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Bio: Dwight Yoakam
Dwight Yoakam has sold more than 25 million albums worldwide, and he is a 21-time nominated, multiple GRAMMY Award winner. He has 12 gold albums and 9 platinum or multi-platinum albums, with five of those albums topping Billboard’s Country Albums chart and another 14 landing in the Top 10. Nearly 40 of Yoakam’s singles have charted on Billboard, with 14 peaking in the Top 10. Yoakam is a recipient of the Artist of the Year award from the Americana Music Association, and BMI Country Music’s President’s Award, the most prestigious award offered by the organizations. He was also inducted into the Nashville Songwriters Hall of Fame in the Songwriter/Artist category at the 49th anniversary Gala in 2019 in Nashville, TN.
Yoakam’s self-curated SiriusXM channel, titled Dwight Yoakam and The Bakersfield Beat ‘Where Country Went Mod’ launched in April of 2018. The channel celebrates the Bakersfield sound and those whom it has inspired. Guests have boasted the likes of Post Malone, Lukas Nelson, Beck, Chris Hillman, Jakob Dylan, Mike Nesmith and Mickey Dolans, Dave Alvin, and Jackie DeShannon, among others.
In 2016, Yoakam released his bluegrass album Swimmin’ Pools, Movie Stars… on Sugar Hill Records. Featuring a band of bluegrass luminaries, this album boasts a collection of reinterpreted favorites from his catalogue, as well as a cover of Prince’s “Purple Rain”. Produced by nine-time GRAMMY winner Gary Paczosa (Alison Krauss, Dolly Parton), Jon Randall (songwriter of “Whiskey Lullaby”), and Yoakam himself, and mixed by Chris Lord-Alge, this album reflects the love for bluegrass music that Yoakam developed at an early age in Kentucky and that has inspired him for many years thereafter. In 2018, Yoakam released two songs, “Pretty Horses” and “Then Came Monday” (the latter written with Chris Stapleton).
In addition to his musical career, Yoakam is a formidable film and television actor who has appeared in over 40 feature films, including Sling Blade and Panic Room. In 2016, he recurred in David E. Kelley’s Amazon series Goliath. Recently, he appeared in director Steven Soderbergh’s film Logan Lucky with Channing Tatum and Daniel Craig. Yoakam is capable of seamlessly melting into his roles and impressively standing toe-to-toe with some of the world’s top thespians over the course of his storied and successful acting career, including Jodie Foster, Tommy Lee Jones, Jared Leto, Forest Whitaker and Matthew McConaughey.
Bio: 49 Winchester
“It’s always been a family affair,” Gibson says. “When you can look at it that way, as lifelong friends and not business associates or hired guns, you can look at it through a different lens, which just lends itself to longevity.”
Since its formation, 49 Winchester has fiercely retained this inner resolve to transcend one’s lot in life with a reckless abandon that’s led to widespread acclaim and fandom in the country, Americana and rock realms.
“We’re happy to be doing what we’re doing and never could have imagined doing it on this scale,” Gibson says. “Everyday we’re out there is a blessing for us.”
Captured in a handful studios around the country whenever there was a rare moment between relentless touring schedules — including recording stints at White Star Sound (Louisa, Virginia), Pet Moose (Richmond, Virginia) and Echo Mountain (Asheville, North Carolina), as well as Nashville’s Blackbird and Front Stage — Leavin’ This Holler is that signature 49 Winchester sound of rollicking country and searing rock music, but with a matured approach this go-round.
“We’ve all grown a lot in our personal lives since Fortune Favors the Bold,” Gibson says. “Several of us have started families, and that’s kind of played into the lyrical themes — things are a little different with this record.”
Beyond its upbeat country tempos (“Hillbilly Happy”) and sorrowful ballads (“Tulsa”), whirlwind guitar riffs (“Make It Count”) and rumbling vocals (“Traveling Band”), Leavin’ This Holler offers up a more focused sense of self — this new, bountiful level of intent and purpose.
“Each album captures a kind of different season in my life,” Gibson says. “In terms of what I’m dealing with, what lessons I’m learning, what lessons I’m failing to learn sometimes.”
Both “Fast Asleep” and “Anchor” incorporate the Czech National Symphony Orchestra, with the stirring melodies showcasing Gibson’s voice erupting into the ether of an unknown tomorrow.
“We love the string arrangements from those great country acts of the 1960s, 70s and 80s,” Gibson says. “We wanted to explore every possible sound we could on this record. No stone left unturned sonically — we got it exactly where we wanted it.”
Now with a decade under its belt, 49 Winchester is also going through this full circle of emotions and sentiments as of late. Still calling the rural countryside of Castlewood, Virginia, home, Gibson shakes his head in appreciation and gratitude for the simple things in life, which, as you get older, become the most important.
“There’s no place like home — it’s a constant source of inspiration,” Gibson says. “I’ll be riding down some backcountry road and there’s just something about that movement, that hum of the motor, and the thoughts running through your mind that spark a song.”
Bio: The Mavericks
The Mavericks, the eclectic rock and country group known for crisscrossing musical boundaries with abandon, has gone through three distinct phases since it was founded in Miami in 1989. An initial period of heady success marked by big hits and critical acclaim in the ‘90s. A long hiatus starting 2003 when the musicians each went their own way. And finally, a triumphant reunion in 2012 which held long enough for them to recently celebrate the band’s 30th anniversary.
Now, The Mavericks have ushered in the fourth phase of their evolution with the #1 Billboard debut of their first-ever, all Spanish album, En Español, released on the band’s own Mono Mundo label. Although all 12 tracks are in Spanish, as the title suggests, the collection represents a diversity of musical styles and cultural traditions, from tender boleros to brassy mariachi to reimagined Afro-Cuban classics. Seven of the tunes are familiar gems drawn from the vast Latin American songbook, while five are originals written or co-written by Malo.
Like the band’s entire body of music, this one album cannot be boxed into a single category. The songs are as diverse as Latin America itself, and as cohesive as the ideal of the American melting pot. To season this rich musical paella, The Mavericks add their signature country/rock/Tex-Mex flavors and a refreshing spontaneity to the mix. En Español flips the band’s usual fusion formula, which adds a striking assortment of genres – salsa, ska, norteño, mariachi, and much more – to its sturdy rock/country base. Now, the foundation is solidly Latin with streaks of irreverent rock and twangy guitars running through it, all branded with the unmistakable Mavericks style.
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