#Turnpike Troubadours Review

[thebowerypresents]

Ravenous Crowd Welcomes Turnpike Troubadours to the Beacon Theatre

Turnpike Troubadours – Beacon Theatre – July 25, 2023

“Turnpike is still Turnpike.”

It perhaps wouldn’t mean much to big swaths of the known universe, but to the pocket of country music lovers for whom Red Dirt country is a calling card, and the Turnpike Troubadours are one of its most-revered exports, it was everything. Specifically, it was April 2022, and as the beloved Oklahoma six-piece returned to the stage after a hiatus — and, for a hot minute there, a very uncertain future — it was word-as-bond: The band was back in action and ready to slay. 

On Tuesday night at the resplendent Beacon Theatre, slay they did. Turnpike Troubadours played their first proper New York City show since 2018, and a ravenous crowd greeted them like conquering heroes, lapping up every snare crack and twang of a 90-minute show. This is a band that really feels it when they’re all on and makes the crowd feel included in that too — you grok these songs. Along with charismatic frontman and singer-guitarist Evan Felker, drummer Gabe Pearson and bassist R.C. Edwards lock in and never fall out of their pocket, and lead guitarist Ryan Engleman and fiddle player Kyle Nix set things ablaze — counterpointing the other’s string tone in hot moments and soft ones alike. Hank Early is the other not-so-secret ace. A swingman in this group, he plays banjo, pedal steel, accordion and dobro, always just right, whether it’s a dapple, pluck, undertone or something else needed. The bigness and nuance in the band’s sound feel like it needs all six of them, any one musical voice would be a conspicuous absence.

The best Turnpike Troubadours songs balance the poignancy of folk with the rollick of stadium country that could veer pop but for these guys, doesn’t ever quite go there. Felker and the rest of the six-piece got to business right away with them on Tuesday, summoning Turnpike staples “Every Girl” and a raucous “7 & 7” and then steering the band into the whipcrack hoedown of “Before the Devil Knows We’re Dead” and the wistful country waltz “The Bird Hunters.” 

They’d play with all of these modes again — often multiple times — as they moved panoramically through their best-loved material, including the choogling “The Winding Stair Mountain Blues,” the stinging, rock-leaning “Gin, Smoke, Lies,” the tender “Diamonds & Gasoline” (performed as a duo between Felker and Early on dobro) and “Good Lord Lorrie,” the sad-sardonic love story with not a little Bob Dylan in it. There were new songs too, anticipating the band’s long-awaited new album — next month’s A Cat in the Rain — including “Chipping Mill,” which was self-effacing and somber, and “Mean Old Sun,” which was kind of sinister sounding. Welcome back, fellas. —Chad Berndtson | @Cberndtson

(Turnpike Troubadours play the Beacon Theatre again tonight.)

Photos courtesy of Silvia Saponaro | @Silvia_Saponaro

[thisaintascenereviews]

Old Crow Medicine Show - Jubilee

Fun fact: I’ve gotten really into bluegrass over the last couple of years, especially modern stuff. I love a lot of the modern country artists that include folk, Americana, and bluegrass influences, and one of the first outright bluegrass bands I ever listened to was Old Crow Medicine Show. These guys are famous for the song “Wagon Wheel,” which is partially penned by Bob Dylan. He wrote the chorus in 1973, whereas the band wrote and recorded the rest of the song in the early 00s, but Hootie & The Blowfish singer Darius Rucker put out a cover in the early 2010s that was very popular and renewed interest in the song. I don’t remember the album I first listened from OCMS, which was 2018’s Volunteer, but I do remember it being good. I didn’t listen to their last album, 2022’s Paint This Town, but I was surprised to find they released a new album this past week, entitled Jubilee.

This past week was a real home run for country, including new albums from this band, Turnpike Troubadours, and Zach Bryan, but this record is really solid. It’s nice hearing these guys again, because they’re a band that doesn’t necessary do anything out of the ordinary, but when they do release an album, it delivers in every way you’d expect. You’ve got a great mix of fun and energetic bluegrass cuts with some quieter and more introspective moments. For every song like the real fun and tongue-in-cheek track “Keel Over And Die,” you get something like “Miles Away” with original member Willie Watson, or “Allegheny Lullaby,” which is a song that talks about a character wanting to get out of the town he lives in, due to the limited opportunities for work. The album knows when to have fun, but it also has some poignant moments on it.

I was debating on writing about this album, but only because I wasn’t sure I had enough to say about this album to warrant a full review. Truth be told, there’s not much to say here, but this is a fun, catchy, well-written, and well-performed bluegrass album that has some poignant moments and a few great guest spots. Sierra Ferrell has a fun moment (she also appears on the new Zach Bryan album, coincidentally), but Mavis Staples appears on closing track “One Drop” that has a nice country gospel feel to it and ends the album on an optimistic note. This record may not necessarily blow your mind, but it’s one of those albums that works perfectly for what it is, and/or if you’re in the mood for what it has to offer. I wouldn’t say this is one of my top favorites of the year, but it’s a damn good album, nonetheless.

