BEST OF 2024: Cindy Howes, host of Basic Folk

Where did you find the tunes this year? Sadly for me at this stage in my life it’s EMAIL D: (SAD TROMBONE)…. I have hundreds of emails in my inbox that I go through weekly from publicists, radio promoters, independent artists, etc. Although EXTREMELY necessary, it’s not my preferred method for finding “the tunes.” Instead, I’d rather have my insides light up watching an unknown artist perform on stage for the first time: this year for me it was NEW DANGERFIELD. I love hearing music in a good weird TV show or movie: Janet Planet gave me Bob Carpenter this year. Another good hit for me in “tune finding” is when a good pal sends a suggestion along; thanks to lizzie no for sending Olivia Ellen Lloyd my way this year. And of course, my first “tune-finding” love, radio; there are too many to name from John Richards at KEXP. I have a few new year’s resolutions: less sweets, learn enough guitar for the campfire, write down my feelings…. I’m going to add “find more tunes offline.” If you see me in the wild, do me a favor and hold me to it. If I missed anything on my list, let me know.
Want my playlist on Tidal? HERE.

Album of the year: Lizzie No, Halfsies
Creepy historical song of the year: Rachel Sumner, Radium Girls (Curie Eleison)

BEST OF 2024: Lizzie No, co-host of Basic Folk

Dear Basic Folk Community,

I am so happy to be writing to you from my kitchen in Nashville, where I have been dancing to my End-of-Year playlist all week.

The songs on my playlist accompanied me through the highs and the heartbreaks of 2024. I experienced career highwater marks singing “All In Good Time” all over Europe with the phenomenal Iron and Wine. Lainey Wilson’s “Hang Tight Honey” and GloRilla’s “TGIF” helped me shake off the bullshit and keep going when being away from home for months at a time didn’t feel particularly glamorous. I connected with my inner child listening to Kane Brown’s “Backseat Driver,” Kacey Musgraves’ “The Architect,” and “Play God And Destroy The World,” Amythyst Kiah’s scorching duet with S.G. Goodman. 

Releases from my favorite new(ish) folk(ish) artists Lutalo, Ken Pomeroy, Liv Greene, and Sima Cunningham reminded me to believe in the future of roots music. Miranda Lambert’s unbroken decade-long streak as Most Consistently Good Mainstream Country Artist provided a rare feeling of certainty in a world of chaos. When everyday American injustice got me down I found folk heroes to root for in BigXthaPlug’s “The Largest” and Kaïa Kater’s “Fédon.” 

I hope you like the playlist. I hope that the dancing-inclined amongst you enjoy the healthy mix of bangers and bops, and in a few cases, slick transitions FROM bangers TO bops (see: “Gift Horse” into “Up All Night.”) I hope 2025 brings to each of us good health and a Shaboozey-Sierra Ferrell collab. I hope D*nald Tr^mp slips on a banana peel in the middle of Midtown traffic and is at least maimed. 

Whether you heard one episode or every episode in 2024, I am very grateful for you!

Thanks for listening.

XOLN

It’s 2024 recap time on Basic Folk! Cindy & Lizzie dive into a most special year-end reflection, featuring highlights from our honest conversations with folk musicians. We revisit THE top episode of the year, Anna Tivel & Jeffrey Martin‘s insightful discussion on navigating artistic challenges and living a simple life. Cindy shares her favorite episode featuring her co-host Lizzie No talking about her career-defining album, Halfsies (our 250th episode!). In turn, Lizzie’s favorite honest convo came from Leyla McCalla onboard the Cayamo Cruise. We sat in the ship lounge and dug in with Leyla about the “folk process” and her thoughts on cruising, as a Haitian-American, as we ported in Hispaniola aboard a luxury cruise line. (Spoiler: it is complex!)

