The Show On The Road with Z. Lupetin

It’s not fair to say every song that roots songwriting master John Moreland puts into the world is tinged with sadness and a palpable gravity. And yet, whether or not you’re seeing his big presence in person or hearing his deep and tender voice that can somehow cut through any loud bar like a laser to the heart - fans have been coming back to join Moreland in processing whatever grief they may be going through for a decade. His newest Visitor captures our unique American windswept loneliness in a way that only he can. A song like “Gentle Violence” off the new LP is everything John does best - kernels of Prine-approved lyrics that seem to stick to your ears like tiny knives, reminding us that he always prefers to tour and write alone, processing pain with silence as his forever companion. And while he’s happily married now (his wife joins him on the road as his tour manager), in 2022 Moreland almost checked out and didn’t come back - stepping away from playing and displaying himself hundreds of days a year for people to sing along to cathartic heartbreakers like “You Don’t Care Enough For Me To Cry” that have become Americana hits - for a chance to recharge and clear his brain from the internet’s growing shadows. The time away was tough but worth it - Visitor has a renewed clear-eyed power that shines in songs like the opener “The Future Is Coming Fast” - maybe it shows remnants of his punk-rock origins too. Most country-roots artists don’t have the cajones to talk about climate change or addiction or grief but for Moreland who grew up idolizing Steve Earle - there is freedom and joy in mining the darkness. People come to Moreland’s hushed concerts to feel something - and listening to Visitor makes me grateful that Moreland is here to help us cope with whatever we happen to be feeling right about now.

John Oates has been at this for a while. Ever since his family moved from New York to a small town outside of Philly in the early 1950s, he has been feverishly creating American roots music, blues, rock n roll and unabashed pop. After teaming up with his Temple college mate Daryl Hall at the dawn of the 1970s - Oates co-created a mind-melting run of funky rock-pop hits that still play on constant radio rotation: 21 albums, ten of them number one records which sold over 80 million units. It’s not a shock to see that Hall & Oates are technically the most successful duo in modern music history. But Oates' half a dozen solo records are quite underrated (look to the stripped back Arkansas to see what I mean ), and with the new LP Reunion dropping this week, we see him sonically rejuvenated, leaning into his love of early 20th century acoustic music and how his family history formed who he is today. For this listener and songwriter - getting to dive into how “Maneater”, “She’s Gone”, “You Make My Dreams” was quite a thrill, but I was also moved at how generous Oates was towards the young artists he gets to work with (Sierra Hull for one) and how he has reacted to the fractious relationship with his former co-creator Daryl Hall with a sense of zen, even as the tabloids spin yarns of their many years in the making “breakup”. While playing arenas may be in his past, Oates is excited to play intimate shows telling the humble stories on Reunion like “This Field Is Mine” which he teamed up with beloved mandolinist Sam Bush.

This week we dive into the many lives and evolving music of much-respected singer and troubadour Peter One. Coming from humble beginnings in his native Ivory Coast, One became a folk hero for creating a new type of African roots music that was the backdrop for Nelson Mandela’s fight against apartheid and gained him a following around the globe. His partnership with longtime friend Jess Sah Bi created the 1985 classic (and newly reissued) Our Garden Needs Its Flowers and at their height, saw them playing stadiums across West Africa. The two mates from Abidjan were equally inspired by Ivorian village songs as Simon and Garfunkel, Dolly Parton and American soul titans like Otis Redding - creating a unique fusion while singing in French, English and Gouro (a Mande language). Escaping the unrest of his home country where he was a history teacher, One finally came to the United States and worked as a nurse for years before diving back into his original passion for music. At the age of 67, last year One put out his heralded return LP Come Back To Me on Verve Forecast, featuring the golden-voiced harmonies and Ivorian country-folk songs he does best, with new forays into blues, French love songs and more - featuring his old partner Jess Sah Bi and new collaborators like Allison Russell. Co-produced by Matt Ross-Spang (Jason Isbell, John Prine) with contributions from members of Wilco and Calexico, the record shows that even as he nears seventy, One is only just getting started. Last year he even made his debut at the Grand Ole’ Opry.