[americanahighways]

REVIEW: The Red Clay Strays "Made By These Moments"

REVIEW: The Red Clay Strays "Made By These Moments" @redclaystrays @americanahighways #americanamusic #amerianahighways #madebythesemoments @davecobb7 #HBYCO #newmusic2024 #writtenbyahuman

The Red Clay Strays – Made By These Moments The 5-piece band from Mobile, Alabama, The Red Clay Strays have a new album Made by These Moments, out via RCA Records and produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell).  In the tradition of bands like the Turnpike Troubadours, the Red Clay Strays offer big sound, big emotion and anthemic songs in glorious Southern…

[themusicenthusiast]

Single Review: “The Housefire” by Turnpike Troubadours

It has felt like a long (almost) two years that fans of the Turnpike Troubadours have been waiting for new music, thanks in large part to the bands’ rabid fan base that is constantly eager to know what will be coming next from the acclaimed Americana/Red Dirt outfit. The small handful of new songs that have seeped into the set lists at live shows over the past year has only fueled anticipation, people knowing something had to be coming soon. That something is A Long Way from Your Heart (due out on October 20th via Bossier City Records), and to whet appetites they released “The Housefire”, the song from which they derived the album title acting as the lead single (and lead track) from their upcoming fifth studio album. It’s immediately evident the song is one of the Troubadours, yet it’s different. The harmonica that sets it in motion screams Turnpike Troubadours as does the fiddle, some serene and gorgeous notes coming at just the right places, while the twangy pedal steel guitar is artfully woven in, arguably being the most enticing quality about “The Housefire”.

The instrumentation feels more akin to the Diamonds & Gasoline era – a great stage to draw from – with the one difference that everything sounds more precise. RC Edwards, Kyle Nix, Ryan Engleman, Evan Felker, Gabriel Pearson, and Hank Early have clearly put plenty of effort into refining and further honing their sound, this song at least representing a huge step forward from even their self-titled effort of 2015. That’s not to insinuate that “The Housefire” is some vast departure, but rather that the musicians have noticeable put work into further perfecting their sound, seizing upon the mindset that there is always room for improvement, now sounding more self-assured than ever; the music bed standing as one of their most solid and pronounced one’s ever, and it’s pretty close to perfect. There’s some rock tendencies heard it; the verses being more in the vein of a folk or even a singer/songwriter track, one that is then fleshed out with their Red Dirt/country stylings. A unique blend, for sure, but one that ensures the music is as riveting as the story. In regards to the story, “The Housefire” winds up being Felker’s greatest achievement to date, which is definitely saying something. Every Troubadour fan knows that he’s a talented singer and songwriter, though this offering showcases his knack as a storyteller in a completely different light. It is a legitimate story song, and while it centers around events that Felker surely hasn’t experienced firsthand, he has no trouble convincing the listener that he has lived it. Just as Bruce Springsteen is infatuated by “Mary”, Felker seems equally taken by “Lorrie”, that character – or at least a version of her – making another appearance in “The Housefire”, this time filling the role of the heroine. As the title suggests it’s a song about losing everything from the perspective of a young couple who has recently started their own family. It’s most compelling elements are found in the nuances of the lyrics, the tiny details that almost seem irrelevant from the listeners perspective yet in actuality are what make the song so convincing, further perpetuating the idea that these are accounts taken directly from Felker’s personal life. For example, portions of the first verse. “…Lorrie grabbed the baby and we made it safe outside… and wrapped him in a Carhartt coat she found out in my ride.” The fact that the baby got bundled up in something even seems unnecessary, let alone a specific brand of coat that acted as a makeshift blanket, yet those specific details serve to make “The Housefire” feel overwhelmingly real. They paint a vivid picture in people’s minds. The fact that this is happening in the midst of December almost being casually slipped in on the second verse, the line “Next thing I remember I was barefoot in December…” portraying the other character, the husband, as still being dismayed and in shock as he works to process things. In just minutes it thoroughly explores the devastating events and the aftermath, from the family losing everything but a couple of possessions the man ventured back inside to get (“…I got out with a photograph and my old auto 5.”) to the frightening uncertainty the now looms, the characters finally feeling like they might be getting ahead in life but have suddenly found themselves back at square one. Nothing to call theirs, residing in a motor home that’s barely standing. Nevertheless, there’s an overwhelming sense of optimism about the song, shining through even on the choruses and heard best on the fourth verse, “She said, ‘I'll bet you make it. It's a long way from your heart’.” That’s where it’s relatable to anyone going through a hard time, because at its core “The Housefire” is about how you confront adversity. It may not be easy, but it’s always possible to move on, the song focusing on the resilience of the human spirit even in the darkest of times as it stresses to remember what you do have and remain grateful for it. As it comes to a close, it comes full circle, explaining the significance of those two personal items that were worth rushing back into a burning home for. “…A picture of the three of us and my grandfather's Browning.” “The Housefire” successfully and with absolute ease puts the listener in the shoes of the characters it depicts, lyrically touching on the key senses (sights, sounds and smells) of such an event and the flood of emotions that come after, ultimately creating as authentic an experience as any song could ever hope to. Despite the down-and-out moments, it winds up being a reminder to never let things get you down, no matter what hand you get dealt. “Getting by” is relative, and so long as you have the most important things -- such as your family -- you may be able to do that with less than you ever thought possible. This single seemingly introduces fans to a new era of the Turnpike Troubadours. “The Housefire” having them in rare form even by their standards, and in all aspects, the music and the lyrics, it is a cut above their previous material. They may well have pushed themselves to a new level independently and as a collective and if the rest of A Long Way from Your Heart is on par with this track than they’ll prove that. Pre-order A Long Way from Your Heart on: iTunes | Google Play | Amazon MP3 Visit Turnpike Troubadours’ websites: Official Website | Facebook | Twitter Current Shows: 2017 September 14--The Rev Room--Little Rock, AR 16--Blue Note--Columbia, MO 23--Diamondhead Resort--Tahlequah, OK 29--Western Days in Downtown Lewisville--Lewisville, TX 30--Mighty Mississippi Music Festival--Greenville, MS October 6--The Shrine Mosque--Springfield, MO 7--Scottie's Grill--Texarkana, TX 12--Hacienda Event Center--Midland, TX 13--Wolf Pen Creek--College Station, TX 14--The Blue Light Live Street Concert--Lubbock, TX 20--The Criterion--Oklahoma City, OK 23--The Walker Theatre--Chattanooga, TN 25--Gramercy Theatre--New York, NY 27--Jefferson Theater--Charlottesville, VA 28--Variety Playhouse--Atlanta, GA 29--Druid City Music Hall--Tuscaloosa, AL November 10—Boondocks--Springfield, IL 11--Vic Theater--Chicago, IL 2018 February 9-- Truman Water Front Park Theater--Key West, FL

