Hailing from Alberta, Canada, Bria Wilson is an aspiring country artist and songwriter who carries her passion for music with her no matter where she goes or what she does. In fact, Bria always has a notebook so she can continuously write down ideas for new songs.  Bria's latest self-titled EP was released in January 2018 and consists of four tracks, including the song "Too Soon" which was written for her father who passed away in January 2016. Here, Wilson answers her Essential 8 and speaks about her mom, first concerts, touring, and more.

Do you have a favorite (or first) concert you have ever attended?
The first concert I ever attended was Shania Twain. It would also have to be one of my favourites. I love live music and go to a lot of concerts so it’s really hard to choose. 

Do you have a favorite thing to do on a day off?
I like to hang out with my family, friends, and dog. I’m also a very active person so I have a workout routine I do daily. 

Do you have a favorite gift from a fan?
I haven’t gotten any gifts from fans yet. But I can’t wait until I do. Right now the biggest gift I can be grateful for is just having active fans who will support me through everything. 

“When I wrote ‘Sleeping Dogs,’ I got this image of sleeping dogs lying, and how I need to let shit go,” Plankenhorn explains. “I literally took a lot of things that I’m really bad at or think I’m really bad at, and told myself, ‘If I sing this for a year or two on tour, it may make me better at these things; maybe I won’t take stuff personally, won’t let things get me down.’ And I thought, ‘Maybe somebody else will hear this song and maybe it will help them, too.’ And I really like that idea: I like the idea of writing songs that have a little moral imperative to them.” 

One of the most highly regarded guitar players on the Austin music scene, Jeff Plankenhorn is readying the release of his new album Sleeping Dogs on May 4th. The all original collection contains eleven tracks including “Tooth and Nail,” which features Ray Wylie Hubbard, the arresting “Holy Lightning” with Patty Griffin, the hurricane Harvey-inspired “Further to Fall”,  and the closer, “Heaven on Earth,” a tribute to his wife's love of nature. Ahead of the album's release, Plankenhorn kindly took the time to answer his Essential 8 where he talked about his brother John, shared the story behind Sleeping Dogs, relayed advice from Ray Wylie, and more.

Did you have a musical mentor? If so, who was it and how did they influence you?
My older brother John who is a bass player and composer. When I was growing up it was always “oh you’re John’s little brother. You pay guitar too? That’s just great.” 

He taught me so many things about music I couldn’t possibly mention them all. 5 years my senior, I would get influences earlier than all my friends and be listening to Classics from The White Album to Are You Experienced long before I was even in high school. His advice was always sage. A great mentor indeed.

With any particular song, was there an “a-ha” moment when you knew the song was completed and perfect?
Never. Hasn’t happened yet. Probably never will. 

What’s the story behind your album’s title?
The title track ‘Sleeping Dogs’ became the album title because was a vehicle for me to work out demons and problems and shortcomings. I believed if I sang this song on tour for a year or two, maybe I would learn to ‘let sleeping dogs lie” in a number of ways, and maybe it could help my audience do the same when they sing along.

Why did you chose to anchor the album with the songs you did?
We started the recording the day Tom Petty died, and everything changed without any discussion. Not entirely, but all sorts of decisions began to be made like ‘what would Mike Campbell do on this guitar part’ and ‘don’t bore us, get to the chorus.’ 

Growing up in California, Jesse Daniel experienced hard times when his parents split up. Daniel and his brother would help their mother scavenge metal at the local landfill, which she would weld and sell at the flea market, to put food on the table. His father, a musician and songwriter, instilled the importance of music in Daniel, who soon found refuge in punk rock. A gifted drummer, Daniel played in numerous punk bands and ultimately found himself increasing his drug and alcohol consumption. “I was so lost…I became a garbage can. Any drug I could get, I’d take, until I found heroin. After that it was a wrap, that’s all I wanted to do," he said. Music quickly took the back burner as he started getting arrested and missing shows, to the point where he sold his drums just not to get sick. He traded everything for nothing and spent the next several years in a series of stints in rehab, jail, and homelessness.