Remember when Easy Listening became the Smooth Jazz section of pop and rock n’ roll? But maybe we could use things a little easier these days. In the second part of my epic talk with Bahamas from his cozy cottage in Nova Scotia - we lean into embracing that softer side of ourselves as songwriters, fathers and edgy citizens just trying to make sense of a changing world. Afie Jervanen isn't shy about it: he would LOVE his records to be in the Easy Listening section of your local record store. While Afie’s newest record Bootcut may seem like a warm country-tinted collection that you can safely put on in the background at a dinner party with everyone wearing turtlenecks and sweatpants - underneath, there are needles and shards of memory glass sticking up through the softness. Look no further than “Sports Car” maybe about his absent father who would have preferred a fast muscle car to a new kid in the house - or “Gone Girl Gone” the banger of the LP which takes a squinting look at what that crazy (but exciting) ex is up to now (yes he references Only Fans). Wonder how that one went over at his Opry debut a few months back? Feel free to dive into the first part of our conversation to jump into more songs from Bootcut or stay right here as Afie and I discuss how travel, social media and the tricky financial realities of being a touring musician and dad mess with our sense of self as partners, fathers and creators - and how the music can always be there like a magic potion - no matter who you choose to be in the future.

Putting on a new record can feel like an instant sonic vacation for your mind - or maybe it’s the best type of time travel? This week we take a trip to the teaming clubs of Bogotá and Cali Colombia (or shall we say, Colombia came to a movie studio conference room here in LA) to talk to multi-lingual lead singer Catalina García who for the last fourteen years has led adored jazzy roots-pop icons Monsieur Periné along with master instrumentalist Santiago Prieto. It’s heady times for the band: their newest LP Bolero Apocalíptico was just crowned best alternative music album at the Latin Grammys and I was able to catch up with Catalina the night before her performance at Disney Hall with the LA Philharmonic and Gustavo Dudamel. While her infectious laugh and the band’s often nostalgic and cheerful sounds may lean one way - listen closer and the new LP dives into some serious subjects that hit close to home for Catalina - like the desperation of climate change, government sponsored violence and poverty. Harnessing her love of cumbia, swing, bossa nova, and folk styles from across Latin American, Catalina sings in Spanish, French, Portuguese and English depending on the mood and with her work in Monsieur Periné, she’s been able to collaborate with some of the brightest lights in Latin music such as Ana Tijoux, Vanesa Martin, Vicente Garcia and more. Take a listen to “Cumbia Valiante” featuring Tijoux which touches on the massive protests against corruption that she and her family have participated in in her native Colombia. While the world was shut down over the pandemic - an unexpected surprise happened for the band. An older jazzy song of theirs "Nuestra Canción” (a fan favorite) from their 2015 record Caja De Música somehow became a Tik-Tok sensation, rising to the top of the music chart and was then streamed over 150 million times. If you’re in a bad mood? Put that one on ASAP. Indeed, the group rarely comes to California - but when asked about her favorite all time show - Garcia mentions playing at sunset at the Santa Monica pier many years before. Truly the amount of travel she and her bandmates have undertaken across three continents is staggering - and there are many more stories to come.

What do legends like Bob Seger, The Doobie Brothers, Jackson Browne, Stevie Nicks, Bonnie Raitt and Pink Floyd all have in common? They’ve all tapped pianist and master keyboardist Bill Payne - one of the co-founders of folky-funk cult favorites Little Feat to lend his special sauce to their records or touring bands. Stories? Yeah, Bill’s got a few to tell us. In this second part of our epic talk - we go back through Bill’s life from his first piano lesson to playing with the Greatful Dead in stadiums - and keeping the spirit of his lifelong project with the late Lowell George - Little Feat going fifty years and counting. How do you create that adrenaline of a life show in the hush of the studio? Bill’s idea: create your own audience in your head. Check out the beautiful deluxe reissues of Sailin’ Shoes and Dixie Chicken which feature never-before-heard songs and demos.

