The McCrary Sisters perform gospel music that combines traditional and modern elements and draws on their love of Americana, blues, rock, and R&B. Their unbridled love of singing and desire to promote hope, love, and healing are at the heart of all of their work and performances (and dancing). Ann, Regina, Alfreda, and Deborah, daughters of the late Rev. Samuel McCrary, a founding member of the renowned gospel group The Fairfield Four, grew up in Nashville amidst music, artists, community, and faith. The daughters were brought up in harmony, singing in their father's church and at home. The sisters shared in their family legacy during their formative years by performing alongside performers like Bob Dylan, Elvis, Isaac Hayes, and Stevie Wonder. They also had many individual and collective successes. The McCrary Sisters, which they formally established in 2011, have since collaborated on songs or performed live with a number of well-known musicians, including Delbert McClinton, Black Keys, Martina McBride, Eric Church, Patty Griffin, Buddy Miller, Jonny Lang, Robert Randolph, The Winans, Donnie McClurkin, Rosanne Cash, Carrie Underwood, Hank Williams Jr., Dr. John, Widespread Panic, Sheryl Crow, Maren Morris, Gregg Allman and many more.

At any given time, you’re likely to find Jim Lauderdale making music, whether he’s laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he’s not actively crafting new music, he’s certainly thinking about it. “It's a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I'm a developing artist,” he says. This may be a surprising sentiment from a man who’s won two Grammys, released 34 full-length albums, and taken home the Americana Music Association’s coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Operating under his own label, Sky Crunch Records, for the first time since 2016, Lauderdale recorded Game Changer at the renowned Blackbird Studios in Nashville, co-producing the release with Jay Weaver and pulling from songs he’d written over the last several years. “There's a mixture on this record of uplifting songs and, at the same time, songs of heartbreak and despair—because that's part of life as well,” he says. “In the country song world especially, that's always been part of it. That’s real life.” Lauderdale would know: He’s been a vital part of the country music ecosystem since 1991, when he released his debut album and began penning songs for an impressively long roster of country music greats. “When I was a teenager wanting to be a bluegrass banjo player, I never would have imagined that I would get to work with people like Ralph Stanley, Robert Hunter, Loretta Lynn, George Jones, Emmylou Harris, Elvis Costello, Lucinda Williams and John Oates ,” he muses. “Getting to work with them inspires me greatly to this day, and I know it always will.” ,” he muses. “Getting to work with them inspires me greatly to this day, and I know it always will.” From rollicking guitar riffs on “That Kind of Life (That Kind of Day)” to the slow, sweet harmonies of “I’ll Keep My Heart Open For You,” Game Changer shows off Lauderdale’s ingenuity as a singer, songwriter, and producer—while reestablishing him as one of Americana’s most steadfast champions. "Country music is constantly evolving, but I'll always have a soft spot in my heart for steel guitar and a Telecaster," he says. "I have done my job on this record if people who love classic country feel like they can put it on, or have it in their collection, and it would fit right in." Respecting the past doesn’t mean he’s not breaking new ground. “We’re All We’ve Got,” a co-write with Mary Gauthier and Jaimee Harris, offers a timely message about healing torn relationships at home and across the world. And “Friends Again,” a grinning number about rekindling a friendship, is fresh and forward-looking. At every turn, Lauderdale’s collaborative spirit and genuine love for the creative process reveal themselves in thoughtful, well-crafted songs sure to stand the test of time. "When everything works right, it's just magical to be able to hear them back," he says. "You feel, at least for those three-and-a-half minutes, like life makes sense.”

Alabama native Drayton Farley has as honest a voice as you're likely to hear in this burgeoning scene of country, folk, roots, and Americana music we're all wrapped up in. With songs and lyrics pulled from real life experience, there's a grounded feeling to his stories, a confessional quality that rings true to those who know. His voice fills the room like cigarette smoke, curling into every corner of you, with a fine grit rasp that smooths out every rough edge. It lingers hours, days, after you've left the bar - turns of phrase that tumble around your mind, bittersweet and familiar. He sings as deeply about the love he holds as the love he's lost and there's something so broken-in and comfortable about that Southern inflection that every song feels like coming home. 
    “Lyrics that are immediately reminiscent of the humor and subtlety of John Prine, the directness and honesty of Bob Dylan, and the everyman gravity of Pete Seeger, Farley firmly establishes himself as one of the great American voices in folk and Americana music.” - Americana Highways

Wielding an ethereal croon and masterful whistle crafted from a lifetime chasing lizards through the Ozark hills, Nick Shoulders is a living link to roots of country music with a penchant for the absurd. Combining his family's deep ties to regional traditional singing with his years of playing to crowded street corners, Nick has sought to forge a hybridized form of raucously clever country music; born of forgotten rocky hollers and bred to confront the tensions of the 21st century South. As evidenced by his surreal album art and anachronistic songwriting, Nick’s creative output is steeped in the complicated history of his beloved home of rural Arkansas, but crafted as a conscious rebuke of country music’s blind allegiance to historical seats of power and repression. With a kind word and a mean yodel, Nick hopes to put the ‘Try’ in country.