Humming House

Humming House

The spotlight on Nashville, with its musical values and timeless traditions, is
currently bright. And no band embodies what’s right about 21st century Nashville
more completely than the quintet known as Humming House.
It’s the way they weave together threads of Music City’s folk, soul, and bluegrass
legacies. It’s in the inspirational and revealing songwriting. It’s in their acoustic
instrumentation, presenting mandolin, fiddle, acoustic guitar and bass in fresh
roles. It’s in the pleasant tension between rousing energy and nuanced
arrangements. And it’s in the voices, with two complimentary stylists up front and
backed by the full band’s rapturous harmonies.

Revelries, due out March 24, 2015 on Nashville label Rock Ridge Music, is the
third recording bearing the Humming House name, yet it’s something of a debut.
Version one of the band came together in 2011 when songwriter Justin Wade
Tam called on some friends from a local Celtic music jam to flesh out recordings
of songs he’d written. The sessions, assisted by Tam’s star producer colleagues
Mitch Dane and Vance Powell, mixed strains of bluegrass and Irish braided with
vintage swing and open-throated early 60s hootenanny folk music. Humming
House earned some quick attention for videos of its infectious songs “Cold
Chicago” and “Gypsy Django.” They landed performance slots with tastemakers
such as Lightning 100, Daytrotter and the Americana Music Association festival.
They had chops, respect, and trajectory.

After that, two personnel additions galvanized the band. Leslie Rodriguez
brought a lustrous female vocal to mesh with Tam’s hearty singing. And fiddler
Bobby Chase brought classical training and down-home fire. That rounded out a
band of highly skilled instrumentalists, including Josh Wolak on mandolin and
Ben Jones on acoustic bass. Between the five of them, there’s scarcely a genre
or period that somebody in the band hasn’t spent time learning or embracing,
from Leslie’s early love of show tunes to Josh’s time playing bluegrass to
Bobby’s occasional beat boxing. They’re the picture of East Nashville’s melting
pot musical culture, and Revelries is the first album these musicians have written,
arranged and recorded together.

As complete as they are in the studio and on record, Humming House is
fundamentally and emphatically a live band. With scarcely a tube’s worth of
amplification or electricity and a drum kit’s worth of percussion distributed among
the band members, they emit force on stage and demand attention. They’ve
rocked rooms of all sizes and played Forecastle Festival, Bristol’s Rhythm &
Roots Festival, and the Cayamo Cruise with the elite of Americana. They opened
the new Music City Roots hall in The Factory in 2014, sharing the bill with
Emmylou Harris and Rodney Crowell.

Vocals are the emotional core and lure of Humming House. They are five voices
deep, with a galvanizing male/female twin attack over the top. Tam and
Rodriguez sing as soloists or a duet, depending on the song. Humming House
works out careful hand-offs and big harmonies, including frequent passages that
are just vocalizing, chanting beautiful music on top of their robust instrumental

The title of Revelries comes from a lyric in the tenth track on the album, “Carry
On,” a feisty and ambitious song in which delicate charango plays counterpoint to
a muted guitar. The rhythm is jagged and intoxicating. By the time we get there
we’ve heard the striding opener “Run With Me,” the quick-stepping waltz “Fly On”
and Leslie’s showcase song, the smoldering and bluesy “Nuts, Bolts and
Screws.” The album’s first single, “Great Divide,” is a fervent ode to travel,
motion, and new frontiers—a recurring theme that’s also touched on in the fiddle
and accordion-driven “Hitch Hike” and the rapturously romantic “Freight Train.” A
classic jazz ribbon of smoke drifts through the magic “I’m A Bird.” And then, after
“Carry On,” Revelries concludes on the drifting “Atlantic”—a throwback folk song
that evokes old sea shanties.

If the new Nashville means anything, it’s about musicianship and authenticity.
Quite often that results in sounds that are fascinating and appealing to critics and
fellow musicians. Occasionally, artistry emerges that’s both profound and widely
appealing. And when it does, as with Humming House, it’s cause for revelry.

Erin Rae

Growing up in Jackson, Tennessee, Erin Rae got an early introduction to folk music at home. Her mom and dad were both part-time musicians, playing their own brand of American roots music at churches, county fairs and coffee shops in west Tennessee. Starting as early as five years old, she would join them for a song or two.

Two decades later, she's still spending her time onstage — this time as the main act. As the leader of Erin Rae and the Meanwhiles, she walks the line between old-school folk and modern Americana, creating a sound that nods to her influences while pushing ahead toward something new. It's music that breathes, filled with pedal steel, vocal harmonies, acoustic guitar, bright bursts of melody and plenty of space. It's also music that's taken her halfway across the world, with Erin playing shows everywhere from Nashville (her adopted hometown) to Switzerland.

Erin and company recorded their full-length debut, Soon Enough, during an inspired two days in west Nashville. The group played live, tracking their parts together to capture the spirit of their concerts. There was no studio wizardry, no click track, no digital enhancement. Instead, the album — which Erin co-produced with Michael Rinne, Rodney Crowell's touring bassist — serves as a gorgeous, no-frills Polaroid of Erin Rae and Meanwhiles' sound, a sound they've been sharpening ever since the release of the Crazy Talk EP in 2010

During the five years that separate CrazyTalk from Soon Enough, a lot of life was lived. Erin's songs tackle all of it: the changes, challenges and celebrations that come with a life dedicated to art. There are songs that deal with mental illness. Songs that deal with the importance of staying present. Songs inspired by childhood, adulthood and all the lovers and co-conspirators you meet in between.

The present wouldn't be possible without the past. Released in September 2015, Soon Enough bridges the gap between the two, taking its inspiration from both places. This is new music for old souls.

Courtney Marie Andrews

Courtney Marie Andrews is an American singer/songwriter. When she isn't touring many lands, she is writing and recording in her secret cave.

Andrews began songwriting at the age of 15 and released her first album Urban Myths in 2008 on River Jones Music when she was 18. She attended Barry Goldwater High School for two years and transferred to the Arizona Conservatory for Arts and Academics, graduating in 2009.

She has been a top 10 seller in Phoenix since 2008, and has performed alongside bands from Sub Pop, Barsuk, and Saddle Creek. Andrews has also performed at annual festivals in Phoenix. In 2008 she participated the First Annual Winter Folk Festival at Modified Arts. She participated in the 2009 Summer Folk Festival, the 2010 Final Folk Festival, and the 2011 RJM & Friends Fest.

In September 2009, Jim Adkins of the band Jimmy Eat World asked Courtney to do a duet of a Wilco song featuring Feist with him live on stage. In 2010, Andrews recorded backup vocals for Jimmy Eat World on 5 songs for their album Invented. She subsequently joined them on stage to perform during the album's release and full 2010/2011 tours.



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