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Basic Folk checks in with friend Jontavious Willis about his biggest lesson of 2024 and what defining success as an independent artist looks like as he has just released his latest West Georgia Blues. We also welcome Rose Cousins’ heartfelt words on embracing change as she prepares to release her next record, Conditions of Love – Vol. 1 (out March 14, 2025). As the episode ends, Lizzie leaves us with some words of wisdom:

“We are at a time of year where your body wants to be doing less. We’ve just survived a chaos clown show of violence in the election. Our culture is shifting rapidly. It’s okay if the things that used to work for you don’t work anymore. You’re allowed to start over. You’re allowed to try new things. You’re allowed to tell people in your life, ‘I’ve changed.’ You’re allowed to listen to new artists. You’re allowed to change how you dress. You can do it all. 2025 is a new year and you have freedom. And that’s my blessing to you.” – Lizzie No.

Goodbye 2024!

Episodes featured:

Anna Tivel & Jeffrey Martin: https://basicfolk.com/anna-tivel-jeffrey-martin-eyeballs-ice-cream-and-portland-oregon/
Lizzie No: https://basicfolk.com/lizzie-no-the-goat-on-gender-tiaras-and-leveling-up/
Leyla McCalla: https://basicfolk.com/leyla-mccallas-joyful-rebellion-sun-without-heat-and-the-freedom-of-play/

Dave Simonett, lead singer and songwriter of the bluegrass-adjacent Trampled by Turtles, is a talented musician and a great outdoorsman. From the small town of Mankato, Minnesota, to the vibrant music scenes of Duluth and Minneapolis, Simonett shares his upbringing in a musically-inclined, nature-loving family, shaped by the sounds of church hymns and classic rock. In our Basic Folk conversation, he opens up about his dual passions for music and the great outdoors, recounting his experiences with pheasant hunting and conservation efforts in Minnesota. He reflects on the parallels between the camaraderie found in hunting and playing music, emphasizing the importance of trying new things and embracing the unknown. We also delve into the evolution of Trampled by Turtles’ unique sound – described as a “butterfly’s heartbeat” – and the band’s journey from traditional bluegrass to their own distinct style.

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Elsewhere in the episode, Simonett talks about the challenges and rewards of maintaining artistic integrity in the music industry while balancing creative growth with commercial pressures. He shares insights on his band’s latest project, Always Here, Always Now, a dual EP featuring recordings by both Trampled by Turtles (Always Here) and his solo project, Dead Man Winter (Always Now). He wrote five songs and instead of picking a band to record the tracks, he handed them over to both bands to do what they will to the music. The results are very cool to listen to side by side. The episode wraps up with a fun lightning round, where Dave reveals his dream supergroup and favorite hunter orange accessory (gotta be safe out there!).

I (lizzie) first came across Becca Stevens via her collaboration with string group The Attica Quartet. Her new album, Maple to Paper, is really different from her previous releases. If you think you know everything that there is to know about Becca Stevens as a singer, songwriter, arranger, and producer, you are wrong. And you are going to be so amazed by this new record. It’s completely stripped down, featuring just her guitar and her voice. During the pandemic, Stevens started getting inspired to write songs about her family, about her mom, about grief, about becoming a mother. She decided to record Maple to Paper in her home in Princeton, New Jersey. The result is a super intimate and adventurous, bold and personal album which is full of amazing performances.

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In our Basic Folk conversation we also got to talk about some of her notable collaborations. The most interesting one, to me, was hearing about how she considers the late David Crosby a continuous spiritual co-writer. In addition to her friendship with Crosby, Stevens has collaborated with so many more incredible musicians including Jacob Collier and Sufjan Stevens on the Illinoise Broadway musical. She has a really unconventional approach to infusing pop, jazz, and folk into her work. Maple to Paper became an instant classic for me the minute I heard it. I’m really excited for our listeners to hear the song, “Shoulda Been There for Me,” which feels like an old school R&B tune, but arranged for a contemporary folk record.

