NASHVILLE, Tenn. (Press Release) - Country Music Hall of Famer and legendary Grand Ole Opry member Whisperin’ Bill Anderson released a sentimental new single, “Until The Light Comes On Again,” available TODAY, with all proceeds being donated to Sarah Cannon Fund at the Community Foundation. The video for the single exclusively premiered on Parade.com. Click HERE to purchase "Until The Light Comes On Again." 
 
Anderson was inspired to pen the single after watching his longtime girlfriend, Vickie, bravely face a cancer diagnosis. The poignant, beautiful tune brings a message of hope and is a testament to anyone who’s facing a challenge in their life. Anderson and Vickie are featured in the video which comes fresh off the Songwriter’s Hall of Fame announcing Anderson’s induction this June. ​

LISTEN TO “HARD TO TELL”: HERE

​(Press Release) Nashville artist Boo Ray is excited to announce the release of a new original duet with Lilly Winwood (Americana singer and daughter of Rock & Roll Hall of Famer Steve Winwood) called “Hard to Tell.” This fun, original track is the A side in the latest vinyl collaboration series Ray is doing called “Boocoo Amigos.” The B side is the pair’s take on the classic “Islands in the Stream.”
 
Having worked on “Islands in the Stream” together first, Winwood and Ray just knew they had to collaborate on something original. “Lilly’s clever like a safe-cracker, cooler than a polar bear’s toenails, and has a wonderful uproarious laugh. She’s a world-class vocalist and smart soulful songwriter. We were hangin’ and talking ’70s music — Linda Ronstadt, Gerry Rafferty, Eddie Rabbitt, and the Bee Gees — and went down the rabbit hole of the Grease soundtrack, came out the other side, and landed on ‘Islands in the Stream.’ We knew we just had to record ‘Islands’ and write an A-side to accompany it.” Once the duo had their rendition of a classic locked in, “Hard to Tell” came naturally, written in 20 minutes.

This September, Elise Davis returns with her sophomore album Cactus, the follow up to her 2016 critically-acclaimed debut The Token. With Cactus, Elise moves between lush alt-country and stripped-down folk confessionals, gluing everything together with story-driven songs about independence, liberation, and resilience as an adult woman.
 
Today, Davis shares "Don't Bring Me Flowers," the first single from Cactus that was co-written with Maren Morris and Frank Romano.
 
"On my new record Cactus there is a heavy theme of feeling like a lone wolf, independent, and sexually liberated," explains Davis. "'Don't Bring Me Flowers' ties into that theme being a song simply about the desire to be involved with someone but keep it light, casual, and sexy."

April 13, 2018 (Press Release) - Brooklyn honky-tonk band, Bourbon Express, releases the video for “Devil’s Angel,” the second track off of their upcoming album, Cry About It Later.  Watch it on The Alternate Root.
 
The idea for the video was hatched on the subway as Katie Curley (vocals, rhythm guitar), Brendan Curley (guitar), and Sarah Kinsey (vocals) rode home from rehearsal one Sunday. While discussing how they’d like to visually depict the song “Devil’s Angel,” they decided that in keeping with a tradition of corny country music videos, it should be a literal representation of the lyrics and that each band member would play several roles.
 
The video begins while Katie’s nerdy husband (played by Brendan, who is married to Katie in real life) is away on business. Katie goes to a bar, and when her friend Sarah walks in with a handsome cowboy (also played by Brendan), she can’t help but want to steal him away. ​

“There were a number of things about my childhood that were tragic and unhappy, yet the Ozarks is deep in my bones and I still carry a great love for the area and it’s beauty, even after fleeing to Chicago almost 20 years ago.”

On April 6th, Chicago-based singer-songwriter Jodee Lewis released her latest album Buzzard's Bluff, which emerged out of self-reflection on growing up in a small town in Missouri, the trials of faith, and a 19-year marriage with children.