Some years later, while in a rehabilitation facility in Oakland, California, he heard someone playing a Hank Williams tune. “I had just enough in me to sit in a chair and listen to this guy I didn’t know play.” Daniel said. “I told him I wanted to play like him and he said, ‘Why don’t you?’” It was time to make a change. This was the final event of many that planted the seed and he began to write songs out of sheer necessity. 

After getting back on his feet, Daniel bought a Fender guitar at a pawnshop for $50 and began writing songs. He assembled a band and began playing bars and clubs, quickly gaining notoriety for his energetic music and rowdy showmanship. With the blood, sweat and tears of past and present, Daniel cut and co-produced his debut self-titled album, which takes you on a journey through his life. Ahead of the album's May 26th release, Daniel took the time to answer his Essential 8 and talked musical mentors, songwriting, Billy Joe Shaver, and more.

Did you have a musical mentor? If so, who was it and how did they influence you? Over the years I’ve had a lot of people mentor me and influence me, some really great ones who I’m still friends with today, but the biggest influence of my was always my Dad. My earliest memories were of wanting to play in a rock & roll band like him. He influenced me in a lot of ways, by always facilitating and encouraging my musical abilities, as well as just leading by example. He never pushed music on me, I fell in love with it and I think it made him happy that we could share that. The first time I really remember wanting to play country music was seeing him playing telecaster in a honky tonk group from our hometown. I’d say a big part of my appreciation for music in general came from his influence, so when he agreed to play some lead guitar on the album, I was honored. Things have really come full circle.

"As a new artist, I wanted to introduce myself to the world by showcasing my best songs that could collectively live together as one piece of art. If you have never met me or don’t know who I am, and you listen to my album; you’ll have a pretty good idea of who I am afterwards." ~Arkansas Dave

Austin-based blues singer-songwriter and multi-instrumentalist Arkansas Dave will release his self-titled debut April 20. Featuring a wide range of blues-gospel-rock, the 13-track album features “a collection of songs that tell my story,” says Arkansas Dave. Recorded over eight days at Fame Studios with the Swampers, the legendary Muscle Shoals Rhythm Section -Will McFarlane, Clayton Ivey and Bob Wray, with horn arrangements by Charles Rose and Jim Horn, the project contains originals such as "Squeaky Clean" and "The Wheel" as well as a soulful cover of Tom Waits' "Chocolate Jesus."  Ahead of the release, Arkansas Dave kindly took the time to answer his Essential 8+ where he spoke about drawing on personal experiences in his songwriting, success and struggle, Levon Helm, and much more.

Did you have a musical mentor? If so, who was it and how did they influence you?
I’m not sure I do. I can definitely say that there are a number of people that have impacted me, but no one person has necessarily “taught me how to play music”. I guess my dad is definitely responsible for showing me the ropes; but he basically just gave me the tools and let me run with it. He bought me my first snare drum at the age of 5, then my first set around age 10 or 11, and by the time I was 12 I was playing the drums in church every Sunday. Playing in church was the cornerstone of my musical education; especially since I was playing with people over twice my age. I would have to say that everyone that I’ve ever played with that impacted my musical life had an influence on me as a musician.  

With any particular song, was there an “a-ha” moment when you knew the song was completed and perfect?
"The Wheel." I remember writing this song like it was last night. That night, I sat on the floor with my legs crossed and an acoustic guitar in hand sitting in front of my late father-in-law’s altar. My wife being the Mexican/Apache American woman she is, has an altar set up for her father with gifts and a white candle in honor of him. As I played, I watched the candle flicker and burn faster with every strum of the guitar. By the time I finished the lyrics, the candle (which was about ¾ full before I started playing…) burnt out. I never changed or edited the lyrics from that night. Looking back on that experience, I feel that is was a conversation I had with my father-in-law beyond the grave. To me, it was a confirmation that I had his blessing and that I should always follow my light; because no matter what, my wife and I would always have each other.

