Kelsey Waldon’s country comes from northwest Kentucky with an esthetic born in Nashville’s studios in the 1970s. Her acoustic guitar was bolstered by Telecaster and pedal steel, the ideal cocktail for her stories of growing up (“Kentucky 1988”), the road (“White Noise / White Lines”) and tobacco farming (“Black Patch”). “Sunday’s Children” is possibly the bravest song on her Oh Boy Records album of last year, given that its warnings about church brainwashing would certainly not be taken to heart in her native terrain. But Waldon has proven in these years of growth in Nashville that she’s secure in her story.
Watch the cuts from Waldon's WMOT Wired In session
