22 Best Things We Saw at Americana Music Fest 2015

Just before Americana Music Festival kicked off in earnest, Randy Rogers Band invited some industry folks to preview their just-announced seventh full-band album, Nothing Shines Like Neon. They picked the perfect setting — Bobby's Idle Hour on Music Row, which, despite its rarified location, is a truly epic dive bar favored by songwriters and grizzled locals alike. Rogers made an address about getting this album done the right way (in Texas), dedicated it to the recently passed Kent Finlay (trusted friend and longtime supporter of young Texan artists), then pushed play on a set of new tunes that are straight-up country (and make no concessions to country radio). Produced by Buddy Cannon and featuring duets with Jamey Johnson, Alison Kraass and Jerry Jeff Walker, the LP's cool factor rivals that of the party they used to introduce it. Chris Parton

Led by the 60-year-old David Hidalgo, East L.A. stalwarts Los Lobos stood out from the typically earnest and sometimes low-key AmericanaFest performances with a raucous, eardrum-rattling rock show. Although best known to the general populace for their chart-topping 1987 cover of "La Bamba," the band has a repertoire that can easily convert even the uninitiated. And the crowd for their showcase only grew, as the band roared through high-energy fare like "Más y Más" and "Kiko and the Lavender Moon" and choice covers like Neil Young's "Cinnamon Girl," all the while exuding a palpable and commanding cool. Case in point: stoic guitarist Cesar Rosas, who rocked sunglasses, a graying goatee and a come-at-me-bro stare just as hard as his Tele. Joseph Hudak

"Whatever you want, holler it out!" Those were Loretta Lynn's instructions to the loosely packed crowd at Ascend Amphitheater, where the First Lady of Country Music co-headlined AmericanaFest's biggest bill with Steve Earle and Gillian Welch. The audience obeyed, requesting an older, staple-filled set — including "The Pill," "Dear Uncle Sam" and "Fist City" — that steered clear of her Jack White-produced comeback album, Van Lear Rose. Harmonies from three bandmates kept things sounding full, but the show's momentum stalled a bit once those sidemen launched into their own cover of 4 Runner's "The House at the End of the Road," a Nineties song weighed down with more cheese than the amphitheater's $10 vegetarian nachos. But Lynn's own voice, which remains strong enough to deliver nearly every song in its original key, righted the ship, making for one of the most historically important sets of the entire festival. Andrew Leahey

In just a year's time, Andrew Combs has grown into one of AmericanaFest's most magnetic acts. Fresh off a European tour, the singer took the Mercy Lounge stage on Saturday night like one of the genre's seasoned pros, showcasing his excellent songwriting on tracks both old ("Too Stoned to Cry") and new ("Month of Bad Habits"), with a fine-tuned confidence and voice that seems to get stronger and more smoldering with each passing day. Backed by an ace set of Music City players, he'd often dissolve his songs into moody, country-soul grooves that helped give his vivid, narrative lyrics even more punch. Some have called him the next Guy Clark — and the shoe (or at least the denim-on-denim) seems to be fitting pretty damn well. Marissa Moss 

Lera Lynn scored big this year with HBO's crime series True Detective. Working with producer T Bone Burnett, Lynn composed and recorded four original songs and also earned screen time as the resident singer in a dingy dive bar, making her one of the critically reviled second season's few bright spots. During AmericanaFest, she kicked off her first tour since her new fame with a blast of fresh confidence and a mandate for darker soundscapes. She only played one of the True Detective tunes ("My Least Favorite Life"), but standouts from last year's The Avenues like "Out to Sea" and "Comin' Down" took on a more sinister tone. With a brand new album in the works, she also debuted two new songs. Atmospheric, haunting and recalling the best spy themes, they'd work brilliantly for some Bond movie set in the Deep South. C.P.

