night” by Brothers Osborne
Winner: “10,000 Hours” by Dan + Shay & Justin Bieber
“Ocean” by Lady A
“Sugar Coat” by Little Big Town
“Some People Do” by Old Dominion
28. Best Country Song
“Bluebird” by Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)
“The Bones” by Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)
Winner: “Crowded Table” by Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters (The Highwomen)
“More Hearts Than Mine” by Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)
“Some People Do” by Jesse Frasure, Shane McAnally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)
29. Best Country Album
Lady Like by Ingrid Andress
Your Life Is A Record by Brandy Clark
Winner: Wildcard by Miranda Lambert
Nightfall by Little Big Town
Never Will by Ashley McBryde
New Age
30. Best New Age Album
Songs from the Bardo by Laurie Anderson, Tenzin Choegyal & Jesse Paris Smith
Periphery by Priya Darshini
Form//Less by Superposition
Winner: More Guitar Stories by Jim “Kimo” West
Meditations by Cory Wong & Jon Batiste
Jazz
31. Best Improvised Jazz Solo
“Guinnevere” by Christian Scott aTunde Adjuah, soloist
“Pachamama” by Regina Carter, soloist
“Celia” by Gerald Clayton, soloist
Winner: “All Blues” by Chick Corea, soloist
“Moe Honk” by Joshua Redman, soloist
32. Best Jazz Vocal Album
Ona by Thana Alexa
Winner: Secrets are the Best Stories by Kurt Elling feat. Danilo Pérez
Modern Ancestors by Carmen Lundy
Holy Room: Live At Alte Oper by Somi With Frankfurt Radio Big Band, Conducted By John Beasley
What’s the Hurry by Kenny Washington
33. Best Jazz Instrumental Album
On the Tender Spot of Every Calloused Moment by Ambrose Akinmusire
Waiting Game by Terri Lyne Carrington + Social Science
Happening: Live at the Village Vanguard by Gerald Clayton
Winner: Trilogy 2 by Chick Corea, Christian McBride & Brian Blade
Roundagain by Redman Mehldau McBride Blade
34. Best Large Jazz Ensemble Album
Dialogues on Race by Gregg August
Monk’estra Plays John Beasley by John Beasley’s MONK’estra
The Intangible Between by Orrin Evans And The Captain Black Big Band
Songs You Like A Lot by John Hollenbeck With Theo Bleckmann, Kate McGarry, Gary Versace And The Frankfurt Radio Big Band
Winner: Data Lords by Maria Schneider Orchestra
35. Best Latin Jazz Album
Tradiciones by Afro-Peruvian Jazz Orchestra
Winner: Four Questions by Arturo O’Farrill & The Afro Latin Jazz Orchestra
City of Dreams by Chico Pinheiro
Viento y Tiempo – Live at Blue Note Tokyo by Gonzalo Rubalcaba & Aymée Nuviola
Trane’s Delight by Poncho Sanchez
Gospel/Contemporary Christian Music
36. Best Gospel Performance/Song
“Wonderful Is Your Name” by Melvin Crispell III
“Release (Live)” by Ricky Dillard Featuring Tiff Joy; David Frazier, songwriter
“Come Together” by Rodney “Darkchild” Jerkins Present: The Good News; Rodney “Darkchild” Jerkins & Jazz Nixon, producers; Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon, songwriters
“Won’t Let Go” by Travis Greene; Travis Greene, songwriter
Winner: “Movin’ On” by Jonathan McReynolds & Mali Music; Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters
37. Best Contemporary Christian Music Performance/Song
“The Blessing (Live)” by Kari Jobe, Cody Carnes & Elevation Worship; Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick, songwriters
“Sunday Morning” by Lecrae Featuring Kirk Franklin; Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Rafael X. Brown, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae
“Holy Water” by We The Kingdom; Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash, songwriters
“Famous For (I Believe)” by Tauren Wells Featuring Jenn Johnson; Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells, songwriters
Winner: “There Was Jesus” by Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters
38. Best Gospel Album
2econd Wind: Ready by Anthony Brown & group therAPy
My Tribute by Myron Butler
Choirmaster by Ricky Dillard
Winner: Gospel According to PJ by PJ Morton
Kierra by Kierra Sheard
39. Best Contemporary Christian Music Album
Run to the Father by Cody Carnes
