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RADNOR & LEE is a musical collaboration between Ben Lee and Josh Radnor. Friends for over a decade with a shared interest in spirituality and philosophy, they had always said they should write a song together. One song turned into ten and Radnor & Lee was born.

After their first live show at Hotel Cafe, a friend described their music as “the intersection of pop and prayer.” Upon hearing this, their producer Ryan Dilmore dubbed them “singer-psalmwriters.” The songs are by turns witty, hopeful, yearning, joyful, searching, and meditative.

Ben Lee began his career as a young teenager in the early 90’s, in the Australian lo-fi punk band Noise Addict, who were discovered by taste-making artists Sonic Youth and the Beastie Boys. This began a now almost 25 year career of producing intelligent and spiritual indie-pop songs that have soundtracked Ben’s inner life in music.

Josh Radnor is best known as an actor, having played the central character for nine seasons on CBS’s Emmy-nominated comedy HOW I MET YOUR MOTHER. He has written, directed and starred in two feature films, LIBERAL ARTS and HAPPTHANKYOUMOREPLEASE, both of which premiered at the Sundance Film Festival, where the latter won the 2010 Audience Award for Favorite U.S. Drama. He has also worked extensively on Broadway and off-Broadway.

Radnor & Lee’s debut single “Be Like The Being” is a call back to the present moment, the only place where the human heart can breathe easy. It is a catchy piece of melody folk pop that gives us a taste of what their forthcoming full length album Love Songs for God & Women is all about.

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Bring The Flood

Dark times call for dark songs. At least that’s how East Nashville based singer/songwriter Derek Hoke sees it. On his new album, the portentously titled Bring the Flood (Little Hollywood), Hoke dives into a sound far more ominous, threatening, and anxiously introspective than the music on his previous three full length releases would suggest.

“So much pain and sorrow/more than I’ve ever seen,” sings Hoke on the opening “Love Don’t Live Around Here,” an exploration of life passing by for people stuck in their small town existence. And for most of the next 40 minutes, he explores various shades of unease, if not quite gloom, of the characters that populate this world with the confidence and musical prowess gleaned through years of working in Nashville, one of the toughest, most competitive songwriting scenes in the nation, if not the world.

Assisted by contributions from friends and neighbors such as Elizabeth Cook, Langhorne Slim, Aaron Lee Tasjan, and Luther Dickinson, then molded into a cohesive whole by longtime producer and friend from childhood Dex Green, Bring the Flood finds Hoke more visceral, honest and intuitive than at any other point in his career.

Never one to release the same record twice, this album nevertheless marks a substantial shift in Hoke’s approach away from the rootsy, singer/songwriter vein and towards a more edgy, low boil, subtle country infused rock oriented style. It was inspired by Hoke watching the news, often with the audio turned off, in the heated political atmosphere of late 2016.

“It seemed like a dark cloud coming over America, watching a lot of people hurting, going through hard times, harder than ever.” He lodged those visual images into musical protagonists, flowing melodies and, with Green’s assistance, an overall conceptual world where each track feels connected to the last. That creates an austere, rugged but not stripped down landscape, both hypnotic and earthy in its atmosphere.

Hoke looks to artists like Tom T. Hall and Roger Miller, known for their directness and simplicity, for inspiration. “I’m a big fan of getting to the point and saying what you mean” he explains, and that informs tracks like the blues based ballad “I’m Just a Man” with its swampy, humid texture and “She Never Loved Me” featuring wiry, sinewy funk pushing nervy, dreamy/nightmarish strings.

You wouldn’t suspect it from his smooth vocals and unruffled demeanor, but Hoke’s current persona emerged from a self-professed “skateboard-punk rock kid” upbringing in Florence, South Carolina. His grandfather was a Grand Old Opry/Hee-Haw enthusiast and his father a Stones loving classic rock devotee. Hoke’s own “weird” CD collection extrapolated from those influences and added his own. So Radiohead and the Pixies sat alongside Clint Black and Garth Brooks. “It wasn’t to be cool. All of this is good music, it all has a place and it all speaks to me.”