After winning Emerging Artist of the Year at the Americana Honors, Shakey Graves popped up at Mercy Lounge for a "surprise" midnight set. Still sporting a huge smile from the awards, his two-part performance was extra loose. Duet partner Esme Patterson joined him onstage for the first time in recent months, and the pair looked more than happy for it. Their gravel-and-silk vocal connection was as strong and intriguing as ever, with Patterson describing it as "just like riding a bike." "Big Time Nashville Star" took on a new meaning under the circumstances, while the string-busting, radio-friendly "Dearly Departed" drew hand-clapping crowd participation. The highlight though was Graves' second act, when he dropped into ass-kicking garage-rock mode. Fighting feedback from a distorted hollow-bodied guitar and leaping across the stage — all while building floor-shaking bass loops on the fly — it inspired more than a few looks of amazement. C.P.

No one can silence a room quite like Jewel. Armed with only her voice, the Grammy-winning artist, who released the folky new album Picking Up the Pieces on September 11th, walked onstage at Nashville's City Winery and hushed an AmericanaFest crowd with a soaring rendition of "Somewhere Over the Rainbow." It was a master class in vocal technique, full of controlled runs, whispered phrasing and, when necessary, loud, lingering notes. While she may be best identified as a songwriter and poet, Jewel is a singer's singer, and she reminded fans of that fact when she picked up her guitar for the hits "Who Will Save Your Soul" and "Hands," as well as cuts from the latest LP. She's also refreshingly loose: two lines into the new album track "Plain Jane," she decided she didn't want to sing that song anymore. It was a shame, actually: the ballad is a standout from Picking Up the Pieces. J.H.

It may not have been an official AmericanaFest showcase, but there was no better way to prepare for a  celebration of American roots music than with a group that has expertly woven country, folk, pop, blues, and bluegrass together into a rich musical tapestry for 50 years: the Nitty Gritty Dirt Band. During an evening dubbed "Circlin' Back: Celebrating 50 Years," the quartet ably ambled through its estimable history, from the jug-band roots of "Truthful Parson Brown" — with guest Jackson Browne — to Top 40 hits like "An American Dream" with buddy Rodney Crowell. Recorded for broadcast next March on PBS, the concert never lost its loose back-porch vibe, with singer Jeff Hanna and banjo player John McEuen welcoming a steady stream of old friends to celebrate the band's impending gold anniversary. Among the sublime highlights was John Prine reprising his contribution to the second volume of the classic Will the Circle Be Unbroken albums with a poignant "Grandpa Was a Carpenter," and the ever-gregarious Vince Gill offering a typically masterful take on "Tennessee Stud." Sarah Rodman

Pandora's magic algorithm is all about understanding the music listener's psyche and, based on the at-capacity crowd at their Friday night Cannery Ballroom showcase, the streaming service had a line on the Nashville Americana audience. Lines snaked around the venue to see Madisen Ward and the Mama Bear, Glen Hansard, JD McPherson and Josh Ritter. McPherson's sepia-toned rockabilly might not have much in common with the howling, intimate confessionals of Hansard (pictured), but the diverse lineup painted an intelligent picture of all the permutations that the genre can hit. Hansard isn't American — he's an Irishman, and he pulled out the stops for the night's grand finale, bringing his brass section, Ritter and even some of his crew onstage for a rousing rendition of the folk traditional "Passing Through." Hands down, it was one of the more emotionally stirring moments of the festival. M.M.

It seems safe to say that no one at all of AmericanaFest gave a performance quite like the one delivered by the indefatigably animated Shack Shakers frontman J.D. Wilkes. The Kentucky firebrand led his rip-snorting quartet through a set that careened from rockabilly freak-outs to the Southern gothic swamp noir of their must-hear new album The Southern Surreal. Through it all, Wilkes was a man aflame, wriggling, mugging and rocking some serious mime moves — not the annoying kind but truly, bizarrely artful bits — and generally scorching the place with his intensity. S.R.

Sandwiched between sets by Lera Lynn and Humming House, HoneyHoney kept things lean on Thursday night, sweating their way through 45 minutes of (mostly) newer material as a three-piece. Ben Jaffe covered bass parts and guitar solos on a single instrument, thanks to an octave pedal that widened the range of his electric guitar, while Suzanne Santo switched off between banjo, acoustic guitar and fiddle, gluing everything together with a voice that's as smooth and murky as smoked glass. Looser, longer solos allowed the band to stretch their legs, but it was "Yours to Bear" — a longtime live staple that made its studio debut earlier this year on the album 3 — that delivered the strongest kick. A.L.

