#isa burke

[goingtothebes]

pictures from various goats shows last week!! i don't recall which ones!!!

[krispyweiss]

Hardly Strictly Bluegrass Day One, Golden Gate Park, San Francisco, Calif., Oct. 4, 2024

Lucinda Williams was not at Day One of Hardly Strictly Bluegrass. But Chuck Prophet, Ismay, Steve Earle and Kelly Willis - joined by Willis’ Wonder Women of Country bandmates Melissa Carper and Brennen Leigh - brought Williams’ spirit to the Banjo stage as the Songs from a Gravel Road Band.

They opened the festival guitar-pull style, trading such numbers as “I Just Wanted to See You So Bad” (Wonder Women), “2 Kool 2 Be 4-Gotten” (Earle) and “Crescent City” (Prophet) before ending with an all-hands-on-deck rendering of “All the Way to Jackson” a little shy of their scheduled 45 minutes of stage time.

Lindsay Lou followed on the Arrow stage sporting white shades and yellow flowers on her mic stand, into which she sang hilarious band introductions and turned them into a magnificent song of their own.

Lou and the all-woman, voices-of-goddesses Queen of Time Band - featuring Isa Burke on electric guitar and violin plus a rhythm section - used their 45 minutes to play a mix of Huffamoose-styled jazz, folk, rock and weepy country music as they offered up songs from the LP for which the band is named (“Nothing Else Matters”) and from across Lou’s discography (“Roll with Me”). And then they were off to catch a flight to the next festival.

So the Sound Biteses flew off to the Swan stage as the harmony-rich strains of the aforementioned Wonder Women wafted from the Banjo …

“… We’re going to slow it down a little bit,” the self-deprecating Milk Carton Kids said from the Swan, where they played their not-quite-ready-for-a-free-festival folk music for a large audience mixed with listeners and talkers. Those who shut their mouths and opened their ears were treated to the sonic heirs of Simon & Garfunkel - except funnier.

“It’s very hard to write a song on banjo without killing a person in the song,” Kenneth Pattengale said as he played a set heavy on selections from I Only See the Moon - and going all the back to “Michigan” - with fellow Kid Joey Ryan.

Surrounded by Golden Highway on the Banjo stage, Molly Tuttle recalled seeing her heroes as a child from the Hardly Strictly grass with her dad. And getting offered a pot brownie while at the festival with her mom.

“Your mom brought you all the way here just to offer you a pot brownie?,” banjoist Kyle Tuttle (no relation) asked incredulously and jokingly.

Playing high-energy, traditional-yet-modern bluegrass, the quintet offered a highly-apropos “White Rabbit” for the San Francisco audience; “San Francisco Blues,” meanwhile, was Tuttle’s waltzing paean to the hometown she left for Tennessee. “Down Home Dispensary” and “Dooley’s Farm” were Tuttle’s amped-up homages to ganja.

She doffed her wig for “Crooked Tree,” a song about what makes Tuttle, who has alopecia, and San Francisco, different - and so very special. Golden Highway received a rousing standing ovation at the end of their 55-minute set.

Sleater-Kinney provided the pre-show soundtrack to Cat Power Sings Dylan ’66 as their kinetic Swan-stage set flooded the field in front of Towers of Gold.

Immediately following their set, Power was barely audible as she sung “She Belongs to Me.” Power was like a whispering specter, guitar and harmonica nearly inaudible, causing Mr. and Mrs. Sound Bites to give up after a few songs only to find excellent sound at the Swan, where “It’s All over Now, Baby Blue” and “Mr. Tambourine Man” were as clear as bells behind where the music was being played.

A half-hour later, the strains of the full-band “Ballad of a Thin Man” could be heard a mile away on the JFK Promenade as Power wrapped her set.

10/5/24

[fructidors]

happy goddamn mountain goats day

[tbpbsides]

mcr handshake the mountain goats added a female violinist in the last year thus upping the bar for their live shows forever and ever amen

[hotelbooking]

Burke & Wills Motel Mt Isa Getting the most from your time in Mount Isa is a breeze when staying at the accessibly-located Every effort is made to make guests feel comfortable by providing the best in services and amenities. Post your pictures and answer your emails whenever you want, with the motel's free Wi-Fi internet access. Parking is available and free, provided by the motel for guests with their own transportation. The helpful staff at the front desk can assist you with services including luggage storage. The motel's on-site laundry service helps you keep your favorite travel outfits clean so you can pack less. In-room conveniences include room service, so you can relax and enjoy your stay. Some small or last-minute needs can be quickly fulfilled by the convenience stores without having to leave the motel. Smoking is restricted to the designated smoking areas. Start your vacation days in the best possible way. Begin every morning of your stay with an in-house breakfast. Wake...