All of My Best Friends by Hillsong Young & Free
Holy Water by We The Kingdom
Citizen of Heaven by Tauren Wells
Winner: Jesus Is King by Kanye West
40. Best Roots Gospel Album
Beautiful Day by Mark Bishop
20/20 by The Crabb Family
What Christmas Really Means by The Erwins
Winner: Celebrating Fisk! (The 150th Anniversary Album) by Fisk Jubilee Singers
Something Beautiful by Ernie Haase & Signature Sound
Latin
41. Best Latin Pop or Urban Album
Winner: YHLQMDLG by Bad Bunny
Por Primera Vez by Camilo
Mesa Para Dos by Kany García
Pausa by Ricky Martin
3:33 by Debi Nova
42. Best Latin Rock or Alternative Album
Aura by Bajofondo
Monstruo by Cami
Sobrevolando by Cultura Profética
Winner: La Conquista del Espacio by Fito Paez
Miss Colombia by Lido Pimienta
43. Best Regional Mexican Music Album (Including Tejano)
Hecho en Mexico by Alejandro Fernández
La Serenata by Lupita Infante
Winner: Un Canto Por Mexico, Vol. 1 by Natalia Lafourcade
Bailando Sones y Huapangos con Mariachi Sol de Mexico de Jose Hernandez by Mariachi Sol De Mexico De Jose Hernandez
AYAYAY! by Christian Nodal
44. Best Tropical Latin Album
Mi Tumbao by José Alberto “El Ruiseñor”
Infinito by Edwin Bonilla
Sigo Cantando al Amor (Deluxe) by Jorge Celedon & Sergio Luis
Winner: 40 by Grupo Niche
Memorias de Navidad by Víctor Manuelle
American Roots Music
45. Best American Roots Performance
“Colors” by Black Pumas
“Deep In Love” by Bonny Light Horseman
“Short And Sweet” by Brittany Howard
“I’ll Be Gone” by Norah Jones & Mavis Staples
Winner: “I Remember Everything” by John Prine
46. Best American Roots Song
“Cabin” by Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)
“Ceiling To The Floor” by Sierra Hull & Kai Welch, songwriters (Sierra Hull)
“Hometown” by Sarah Jarosz, songwriter (Sarah Jarosz)
Winner: “I Remember Everything” by Pat McLaughlin & John Prine, songwriters (John Prine)
“Man Without A Soul” by Tom Overby & Lucinda Williams, songwriters (Lucinda Williams)
47. Best Americana Album
Old Flowers by Courtney Marie Andrews
Terms of Surrender by Hiss Golden Messenger
Winner: World on the Ground by Sarah Jarosz
El Dorado by Marcus King
Good Souls Better Angels by Lucinda Williams
48. Best Bluegrass Album
Man on Fire by Danny Barnes
To Live in Two Worlds, Vol. 1 by Thomm Jutz
North Carolina Songbook by Steep Canyon Rangers
Winner: Home by Billy Strings
The John Hartford Fiddle Tune Project, Vol. 1 by (Various Artists)Matt Combs & Katie Harford Hogue, producers
49. Best Traditional Blues Album
All My Dues Are Paid by Frank Bey
You Make Me Feel by Don Bryant
That’s What I Heard by Robert Cray Band
Cypress Grove by Jimmy “Duck” Holmes
Winner: Rawer Than Raw by Bobby Rush
50. Best Contemporary Blues Album
Winner: Have You Lost Your Mind Yet? by Fantastic Negrito
Live At The Paramount by Ruthie Foster Big Band
The Juice by G. Love
Blackbirds by Bettye LaVette
Up And Rolling by North Mississippi Allstars
51. Best Folk Album
Bonny Light Horseman by Bonny Light Horseman
Thanks For The Dance by Leonard Cohen
Song For Our Daughter by Laura Marling
Saturn Return by The Secret Sisters
Winner: All The Good Times by Gillian Welch & David Rawlings
52. Best Regional Roots Music Album
My Relatives “Nikso Kowaiks” by Black Lodge Singers
Cameron Dupuy And The Cajun Troubadours by Cameron Dupuy And The Cajun Troubadours
Lovely Sunrise by Nā Wai ʽEhā
Winner: Atmosphere by New Orleans Nightcrawlers
A Tribute to Al Berard by Sweet Cecilia
Reggae
53. Best Reggae Album
Upside Down 2020 by Buju Banton
Higher Place by Skip Marley
It All Comes Back To Love by Maxi Priest
Winner: Got To Be Tough by Toots & The Maytals
One World by The Wailers
Global Music
54. Best Global Music Album
Fu Chronicles by Antibalas
Winner: Twice As Tall by Burna Boy
Agora by Bebel Gilberto
Love Letters by Anoushka Shankar
Amadjar by Tinariwen
Children’s
55. Best Children’s Music Album
Winner: All The Ladies by Joanie Leeds
Wild Life by Justin Roberts
Spoken Word
56. Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)
Acid for the Children: A Memoir by Flea
Alex Trebek – The Answer Is… by Ken Jennings