Hot off the heels of Twisted Pines’ latest release, Love Your Mind, Kathleen Parks is here to dig into her uncelebrated polka origins. Daughter of renowned trumpetist Eric Parks, the younger Parks grew up in New York’s Hudson Valley in a very creative family (her mother was also a dancer and the one who made Kathleen practice all the time). She started young on the violin and was surrounded by her dad’s polka music, as he was a member of The Jimmy Stir’s Orchestra, which my dad – also a Polka-Head – calls “the top polka band revered by all polka bands.” Parks even sat in with the band as a teen, when she would occasionally fill in for their violinist. She fully embraced her strong Irish roots not only in music, but also dance, which she calls her second love. After accepting a full scholarship to Berklee College of Music in Boston, she started meeting and jamming with bluegrass musicians in the area, especially at the Cantab Lounge, famous for its weekly bluegrass night. This is where her new band Twisted Pine scored a residency and started building a following.

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On their new record, Kathleen is the de facto lead singer, which she’s just fine with. She also explains the band in one phrase: “Let’s see what happens.” That philosophy is definitely present on the new record, which is filled with wild vocal performances and sees the band operating at its highest level. In our Basic Folk conversation, we explore the mental health themes highlighted in “Funky People,” a song about how difficult it can be to take care of yourself on the road and the relief you find in people you meet. Plus, we cover “After Midnight (Nothing Good Happens)” and finally find out what time one should go to bed at a bluegrass festival. It’s always earlier than you think.

Friends and collaborators, Edie Carey & Sarah Sample teamed up in 2014 for their first album Til the Morning: Lullabies and Songs of Comfort. The pair both had babies and were wanting to do a project that centered around calming music for both children and adults. They were shocked at the album’s reception by adults (aka non-babies) who listened after experiencing grief, trauma and huge loss. This type of music certainly had an important place in the world. Now, they have done it again, but with more of a focus on calming music for adults with their follow-up: Lantern in the Dark: Songs of Comfort and Lullabies, which includes some originals, their first co-write and new interpretations of songs by Wilco, The Beatles, Cyndi Lauper and James Taylor.

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In our conversation, we tackle the concept of comfort. What is a good balance of comfort and what they experienced in the surprise reaction from their first record. It was also a great time to talk about their experience as touring musicians with young babies… the types of questions they would get asked that they are sure their male counterparts with young children would not get. They talk about the songs on the album, one of which was written by Edie in the aftermath of her mom’s sudden and recent passing. We wrap it all up, of course, by hearing each of their James Taylor stories and a delightful bedtime-themed lightning round.

Take care today. We’ll be here for you. 

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Featuring voices of: lizzie no, Sarah Jarosz, Aoife O’Donovan, Dawn Landes, Amy Helm, Missy Raines, Peggy Seeger, Michaela Anne, Ana Egge, Denitia, Liv Greene, Kaïa Kater, Humbird, Leyla McCalla.

Feedback? Email us: [email protected]

We’re starting with the end in our conversation with Kasey Anderson. On the pod, we’ve covered a lot of firsts; debut album, origin stories and the beginnings. Ever since I (lizzie) have known Kasey, his social media bio has been “gradually retiring songwriter.” I’m always teasing him about “What does that mean? When are you going to retire?” Officially, this latest album, ‘To the Places We Lived,’ is Kasey’s “last album.” I want to put that in very heavy quotes because I hate to imagine a world where a great songwriter friend of mine is not making records. I think his insistence on this album as the last one has more to do with saying goodbye to parts of the music industry that he wants to release and ways of being in the world that he doesn’t want to engage with anymore. What do we need to let go of? What do we need to release? That’s the place where this album begins.