That diverse sense of musical inclusion began when he was a child, mimicking songs and riffs from TV and radio. It was kick-started after Hoke moved to Nashville in the late nineties, taking a job selling merchandise for Ricky Skaggs. For the next three years, Hoke visited every state, learning the finer points of performing from an established veteran. His role as founder/curator/weekly host of $2 Tuesdays at Nashville’s The 5 Spot club keeps him plugged into fresh talent, absorbing different methods of songwriting and execution.

The themes of isolation on Bring the Flood were in part stirred by Hoke driving alone late at night, singing thoughts into his phone recorder and analyzing the results in the daylight with producer Green. “It’s a lonely feeling, especially on the back roads and two lanes around middle Tennessee. I wanted to evoke that mood running through these tunes.”

He also sees these tracks connecting with a more visual, almost cinematic coherence. “We tried to make these tunes wider-sounding. This is something I’ve never done before. I’ve always kept it short and sweet…this is fuller,” he says. Hoke also stretched his comfort zone, urged by Green who encouraged him to push the creative envelope and, should he revert to his more traditional impulses, drove him to “get back in the fire.”

The result on insightful, dreamy, psychedelically tinged tracks like “When the Darkness Comes” reflects that heat and the simmering frustration developed by the uncertainly of current times.

As a whole, Bring the Flood focuses on Hoke’s knack for melody and easy flowing, distinctive vocals, incorporating them into a cohesive, sometimes unsettling yet always imaginative and creative set that positions him firmly in the top tier of contemporary songwriters. It’s a bold, perhaps unexpected stride in a dynamic new direction, further separating him from his Nashville peers, and audacious proof that Derek Hoke has stepped forward with confidence and is not looking back.

Look for Hoke to further expand as he takes Bring the Flood on the road in 2017 and beyond, exposing audiences to its nocturnally inspired nature and spellbinding musical charms.

“…this new album finds Hoke retreating into himself and his experiences.” – Noisey

“While he’s still blending styles as far-ranging as rock, country, gospel, and many iterations of blues on his latest, Hoke is also taking a considerably darker turn in regards to his LP’s conceptualization this go-around. –PopMatters

“…and overall conceptual world where each track feels connected to the last.” – Glide

“Dark visions of a country descending into madness with some great tunes too!” – Americana UK

“A weighty and ominous, gospel-tinged rocker that builds like an incoming storm.” – No Depression

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Gran Pavo Real

Spitting stories of love, loss and pain, Nashville’s Great Peacock?? comprised of lead singer and guitarist Andrew Nelson, guitarist Blount Floyd, drummer Nick Recio and bass player Frank Keith IV ?? challenge the very notion of genre, dismantling tradition and blurring the lines between rock ‘n roll, conventional folk music and true Americana. Having earned praise from Paste, the Nashville Scene, American Songwriter, No Depression, Relix and PopMatters, the band ignites a kind of unapologetic spark. As fixtures on the Southern festival circuit including Shakey Knees, they’ve shared stages with an abundance of equally-minded noise-makers, including Susto, Hurray for the Riff Raff, Cage the Elephant, American Aquarium, Margo Price and Jonathan Tyler.

“I’m a rolling stone / Yeah, I can’t sit still,” Nelson wails on “One Way Ticket,” a prime cut from their upcoming second album, Gran Pavo Real (out Mar. 30 via Ropeadope Records), which is Spanish for Great Peacock. Their craft is instinctual, enlivened by their electric and nimble playing, gripping lyrical insight and Nelson’s eviscerating vocals. Their grooves run thick, like on standouts like “Rattlesnake” (a swampy, mid-tempo song that relates addiction to a slithering serpent) and “Heartbreak Comin’ Down.” They also manage to cut right to the bone, particularly when they deal in restraint. “Take a little time to make things right / Make a little love in the middle of the night,” Nelson ruminates on the languid and smokey “Oh Deep Water.”

