Our entire set from Shrewsbury Folk Festival, recorded on 26 August 2018, is now available to watch on YouTube. Featuring Barry Walsh on keyboards, Conor McCreanor on bass and Colm McClean on electric guitar, the show was part of the Dancing With The Beast European Tour which took us to festivals in the UK as well as tour dates in Germany, the Netherlands, Ireland and France. You can watch the whole set here – and while you’re at it, be sure to subscribe to my YouTube channel and be the first to know when new videos are posted!

“When I turn on the radio – which is rarely – but when I do it just seems like it’s just pure testosterone. Honestly, one thing I think we all have to remember is people programming commercial stations are not selling music, they’re not selling songs – they’re selling tires, deodorant, whatever they’re running ads for.”

“I started to feel like there was no room for the types of songs I wrote. I could hear it, it doesn’t take a genius to listen to the radio and figure out things are going east and you’re going west.” Welcoming these songs would make the radio “more diverse, more varied, just by the nature of [women’s] own experiences.”

To read this interview in its entirety, visit PopScure.

After her recent sell out concert, Gretchen Peters was gracious enough to spend some time with Folk and Tumble and have a chat about her career, songwriting and her fans:

… “There are certain characters that really speak to you and appeal to you for different reasons and that certainly has something to do with who you are so it’s almost impossible to answer. I think it was interesting that the voices that emerged for this particular album given this particular climate were all women but I don’t think it’s surprising because I’ve been telling women’s stories pretty much all of my career.

The “me too” movement was just taking off at the time and I don’t think it was a coincidence that that was what I was writing about. I think that’s part of what an artist does. They sense what is happening under the surface and just pull it up”…

To read this interview in its entirety, visit Folk & Tumble.

…a beautifully balanced performance with superb musicianship from the talented band that comprises Barry Walsh (accordion, keyboards), Conor McCreanor (Electric & upright bass), Colm McClean (guitars) and Gretchen herself on acoustic guitar. The understated playing is so beautifully realised, always serving the song and adding just enough interplay to allow for the spaces between the notes. Also, the harmony vocals are very strong and augment a vocal performance from Gretchen that shows her voice to be in superb shape, singing from the heart in a honeyed tone that seduces and soars in all the right places…

To read this review in its entirety, visit Lonesome Highway.

While in the UK recently, I had an in-depth chat with Mandy Morton for her Cambridge 105 radio show, The Eclectic Light Show. We talked about Dancing With The Beast, feminism, the political atmosphere that was the backdrop for the songs on the album, and much, much more. This episode also features British folk artist Eliza Carthy – be sure to stick around for her interview in the second half!

You can listen to the interview here.

 

…the encore is rememberable for two different reasons. The first is a spirited rendition of Rodney Crowell tune, ‘Ain’t Living Long Like This’, which sees Walsh kick his stool backwards, and fly at the keyboard with gusto, which is met by equalling shining solos from the Fender of Colm McClean. This is pure musical theatre at its best, with Little Richard present in spirit in the shape of Barry Walsh.

The second reason is very special. Gretchen Peters makes her way to the edge of the stage and delivers a spine-tingling solo version of ‘Love That Makes A Cup Of Tea’. In the hands of someone less adept, such a tittle could be a hackneyed, over-sentimental country and western song.

In Gretchen’s voice, it is a thing of pure beauty, leaving the audience with some balm, comfort and hope, in a world full of obstacles. Her voice is soft and you wish she could have sang more songs like this. But which songs would you have given up to make way?

To read this review in its entirety, visit Folk & Tumble.

While we were in Dublin during the Irish leg of our European tour, Barry Walsh and I stopped in at Beardfire Studio and played a couple of songs for Rhythm & Roots on 103.2 Dublin City FM. We had a chat with host Rohan Healy. Here’s “Say Grace”.