[sinceileftyoublog]

Turnpike Troubadours Live Show Review: 3/2, NRG Stadium, Houston Livestock Show & Rodeo

BY JORDAN MAINZER

Past rodeos have been bigger. Oklahoma’s Turnpike Troubadours play venues the size of the House of Blues in Chicago, so I was surprised to hear they were to draw as big of a crowd as the Houston Texans for the annual tradition that is the Livestock Show & Rodeo. And you know what? The country band from the neighboring state did. Immediately launching with Diamonds & Gasoline favorites “Every Girl” and “7 & 7″, Evan Felker provided to adoring fans his usual mix of subdued but heartfelt vocal performances and intimate, personal stories, and fiddler Kyle Nix the emotional backbone above wailing guitars. Not exactly outlaw country, not exactly rock ‘n’ roll, and not exactly indie-approved Isbell-esque singer-songwriter music, Turnpike Troubadours were unique and efficient.

While 2017′s A Long Way From Your Heart is the band’s most mature album to date, they definitely have some contemporary country classics from previous albums, many of which they played last night. The memorable choruses of “Gin, Smoke, Lies” and “Good Lord Lorrie” instantly won new fans, while Felker’s occasional harmonica playing melted the crowd. Drawn-out instrumental introductions of the band preceded the closer, their beloved cover of John Hartford’s 1976 gem “Long Hot Summer Day”, sending the crowd home happy.

Yet, I still left the performance wishing I had seen Turnpike Troubadours at a smaller venue, because what they didn’t sound like was a band that could totally overcome an arena with nightmare acoustics. If it hadn’t been for the lyrics of the songs been broadcast on a small side screen, I wouldn’t have been able to make out what Felker was saying if I didn’t know the songs, words that are central to the band. It’s safe to say that the lean band’s lack of crowd banter and, frankly, pandering--especially in favor of verbose songwriting--will mean they may not ever fit a stadium even if they can fill it. And really, that just gives me a reason to catch them again elsewhere.

[hillbillyhippiemusicreview]

POST #38- Ritch Henderson | An Interview & Performance

“One person’s perception of another person’s artwork is just that.” - Ritch Henderson

Y’all- If you haven’t read post #37 about our interview with Unbroken Circle Productions and the music scene in Madison, Indiana on February 29, 2020, go read it first! It’s a great preface to this cowritten piece from The Hillbilly and The Hippie (aka Nathan & Lyssa)...If you did your homework and previously read that piece, then you are already familiar with “Music City Indiana” and the Red Bicycle Hall, so you should definitely keep reading:

After wrapping up our interview with Unbroken Circle Productions and departing Shipley’s, two-thirds of the HHMR team were greeted at the door of the Red Bicycle Hall by David Richards (the man and beard responsible for bringing Ritch to Madison) and quickly escorted upstairs to the exquisitely beautiful green room. With stunning exposed brick walls and bright string lights festooned across the ceiling, we instantly knew we were in for something special!

