There is no more ambitious undertaking in the world of country music than to attempt to write and record the conceptualized Western murder album. This is what Canadian country songwriter and performer Lindi Ortega did when she chose to undertake her newest record, ‘Liberty.’
Tis’ the season to officially announce your 2018 record apparently, as Wednesday (1-17) saw the unveiling of two marquee projects of note in the country and roots world. Old Crow Medicine Show will release their latest record “Volunteer,” and Lindi Ortega will release a concept album called “Liberty.” The details:
The only greater disservice an artist or a label can do to the music they’ve worked so hard on and put so much love into than releasing it on an EP, is to release it on a four-song EP. You want to bury music and relegate it to the also-ran of your discography and have Wikipedia page editors and everyday fans give you quizzical looks? Release an EP.
Apologies if you came here looking to replenish your 3rd generation iPod with a fresh platoon of booty shakers. That’s not what this practice is all about. Feel good songs are just fine and help fleet us through the tiresome days, but when we talk about the “Best Songs,” were talking about songs that deliver moments that can change entire lives.
We’ve known for a while that Chris Stapleton’s much-anticipated sophomore album and the follow-up to his landmark debut Traveller will be released on May 5th, but despite the looming deadline, details on the new release have been quite limited. But all of that is about to change.
Lindi Ortega is no stranger to the dark regions of the mind, or the mortality that hangs over all of us like an ever-present nightmare, just waiting to swoop down and become our fateful reality. As a student of the folk rituals surrounding Día de Muertos through her half-Mexican heritage, her funeral veil, her ghostly pale skin…
Saving Country Music has just added some fresh horses to its recently-launched Top 25 Current Spotify Playlist meant to be a centralized destination for top recommended songs and artists currently setting the pace in country, Americana, and the greater roots realm.
Ortega recently decided that her five-year stint in Nashville was no longer worth the struggle. She moved back to Canada, and almost decided to leave country music behind as well. But out of her struggles, losing her label, and looking for a way forward she has recorded a four-song EP called ‘Til The Goin’ Gets Gone.’
It don’t matter who’s on country radio, Chris Stapleton is still the current king of country music when it comes to recognition and album sales. A solid 16 months since he shocked the world at the 2015 CMA Awards, and he is still the perennial chart topper on the country albums charts with Traveller most every week, and there is no signs of it slowing down soon.
If you’re wondering what the Dave Cobb-influenced mainstream country world might sound like after the success of Chris Stapleton, take a good sniff at “My Church.” The arrangement and grainy production quality could very well be that of Lindi Ortega or Nikki Lane, but this is a major label artist looking to gain the attention of the fickle mainstream country music fan.
Camayo, Charles Kelley, Chris Stapleton, Dave Cobb, Hank Williams, iHeartMedia, Jamie Lin Spears, Johnny Cash, Kacey Musgraves, Keith Urban, Kelsea Ballerini, Lindi Ortega, Maren Morris, Mickey Guyton, My Church, Old Dominion, On The Verge, Review, Taylor Swift
Producer, guitar player, and songwriter Dave Cobb has signed an exclusive worldwide publishing deal with Warner/Chappell Music. The deal was announced Monday (1-4), and also includes the formation of Cobb’s own publishing arm, Low Country Sound Publishing. The news comes after an incredible 2015 for Cobb…
A Thousand Horses, Anderson East, Brandy Clark, Chris Stapleton, Corb Lund, Dave Cobb, Elektra Records, Holly Williams, HoneyHoney, Jason Isbell, Lindi Ortega, Miranda Lambert, Southern Family, Sturgill Simpson, Warner/Chappell Music
2015’s Album of the Year candidates might constitute the most wide open field of contenders since this exercise has been in practice. There’s no clear front runners, anyone could win, and each candidate has pluses and minuses. Like every year, your opinion counts, and may even count more this year with no clear front runner.
Brandi Carlile, Chris Stapleton, Don Henley, James McMurtry, Jamie Lin Wilson, Jason Boland and the Stragglers, Jason Isbell, Jason James, John Moreland, Kacey Musgraves, Lindi Ortega, Lonesome Wyatt, MIke and the Moonpies, Rachel Brooke, Randy Rogers, Roo Arcus, Ryan Bingham, Turnpike Troubadours, Wade Bowen, Ward Thomas, Whitey Morgan, Whitey Morgan and the 78's, Yelawolf
On Saturday night (9-12), the CCMA’s also threw their annual awards gala where 20 CCMA were handed out, including one to Last Gang Records singer and songwriter Lindi Ortega who walked away with the distinction of Roots Artist of the Year. This is Lindi’s second win in the roots category in a row. Lindi released her latest record ‘Faded Gloryville’ on August 7th.
Out there on the club and honky-tonk circuit are women with skins on the wall, proven talent, and built-in fan bases that go regularly overlooked as options to bring compelling female voices to the big leagues of country. One such artist is the Canadian-born Lindi Ortega, who has just released her latest album through Last Gang Records called ‘Faded Gloryville.’
Gone are the days of Loretta Lynn singing “One’s On The Way.” Gone are the days of adult issues like divorce, resonating with mature audiences. Gone are the days of originality, not only in style but in songwriting. In that classic era you could tell the difference between Johnny Cash and Waylon Jennings. Artists were easily discernible and legends arose because of their unique qualities…
Eliot Bronson is Americana in the truest sense of the word—instead of simply falling back on the term as a default. His lyrics come inspired from America’s country and roots past, but the music refers to more progressive folk rock and blues legacies. First and foremost though, his self-titled LP is a songwriter’s showcase, capturing moments of spectacular insight and feeling…
It has become patently obvious, especially over the last few years, that country music exists in two completely different worlds. One is the traditional world, where the way country music sounds is in close proximity to the way it has always sounded. And the other is Top 40 or mainstream country, which in the last few years has become the home for a hodgepodge of musical influences.
It’s that penultimate moment—that tipping point—when a town or neighborhood known for it’s cool, rich, and creatively-vibrant culture becomes so awash with interlopers, gentrifying hipsters, and retiring baby boomers that the critical mass point is reached in redevelopment, rising rents, and real estate prices and the entire thing implodes.
Amy Lashley, Caitlin Rose, Chuck Mead, Cory Branan, East Nashville, Guy Clark, Jason Isbell, Joe McMahan, Justin Townes Earle, Kevin Gordon, Lindi Ortega, Liz Rose, Marty Robbins, Mike Grimes, Nashville, Otis Gibbs, Roy Acuff, Sergio Webb, Skip Litz, Steve Earle, Sturgill Simpson, Susanna Clark, Todd Snider, Townes Van Zandt, Tristen, Waylon Jennings
If you’re looking for the country music female revolution’s representative for true neotraditional country, Kelsey Waldon might just be your perfect match. If this album was released in the 70’s, it would have birthed a slew of indelible country standards. Such inconsolable heartbreak, such sorrow-drenched insight is captured on these tracks and then embellished with tasteful production…
Brandy Clark, Brett Resnick, Caitlin Rose, First Aid Kit, Holly Williams, Jeremy Fetzer, Kacey Musgraves, Kelsey Waldon, Kitty Wells, Lindi Ortega, Merle Haggard, Michael Rinne, Rachel Brooke, Review, Skylar Wilson, Steelism, Tammy Wynette, The Gold Mine
Dubbing themselves “Outlaw” country, New Country Rehab very much defines the space that refers heavily to country music’s storied past, while instilling it with a new set of sonic parameters and progressive values. The lilting love songs are certainly present here, but so is a heavy handed douse of social commentary that struggles to hide its anger.