Think you know renegade roots songwriter icon Ani DiFranco? Think again! We are happy to bring you this special rebroadcast as Ani celebrates the 25th anniversary reissues of legendary albums Living In Clip and Little Plastic Castles which we dive into in this talk. Ani is more than a songwriter and singer of course. Call her an activist, author, and free-spirited feminist folk leader - who recently released her lushly orchestrated twenty-second album: Revolutionary Love. Many things have been said about the music Ani DiFranco has created for the last thirty years since she burst on the scene with her fiery self-titled LP in 1990. With her shaved head on the cover, fearlessly bisexual love songs, dexterous guitar work and hold-no-prisoners lyrics sparing no one from her poetic magnifying glass, DiFranco’s persona became almost synonymous with a rejuvenated women’s movement that blossomed in the late-1990’s Lilith Fair moment. And yet she was always a bit more committed to the cause than some of her more pop-leaning contemporaries, who faded away as soon as their hits subsided. Framing herself somewhere between the rebellious folk-singing teacher Pete Seeger and the gender-fluid show-stopping rock spirit in Prince, (who she recorded with after he became a fan,) DiFranco was always just as passionate about raising awareness for abortion rights, ensuring safety for gay and trans youth and bringing music to prisons, as she was promoting her latest musical experiment. She began playing publicly around age ten, and as a nineteen-year-old runaway from Buffalo, NY, she started her own label, Righteous Babe Records, that allowed her to operate free of corporate (and overwhelmingly male) oversight. Indeed, despite gaining a wide international fanbase she has released every album herself since the beginning — as well as championing genre-defying songwriters like Andrew Bird, Anaïs Mitchell, Utah Philips, and others. It was DiFranco’s encouragement that helped Mitchell’s opus Hadestown become a Tony-winning Broadway smash. DiFranco may have been deemed a bit too left-of-center for pop radio, but her beloved 1997 live record Living In Clip went gold. Let’s get something out of the way real quick: was this male podcast host initially a bit intimidated to dive into her encyclopedic album collection after admiring her work from afar and believing the songs were not meant for his ears? Indeed. I grew up with girlfriends and fellow musicians who rocked Ani’s Righteous Babe pins and patches on their jean jackets like they were religious ornaments. What I found during this mind-bending conversation, and after listening to her polished and mystical newest record especially, was that DiFranco has never tried to push away people that don’t look or talk like her — or tried to mock or belittle conservative movements she doesn’t agree with or understand. There is a deep kindness and empathy in her songwriting that I never expected and in her 2019 autobiography, No Walls And The Recurring Dream, she acknowledges how lonely and exhausting it can be trying to fight against a societal tide that doesn’t want to stop and give you space to be who you are. What became increasingly clear during our conversation was that DiFranco wants to make music for everyone. She prides herself on her quirky, multi-generational fanbase — with grandparents and kids, dads and sons, daughters and aunties alike singing along to favorites like “Both Hands,” “Untouchable Face,” and covers like Woody Guthrie’s “This Land Is Your Land” at packed shows across three continents.

Raye is about to have the craziest year of her life. Not only did she just get cast playing an iconic indigenous character in the national tour of a reimagined Peter Pan (Broadway bound?) but is also taking off from her Long Beach, CA home on her first headlining tour supporting her new LP Hold That Spirit. In this first chapter of our conversation, I was able to catch up with Raye before she hit the road to talk about her unique childhood in New York City - where her dad was also on Broadway, her struggles with body acceptance and overcoming toxic relationships, processing trauma in her records, and how her ancestors spoke to her through emotional new songs like “Still Here”.

How does a hit song stay beloved thirty years later? Sure, Smash Mouth's oddball blend of vintage rock, ska and unabashed 90s pop isn't for everyone - but they've weathered a generation of changing tastes and tens of thousands still go nuts every time they show up at a festival or concert anywhere in the world. Trust me, if you sang "All Star" anywhere on earth, people would be singing along, whether you dig it or not. There's just something special there. In the second part of my backyard conversation with Zach Goode, the new frontman of Smash Mouth - we dive into his long journey playing in groups that inspired many early 90s hard rock luminaries but never quite rose to the top, and making the most of this strange and life-changing opportunity to be in the spotlight at last - and the tough sacrifices in his personal life that came from this new fame.