 

 

…the crowd loved her version of “On A Bus To St. Cloud” but the next song of the set was even better – “Idlewild” from 2012’s Hello Cruel World. This opens with a child in the back seat of the family car listening to her parents’ fractured conversations, and it covers everything from racism and JFK’s assassination, to the Cold War. The finale was a rousing, rock-and-roll cover of Rodney Crowell’s “I Ain’t Living Long Like This” complete with a duel between lead guitar and keys.

I thought this was a fine and very uplifting end to the show, but Peters wasn’t finished. The band left and she walked to the very front of the Lyric’s stage with her guitar, and sang the simple and completely endearing “Love That Makes A Cup Of Tea”. This was a thing of absolute beauty and worth the ticket price on it’s own.

To read this review in its entirety, visit Gigging NI.

 

I’m thrilled to be a part of John Prine’s just-announced All The Best Fest in Punta Cana, Dominican Republic November 11-15 of 2019. The lineup so far also includes Jason Isbell and the 400 Unit, Nathaniel Rateliff, Iris Dement, I’m With Her and more. More artists will be announced later. This is going to be a truly memorable five days and I can’t wait. I hope you can join us!

For more information and to sign up for the pre-sale, visit All The Best Fest website, and you can visit the All The Best Fest Facebook page here.

I spoke with Melissa Clarke of Americana Highways recently about sad songs, storytelling, how music creates empathy, Dancing With The Beast, and… crickets.

The album contains characters who are suffering from abuse, depression, Alzheimer’s, and there’s even one song called “Truck Stop Angel.”  “It’s human centric,” I remarked. Peters responded: “I’m glad to hear you say that, because some of the most rewarding feedback about the album has come from men who’ve said these are human stories. I have a problem with the whole idea of things like “women’s literature” and I don’t think of myself as addressing an audience of just one gender. Female characters ought to interest everybody.”

To read the interview in its entirety, visit Americana Highways.

I sat down to talk to Jeremy Dylan awhile back for his great podcast, My Favorite Album. Obviously it’s impossible to pick a favorite album, but Bob Dylan’s Blood on the Tracks would undoubtedly be up there at the top of my list any day of the week. Dylan was one of the earliest and most powerful influences on me, as a young kid learning to play the guitar. But it took me a long time to really dig into Blood On The Tracks. From Jeremy’s website:

Gretchen talks about how she fell in love with the album as she was getting divorced, the unusually soft edges of Dylan’s songwriting on this record, how he treats women in his lyrics, how his songs always bring you to a place of empathy and the importance of being brutally honest with yourself as a songwriter.

To listen to this episode visit My Favorite Album (you can also download it wherever you get your podcasts).

 

Originally, the Roots Unearthed series booked Gretchen into the L3 Lounge – however, tickets sold so fast that she was moved into the 2,000-seater St David’s Hall. She totally topped her new prestigious space; her performance, accompanied by arranger, husband and Nashville resident Barry Walsh and two masterful musicians from Ireland, bassist Conor McCreanor and spectacular Belfast guitarist Colm McClean, was absolutely stunning… She stands on a pedestal with Richard Thompson as being the most compelling songwriter on the scene today; like Thompson, her lyrics are astounding, cramming original ideas, words and memorable tunes into a few sharp minutes.

To read this review in its entirety, visit FolkWales Online Magazine.

…the arrangements, written by violin player Patsy Reid and worked through with Peters in the run up to the show were sublime, the woody timbre of the cello adding so much to ‘The Secret of Life’ and a brave sense of drama to ‘Hello Cruel World’. Peters paid tribute to the late Jimmy LaFave on ‘Revival’ before offering the audience ‘When You Love Someone’, written with Bryan Adams and then a real crowd favourite, ‘On a Bus to St. Cloud‘. The encore, ‘When You Are Old’, had the audience offering a standing ovation which was tonight much deserved. – Paul Kerr for Americana-UK

To read this review in its entirety, visit the Americana-UK website.