[walkswithmyfather]

Isaiah 40:28-31 (NLT). [28] “Have you never heard? Have you never understood? The Lord is the everlasting God, the Creator of all the earth. He never grows weak or weary. No one can measure the depths of his understanding. [29] He gives power to the weak and strength to the powerless. [30] Even youths will become weak and tired, and young men will fall in exhaustion. [31] But those who trust in the Lord will find new strength. They will soar high on wings like eagles. They will run and not grow weary. They will walk and not faint.”

“Strength Comes With Waiting” By In Touch Ministries:

“Access to God's power is achieved not by moving faster but by going slower.”

“Exhaustion is a by-product of overcommitted schedules and endless responsibilities. That’s not what our Father wants for us. He offers a radically different mode of living and gives His followers renewed strength.

Those who wait on the Lord are promised His supernatural energy. In fact, Scripture says it will surpass the natural strength and endurance of the young (Isa. 40:29-30). Contrary to what we might think, access to this power is achieved not by moving faster but by going slower—taking the time to focus on God, seek His direction, and ask for His strength to accomplish what He’s calling us to do. There is no earthly explanation for what God is willing and able to achieve in and through a yielded human being. His Holy Spirit is like a powerful and refreshing gust of wind that enables us to soar like eagles (Psalm 103:5).

The next time you are at the point of exhaustion, take some time to focus on the Lord. Are you in step with Him, or have you gone ahead on your own? Align your pace with His, taking the time to rest when He wants you to, and receive the energy He freely offers to those who walk obediently in His will.”

[Photo thanks to Isaac Burke at Unsplash]

[jennyfromthebes]

hey does anyone know if there's video/audio recordings of the 12-03 show? bc according to setlist.fm they did full band plus isa burke design your own container garden and I so so desperately want to hear that. if anyone has a tape of it ill owe you one for it

[kwebtv]

From the Golden Age of Television

Season 2 Episode 17

Mystery Theater - The Case of the Hanging Husband - ABC - March 2, 1953

Crime Drama

Running Time: 30 minutes

Written by Dwight Hauser

Produced by J. Donald Wilson

Directed by Howard Bretherton

Stars:

Tom Conway as Inspector Mark Saber

James Burke as Sgt. Tim Maloney

Patricia Wright as Gloria Williams (as Pat Wright)

James Stone as Everett Williams

Herb Vigran as Pete Barton

Anthony Eisley as Johnny Carter (as Fred Eisley)

Phil McMurray as Hardware Clerk

Bob Greer as Ice Man

Isa Ashdown as Girl

[somerandomjewelleryonthefloor]

Book 2: Drop of esteem...

(From my MC and the books series ← Here)

Winter Quarter for Solrin was rough. Dealing with the Michael/Maria situation, Isa's reign of terror, Coach Andrew, the hall monitors, the friendship troubles, Ms Hughs & Mr Burkes leaving- it was a lot for my girl.

Chapter 1- 6 my girl was a mess.

First half of the book- immediately she was burning out.

Her favourite principal was gone, she found out about Coach Burkes leaving, she found out About the Hall Monitor initiative, she found out about Michael being gone, finding out Maria and Michael were getting close too without knowing why, and having to do study & work along with it all... She was burning out badly.

Michael and Maria looking like they were getting closer had made her drop her flirty-ness with Michael, being more friendly then romantic (per say) with him, as she thought they were romantic and she didn't want to be a 'relationship-wrecker', oh hell no.

She also legit cried the night after learning her 2 favourite adults (besides Ms Maddox) were gone. On FaceSpace she put up a status saying "I'm a child of sudden orphanage" and "my second parents left me" in her bio. She loved Hughs and Burkes and looked up to them greatly.

After the carnival chapter- she was then just exhausted. She didn't put much effort in Basketball, especially after the funding ordeal, she stopped hanging out with everyone as much, she spent most of her time scrolling through comps of Vines, she also was dealing with the stress of taking care of herself as caring for her wellbeing was far too much. She'd rather hibernate in her bedroom and eat pizza and string cheese then get up and take care of her body and mind. She was depressed dude.