The tension and sweltering unease comes in waves across 10 tracks, often brittle and heartbreaking, other times ferocious and sharp. “A peacock has so many colors, and that’s what we want our sound to be like. It’s clearly rock ‘n roll. It’s clearly country. It’s clearly folk. There’s definitely blues and elements of R&B in there, too,” says Nelson.

Recorded at Nashville’s Sound Emporium, the album was helmed by industry stalwart Dexter Green (Jason Isbell, Elizabeth Cooke, Derek Hoke). “He brought a strange cosmic energy., says Nelson about Green. “He’s sort of indescribable. You have to meet him to know who he is.”

The scope of Gran Pavo Real is most remarkable, shifting between the slow-rolling “Hideaway” to the downcast “Let’s Get Drunk Tonight” and the yearning of “All I Really Want is You.” Spending very little time with overdubs or more than a few takes, the music came together within two days. My Morning Jacket’s Tom Blankenship lends his smart musicianship to the entire lineup. Initially, his contribution was on only one song, but he fell in love with the work being made and asked to stay for the whole ride. Accomplished key player Ralph Lofton (Yolanda Adams, Jennifer Holliday) is likewise a prevalent musical force throughout the collection. “Ralph brought some soul to the project,” notes Nelson. “It’s really great, considering we recorded it live. This record has a real human interaction type soul.”

Having grown up in a rather sheltered Pentecostal household in the suburbs of Birmingham, Alabama, Nelson tuned into the only secular music he was allowed to listen to: the local oldies station. “What really got me into music is the blues. When I was a teenager I really liked John Lee Hooker, Freddy King, BB King and Buddy Guy. I think you can hear these influences in the new songs in some ways. At an early age, I learned how hitting the right chords at the right times could really mess with somebody’s emotions.”

It wasn’t until he was 14 years old that he heard Lynyrd Skynyrd’s “Free Bird” for the first time, and it changed everything. “When I heard the guitar solo, I freaked out. I went downstairs and started playing my brother’s guitars when he wasn’t home. I taught myself how to play, because I loved that song so much. I would get my ass kicked for breaking his strings, though. I had to learn fast, and I knew I wouldn’t get a guitar from my parents if I didn’t already show some interest or effort.”

Later, when he was 18, the next piece of the puzzle fell into place. His father had just passed away, and on the ride home from the funeral, his sister, “who always had really good taste in music,” as Nelson remembers it, put on Ryan Adams’ “When the Stars Go Blue.” The performance crushed him. “I started hearing all the little country influences. I thought it was awesome. I didn’t know I liked country music. Then, I went from Ryan straight to George Jones. From that moment on, I became way more obsessed with country music than rock ‘n roll.”

After college, he moved to Nashville to pursue his musical career and that’s where he met bandmate Blount, who “grew up on ‘90s country.” The pair hit it off almost immediately. “We instantly went out and got a case of beer and shotgunned them. We started playing and writing songs together. We found out we sang together pretty well.”

Late one night, when they were drunk on Bushwackers, Great Peacock was born. “We jokingly said we were going to start a folk band, and we wrote a song called ‘Desert Lark,’” recalls Nelson. Close friends and family raved about what they had nonchalantly created. The band soon became a reality in early 2013, and their debut album Making Ghosts arrived two years later.

On Gran Pavo Real, the band spread their wings and easily glide into bolder territory ?? without sacrificing their genre-bending artist stamp, of course. Americana music is a state of mind, a way of living fraught with stories of heartache, lonesomeness and desperation. That is certainly the case for Great Peacock, whose style is an amalgam of American design bred of southern tradition.

“[Great Peacock] challenge perceptions of Americana since it’s hit the mainstream, blurring the lines between rock and folk further along the way.” – PopMatters

“One of the bands you need to know.” – Americana UK

“Festival-ready Southern rock of the Whiskeytown persuasion.” – Rolling Stone

“Great Peacock is the real deal.” – Glide

“A big sound and big heart…a beautiful combination of slow burning, energetic and catchy.” – Wide Open Country