Is there a story behind your album’s title?
I purposely self-titled my album, because I wanted the album to be synonymous with me. If I would have given it a name, then I feel if would be a separate piece of art altogether. As a new artist, I wanted to introduce myself to the world by showcasing my best songs that could collectively live together as one piece of art. If you have never met me or don’t know who I am, and you listen to my album; you’ll have a pretty good idea of who I am afterwards.

Why did you choose to anchor the album with the songs you did?
I’m not quite sure I understand the question, but I feel that the songs that I chose to include on the album tell my life story. Every song has a story, and I try to tell them in the most clever, interesting ways possible. Everything from the lyrics to the tempo down to every note, I try my best to create songs that I enjoy listening to. ​

Hailing from Asheville, Brie Capone is a singer-songwriter and performer whose unique vocals, heartfelt, introspective lyricism, and unforgettable melodies single her out as one to watch. In 2012, Capone graduated from Berklee then made the move to NYC where she was part of the pop/rock duo The Humble Grapes. In 2016, she moved back to Asheville where she wrote and recorded her solo EP Orbit. Recently, Capone released her latest single, "Enough" and here she answers her Essential 8 where she talks about her new EP, due April 20th, how she spends her day off, John Mayer, and more.

Is there a story behind your album’s title?
The EP 's title is based off of the song “Let You In”. It’s probably the most hopeful or loving song on the record. I found myself falling for someone and didn’t know what it would look like to have them in my life. I think it encapsulates this batch of songs the best. If I were to let someone into my world, these songs are thoughts and experiences of mine, sort of a “here you go…” “here’s my thought process…” sort of record.

What’s the best advice to give to a musician just starting out?
Making mistakes and being wrong is ok. Don’t beat yourself up, but don’t inflate yourself or think you know all the answers. No one does. It’s why we write songs to begin with. Try as hard as you can to question everything so that you don’t get bored with your writing. Don’t fall into cliches. Stay hydrated. Seriously, it will help your mood and work ethic. I swear.

What has been your biggest struggle so far?
I think right now, as an independent artist balancing time and expenses, as well as continuing to develop as a person has its challenges. Overall learning new things about music and the profession, and meeting new people has been awesome.

New Orleans native, Karen Waldrup, is a triple threat musician, songwriter and recording artist known for her thrilling performances and bold musical style.  
In November of 2016, Waldrup, who recently won 3 Nashville Independent Music Awards for Best Live Country Performer, Best Video and Best Solo Female Country Artist, became a viral sensation when her cover of Lee Ann Womack’s “I Hope You Dance” garnered more than 24 million views (and counting). In early 2018, Waldrup released her new single, “Warm In Your Sunshine” and recently she graciously took the time to chat about her roots, the importance of giving back, and much more.

While you currently live in Nashville, you’re originally from New Orleans. How did you initially get into music and decide it was something you wanted to pursue professionally?
I’ve been singing my whole life, but when I was about sixteen I was in the church choir and one of the men in the choir sang and wrote songs – he had a new one every week – and I remember thinking that I wanted to do that. So, at sixteen, I started playing guitar and writing songs, and I got hooked. At the same time, I had an incident where I got into a lot of trouble. My friends and I went to the French Quarter, which was a place, for obvious reasons, that we were not allowed to go. I got grounded for three months straight and during that time all I could do was play guitar, cheerlead, and go to school….and I played a lot of guitar. In fact, I credit my guitar playing to that time because I spent three months in isolation and really worked on it. I always tell parents when kids do something wrong to just ground them to their instrument!
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Out of trouble then, you found your calling.
​You went from singing in church to singing country. What steered you in that direction?
My big sister was into country. She liked Faith Hill, Reba, and the Dixie Chicks, so we listened to them a lot. And the more I listened, the more I became inspired, especially by the Dixie Chicks and their writing, style, and harmonies. Eventually, I developed my own unique sound, which I call "nostalgically new country." It’s lyrically country, but with a soul feel since I am from Louisiana. 