Today, TDC is extremely proud to premiere the video for the album's piercing title track. Led by violin, upright bass, and Lewis' vocals, which convey an emotional mix of truth, anger, and determination, “Buzzard’s Bluff”, is a cathartic release that centers around a hidden darkness that lies beneath the visible beauty of the Ozarks. Beginning with an aerial view and ominous melodic undertones, the video follows the story of a woman who is confronting earlier secrets after the passing of her father and, via a climactic bridge, ultimately makes the decision to let go of her past and begin anew. 

Canadian singer-songwriter Delta Jackson is prepping to make her US debut with the release of her new EP in 2018. The EP was produced by King Crimson drummer & producer Jeremy Stacey (also of Sheryl Crow, Ryan Adams). With Delta on lead piano and vocals, she has written new material of journey’s, inner turmoil, split decisions, and arriving to a place where one can reasonably assume she is comfortable in her own skin. Drawing inspiration from artists such as Rickie Lee Jones, Jackson Browne, & Ryan Adams... it is clear throughout the recordings that lyrical awareness was of the utmost importance, and the group put together to bring it all to life was not accidental.

Jackson recently shared a new tune from the EP, "Willin," her lovely, folk-tinged rendition of the classic track - written by Little Feat and made famous by Linda Ronstadt - which does the original proud. 
Her EP was recorded live to tape at Peter Gabriel’s Real World Studios in England, that features a stellar studio cast led by Jeremy Stacey on drums, twin brother Paul Stacey (The Lemon Trees, Oasis, Black Crowes) on guitars, Ethan Johns (Ryan Adams, Kings Of Leon, Laura Marling), on guitars/vocals & Harmonica, David Catlin-Birch (The Lemon Trees, World Party, Stevie Wonder) on bass/vocals, and Mikael Jorgensen of Wilco on hammond, keys, organ, synth & piano. Engineered & recorded by the masterful Dom Monks, the EP is due for release on Friday April 20th, 2018. 
Delta Jackson will hit the road in late April to support the EP release. Her Tour begins at The Troubadour in London on Friday April 13th 2018 and later stops in New York and Los Angeles among other cities, and finishes in her hometown of Vancouver on April 28th. Tickets are available directly through venues, songkick.com, and brownpapertickets.com. Delta Jackson will be touring The UK, Ireland, Scandinavia, and the rest of Europe Summer 2018, before returning again to North America this Autumn. 
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Brothers Osborne will release their sophomore album Port Saint Joe on April 20 via EMI Records Nashville, and it is streaming now in its entirety via NPR First Listen, who call the record “an excellent Southern rock and roll jam, with soul flourishes, vocal cadences that show an awareness of hip-hop, and a blues underbelly." Listen to Port Saint Joe via NPR First Listen here.

Brothers Osborne have been nominated for two 2018 ACM Awards for “Vocal Duo Of The Year” And “Video Of The Year,” the latter for their video “It Ain’t My Fault.”  The ACM Awards will broadcast live from The MGM Grand Garden Arena in Las Vegas on April 15th at 7 p.m. CT on CBS. Find out full information about the ACM Awards and nominees here.

The band will also perform throughout 2018 in the United States and the UK (full dates below), and tickets for all dates are on sale here.

Folk noir songwriting duo the Society of Broken Souls - Dennis James and Lauryn Shapter - will release their second album, Midnight and The Pale, on April 13, 2018. The ten-song collection was indeed a truly independent project as multi-instrumentalists James and Shapter did the writing, arranging, producing, and engineering, as well as performing all the parts. Pouring your heart and soul, as well as sweat, and tears, into a project can be exhausting, but in the end the rewards are immensely fulfilling. Lauryn notes,

"I love this album. Honestly, in the midst of recording it, I wasn’t sure I would feel that way, and I’m glad I have Dennis as my partner-in-crime because he has a much better ability to have the long view, to see how it’s all going to come together. But I really love it, love the individual songs and love how they flow together. When we were in the studio we were a little baffled as to how we would order the songs, but of all the albums we’ve done, this one feels the most cohesive and seamless. Somehow, they all found their place.