We’re back with David Shaw of the New Orleans soul-rockers The Revivalists to dive into what happens after the band really takes off - how being the conductor of a massive machine that plays before thousands every night and is faced with trying to top their radio hit, can mess with your head - if you let it. We dive more into the making of their powerful new LP Pour It Into The Night, how new babies in the band raised the stakes, how they love covering Dr. Dre, and David finally introduces us to each member of the band - and their oddball superpowers.

This week, we bring back an old friend of the show, Fort Worth-based trickster singer/multi-instrumentalist Robert Ellis. We last spoke in 2018 while we were were both criss-crossing the Netherlands. Then he was in full character as the Texas Piano Man, jumping across the stage between keyboards and guitars with cheeky ear worms like “Topo Chico” and searing Harry Neilsen-esque ballads like “Fucking Crazy,” whipping appreciative crowds into a frenzy. After a long pandemic hiatus, he’s back without his lion tamer white tux, stripping things way back to bring us an achingly intimate trance-lullaby of a new record called Yesterday’s News. With no jaunty piano to speak of, the new LP uses his tender nylon string guitar and voice as the main storytellers (with upright bass and assorted hand percussion lifting up the songs saturated in delicious tape hiss), diving into the delirium and beauty of being a dad, a husband and an artist who maybe has finally let go of his ravenous ambitions to find a sort of uneasy peace. As a fellow sleep-deprived songwriter dad myself, the quiet rage and bleary-eyed hope in “Close Your Eyes,” about the long nights spent with a newborn, hit very close to home. Ditto the opener “Gene,” which could be seen as both a moonlit conversation with his young son, but also a fantasy talk with his younger self who maybe didn’t have enough encouragement to just be his oddball self and live his truth. How does he put himself to sleep these days, you ask? He listens to old X-Files episodes… in audio form. While many things have changed since our first episode with Robert (he now owns and runs a bar-music-venue-studio and is touring much less) his mischievous streak remains (you’ll hear his cackle of laugh pop the mic many times) making us wonder if the lovely title track to Yesterday’s News is both a clear signal of defeat (the relentless capitalist album cycle push is so last century!) and a quiet reminder that Ellis still has so many sharp stories to tell. And this time, you’ll have to lean in close to hear them. He will be making some appearances at listening rooms and jazz clubs this summer, and I for one am really looking forward to seeing and hearing this new side of Robert’s shapeshifting songwriting in person. Support this podcast at — https://redcircle.com/the-show-on-the-road-with-z-lupetin1106/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week, we call into Nashville to speak to one of the preeminent and most prolific singer-songwriters of our time, Courtney Marie Andrews. Born in Arizona, Andrews first started singing at Phoenix-area karaoke bars with her mom before setting out to see the country in Greyhound busses as a teenager, finding a place in bands like Jimmy Eat World with her signature high-aching voice and talent on guitar and piano. Writing in fiery spurts (she mentions on the taping that thirty new songs emerged just last month), Andrews has put out eight records and counting, beginning with 2008’s Urban Myths and culminating in 2022’s lush and cautiously hopeful Loose Future. “These Are The Good Old Days” finds her trying to be present in a world of relentless distraction and hidden pain – and while the chord changes and harmonies harken back to 1950s girl group vibes, there is always a searching, aching energy roiling underneath. If you feel like you missed out seeing touchstone genre-defying singers like Linda Ronstadt and Emmylou Harris in their 1970s roots-pop primes, fear not: it can be argued that Andrews is leading the newest wave of honey-voiced performers who just happen to be writing the most honest, heart-stopping work in the expanding Americana universe. Many first heard her with the acclaimed, gorgeously direct Honest Life in 2016 which helped develop her following, especially in Europe, and the mournful and cathartic Old Flowers which earned her a 2020 Grammy nomination for Best Americana Album. We all go through painful breakups and have to learn how to process the fallout. But what Andrews can do with the thorny moments most of us would want to forget, may be her superpower. “I’m not used to feeling good,” Courtney Marie Andrews sings with a weary smile on “Change My Mind” towards the finale of Loose Future. And yet, as she penned many of these timeless tunes in a small cabin on Cape Cod during the height of the lockdowns, sometimes realizing that you can be happy after all is that big first step that can get your future to start opening up. Support this podcast at — https://redcircle.com/the-show-on-the-road-with-z-lupetin1106/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy