Rolling Stone Country Artists You Need to Know: August 2018 - Rolling Stone
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10 New Country Artists You Need to Know: August 2018

From the tough-as-nails approach of Becky Warren to the Southern soul of Dee White, here are the month’s best new country and Americana performers

new artists

Becky Warren and Dee White are among the 10 new country and Americana artists you need to hear this month.

A buzzed-about singer-songwriter produced by Dan Auerbach, a honky-tonking carpenter in the vein of Ol’ Waylon, and a perseverant

JP Harris

Courtesy of Hearth PR

JP Harris

Sounds Like: Rebellious honky-tonk, stitched with blue-collar country music

For Fans of: Johnny Cash and June Carter, Chris LeDoux, Waylon Jennings

Why You Should Pay Attention: Nashville singer-songwriter JP Harris considers himself a carpenter who writes country songs — not a country singer. He doesn’t like to be defined by just one thing, something that stems from a lifetime’s worth of experiences: riding freight trains, living as a shepherd with the Navajo and existing without running water in an Appalachian cabin. But the Alabama-born musician has also been performing for nine years, singing his rugged, pedal steel-laced ballads and sharing the stage with Bakersfield country legend Red Simpson, Hal Ketchum and Terry Allen. Collaborations with Nikki Lane and Sixpence None the Richer’s Leigh Nash have helped him garner a fan base beyond the Nashville community. Following a four-year hiatus during which he got sober, Harris has plans to release his new album Sometimes Dogs Bark at Nothing, produced by Morgan Jahnig of Old Crow Medicine Show, on October 5th.

He Says: “One of the things I told myself was that if you feel that you cannot continue to improve as a human or a person on Earth, that you’ve lost your entire purpose on Earth. That’s kind of how I feel. I think if you can keep that in your mind’s eye, you can stand to always improve your emotional state and that of those around you. It’s a tough thing to live with when you’re primarily sober and you spend a lot of time thinking back on your past. It doesn’t always result in good memories. But I think that’s a part of the process of staying alive, especially in this business. I think I was at a juncture where I had to make some big changes in my life one way or the other: to quit music or get my shit together. I chose to get my shit together, and I think that’s reflected in this record I made.”

Hear for Yourself: Highlighting Harris’ tender, quivering vocals paired with a wailing pedal steel, “When I Quit Drinking” is an introspective take on the reality of what happens when you sober up and have to face yourself. I.K.

Chapin Sisters

Chapin Sisters

Sounds Like: Folk songs forged by unbreakable family bonds

For Fans of: Shelby Lynne & Allison Moorer, She & Him, Harry Chapin

Why You Should Pay Attention: Music is part of the family for Abigail and Lily Chapin, whose father, Tom, is a Grammy-winning children’s songwriter and their late uncle, Harry, wrote the Number One hit “Cat’s in the Cradle.” Singing together from a young age, the sisters — less than two years apart — pursued other creative fields like film and fashion design before starting the Chapin Sisters in 2005 with their half sister, Jessica Craven. They became a duo five years later. With more than a half-dozen releases and tours with acts like She & Him to their credit, the sisters both became first-time mothers after finishing their 2015 LP Today’s Not Yesterday. The Ferry Boat EP, released last April, is their first new music in three years, as they split time between a home recording studio, seeing family in New York and Los Angeles, and helping run their mother’s business in the Hudson Valley.

They Say: “The family thing is very strong. We have cousins and second cousins all around New York that we see all the time — we’re like the mafia. That, as much as anything else, influenced why we started playing music together,” says Abigail, who admits that having children is a whole new wrinkle. “It was easier when they were tiny and they could literally be on our backs. They spent many concerts in baby backpacks while we played shows and they’d sleep through them. It was kind of amazing.” Adds Lily, “Moms in music is a very specific thing. Different bands and artists work it out in different ways. The really, really successful one get the deluxe tour bus with the nanny onboard. They bring everybody with them. We do not have the means for anything like that, so instead we’re focusing on bringing the music wherever we are.”

Hear for Yourself: “Bottle of Wine” is a waltzing, elliptical tale of imbibing love’s buzz and coping with the excess. J.G.

Town Mountain

Sandlin Gaither

Town Mountain

Sounds Like: A fresh perspective on fast-fingered traditional bluegrass, with forays into rockabilly and old-school country

For Fans of: The Steeldrivers, Del McCoury Band, Steep Canyon Rangers

Why You Should Pay Attention: After more than a decade of hard gigging on the national string band circuit, Asheville, North Carolina-based Town Mountain have notched International Bluegrass Music Association Awards and appeared on the Grand Ole Opry. With upcoming album New Freedom Blues (out October 26th), the quick-picking quintet is aiming for broader roots appeal. Tracks like “North of Cheyenne” and “Lazy River” still showcase the seasoned crew’s slick solos and high-lonesome singing, but assistance throughout the record from Sturgill Simpson drummer Miles Miller roughens the edges and tips certain songs toward gritty country-rock. The standout is “Down Low,” a vintage outlaw throwback with distorted pedal steel about the pitfalls of excessive partying that features another guest, Kentucky tunesmith Tyler Childers, who co-wrote the song and trades verses with Town Mountain banjo player Jesse Langlais.

They Say: “It’s fun to explore country and rock elements —boogie-woogie and Jerry Lee Lewis-style grooves — in a bluegrass band,” says Langlais. “We write all different kinds of songs, so on this entire album we got over our inhibitions and played them as they were written; instead of trying to squeeze them into the bluegrass mold.”

Hear for Yourself: While looking back at a well-worn theme of blue-collar struggle, “Life and Debt” charges forward at a steady, dance-ready clip with nimble fretwork and a snappy drum beat. J.F.

Dee White

Alysse Gafkjen

Dee White

Sounds Like: The best of Sixties and Seventies country, with thoughtful, lush arrangements and smooth, agile vocals

For Fans of: Roy Orbison, Joshua Hedley, Don Williams

Why You Should Pay Attention: Folks close to the music scene in Nashville have been awaiting Dee White’s debut album with bated breath. That anticipation stems from both the Alabama native’s excellent live performances and the endorsement of the Black Keys’ Dan Auerbach, who produced White’s debut Southern Gentleman alongside David “Fergie” Ferguson (Johnny Cash, John Prine). Both Auerbach and Ferguson helped White craft an impeccable take on classic Countrypolitan, updating the sound slightly for today’s modern tastes but taking care to preserve White’s singular voice. The singer came to the pair via revered Alabama producer Harold Shedd, who, a few years back, discovered White’s musical talents and connected him to Ferguson, who then brought Auerbach onboard. The A-side of Southern Gentleman is streaming now, with the latter half of the album expected in 2019.

He Says: “Dan and I connected immediately on so many things. We had similar childhoods and similar tastes. The process of writing and recording with him and working with all the Easy Eye Sound musicians was one I won’t easily forget. Everyone involved had a common goal and we were all working towards the same thing, which was to make some real country music. I came to this city to make a record and I ended up with music that is a true representation of me. I am extremely proud of it, and realize that mine may not be every new artist’s experience. For that I am eternally grateful and hope that in some small way I can inspire other young artists to stick to their guns and not settle.”

Hear for Yourself: “Crazy Man” finds White looking inward and reflecting on past indiscretions, his pristine vocals framed by crying fiddle and punchy electric guitar. B.M.

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