As we made our way to the end of the room to the large windows overlooking the quaint and beautiful Main Street of Madison, we were warmly embraced by two of the best dudes in the independent music scene, Ritch Henderson and his tour-manager “Young” Ethan Perkins. After a few minutes of catching up we sat down to do our first ever artist interview at HHMR.

(Just a heads up, y’all, we started with a few of the stereotypical artist interview questions, but then dove into some deep and introspective ones, along with a few somewhat silly questions get to know Ritch a little more as the person behind the artist.)

Our conversation began by Ritch explaining why he first picked up a guitar and pursued music: With a drumming background, Ritch was stationed in Afghanistan as he served our country in the Marine Corps, when his mom sent over an Epiphone J-Series guitar. He and his buddies learned to play and began writing songs together to pass time and form a camaraderie with the ones he spent so much time with. For Ritch, it was a way to connect to home and his family, but also a way to improve troop morale and keep spirits up. Y’all just that thought gave me chills.

When asked what instruments he possesses the ability to play, Ritch explained to us that he only officially claims to be a drummer. He plays guitar out of necessity to be an independent solo artist; however, he also dabbles with the bass and a few other undisclosed instruments.

*Side bar: During our conversation, Ritch mentioned his love for other musical genres, such as hip-hop, because “he can get down” with some hip-hop tunes and spit some bars. So I’d suggest looking him up on YouTube.*

While Ritch wouldn’t (couldn’t?) confirm the first song he had written, he did tell us that “Muddy Water” and “Autumn Moon” were very early pieces in his writing career. “Muddy Water” is a song that Ritch doesn’t play during shows often these days, but he declares it “very much a country song” and compares it to those written by Cody Jinks. “Autumn Moon,” on the other hand, is one of Ritch’s more popular works that he regularly works into his set list whilst sharing the hauntingly honest love story behind the song.

After discussing Ritch’s influences of Jason Isbell and Tyler Childers, among others valuable artists, we asked Ritch to describe his sound. Ritch answered by saying his sound is “a stew of what I’m into. Just a blend of country, soul and rock-n-roll.” He has written what he refers to as country waltzes, blues and folk pieces with inspiration coming from the “eclectic blend of the stuff [he] experienced growing up.” He also said he doesn’t set out to write a specific style of song, just to write the way he feels.

Any wise musician in this day and age utilizes social media wisely. In our interview with Ritch, we considered it’s impact on the music industry, and Ritch possesses quite the view on the subject. We discussed that although it can be a dual-edged sword, and perhaps a necessary evil at times, the presence of social media is overwhelmingly positive in an artist’s life, when used correctly. Ritch perfectly described it as the new-age “stapling your poster on the light pole outside of the venue.” It’s an invaluable resource that gives artists and reviewers such as ourselves a free platform to grow their name and the brand. In regards to social media, we touched on the potential of overexposure and frequency of posting for artists. Ritch paused, considered the notion, ran his hand over his “thinking beard” and then concluded that overexposure or over-saturation on social media is far better than zero exposure. We here at HHMR tend to agree.

To conclude a great session of on-the-record questions and an off-the-record and thought-provoking discussion on artistry and the perception of it, we transitioned from stereotypical interview questions to topics that dove directly into Ritch’s personality and “off-the-stage” self. This began by Ritch sharing that his most useless talent is bass fishing. According to Ritch, he can “slay swamp donkeys.” So if y'all see a tattooed long haired fella in an Alabama hat runnin’ down the road with a guitar and a jon boat strapped on top of a Battle Wagon, be sure to wave at Ritch and yell War Eagle! Gets him all geared up for those swamp donkeys! Or so we hear...

Moving on from useless talents, Ritch then told us that his nerdiest hobby is reading “informational books,” primarily those that focus on local history where he grew up. He proudly proclaimed that he doesn’t read anything fictional and has only read two fictional books in his entire life—which explains the wealth of information he stores in his brain. He shared with us that the book he is currently reading focuses on the Black Warrior Mountains in Alabama and is written by one of his favorite authors, Rickey Butch Walker. During this part of the interview, Ritch also dropped the bombshell that he is working on a three part concept record comprised of 30 songs AND a novel to accompany it, telling the stories and experiences of characters woven throughout the songs. Certainly a man of many talents! Some more useful (and intriguing) than slaying swamp donkeys, apparently.

Our historical discussion led us to collecting: namely Ritch’s personal collection of guitars and old rings. While out on the road, he doesn’t buy into the typical troubadour stereotype and spend his time partying at bars. Instead, he and Young Ethan scour antique malls and peddlers malls across America for vintage rings, specifically those with turquoise.