NPR music critic Ann Powers convened a powerhouse trio at historic RCA Studio A — Patty Griffin, Rhiannon Giddens and Shakey Graves — to play some of their own tunes as well as pay tribute to their inspirations in a casual, conversation-cum-performance for a small audience. In addition to songs from her new album Servant of Love, Griffin gave a jaw-dropping piano and voice performance of the classic gospel sustainer "Take My Hand, Precious Lord." Former Carolina Chocolate Drop Giddens (pictured) gave a fierce read of Lydia Mendoza's scathing "Mal Hombre." And Shakey Graves, a.k.a. Alejandro Rose-Garcia, transformed the Cardigans' frothy "Lovefool" into a wistful acoustic pleader. The best news for those who weren't there to listen in person: the show will be broadcast on NPR later this month. S.R.

Christian Lopez didn't have much to work with — just a short slot on midday Friday at the United Artists showcase — but this 19-year-old West Virginian who sings like a pop-coated Cory Branan and looks like a spruced-up character from The Outsiders packed so much kinetic energy into his set, and sliced so many strings, that he had to finish on a borrowed guitar. While his debut LP, Onward, is a plucky and occasionally subdued showcase of his Appalachian roots, Lopez brings way more youthful twang to his live performances. There may be some serious influences in there (mountain bluegrass, old gospel) and a serious producer (Dave Cobb) but, at his best, he's a maker of smart and slick country that holds a whole lot of promise and age-appropriate fun without pandering to any radio trends. M.M. 

America's most underrated songwriter and performer, James McMurtry will never win any awards for warmth. But that's part of what makes him so terrific. The cantankerous McMurtry, who released the magnificent Complicated Game this year, played the bulk of the album during a Wednesday night slot at Nashville's City Winery and did so without breaking a single smile. Instead, he let his novel-deep lyrics convey his emotions, whether it was the desperation of "Carlisle's Haul" or the subdued elation of exploring Florida's "Forgotten Coast." His show-closing "No More Buffalo," from 1997's It Had to Happen, however, was the high point. Full of heavy regret, the song was a eulogy to things that are no longer there — no matter how hard we want to believe they are. J.H.

It's downright unfair how much egoless talent comes together in the Watkins Family Hour. Here’s a rundown: Sara and Sean Watkins (the non-Chris Thile portion of Nickel Creek), Fiona Apple (Grammy-winning rock provocateur), Benmont Tench (Tom Petty and the Heartbreakers' founding keyboardist) and extraordinary session players Greg Leisz (steel guitar), Sebastian Steinberg (bass) and Don Heffington (drums). Combined, they link up like the Voltron of roots music, and on Wednesday night unleashed their arsenal of modern-throwback country, shape-shifting folk covers, Tin Pan Alley love, pissed-off rock and delicate singer-songwriter material, all served with a dollop of Apple edginess. Her frantic energy was in stark contrast to the rest of the band's composure — even on Dolly Parton's pleading "Jolene" — and you could cut the texture of her and Sara’s vocal harmony with a knife. C.P.

Singer-songwriter-actor J.D. Souther was in both great spirits and great voice as he echoed a common theme of AmericanaFest during his captivating set: loving the inclusivity of the genre. It meant that Souther could sing everything from the hits he's written for and with others — including a looser, jazzier take on the Eagles' "Heartache Tonight" and the melancholic "New Kid in Town," and Linda Ronstadt's cautionary "Prisoner in Disguise" — as well as covers, including the sizzling Fats Waller staple "Ain't Misbehavin'." John David Souther also dipped into his own catalog as an artist, slaying the room with the still aching ballad "You’re Only Lonely" and tracks from his new album Tenderness. Taking it all in from a corner were Souther's Nashville castmates, including Sam Palladio and Chris Carmack. S.R.

You can toss a penny and hit a banjo at AmericanaFest, but plain old rock & roll guitar can often be hard to find. Which, if you think about it, is a little strange — there's nothing more American than an oozy, southern-steeped rock riff (just ask Tom Petty or the Allman Brothers). Plus, being plugged-in is what often gives the genre its distinctive punch. But this year, rock fought for its place among those banjos, as Jonathan Tyler brought serious swagger; the Blackfoot Gypsies favored Rolling Stones-esque vintage thrash over earnest folk; and Low Cut Connie and JD McPherson delivered hard-edged, distortion-riffed boogie blues. Even Daniel Romano — who often plays tearful trad-country — wielded his Fender Telecaster for a set with way more punk than twang. Rock & roll isn't dead: it's just being called "Americana." M.M.