Winner: Blowout: Corrupted Democracy, Rogue State Russia, and the Richest, Most Destructive Industry on Earth by Rachel Maddow
Catch And Kill by Ronan Farrow
Charlotte’s Web (E.B. White) by Meryl Streep (& Full cast)
Comedy
57. Best Comedy Album
Winner: Black Mitzvah by Tiffany Haddish
I Love Everything by Patton Oswalt
The Pale Tourist by Jim Gaffigan
Paper Tiger by Bill Burr
23 Hours To Kill by Jerry Seinfeld
Musical Theater
58. Best Musical Theater Album
Amélie (Original London Cast)
American Utopia on Broadway (David Byrne, composer & lyricist) (Original Cast)
Star Wars: The Rise of Skywalker by John Williams, composer
61. Best Song Written For Visual Media
“Beautiful Ghosts” by Andrew Lloyd Webber & Taylor Swift, songwriters (Taylor Swift) Track from: Cats
“Carried Me With You” by Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile) Track from: Onward
“Into The Unknown” by Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel & AURORA) Track from: Frozen 2
Winner: “No Time to Die” by Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish) Track from: No Time to Die
“Stand Up” by Joshuah Brian Campbell & Cynthia Erivo, songwriters (Cynthia Erivo) Track from: Harriet
Composing/Arranging
62. Best Instrumental Composition
“Baby Jack” by Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Orchestra)
“Be Water II” by Christian Sands, composer (Christian Sands)
“Plumfield” by Alexandre Desplat, composer (Alexandre Desplat)
Winner: “Sputnik” by Maria Schneider, composer (Maria Schneider)
“Strata” by Remy Le Boeuf, composer (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)
63. Best Arrangement, Instrumental or A Cappella
“Bathroom Dance” by Hildur Guðnadóttir, arranger (Hildur Guðnadóttir)
Winner: “Donna Lee” by John Beasley, arranger (John Beasley)
“Honeymooners” by Remy Le Boeuf, arranger (Remy Le Boeuf’s Assembly Of Shadows)
“Lift Every Voice and Sing” by Alvin Chea & Jarrett Johnson, arrangers (Jarrett Johnson Featuring Alvin Chea)
“Uranus: The Magician” by Jeremy Levy, arranger (Jeremy Levy Jazz Orchestra)
64. Best Arrangement, Instruments and Vocals
“Asas Fechadas” by John Beasley & Maria Mendes, arrangers (Maria Mendes Featuring John Beasley & Orkest Metropole)
“Desert Song” by Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (Säje)
“From This Place” by Alan Broadbent & Pat Metheny, arrangers (Pat Metheny Featuring Meshell Ndegeocello)
Winner: “He Won’t Hold You” by Jacob Collier, arranger (Jacob Collier Featuring Rapsody)
“Slow Burn” by Talia Billig, Nic Hard & Becca Stevens, arrangers (Becca Stevens Featuring Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)
Package
65. Best Recording Package
Everyday Life by Pilar Zeta, art director (Coldplay)
Funeral by Kyle Goen & Alex Kalatschinow, art directors (Lil Wayne)
Healer by Julian Gross & Hannah Hooper, art directors (Grouplove)
On Circles by Jordan Butcher, art director (Caspian)
Winner: Vols. 11 & 12 by Doug Cunningham & Jason Noto, art directors (Desert Sessions)
66. Best Boxed Or Special Limited Edition Package
Flaming Pie (Collector’s Edition) by Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave, art directors (Paul McCartney)
Giants Stadium 1987, 1989, 1991 by Lisa Glines & Doran Tyson, art directors (Grateful Dead)
Mode by Jeff Schulz & Paul A. Taylor, art directors (Depeche Mode)
Winner: Ode to Joy by Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)
The Story of Ghostly International by Michael Cina & Molly Smith, art directors (Various Artists)
Notes
67. Best Album Notes
At the Minstrel Show: Minstrel Routines from the Studio, 1894-1926 by Tim Brooks, album notes writer (Various Artists)
The Bakersfield Sound: Country Music Capital of the West, 1940-1974 by Scott B. Bomar, album notes writer (Various Artists)
Winner: Dead Man’s Pop by Bob Mehr, album notes writer (The Replacements)
The Missing Link: How Gus Haenschen Got Us From Joplin to Jazz and Shaped the Music Business by Colin Hancock, album notes writer (Various Artists)
Out of a Clear Blue Sky by David Sager, album notes writer (Nat Brusiloff)
Historical
68. Best Historical Album