The ever-enlightening conversation concluded with Ritch defining his spirit animal: the owl. The owl came to Ritch’s attention when he was attending Kickin’ it on the Creek and he drew a medicine card that depicted a wise Owl. After reading the card, he realized that it perfectly aligned with him and it was then that the universe declared his spirit animal an owl. Ritch believe this to be so true, that his custom guitar case by the talented Brittany Alexander (seen below) depicts a psychedelically painted owl.

After the interview, HHMR made our way downstairs while Ritch prepared for his set. Little did we know we were about to be treated to one of the most intimate shows we had ever encountered. The Red Bicycle Hall presented the perfect location for Ritch to captivate the audience with his decent jokes, stellar songwriting, and passionate vocals. And captivated they were. On the songs people knew, you heard a choir of voices echoing in the historic room singing along. When Ritch played a new tune, you could hear a pin drop. He played mostly original music that night, with a few covers by Turnpike Troubadours, Timmy Ty Childers, and music’s Lord and Savior Jason Isbell, mixed in. Ritch’s originals prompted such a reaction that a lady in the crowd, previously unfamiliar with Ritch’s catalogue, leaned up to my friend and I when we were singing and said “Do you know this guy? He’s amazing!”

“Lithium,” a raw, introspective song about Ritch’s struggle with bipolar disorder left many with their jaws on floor. “If It’s Only For Tonight” had a few visibly choked up, whilst “Finally Comin’ Round” and “The Story So Far” surely induced a fervor of toe-tappin’ that simply couldn’t be quelled. Throughout his sets, his demeanor was self-effacing and honest—if not effervescent. The stories behind the songs left the audience in the palm of his hands, thinking deeply and knowing him as an artist—and human—a little better with each one. Other original songs on the set-list included my personal favorite tear-jerker, “We Are, Were, & Never Will Be,” the ever-encouraging “We All Fall Sometimes,” the longing for lost love and quite melodic “Autumn Moon,” the tongue-in-cheek “Dust, Here in the Wind,” and the eye-opening “Incarceration Song.” The night ended in the breathtaking green room with an intimate performance of “Who Are You.” It was a positively beautiful night full of magic in the air.

Y’all, with all of that being said, the scene is “Music City Indiana” is alive and growing day by day! Unbroken Circle Productions is bringing in some of the best artists in the business. Ritch Henderson is blowing audiences away everywhere he goes and is gaining popularity swiftly, so hop on the train now and hang on!

As always, go to the show, buy the merch, and support local, independent and live music!

-Cheers, N & Lyssa.

*This is an independent review. The Hillbilly Hippie Music Review was not compensated for this review.

*The opinions expressed are solely that of the author(s).

[chorusfm]