Doing everything ourselves — writing, arranging, performing, producing, mixing, mastering — is truly a mixed bag. On the one hand, we can work whenever we want. If inspiration hits at one in the morning (which it did, many times), well, we’re right there and aren’t beholden to anyone’s schedule. We know the songs far more intimately than session players would. It’s far cheaper than hiring a producer and side musicians and engineers, and there’s definitely a profound sense of accomplishment to being 100% DIY. But it’s also exhausting. You don’t get to lay down your guitar and vocal parts and then walk away while other people finish the song, whether that’s adding parts or mixing. It takes a lot of creative brain power to come up with a wide landscape of color and sound, both within a song and from song to song. And it’s harder to get a bird’s eye view of the project — you’re so close to your own art it sometimes hard to see the forest for the trees. Someday maybe we’ll have the luxury of working with our dream producer and musicians, but this works for us right now."

Dennis adds,

"Midnight and The Pale turned out to be a bit of a surprise. I didn’t have a hard, clear vision of what I thought it would be but I was pleasantly surprised by it. While most of the songs we chose seemed to belong together, there were a few outliers that gave us pause. We weren’t quite sure how they’d all fit together in the end. As we began to sequence them so that it felt right, Lauryn came up with what was the final order and it all just clicked. It feels cohesive, cogent, and mature. I guess it’s that mature part that surprised me. There’s a quiet satisfaction that accompanies it for me. For us, the creative process is always a tug of war between inventiveness and servitude. We want to explore new areas and stretch boundaries for ourselves but never at the expense of the song. So when new and exciting ideas come to mind, we have to have the courage to go down those roads but then have the wisdom to decide if doing so is right for the song - sort of musical version of “just because you can doesn’t mean you should.” With Midnight and The Pale, I feel we did just that. There are sounds that are fun and creative as well as compositional elements that were new and challenging. But most importantly, the essence of each song feels true to its original voice. I’m really happy with the album. 

With us doing everything ourselves, there’s a mix of trust and trepidation. We bounce ideas off one another and look to one another for encouragement but there’s still a bit of a vacuum element to the whole thing. Because it’s just the two of us, we carry a little extra weight to fill out the recording, and that works for us. After all, the studio is great because we can indulge ourselves with all the instruments we love to play. But for me, I found myself at the end of the project with the aforementioned trepidation, and I realized it was because the final album was going out the door with no outside ears or input on it. And that’s where the trust came into play, which I suppose may also contribute to the sense of maturity I feel about it. But we do feel good about it, and that feeling holds up with every new listen.

As the title foreshadows, Midnight and The Pale studies the interplay of light and dark and the beauty that can occur when they are allowed to walk comfortably side by side. Via expansive, mature storytelling replete with weathered characters, tough topics, and quiet beauty, Midnight and The Pale captures a heartfelt authenticity in songs that are profoundly personal and darkly fictitious. From the folk-based opener, “Ghosts of Kansas” to the keys-laden “Witness,” the poignant "Broken Bouquet," and the ominous-western vibe of “April’s Moon” the twosome’s intricately woven, delicate, and varied arrangements create a dynamic and vast sonic palette that draws the listener in, captivated, and lingering long after the final word is sung and the last note is heard.

​Today, TDC is incredibly pleased to share Midnight and The Pale with you in its entirety. Enjoy, and share, the album above. For more information, visit the links below.

Website: www.societyofbrokensouls.com
Facebook:  www.facebook.com/society.brokensouls 
Twitter:  www.twitter.com/SOBSmusic 
Instagram:  www.instagram.com/societyofbrokensouls 
YouTube:  www.youtube.com/c/Societyofbrokensouls 

​NASHVILLE, TN (Press Release) - Marking the arrival of a stunning new voice from the American South, Billboard today premiered indie singer-songwriter Erin Rae’s highly anticipated new album title track, ‘Putting On Airs’ (album released June 8). Billboard chatted to Rae and her new label boss, the Civil Wars' John Paul White, who signed Rae to his label Single Lock Records, after he was wowed by her live performance.

Talking to Billboard John Paul White said,  "I felt like someone was playing a trick on me; 'This girl is phenomenal. Why don't I know she exists? She seemed so at ease, so at peace in her skin. You don't see that much, especially from musicians who are still opening shows. Her pitch was amazing, I loved the melodies. I was smitten."