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We talk about Kasey’s whole songwriting career. The moment where he went surprise viral for one of his political songs, “The Dangerous Ones.” We talk about his time being incarcerated and what that taught him about himself, what it taught him about the world, what it taught him about white supremacy. We talk about his family. We talk about his sobriety and his work in helping others get clean and stay clean, and what staying clean means in a holistic and gentle sense. The songs on this album are mournful, literate, and very, very fun. My favorite is “Back to Nashville;” it’s a rock and blues song. Kasey is the type of artist who can write a really contemplative song about self reflection or grief or loss, and then a blues rocker that makes you want to shake your ass in the next second.

Editor’s note: For this episode, we invited our friend Mark Erelli to interview Chuck Prophet. The two are familiar with each other’s work through songwriting together for Mark’s latest album Lay Your Darkness Down (2023). We’re thrilled to welcome Mark back as guest host!

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Chuck Prophet has been a mainstay on the indie and Americana music scenes since the 1980s, before either designation was a common part of the rock ’n’ roll lexicon. Through his guitar work in the seminal psychedelic desert rock band Green On Red, musical collaborations with Kelly Willis, Kim Richey, and Warren Zevon, and a string of over a dozen solo records, Prophet has carved out a respected niche in rock music history with his “California Noir” sound. It’s a streak he probably could have kept riding for the rest of his career, if not for his sudden diagnosis with lymphoma a couple years ago. During his treatment and eventual recovery from cancer, Prophet found solace in his record collection—in particular the vibrant rhythms and danceable energy of Cumbia. He eventually sought out a favorite local band in the genre to jam, and then formally collaborate on Wake The Dead, Prophet’s first new solo album in four years. The project blends his longtime band The Mission Express with members of the Cumbia outfit Quiensave, and the result is equal parts familiar and fresh.

I have firsthand knowledge of Prophet’s freewheeling collaborative process, having worked with him and his longtime songwriting partner Klipschutz on a song for my 2020 album Blindsided. I once taught with Chuck at a folk festival songwriting school, and was relieved to be able to play before him at the instructor open mic, because no one wants to follow Chuck Prophet. His musical catalog is so deep and broad that it’s both inspiring…and a bit overwhelming. It was a joy to re-connect with him for a wide-ranging conversation about his new album, that also touched upon his sense of humor, guitar playing techniques, surfing culture, and even his favorite Bob Seger song.

Oh how I’ve longed to talk to Liv Greene. Every once in a while you come across a young artist that seems older and wiser than her 26 years. Liv’s been giving me that impression since I met her in 2019 when she was at Club Passim waiting tables and breaking hearts on the stage at just 21 years. Ok enough about being young. Liv’s been writing, studying music and going to music camps since she was 12. Arguably she’s been studying music all her life with her Americana loving parents who were filling the house with the sounds of Patty Griffin, Emmylou Harris and Shawn Colvin, to name a few women In music in heavy rotation at the Greene house. Being the only of her friends that liked that kind of music, Liv attended many DC-area concerts with her mom, taking in the magic of live music at a very tender age. Speaking of tenderness, that’s what Liv Greene is all about and she digs into it in our conversation. She started writing and playing shortly after she was inspired by a Taylor Swift concert. From there, she took off on the instrument and even sought out music education in camps like Miles of Music in New Hampshire. It was at that camp as well as the arts academy Interlochen High School, where she started meeting peers with similar interests. She found herself living for summers with her music camp friends. Prior to her senior year at Interlochen, Liv was a closeted queer at her all girls Catholic school mostly writing fictionalized stories into her songs because she could not deal with who she was.

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She attended and graduated from The New England Conservatory of Music and released her debut album (produced by Isa Burke) right in time for the pandemic in May of 2020. Shortly after that, she moved to Nashville and has spent the last several years on an intense path of self-discovery. Liv found her community, came out, wrote and self-produced her new album, Deep Feeler. On this album, you can hear the growth she’s experienced and you can hear Liv thriving in her corner of the Nashville Music scene that includes the indie folk music scene. We talk about all of this including what it means to have a neurodivergent brain, music production, the roller skating community and her favorite Taurus personality traits.