Turnpike Troubadours – A Long Way from Your Heart

“I remember smelling smoke/I woke up, I was choking/Lorrie grabbed the baby and we made it safe outside.” So begins Turnpike Troubadours’ A Long Way from Your Heart, with a family fleeing a burning house. It’s a stark place to start. The characters in this song lose everything but their lives, a photograph, and a shotgun. But the song that takes those things away, called “The Housefire,” is rollicking and lively instead of being dark and downtrodden. There’s even a ripping guitar solo in the song’s extended outro, while the ever-present fiddle—a crucial element of Turnpike Troubadours down-home country sound—flits through the arrangement almost triumphantly. “Lord knows that I’ve been blessed/I can stand up to the test/I can live on so much less/This much I’ve been learning,” Evan Felker sings in the chorus, because “The Housefire” isn’t about a burning house; it’s about bidding farewell to material encumbrances and realizing what really matters following a crushing tragedy. It’s about finding hope in a dark turn of fate. In a word, it’s about resilience. On the whole, those same descriptors apply to A Long Way from Your Heart as a whole. These songs are tinged with tragedy, but they are also populated by characters who carry on regardless. The title of the album comes from the bridge of “The Housefire,” where the narrator starts lamenting the “heavy blow” his family has just been dealt. “I’ll bet you make it, it’s a long way from your heart,” his wife responds wryly. You’ll survive, in other words. ‘Tis but a scratch! That’s a powerful message, especially in a song about something that would bring anyone to their knees. But A Long Way from Your Heart is a record about enduring the hard times and cherishing the good ones, and it’s nothing short of life-affirming in that scope. Album centerpiece “Pay No Rent” is a gorgeous ode for a lost family member, and about how “It takes a lot of blood and tears just to really love someone.” The narrator of “Old Time Feeling (Like Before)” is pining after a girl who moved away (and left him behind) to chase her dreams. And “Sunday Morning Paper” is a song about the brevity of life, told through the prism of a newspaper reporting the death of a beloved country-rock icon. By all accounts, these songs should be powerfully sad, and in part, they are. When Felker sings “Is all this living meant to be or a happy accident?/But in my heart, you pay no rent,” it’s the perfect encapsulation of what it means to carry a person in your heart even after they’re gone. But Turnpike Troubadours fit levity into these songs, weaving a complex patchwork of emotions that makes A Long Way from Your Heart deeper and more nuanced than it seems on first listen. “Pay No Rent,” for instance, is more about recalling your favorite memories of a person than it is about mourning their loss. “Old Time Feeling (Like Before)” sees Felker nourishing his broken heart, even though he knows that if the girl he’s singing about ever comes back, she’ll play him like a violin once more. (“Well I don’t mind you playing me/Just keep it in a major key,” he sings, exuding humor, warmth, and self-awareness.) And “Sunday Morning Paper” is downright jaunty, filled with jazzy, saloon-worthy piano and tipsy fiddle. “Sunday morning paper said/Rock & Roll is surely dead/I don’t think I’ll ever let it go,” Felker intones at the very end, before adding a jokey tag: “Even though it’s just Rock & Roll.” What makes Turnpike Troubadours so fun is that they don’t write songs about standard things—or at least, not in standard ways. That much was probably evident to anyone who heard the band’s 2015 self-titled effort, which kicked off with a detailed story about getting over a breakup while out hunting birds. A Long Way from Your Heart doesn’t quite reach the levels of Turnpike Troubadours. There’s no song quite as perfect as that album’s centerpiece divorce narrative “Long Drive Home,” which has the best Hank Williams callout of any modern country song. But the band’s talent for writing and arranging unique, thought-provoking songs is still intact. “Unrung,” for instance, is about watching a good friend fall for a girl half his age (“You’ve got a Chevrolet as old as her/Hell, you bought it new”). “A Tornado Warning,” meanwhile, sees it’s narrator falling for a girl while they’re weathering a storm together. And “The Winding Stair Mountain Blues” is about a near-violent falling out between two lifelong friends—one an upstanding everyman, the other a loose cannon. The interesting lyrical perspectives, paired with the amount of depth and detail behind each song, flag Evan Felker as one of the greatest songwriters in America right now. Easily, this guy could be a respected singer/songwriter, even if he just played these songs on an acoustic guitar. The fact that Turnpike Troubadours are one of the most musically accomplished bands in any genre takes the songs to another level, making them more potent, rousing, and impactful than they would be otherwise. From Kyle Nix’s deft fiddle playing to Ryan Engleman’s classic-sounding guitarwork, all the way to the accents of Hank Early’s pedal steel, these songs are exquisitely played and fully realized. With their 2015 self-titled record, Turnpike Troubadours hit a new high, both musically and in terms of chart performance. The album peaked at 17 on the Billboard 200, and was a top five record on the country, folk, rock, and indie charts. With A Long Way from Your Heart, the band seems poised to reach even higher. The success is refreshing: country is a genre dominated by solo artists, so it’s nice to have an outfit like Turnpike Troubadours reminding everyone how great well-written songs can sound with the might of a seasoned, collaborative band behind them. Even if Turnpike Troubadours remain country’s best-kept secrets, though, they’ll probably be fine with it. Just like the characters in their songs, these guys are resilient enough to endure. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/review/turnpike-troubadours-a-long-way-from-your-heart/

[austinstatesman]

The new The Turnpike Troubadours album is out today, and it just might be the Oklahoma red dirt band's best outing yet.

[farmtowngirl]

Graduation, Brazil, and Earning a Masters

So I've been pretty busy since the last time I posted. I had the end of my final semester going on and earned my B.S., I went on a trip to Brazil with the College of Ag, worked, and I've started work on my masters which is going to be a beast unto itself. I'll be honest, I also got writer's block and couldn't come up with new content that I was happy with. But I'm back now and I've (kind of) got a plan!

Oh, I also adopted a dog from the humane society, Miss Lorrie, as in Turnpike Troubadours' Good Lord Lorrie.

So the end of last school year was crazy, I honestly can not believe I managed to graduate in three years! I didn't get to take time and soak that in though because literally three day's later I was on a series of flights to Brazil with four other girls and two teachers from the College of Ag. I was only there for a week but it was beyond incredible to be able to go and see agriculture in Brazil. I had a blog dedicated to each day of our trip as a part of my coursework for the Study Away trip, here's the link but I will probably end up writing a post on here about the trip as well now that I've had time to soak it all in.

After Brazil, I went to work as a lifeguard at my 4-H camp (I've been going for as long as I can remember) after camp was over I was working for my 4-H Youth Specialist in the office and just generally being another set of hands. My summer wrapped up with an internship at the Missouri State Fair. I worked under the Youth in Agriculture Committee to help with the Sale of Champions, really loved being there every day once the fair was open because of all the fair food!

Almost immediately after that school started back up. However, I was not there, well not the very first day anyway, I decided to stay home and see the solar eclipse since my home was in totality but school wasn't.

Now that I'm back to school it's been weird, I've gone from taking 18 credit hours a semester down to nine, but now I'm doing research for my thesis paper so that is going to take up A LOT more of my time! I am taking a photography class this semester so at least I have that to help keep me sane, besides Lorrie I mean. It's weird to think that Mid Term has just passed, it feels like just yesterday it was only the beginning of September. Also, this means the due date on my lit review for my research is getting closer and closer, but I try not to think about that too much.