She dropped out of the basketball team during the chapters 9-13 as she couldn't handle it. Especially with team tensions between Cheer & Band & sports growing.

She was just... Exasperated throughout the whole book. Talk about a seasonal depression.

Despite chapter 14-15 being the most fun she finally had during this quarter, and with Michael's confession during the party, she couldn't exactly get with him yet. She was going through severe mind processing, and she couldn't take a serious relationship at that moment. She still was dating him, but only during the events of 'in between' book 2 did she fully get official with the BF/GF label.

All in all- book 2 was an emotional rollercoaster, she was depressed, she was sad, she was lonely- girl went from the most confident girl in school to the most quiet and barely emotive girlie ever.

At least she got better after the Party at Payton's.

[softgrungeprophet]

okay i'm gonna post a bunch of pics i took at the seattle art museum with my phone lol - i pasted the full captions onto/beside the images but i'll put the titles and artists underneath in text too.

Weltempfänger (World Receiver) (2018) - Isa Genzken

I started in the modern art area specifically in the section with post-war german art mostly engaging w/ the war in some way, which is neat, but the presentation left me kind of wondering who had curated it. there was a lot of vague language and i'm not sure that any of the artists were like... jewish...?

there were like three pieces by a sculptor who is apparently one of the top 1000 wealthiest men in germany though. lmao. didn't take a picture of those though.

anyway then was the rest of the modern art.

View from the Other Side of the Mountain (1985) - Roger Brown

i liked this painting. the sense of scale etc. w/ the little tiny people is good.

A Cloud Index (2020) - Spencer Finch

Untitled (2001) - Cameron Martin

Thought this was striking. I like that the background and the tree body are slightly different shades of white.

(background): You Mist, Again (Rattle) (2019) - Natalie Ball

(foreground): IF I RULED THE WORLD (2018) - Jeffrey Gibson

There was a section on modern art by marginalized groups which included some indigenous artists, black artists, and stuff, that was pretty cool.

Architecture of return, escape (the British Museum) (2022) - Nicholas Galanin

(this is a floorplan of the British Museum in the context of indigenous American art pieces that have not been repatriated)

Painting, 1950 - Ad Reinhardt

Untitled (1963) - Mark Rothko

I was a little bit psyched to see this. I didn't check what they had ahead of time so I had no idea they had in person Rothko paintings (two of them! though i only took a pic of this one) I always liked his color paintings since I learned about it in college so it was really neat to see this up close and be able to see the like... texture of the paint and stuff.

(left): Frog Feast Bowl (1997)

(right): Whale Hat (1999)

Both by Preston Singletary.

I thought these were neat. Glasswork has such an interesting feel.

There was this as well—Shaman's Soul Catcher (2000)—by the same glass artist plus underneath it an 1860 Tsimshian bone soul catcher, as a contrast/comparison. Both very pretty in very different ways.

The places I've lived have often had coastal tribal art in various areas but going to the museum and seeing a lot of the artworks in this section was neat because at least half of the stuff on display has abalone shell so it's very sparkly in person. the public carvings and paintings outside usually don't have abalone lol

There was a lot of Native art from all up and down the coast from like, oly to canada, which was really cool to see. I'm not sure how much of it is donated by the tribes or not but I know that's a thing—the MAC in Spokane does that. Plus there's the Burke here which has the Native American Advisory Board. But there's still a chance some of the stuff at the SAM is like... less than ethical.

this is on their website though:

it seems like most of their stuff is probably ethical but there's always a chance some of it isn't, esp since the section on Native art mentions that "grave goods and certain categories of cultural objects" may be repatriated which kind of implies some don't have to be.

a huge chunk of the very large collection comes from one guy:

Headress with frontlet (sakíid) (ca. 1870) - Simeon Sdiihldaa (skil kingaans)

This is very pretty and seems important and valuable.

(background): Interior housepost (Dłam) (ca. 1907) - Arthur Shaughnessy (Hemasilakw)

(foreground): Mask of the Hux̱whukw-Cannibal Bird (Hux̱whukw'iwe') (ca. 1940) - Mungo Martin (Nakapankam)

There were a bunch of these (as well as some other masks) which were pretty cool, and I think the lower beaks are hinged. It would be neat to see them used.