Some of Nashville's most successful songwriters convened for a comic, moving and revealing night of song and story swapping at a Benefit for Preston Taylor Ministries, presented by Luke Laird's Creative Nation. Among the choice cuts were Laird's take on "American Kids" (the giddy ditty he co-wrote for Kenny Chesney), Natalie Hemby leaning into Kacey Musgraves's incisive inside-Nashville song "Good Ol' Boys Club" (written with Laird and Musgraves) and Lori McKenna stunning with the evocative images of "The Rifle and the Bird." The night served a dual purpose, as both a reminder of the wellspring of talent that feeds the country music community and a benefit for an organization that helps underserved youth find their voice. And find it they did in the night's most joyful and poignant performance, as seven young girls, all engaged with programs at the ministry, joined Hemby for the triumphant ballad "Emerald City." S.R.

On any given night in Nashville, a bulk of the young and burgeoning Americana community can be found east of the Cumberland River, on the opposite side of town from AmericanaFest's Hutton Hotel headquarters. But, with the exception of a few unofficial barbecues here and there, it's never been a truly integrated part of the festival before. This year, thanks to official showcases at East Nashville's the 5 Spot, the Basement East and AMA-ordained events at record stores the Groove and Fond Object (who hosted a killer Sunday bash with JP Harris, Steelism, Clear Plastic Masks and more), the music actually happened in its natural habitat. Attendees could catch buzzy acts like Kelsey Waldon, Oh Pep! and even the outstanding John Moreland, who played the backyard of Fond Object on Saturday, the day after earning an encore at his Mercy Lounge set. M.M.

One of the most bizarre-yet-satisfying showcases of AmericanaFest was the HillBenders' string-band opus Tommy: A Bluegrass Opry, a remix of the iconic rock opera. Onstage this week, the Missouri-based quintet unleashed their grassy revisions of the Who's songs on a late-night crowd, pulling off the ambitious experiment with impressive precision. Full of windmilling arms, intricate harmonies and creatively composed layering, the production was theatric, odd and intriguing in a most excellent way. The band took turns narrating the tragic life story of the deaf, dumb and blind boy, hitting a high-water mark for excitement with the furious banjo roll of "Pinball Wizard." It was a surreal moment for lots of reasons, including watching English folk hero Richard Thompson pumping his fists and howling at the foot of the stage like he was still 20 years old. C.P.

With his red-checked flannel shirt and tight n' polite Canadian accent, you could mistake Alberta's Corb Lund for a beard-free lumberjack — until, that is, he starts spinning his grooving, witty take on classic country. Friday night at Mercy Lounge, he showcased tracks from his upcoming Dave Cobb-produced LP, Things That Can't Be Undone, like the romping "Run This Town" and Stax Records-steeped "Weight of the Gun," weaving in Johnny Cash riffs and Hayes Carll ticks with a deft hand. Despite his provenance, there's a level of believability in his north-of-the-border honky-tonk that even those who grew up five miles from Nashville can't often hit. Maybe it's that syrupy delivery, or maybe it's the way he smiles when singing about heartbreak, death and depression that's plenty Hank Williams, despite the foreign passport. M.M.

When the Bros. Landreth played last year's AmericanaFest, the guys were measured and controlled, delivering a version of the electric blues that was more about nuance than bluster. This year's set was a louder story. Kicking things off, as always, with a cover of Wings' "Let 'Em In," Winnipeg's newest guitar heroes kept the amps turned high, adding new muscle to a catalog of songs whose four-part harmonies and slide solos occupied the middle ground between the Doobie Brothers and Bonnie Raitt. The Bros. Landreth have become Juno Award-winners since their previous AmericanaFest set, which may have been why this year's appearance felt like a victory lap, closing out the long chapter of the band's debut album, Let It Lie, and paving the way for whatever's next. A.L.