I tried macro photography for the first time and didn’t completely fail!

What can I say, I’m an ag kid, in an ag photography class, there are going to be cattle.

MORE MOOS!!!!

(I’m just really excited about my photography class if you couldn’t tell)

I even came up with my own logo/watermark for my photos, circle flying B, not only does it look cool but it's the brand I would like to use one day with any cattle I may have. I feel like there's a lot of other stuff that's been going on but I can't remember what it was so I guess (hope lol) that it wasn't super important.

I can see no better way to end this post than with a song about Lorrie, so here you go.

https://www.youtube.com/watch?v=oOe6zdbzLAg

[johnebaumann]

Country Exclusive Review: Proving Grounds

Rating: 8.5/10

Texas country and Red dirt, despite all of the many influences and sounds, still really comes down to two sides, just like its Nashville counterpart–there’s more of an equal playing field in Texas and Oklahoma, and that’s ultimately the difference, but the point is, you still have your serious, singer-songwriter types and your more pragmatic, commercial types. 

The former would be the Jason Eadys and Courtney Pattons and Jamie Lin Wilsons, and the latter would be the Aaron Watsons and Josh Abbotts, and the beauty of it all is that each artist gets to choose their own path. And then sometimes, you get artists like Turnpike Troubadours; I remember Jamie Lin Wilson telling me they could play in listening rooms or big venues because Evan Felker writes deep songs “that also make you want to party.” And it would seem that John Baumann has managed to capture that spirit as well on his latest album, Proving Grounds, effortlessly blending the serious and the fun, the bright and the dark, into a really enjoyable album, an album that I think will have quite a lot of mileage throughout the year.

John Baumann has said that this is his most personal record, and you can feel that echoing throughout the album, from the stirring opener, “Here I Come,” to the nostalgic closer, “Pontiacs,” which goes on for over eight minutes. The opener details Baumann’s dreams as a child to one day become a successful singer-songwriter and reflects on his life now as he gets closer to being a “high plains troubadour.” I think “High Plains Troubadour” would have been a great name for this record. The closer, as I mentioned, is nostalgic and sees John Baumann as an adult, wishing for just one more day to be young. Admittedly, this is not one of my personal favorite tracks, but it does serve as a closing thought to the journey started in “Here I Come,” and together, the two frame the album nicely. In between, we learn, in sharp detail, the pain of Baumann’s father dying in “Old Stone Church,” and how each family member coped in their own way. With its simple melody and honest, glaringly specific lyrics, this one stands out proudly on the album and will relate to anyone who has been through the pain of losing a loved one despite it being so personal to Baumann.

In less autobiographical, but no less serious, moments, there’s the beautiful love song “Turquoise” and the thoughtful “Lonely in Bars”–I’d like to take a moment to point out that the former takes place entirely by a river in the moonlight, and that the latter is about two people meeting in a bar and the offer for more, and yet neither of these songs manage to be clichéd, disrespectful, generic, etc. IN “Turquoise,” the only parts of the woman we ever hear about are her “turquoise eyes” and it never goes further than “the first kiss I plan to give her.” In the latter, the story line goes far deeper than just meeting at a bar and hooking up; you hear the details about the woman not having a ring and having been in a troubled relationship with an older man, and you hear the narrator making the offer to stop being lonely in bars and see what happens, “embarrassment be damned.” Either of these, especially “Lonely in Bars,” could legitimately be mainstream hits, or they could have been, if they were less well-written or respectful. Essentially, they started with moonlit rivers and midnight bars, the foundations for mainstream hits, and then actually progressed into great songs.

Mixed in with all these great songs, we get the fun side of John Baumann. “The Trouble with Drinkin'” has got to be one of the catchiest songs I’ve heard this year; that fiddle is awesome, and it would be great live. There’s another one dealing with addiction in “Heavy Head,” and the beauty in “Turquoise” is followed by the more lighthearted “Love #1” which could be seen as the continuation to that song. Texas songwriters are often criticized–and many times rightfully so–for their continuous references to Texas, but “Holding it Down” manages to be clever, witty, and catchy despite this. There are so many artists that could take a lesson from this–you can make a song about Texas in a smart way. “When Ophelia Comes to Town,” with its lively, rocking production, is one of my personal favorites here, and one of the most fun; it details all the things the narrator does to get ready for a woman to visit, and all the things they’ll do once she arrives. I wasn’t expecting the twist at the end, and I almost wish it had stayed fun because in the end, he gets word that “Miss Ophelia’s dead.” But the song’s still fun, and it’s still one of the standouts for me.

So, if you haven’t figured it out, this is a great album. It’s got some excellent songwriting, and it’s a good balance between the serious and fun songs. Hopefully, John Baumann continues in this direction, writing more personal stuff, because this is where his writing shines, and I think it will only get better. This is one of the best Texas country albums released in 2017 so far and one that gets better with each listen.

[americanahighways]

REVIEW: Wyatt Flores "Welcome to the Plains"

REVIEW: Wyatt Flores "Welcome to the Plains" @officialwyattflores @americanahighways @americana_andy_ #welcometotheplains #newmusic2024 #musicreviews #writtenbyahuman #listenbetter

Wyatt Flores – Welcome to the Plains Oklahoma is having an extended moment in country and roots music. Cross Canadian Ragweed has joined Turnpike Troubadours on the reunion circuit (and for a series of sold-out stadium shows next spring). Zach Bryan continues to fill football fields and entice none other than Bruce Springsteen to play with him on multiple occasions. And the spigot of Sooner State…

[themusicenthusiast]

Single Review: “Pipe Bomb Dream” by Turnpike Troubadours

Each release from A Long Way From Your Heart (out October 20th via Bossier City) serves to further prove what an all-encompassing record it will be for the Turnpike Troubadours, the band working to push the boundaries of their soundscapes to the limits and beyond. It’s not as if “Pipe Bomb Dream” is totally out of character for them, though if you listen closely, there’s no denying that it possesses its own quality that none of their previous material has. It’s noticeable in the nuances, the guitar licks steeped in a traditional Western sound, like what was prevalent in classic country, a twang emanating from Ryan Engleman’s guitar work. The same effect is noticeable on the pedal steel guitar, Hank Early working it in at just the right moments to make it all more pronounced, providing a rich layer of texture before receding back into the background. This is one song where every instrument gets its moment to shine, the drums never being too sonorous, though the quick tempo it constantly keeps is the driving force behind “Pipe Bomb Dream”, easily enveloping the listener and pulling them into the tale that is a quasi-outlaw song; the rhythm section as a whole being rather prominent. The fiddle even prevails at times, the collective sound being harmonious and captivating, all of the intricacies woven in keeping one listening intently.

It’s a spellbinding blend of classic country and modern-day Americana, the worlds colliding to create something marvelous. The story itself is every bit as riveting, as it revolves around a man who served his country on the front lines, only to come home and get caught up on the wrong side of the law. It leaves the specifics out of it; even getting a tad political with the first verse, alluding to the fact that the (anti-)hero was no longer certain what they were doing in the war they were a part of, getting to a point where they were merely following orders, any hope of a positive outcome having practically evaporated. At the second verse it picks up back in the U.S. – Oklahoma, to be exact –the man pushing his luck in the shady business he’s presumably gotten into, getting caught before he can finish his run, the character ultimately conceding he knew he was in the wrong, despite how he tried to reason and rationalize it, his fate being a “cell block floor”. At its heart, “Pipe Bomb Dream” fits the Turnpike Troubadours mold to a tee. It may be unique even by their standards, though it is definitely a product of theirs, the story even having that real quality to it, no happily ever after nor even a decent outcome, fitting in line with their other works that portray the realistic fact that not everything in life will work out for the better. Pre-order A Long Way from Your Heart on: iTunes | Google Play | Amazon MP3 Visit Turnpike Troubadours’ websites: Official Website | Facebook | Twitter Current Shows: 2017 October 12--Hacienda Event Center--Midland, TX 13--Wolf Pen Creek--College Station, TX 14--The Blue Light Live Street Concert--Lubbock, TX 20--The Criterion--Oklahoma City, OK 21--George's Majestic--Fayetteville, AR 23--The Walker Theatre--Chattanooga, TN 24--Harvester Performance Center--Rocky Mount, VA 25--Gramercy Theatre--New York, NY 27--Jefferson Theater--Charlottesville, VA 28--Variety Playhouse--Atlanta, GA 29--Druid City Music Hall--Tuscaloosa, AL November 9--The Cotillion--Wichita, KS 10—Boondocks--Springfield, IL 11--Vic Theater--Chicago, IL 15--The Pageant--Saint Louis, MO 16--Liberty Hall--Lawrence, KS 17--Bourbon Theatre--Lincoln, NE 18--Buffalo Run Casino--Miami, OK December 1--ACL Live at Moody Theater--Austin, TX 2--ACL Live at Moody Theater--Austin, TX 14--The Aztec Theatre--San Antonio, TX 15--House Of Blues--Houston, TX 29--Choctaw Casino--Grant, OK 30--Cain's Ballroom--Tulsa, OK 31--Cain's Ballroom--Tulsa, OK 2018 February 3--Matthew Knight Arena--Eugene, OR 9-- Truman Water Front Park Theater--Key West, FL

[americanahighways]

Show Review: Turnpike Troubadours with Lucero and Reckless Kelly

Show Review: Turnpike Troubadours with Lucero and Reckless Kelly #turnpiketroubadours #recklesskelly #lucero #ourrealityshow #glenncook #americanahighways #theanthem #luceromusic #livemusicphotography #concertphotography