Mask of the Hux̱whukw-Cannibal Bird (Hux̱whukw'iwe') (ca. 1938) - Willie Seaweed (Hilamas)

this one was really big.

more on the house posts and their history. there was another pair (two big faces stacked) on the opposite side of the room I didn't take a pic of. All of the stuff is very pretty but obviously there's a lot of shitty history—like potlatch bans and houses being dismantled—that's just kind of inextricable in both the US and Canada.

adjacent to the large local native art there was a section of Australian Dreaming art as well, with a small short documentary/interview with one of the artists playing nearby.

Kalipinypa Rockhole (2003) - Elizabeth Marks Nakamarra

I only took a picture of this one. It's very striking. The entrance to this area had a hot pink wall with a black and white painting and then inside was all very dark walls. I think it's one of those things that's best in person (lots of art is, really)

nearby was some Japanese art and they had a whole case of netsuke

Seated Monkey Poking at a (Turtle? I think... got cut off lol) (ca. 1770) - Okatomo

It was hard to photograph cause they're so small and in a glass case but they all had such fine details, it was neat to look at them and see all the little tiny lines

There were quite a few, ivory and wood, plus fish sculpture... this one didn't photograph very well though. the fish is really beautiful.

I like these deer-shaped bronze water droppers too. There were a bunch of them of various sizes.

Concretion of Chinese porcelain fragments and coral from a shipwreck, 17th/early 18th century

There were sections on Japanese art, Chinese art, and some Vietnamese porcelain and I thought this was neat. I didn't take a photograph but directly next to this was a modern porcelain sculpture that was definitely intended to be a pairing in overall form and shape and material but still very different.

Ivory, ostrich egg, and silver pieces. I think this section was meant to be a kind of comparison of similar art forms separated by location and temporality—the ways similar forms convergently exist in different locales and time periods. There was an insane-looking Tiffany silver goblet near a much older and simpler silver goblet. Or tankard? it may have been tankards. I didn't take a picture.

next place I went was the ancient art cause that was the nearest bathroom lol—actually it was next to the Italian and Christian European art which I didn't take any photos of. I like medieval and renaissance European art fine but after like. 2 or 3 hours at the museum I was more interested in the Ancient Egyptian and Greek stuff lol.

like this 1st century snake bracelet from Roman Egypt. Phone camera refused to focus though... But like, hey that's wild, that bracelet is probably almost 2000 years old. it's so pretty and i wonder what the red coloration in the lines is. maybe it's a gold alloy? or pigment?

they had a bunch of Roman glasswork as well which is always fun to see. Lots of people think of pristine white marble (it was painted!) when they think of Classical art but glass was such a distinctive thing in those periods—the iridescence and color especially

They had some Greek vases as well, and this Etruscan krater lid with sirens painted on it, which was pretty cool.

also Check out these Sumerian (and one Elamite) frogs!!!!!!

look at them!!!

Babylonian clay foundation peg with cuneiform inscription ca. 2400 BC—think about that. That's like. over 4000 years old. Crazy.

next to the Egyptian art was Islamic art, and I really liked this silver pen and ink holder. It had so many fine details. The entire section was really beautiful. for some reason this also ended up my highest resolution photo? lmao? i don't understand my phone camera at all.

this Turkish floral tile from the 16th century is so pretty

i hit the image limit so i'm gonna add the last four pictures on a reblog

[localvoidcat]

updated oc list

send in asks about any of them 👍

(FMR) (takes place in 2022-)

Andre Torres (he/she) 

Josh Collymore (he/him) 

Julie Collymore (she/her) 

Salvador Torres (he/him) 

Isa Torres (she/her) 

Entropy Quinn (she/they) 

Oriana Pierre (she/her) 

Laurel Page (he/they) 

Elm Harlow (they/them) 

Hunter Lockwood (he/him)

Angelo De Los Santos (he/him)

The Wolf (it/its)

Victor Torres (he/him)

-

(Zaldavia) (takes place in some fantasy medieval time)

Roxy (she/they) 

Asterope (she/her) 

Evren (he/him) 

Basil (he/they/it) 

Dark Wings (he/they)

Clover (he/him) 

Soteris (he/him)

-

(Hawthorne Chronicles) (takes place in 2018)

Rudy Hawthorne (she/her) 

Keith Devland (he/him) 

Isabel Bentley (she/lune) 

Osian O’Doherty (they/he) 

Miguel Valente (he/him) 

Stanley Fischer (he/it)

-

(Rudley Paradigm) (takes place in 1985)

Matt Foster (he/him) 

Lucas Moreno (he/him) 

Avery Burke (thon/thons) 

Harper Rudley (she/her) 

Harvey Fletcher (he/him)

[krispyweiss]

Song Review: Aoife O’Donovan feat. Allison Russell - “Prodigal Daughter” (Kelly Clarkson)

Aoife O’Donovan’s becoming something of a television star.