Natives of Mobile Alabama, Gary Stanton and Charlie Muncaster came together to form Muscadine Bloodline in early 2016. With three single releases under their belt and a schedule full of shows spanning the states, they’ve hit the ground running. With Charlie’s vocals and Gary’s harmonies and guitar licks, MB is a refreshing mix of talent, passion, and authenticity with a sound that intertwines early southern rock with 90's country love songs and captivating hooks, all of which can be found on their new EP, Movin' On. Here the duo answer their Essential 8+ and talk everything from musical mentors and touring to The Ryman, Stagecoach, and more.

Did you approach this EP any differently than the prior? And if so how?
This EP is different because we wrote all of these songs since we signed a publishing deal with Creative Nation. Movin’ On is ironically symbolic of what we are doing in our career as we gear towards the release of our second EP in April.

There's a song on the EP entitled, "Gravel." Can you share the story behind the track?
Gary: I’d been listening to “Everybody’s Something” by Chance the Rapper and really loved the laid back feel. I started listening to the instrumental to think of a guitar melody in my head. I’d been wanting to write a song called “Gravel” because I’d never seen the title. Charlie had the idea of it taking place in a bar and it being a humorous breakup song. We took the idea into the room with Derek George and “Gravel” is now the first song on the EP.

With any particular song, was there an “a-ha” moment when you knew the song was completed and perfect? 
When we were writing “Put Me on a Pond” we came up with a line using Boca Raton and felt really good about it.

Where do you draw inspiration from when writing and do you best writing? 
Inspiration mostly comes from moments in our lives and the people that keep me pushing. We do our best writing after time off on the drive back to Nashville.

What’s the story behind your album’s title? Why did you choose to anchor the album with the songs you did? 
Besides being the lead single and last song from our upcoming EP, we felt it was a good representation of the new music and our sound at the time.

“This album is not a tribute to the Stanley Brothers; it’s an honoring of them, and of my roots." -Peter Rowan 

Peter Rowan was just a young bluegrass boy when he caught the attention of Bill Monroe, who made him an actual Blue Grass Boy in 1963 when he became the band’s guitarist and lead singer. Thereafter, Monroe introduced him to fellow icon Carter Stanley and that meeting is etched in his memory just as indelibly as the inked entry in his 1966 diary. Within a few months, Stanley would be gone, but the impact he and his brother, Ralph, had on Rowan would grow even stronger. He acknowledges their influence, and finally gives the story of that meeting a definitive telling, with his new album, Carter Stanley’s Eyes , due April 20th. Here, Rowan answers his Essential 8 where he talks musical mentors, shares the story behind the album's title, and more.
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Did you have a musical mentor? If so, who was it and how did they influence you?
Bill Monroe was my mentor once I had joined his band. Before that I learned from my Uncle Jimmie, and the great bluegrass tenor singer and mandolinist, Joe Val.

With any particular song, was there an “a-ha” moment when you knew the song was completed and perfect?
Land of the Navajo, when I played  it for Jerry Garcia, I remembered all the words, I knew it was a song!

Is there a story behind your album’s title?
Carter Stanley’s Eyes, when Bill Monroe and went up in the Clinch Mountains to see Carter, that meeting became the title, the light in Carter Stanley’s Eyes.
 
Why did you chose to anchor the album with the songs you did?
I feel that Carters influence on the soulfulness of bluegrass songwriting was unique, earthy yet yearning for transcendence .

Dubbed "a beautiful thing to behold" by LA Weekly, California-based outfit The Coals offer a lush Folk-Americana sound that is dreamy and genuine. Their first album, A Happy Animal, was released in 2013 and in 2017 they followed that up with Through Nighttime's Purple Skies. Currently playing in the LA area, frontman Jason Mandell recently took the time to answer his Essential 8 where he talked songwriting, drinking at gigs, meeting heroes, and more.