Celebrated, 1895-1896 by Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Unique Quartette)
Hittin’ the Ramp: The Early Years (1936-1943) by Zev Feldman, Will Friedwald & George Klabin, compilation producers; Matthew Lutthans, mastering engineer (Nat King Cole)
Winner: It’s Such A Good Feeling: The Best of Mister Rogers by Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)
1999 Super Deluxe Edition by Trevor Guy, Michael Howe & Kirk Johnson, compilation producers; Bernie Grundman, mastering engineer (Prince)
Souvenir by Carolyn Agger, compilation producer; Miles Showell, mastering engineer (Orchestral Manoeuvres In The Dark)
Throw Down Your Heart: The Complete Africa Sessions by Béla Fleck, compilation producer; Richard Dodd, mastering engineer (Béla Fleck)
Production, Non-Classical
69. Best Engineered Album, Non-Classical
Black Hole Rainbow by Shawn Everett & Ivan Wayman, engineers; Bob Ludwig, mastering engineer (Devon Gilfillian)
Expectations by Gary Paczosa & Mike Robinson, engineers; Paul Blakemore, mastering engineer (Katie Pruitt)
Winner: Hyperspace by Drew Brown, Julian Burg, Andrew Coleman, Paul Epworth, Shawn Everett, Serban Ghenea, David Greenbaum, John Hanes, Beck Hansen, Jaycen Joshua, Greg Kurstin, Mike Larson, Cole M.G.N., Alex Pasco & Matt Wiggins, engineers; Randy Merrill, mastering engineer (Beck)
25 Trips by Shani Gandhi & Gary Paczosa, engineers; Adam Grover, mastering engineer (Sierra Hull)
70. Producer Of The Year, Non-Classical
Jack Antonoff
Dan Auerback
Dave Cobb
Flying Lotus
Winner: Andrew Watt
71. Best Remixed Recording
“Do You Ever (RAC Mix)” by RAC, remixer (Phil Good)
“Imaginary Friends (Morgan Page Remix)” by Morgan Page, remixer (Deadmau5)
“Praying For You (Louie Vega Main Remix)” by Louie Vega, remixer (Jasper Street Co.)
Winner: “Roses (Imanbek Remix)” by Imanbek Zeikenov, remixer (SAINt JHN)
“Young & Alive (Bazzi Vs. Haywyre)” YOUNG & ALIVE (BAZZI VS. HAYWYRE REMIX)
Haywyre, remixer (Bazzi)
Production, Immersive Audio
72. Best Immersive Audio Album
Due to the COVID-19 pandemic, the Best Immersive Audio Album Craft Committee was unable to meet. The judging of the entries in this category has been postponed until such time that we are able to meet in a way that is appropriate to judge the many formats and configurations of the entries and is safe for the committee members. The nominations for the 63rd GRAMMYs will be announced next year in addition to (and separately from) the 64th GRAMMY nominations in the category
Production, Classical
73. Best Engineered Album, Classical
Danielpour: The Passion of Yeshua Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
Gershwin: Porgy and Bess David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore, Eric Owens, Metropolitan Opera Orchestra & Chorus)
Hynes: Fields Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
Ives: Complete Symphonies Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel & Los Angeles Philharmonic)
Winner: Shostakovich: Symphony No. 13, ‘Babi Yar’ David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)
74. Producer Of The Year, Classical
Blanton Alspaugh
Winner: David Frost
Jesse Lewis
Dmitriy Lipay
Elaine Martone
Classical
75. Best Orchestral Performance
Aspects of America – Pulitzer Edition Carlos Kalmar, conductor (Oregon Symphony)
Copland: Symphony No. 3 Michael Tilson Thomas, conductor (San Francisco Symphony)
Winner: Ives: Complete Symphonies Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Lutosławski: Symphonies Nos. 2 & 3 Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)
76. Best Opera Recording
Dello Joio: The Trial at Rouen Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
Floyd, C.: Prince of Players William Boggs, conductor; Alexander Dobson, Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
Winner: Gershwin: Porgy and Bess David Robertson, conductor; Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Handel: Agrippina Maxim Emelyanychev, conductor; Elsa Benoit, Joyce DiDonato, Franco Fagioli, Jakub Józef Orliński & Luca Pisaroni; Daniel Zalay, producer (Il Pomo D’Oro)
Zemlinsky: Der Zwerg Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)
77. Best Choral Performance
Carthage Donald Nally, conductor (The Crossing)
Winner: Danielpour: The Passion of Yeshuah JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)
Kastalsky: Requiem Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)
Moravec: Sanctuary Road Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)
Once Upon A Time Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)
78. Best Chamber Music/Small Ensemble Performance
Winner: Contemporary Voices Pacifica Quartet
Healing Modes Brooklyn Rider
Hearne, T.: Place Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods, Diana Wade & Place Orchestra
Hynes: Fields Devonté Hynes & Third Coast Percussion
The Schumann Quartets Dover Quartet
79. Best Classical Instrumental Solo
Adès: Concerto for Piano and Orchestra Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
Beethoven: Complete Piano Sonatas Igor Levit
Bohemian Tales Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
Destination Rachimaninov – Arrival Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
Winner: Theofanidis: Concerto for Viola and Chamber Orchestra Richard O’Neill; David Alan Miller, conductor (Albany Symphony)
80. Best Classical Solo Vocal Album
American Composers at Play – William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)
Clairières – Songs by Lili & Nadia Boulanger Nicholas Phan; Myra Huang, accompanist
Farinelli Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
A Lad’s Love Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)
Winner: Smyth: The Prison Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)
81. Best Classical Compendium
Adès Conducts Adès Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
Saariaho: Graal Théâtre; Circle Map; Neiges; Vers Toi Qui Es Si Loin Clément Mao-Takacs, conductor; Hans Kipfer, producer
Serebrier: Symphonic Bach Variations; Laments and Hallelujahs; Flute Concerto José Serebrier, conductor; Jens Braun, producer
Winner: Thomas, M.T.: From the Diary of Anne Frank & Meditations on Rilke Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
Woolf, L.P.: Fire And Flood Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer
82. Best Contemporary Classical Composition
Adès: Concerto for Piano and Orchestra Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)
Danielpour: The Passion of Yeshuah Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
Floyd, C.: Prince of Players Carlisle Floyd, composer (William Boggs, Alexander Dobson, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)
Hearne, T.: Place Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)
Winner: “Brown Skin Girl” Beyoncé, Blue Ivy & WizKid Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Astrid Edwards, Aya Kaida, Jean Mougin, Nathan Scherrer & Erinn Williams, video producers
“Life Is Good” Future Featuring Drake Julien Christian Lutz, video director; Harv Glazer, video producer
“Lockdown” Anderson .Paak Dave Meyers, video director; Nathan Scherrer, video producer
“Adore You” Harry Styles Dave Meyers, video director; Nathan Scherrer, video producer
“Goliath” Woodkid Yoann Lemoine, video director; Horace de Gunzbourg, video producer
84. Best Music Film
Beastie Boys Story Beastie Boys Spike Jonze, video director; Amanda Adelson, Jason Baum & Spike Jonze, video producers
Black Is King Beyoncé Emmanuel Adjei, Blitz Bazawule, Beyonce Knowles Carter & Kwasi Fordjour, video directors; Lauren Baker, Akin Omotoso, Nathan Scherrer, Jeremy Sullivan & Erinn Williams, video producers
We Are Freestyle Love Supreme Freestyle Love Supreme Andrew Fried, video director; Andrew Fried, Jill Furman, Thomas Kail, Lin-Manuel Miranda, Sarina Roma, Jenny Steingart & Jon Steingart, video producers
Winner: Linda Ronstadt: The Sound of My Voice Linda Ronstadt Rob Epstein & Jeffrey Friedman, video directors; Michele Farinola & James Keach, video producers
That Little Ol’ Band From Texas ZZ Top Sam Dunn, video director; Scot McFadyen, video producer
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