The “mesmerizing” singer - Kelly Clarkson’s word, but Sound Bites seconds it - appeared on the host’s eponymous “Show” to perform “Prodigal Daughter” with Allison Russell.

It was O’Donovan’s third TV gig of ’23, following showcases on “Jimmy Kimmel Live!” and “CBS Saturday Morning.”

This one found O’Donovan and Russell singing to each other like the long-time musical partners they are not - yet. Guitarist Isa Burke, meanwhile, added buoyancy with her own backgrounds.

Look at this child upon my knee, she/has eyes of blue/she resembles me resembling you, they sing.

If O’Donovan keeps popping up on the little screen, Sound Bites might actually start watching television again. But YouTube is working just fine for now.

Grade card: Aoife O’Donovan feat. Allison Russell - “Prodigal Daughter” (Kelly Clarkson) - A-

1/18/23

[thebowerypresents]

Aoife O’Donovan Transports Music Hall of Williamsburg Crowd

Aoife O’Donovan – Music Hall of Williamsburg – March 3, 2022

Aoife O’Donovan’s performance at Music Hall of Williamsburg on Thursday night had a theme, and it wasn’t an expected one from the easygoing folkie. That theme was one of transit and transportation, as became apparent midway through the set. But while a good hunk of old-time Americana centers on big locomotives barreling down a track into the great unknown, O’Donovan’s finds its muse in the everyday of public transportation, the city bus and subway, or the cheap liners that run between New York City and her hometown Boston. It’s a fitting metaphor for her superlative songwriting, on display all night, the deliberate slow-then-fast-then-slow pacing of a crosstown bus and the communal we’re-all-in-this-together attitude of a packed subway car.

The set leaned heavily on material from the recently released Age of Apathy, opening with “Galahad,” O’Donovan’s melt-in-the-air vocals fueled by harmonies and guitar soloing from Isa Burke. Each song danced between tasteful and tasty, O’Donovan’s vocals and acoustic guitar playing standing on its own, but the band adding just enough to properly decorate things for the swaying audience. Dreamy imagery and pointed observations in the lyrics came and went with the regularity of the bus, if you missed one great line, there was another one coming right behind it, O’Donovan singing, “Makeshift magazines are blowing in the wind” in “Sister Starling” and painting an entire landscape with her words in “Magic Hour.”

The explicit transit section came with “B61” and “Lucky Star,” the band doing more than just going from point A to point B. The band left the stage and O’Donovan was joined by opener Yasmin Williams, who accompanied her on guitar for a cover of “What Else Can I Do?” from the film Encanto—sounding every bit like a song of her own—which she announced would be released as a surprise single the next day. The band returned for the second cover of the night, a rollicking, I’m-a-big-fan take on Bruce Springsteen’s “Open All Night,” brimming with on-the-move imagery, the musicians bringing the boogie to match. The transitory theme stayed on until the end of the line, to the encore of “Passengers,” with O’Donovan singing about how “We are passengers traveling through the afterworld,” that we should “Just take the wheel and drive,” and, finally, “the road is long,” Williams back onstage adding lovely guitar to the mix of fiddle and bass, an easy-on/easy-off journey come to an end. —A. Stein | @Neddyo

Photo courtesy of @SashaSeesShows

[lgbtqreads]

April 2022 Deal Announcements

April 2022 Deal Announcements

Adult Fiction Author of THE UNBROKEN C.L. Clark’s WARMONGERS, in an epic fantasy set in a kingdom in a cycle of eternal war, two women—once lovers and warriors at arms—are set on a collision course when years after their separation, one is crowned king and the other vows to kill her, to Brit Hvide at Orbit, by Mary C. Moore at Kimberley Cameron & Associates (world). Author of UNEXPECTED GOALS…

[sinceileftyoublog]

Live Picks: 4/17

Aly Spaltro of Lady Lamb; Photo by Shervin Lainez

BY JORDAN MAINZER

Orchestral folk and raw songwriting--two new releases.

