Amos Perrine

Serendipity happens. In response to the Through the Lens column of two weeks ago that included Jerry Jeff Walker’s influential album ¡Viva Terlingua! that was recorded at the Luckenbach Texas Dance Hall, I got a note from contributing ND photographer Kevin Smith saying that he had visited the venue

Willie Nelson’s first Fourth of July Picnic, in 1973, was inspired by the Dripping Springs Reunion held at the Hurlbut Ranch in Dripping Springs, Texas, the year before, where Nelson and other country music favorites performed. While its promotion and attendance were lackluster, Nelson recognized that the Reunion had

“The past beats inside me like a second heart.” The Sea Everyone has their year, and many writers have postulated why a certain year was the greatest one for music. I submit that 1973 was that year for roots music. That was the year it came together, the year it

The entire roots music community has been hit hard by the coronavirus: record labels, PR firms, venues, record stores, writers, photographers, publications, and, most of all, the working artists without whom the others wouldn't exist. Even amid the hardship of stalled tours, empty booking calendars, delayed album releases,

I don’t know about you, but I always get excited to hear about upcoming albums. The anticipation is like Christmas morning. This week I am particularly excited about revisiting the Outlaw Movement, a fabulous live album by Ruthie Foster, Nicole Atkins' painterly eighth album, and, perhaps most of

“I guess I just process death differently than some folks. Realizing you’re not going to see that person again is always the most difficult part about it. But that feeling settles, and then you are glad you had that person in your life, and then the happiness and the