It’s an immigrant story like no other. JesseLee Jones pined for something bigger growing up in Sao Paulo, Brazil. He got glimpses of American music and a guitar, and with that a long journey began. After landing in the states, and getting robbed by the way, he found his way to a family in the midwest who took him in and helped him build a life. In the early 90s, destiny brought him to Nashville and a ramshackle honky tonk and boot store that he would help turn into Robert’s Western World, the pivotal and most famous honky tonk in Nashville. On the 25th anniversary of owning and running this legendary club, Jones tells his story, including the formation of his own long-running band, Brazilbilly.

With Americanafest landing in Nashville this week, Craig Havighurst looked over the many artists breaking out of Music City and got especially excited about Baltic Street Hotel by rocking songwriter Sophie Gault. It’ll be released this Friday, but Craig’s been listening for a few weeks and finds it rich with personal details, sharp melodies, and an old school Americana spirit that evokes Lucinda Williams or Kathleen Edwards. The show features exclusive teasers of several songs from this LP, produced by Ray Kennedy at his request. Also in the hour, a rising star of acoustic Americana, 15-year-old mandolinist Wyatt Ellis, who recently released his solo debut with guest turns by some of today’s best mandolin players, including Marty Stuart.

Stephanie Lambring’s new album - her second - is called Hypocrite, and it blew me away on first listen because of the way its sophisticated production supports some mind-jarring and elegantly sculpted lyrics. She’s a rural Indiana native whose writing talents in her early Nashville days led to a major publishing deal at 23. The Music Row machine didn’t work for her ultimately, and after a hiatus she leaned into telling her own story, leading to an acclaimed debut in 2020. Now on her latest, she deftly investigates women navigating a 21st century digital panopticon of social pressure, conformity, autonomy and fulfillment.

Formed in Dallas in 1992, Old 97’s became one of the seminal bands of the alternative country movement, alongside Whiskeytown, Son Volt, the Bottle Rockets and BR549. At its heart was the longtime friendship of bass player Murry Hammond and guitarist/songwriter Rhett Miller. Remarkably, across 13 albums and millions of miles, Old 97’s remains the same quartet that broke out on Bloodshot Records three decades ago. They’re still having fun and keeping company with their large base of lifelong fans. Craig made a field trip to Lexington, KY this summer to catch a show and sit down with Miller to talk about the long road and the newest album American Primitive.

The conversation about Black influence on and presence in country music has been intense and restorative over the past decade, and nobody has a more authoritative or informed take on the subject than writer and scholar Alice Randall. She became the first Black woman to launch a career as a professional Music Row songwriter and publisher in the 1980s. She’s shared her incredible journey in her new memoir My Black Country, while a multi-artist collection of the same title features a dozen leading Black female voices in Americana singing her songs. Craig Havighurst visited Alice at her home to talk about it all.

Episode 292 of The String begins, as any introduction to Madeleine Peyroux should, with the story of Careless Love. Released in 2004, it became the pivotal album of her international career. Its fresh and beguiling blend of jazz, early blues, and country influences fell between the industry’s proverbial cracks, yet the album became a hit in a dozen countries, selling more than a half million copies (hard to do in the new digital age) for its roots-centered label Rounder Records. Peyroux’s voice and phrasing, with echoes of Billie Holiday and Joni Mitchell, had more verve than the newly famous Norah Jones and more blues than Diana Krall. Her story was more remarkable than either.

Thirty years into her late-blooming music career, Kim Richey feels like Americana music’s favorite aunt. She’s hip, youthful, incredibly kind and brimming with ideas and good words, much of which makes it into fresh songs. She’s been co-writing a good bit lately, with the likes of Don Henry, Ashley Campbell and Aaron Lee Tasjan. New work mingled with unrecorded catalog, hand-picked with producer Doug Lancio, led to her first new LP in six years, Every New Beginning.

In a bit more than a decade in Nashville, Kyshona has become a figure respected for her wisdom and valued as a songwriter/artist. Her 2020 album Listen, released just before the Covid shutdown, captured the zeitgeist of that troubled and strangely inspiring year, in part because a key part of the artist’s background and calling is music therapy. Her ethos of continuity and community continues on the magnificent album Legacy, where her research into her family history blossoms into songs that draw from soul, folk and gospel. This is a wide ranging talk with a woman who approaches all that she does with a desire and a plan to leave the world a bit wiser and kinder than she found it.

Ellen Angelico has emerged in the past few years as a go-to stringed instrument musician in the Americana and indie sectors of Nashville. Raised in Chicago, she was gigging in her teens, attended Berklee College of Music and came to Music City in 2010 with a full-time indie rock band gig. As she grew into more of a freelance life, Ellen carved out a niche and earned a ton of admiration earning an Americana Instrumentalist of the Year nomination in 2020. Her recent credits include shows and sessions with Cam, Adeem the Artist, Kyshona, Brandy Clark, Mickey Guyton and more. In this endearing hour, Ellen talks about getting established in Nashville, her high-visibility former job with Fanny’s House of Music in East Nashville and a card game about bro country lyrics that has to be heard to be believed.

In this special edition of The String, an audio postcard from Athens GA, a city of about 125,000 people just east of Atlanta that for forty years has been punching above its weight as a music city. As a teenager in the mid 1980s, I loved the B-52s and I about worshiped REM, and ever since, I’ve wondered what kind of place could produce those wildly different, highly progressive bands. My curiosity only grew as Athens continued to be a hotbed of art-forward rock and roll and creative roots music over the next forty years. So I came to listen and ask questions. We meet label owners George Fontaine Sr. and Jr., leading producer David Barbe, 40 Watt talent booker Velena Vego, artists Spencer Thomas and Hunter Pinkston, and more.