Darlingside, Old Town School of Folk Music

Last year, folk quartet Darlingside released Extralife, an intricately composed and beautiful sounding album that ultimately fell flat on an emotional level. Earlier this year, they shared some outtakes from the album as a 6-track EP called Look Up & Fly Away. For the most part, as on “Bright as the Day” and “Heart Again”, Darlingside don’t explore much new thematic territory. But they add a few new sonic elements elsewhere. Horns feature prominently on “Rodeo” and atonally on the title track; the former showcases lonely slide guitar playing, the latter tempo changes and video game synthesizers. And “Paradise Bay” takes the band’s harmonies to a whole new level, sounding almost like a church hymnal in front of humming, droning keyboards.

Folk trio Lula Wiles opens.

Lady Lamb, Lincoln Hall

“I don’t wanna be afraid of myself anymore,” Aly Spaltro sings on “Strange Maneuvers”, a standout track from her latest album as Lady Lamb, Even In The Tremor. The record is being billed as Spaltro’s first time really openly exploring and revealing herself through her music, and while it certainly focuses on her relationships, it first and foremost deals with her existentialism. On that same song, she recounts how, “A man holds a Bible above his head...only hoping to be noticed.” Even in a small crowd of people, who are we to claim we’re different? That’s Spaltro’s central question. “I don’t wanna die, wanna be understood,” she laments on slow-burner “Untitled Soul”. She even admits where it all comes from on “Young Discipline”: “When I was 5, my mama told me that one day we’re all gonna die...That left me with a bad taste in my mouth and a knack for existential spinning out.” 

But while the old Spaltro might have gotten angry from not only malaise but after small things like a few swings and misses in a batting cage, the new Spaltro’s looking to center herself. She doesn’t take acts of platonic or non-platonic love for granted. “Not convinced we should exist at all,” as she claims on “Deep Love”, she’s inspired to navigate new relationships while learning from old ones, recognizing the person she once was without hating her, ultimately becoming better. On album closer “Emily”, Spaltro recounts being on a trip along with two friends, cellist Emily Hope Price and photographer Shervin Lainez, too depressed to immerse herself in nature but in hindsight grateful for their friendship.

Spaltro’s growth as a person has perhaps catalyzed her growth as an artist, or vice versa; in any case, Tremor continues Spaltro’s streak of becoming better not only as a lyricist but singer and producer with every album. She delivers words with equal amounts Feist-esque soft vibrato and R&B soul. Co-production from Erin Tonkon, the warbling synthesizer playing of Benjamin Lazar Davis, and sparse percussion of Jeremy Gustin beautifully complement Spaltro’s vocal layering and mirror her story. The great title track’s chugging tempo changes provide a fitting background for Spaltro’s references to her travels, all of the places she’s been during the writing of the record. She looks back but also looks forward, continuing to create new paths for herself.

Brooklyn multi-instrumentalist Renata Zeiguer and singer-songwriter Alex Schaaf (part of Lady Lamb’s band, also of Yellow Ostrich and Tallest Man on Earth) open.

[jennyfromthebes]

favorite “tmg-adjacent” artist or band (i.e. openers, people you discovered via northern gothic, people you listened to after hearing a cover) and why? :-)

OOOH this is such a good question oh my goddd. I am far too indecisive to have a singular favorite as an answer to this but here's a few:

Anna Tivel is by a massive long shot my favorite tMG opening artist; the way she weaves stories with her songs is genuinely breathtaking, and she was such a delight to chat with at the merch table after shows. Favorite song: Black Umbrella

Hurray For The Riff Raff is a band I discovered via Northern Gothic and honestly I've only listened to their most recent album, The Past Is Still Alive, but I loved it enough to get on vinyl. I'm a little bit of a romantic about mundane everyday life and this album really speaks to that I think. Favorite song: Colossus Of Roads

One more artist that I discovered by proximity to tMG is Liv Greene, whose first album was produced by Isa Burke! I don't really know how to describe what I love about her music, but it's very heartfelt and she's got such a lovely style, and I am extremely eagerly awaiting her forthcoming second album! Favorite song: Wild Geese