Why did you choose to anchor the album with the songs you did?
Some of them are songs I wrote years ago that have stuck around long enough that they feel like a part of me. The Coals have been playing them for years, but I’d never recorded them the way I wanted. It was unfinished business, creatively and perhaps spiritually, and I finally decided we should take it on. Other songs on the album are newer, and those just seemed to fit in naturally with the older ones.
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Where do you draw inspiration from when writing? 
Mostly women and relationships, with occasional exceptions. “Better Days” is about a guy careening a bit selfishly and blindly through life and headed for a crash, though hopefully a redemptive one. "Godless is about a sort of hedonism, and maybe even amorality, that I think characterizes places like Los Angeles, where I live. The song isn't a complaint or a tribute, just an observation. But the rest of the album is about longing for love, or celebrating love, or lamenting all manner of suffering that love can cause. I suppose this general topic has been a bit of a personal preoccupation.  
 
What’s the best advice to give to a musician just starting out?
Go to law school.

What has been your biggest struggle so far?
Learning to enjoy the struggle.  

Portland, Oregon-based duo Pretty Gritty (Sarah and Blaine) have cultivated a sound that is both timeless and classic, as they push their rootsy-Americana sounds into an edgy, alternative space on their latest outing, Seven Year Itch.  Combining breathtaking harmonies with memorable melodies, the multi-instrumentalists lovingly crafted songs engage and transport the listener. Currently playing throughout Oregon, the duo kindly took the time to answer their Essential 8 where they talked musical mentors, shared the story behind their album's title as well as their thoughts on drinking at gigs, and much more. 

Do you have a musical mentor? If so, who was it and how did they influence you?
Every producer/engineer we've worked with has served as a mentor in my eyes.  First it was Matt Montoro (Third Stream Music and Design - Fredericksburg, VA).  He recorded our debut, self-titled album.  I had very little studio experience, very little singing experience and was still getting comfortable playing my acoustic guitar.  He really helped me hone my skills in songwriting and performing and allowed me to spend countless hours in the studio.  I did a lot of practicing and also learned a lot about recording and running a studio.  Matt also taught me a lot about navigating the world as a self-promoting DIY musician.  The experience I gained during those early years, they are priceless and I'm still using the tools I learned then, today.  

Mark Williams (Sucker Punch Studios - Bethesda, MD) was the second producer we worked with (River EP).  Again, during our many hours in his studio, he played a big part in helping further develop our sound.  Our most recent producer, Paul Buono (Creative and Dreams Music Network - Franklin, TN; Lonely Road EP; Seven Year Itch) has had a major influence on my songwriting and our approach to recording.  He's the first producer to insist that we track all of our vocals together.  When I listen to older recordings, and compare them to the songs we've recorded with Paul and Fred Cannon, you can really hear the difference in the performances.  Part of it is because we are just better singers and better writers now, but there's a magical element to our new stuff that Paul captures so beautifully.  He's such a visionary.  We go to the studio with "finished" songs to present.  Paul listens to them and immediately you see the gears turing as ideas start popping in his head.  Sometimes it's as simple as repeating a section or adding an extra chord.  Sometimes it's more complicated.  With "The Voice" he suggested we turn the bridge into the choruses and he helped us come up with whole new instrumental bridge.  I never would've heard it that way but it absolutely works and it's a better song!  He's got this amazing ear for background vocals too.  The classic 1950s "oooohs" in "All I Have To Do Is Dream," the 1960s "doo-wop" style vocals in "Save Yourself The Trouble."  Paul came up with those parts on the fly, in the moment and we laid them down within minutes.  His vision is just awe inspiring to me.  He really knows how to hone in on the specific mood and style of each song and knows exactly what to do to convey them.  It's like every song in its most basic form is a script for a movie.  Paul knows exactly what to do to lay down the soundtrack to each one without too much fluff.  Each song still has an intimacy to it, yet the production of it is strong enough to pull the appropriate kind of emotion out of the listener.  Paul's ear is just incredible.  He's such a sweet person too.  He makes sure the process is collaborative and is always checking in to make sure we are comfortable and inspired.  I love that about him.  Plus he taught us the most valuable life lesson.  To always look for the "WOOHOO" deals at the grocery store.  :)  

Where do you do your best songwriting?
I always have to be alone when I'm writing songs.  I spend a lot of writing time at my boyfriend's apartment when he's at work.  I've even spent late nights in the back of my minivan making voice memo recordings.  It doesn't really matter where I am.  I just have to be alone.