I have decided to cancel my show at The Kennedy Center on May 11, 2025 and move it to @theanthemdc. The Kennedy Center show was booked long before the current administration decided to take over this previously bipartisan institution, but I cannot in good conscience play at The Kennedy Center with the change in programming direction forced on the institution by this new board. I kept quiet until now because I wanted to make a thoughtful and thought-out decision, but also because it took time to get the new gig set up and I wanted to make it as easy as possible for folks to follow us the 8-minute drive down the street to The Anthem! All Kennedy Center tickets will be refunded at point of purchase. The Anthem tickets are now on sale. I am lucky to have found another venue willing to make this change at such a late date. I will say here that I don’t judge anyone for choosing to go on with their shows; it’s a highly difficult situation for artists right now and everyone has to do what makes the most sense for them in the moment. Let’s make this a huge celebration for all of us who need joy and inclusion to feel human. We would love to see you! Same day, same time, and just down the street. John F. Kennedy himself said: “If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.” The Anthem tickets available at the link in bio.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
I will be posting black history/excellence posts again for sure. Just wanted to report back on my little corner of the GRAMMYs, which happened yesterday. I was nominated for Best American Roots Performance, for the recording of “The Ballad of Sally Anne”, a heartbreaking song about a lynching, which I recorded in Ireland with Francesco Turrisi and Ben Rawlins, and was finished by Ebonie Smith, for Fiona Prine’s Oh Boy Records. It was written by Alice Randall, who has been working in Nashville for over 40 years, writing anthems for black women while there weren’t many of us allowed into the establishment to sing them. That was our win; the trophy itself went to someone else and that’s fine by me! There’s room for us all. I took Alice as my date and we had a ball dropping nuggets of knowledge all down the red carpet, with my banjo in tow 🙂 (yes the 1858-replica banjo that graced the album of the year with its deep funky sounds… ) For me, being involved in this deeply cultural music is more than a career, it’s more than an album, it’s more than a single. It’s a mission to show how beautiful Americans can actually be together; it’s proof that we are more alike than we are different, and it’s a study in how we do not need a hyphen; if anything, American history itself needs a hyphen. We are America; America is us. And the groundwork that the folks before us laid, like Linda Martell yes, but also Lil Hardin, and Libba Cotten, and Joe Thompson, and Ray Charles; and folks laying all the groundwork right NOW, like Rissi Palmer, and Dena Ross Jennings, and Angela Wellman, and so many others, educating and welcoming and doing all the active things you do to build real community. It takes time; it takes humility; it takes interest in other people and other people’s success. For me, saying their names, all of them, makes me feel grounded. For me, acknowledging that I would not be here without them, makes me feel stronger. The rising tide lifts all boats.
Here’s a bit of @RhiannonGiddens & Justin Robinson (@countrygentlemancooks) performing “Hook and Line,” from ‘What Did the Blackbird Say to the Crow,’ their upcoming album of 18 favorite North Carolina tunes, due April 18. It’s a traditional tune from their mentor Joe Thompson’s repertoire; the video was filmed at his home in Mebane, NC, by @alexeimejouev. You can watch it now at YouTube.com/RhiannonGiddens. #RhiannonGiddens #JustinRobinson #WhatDidTheBlackbirdSayToTheCrow #HookAndLine #JoeThompson #Banjo #Fiddle #Nonesuch #NonesuchRecords
Had a lovely time turning 48 ❤️❤️❤️
Had a lovely time turning 48 ❤️❤️❤️
Last year I spent three days in North Carolina with fellow @chocolatedrops member Justin Robinson (@countrygentlemancooks) to record ‘What Did the Blackbird Say to the Crow,’ an album of North Carolina fiddle and banjo music, which is now coming out April 18 on Nonesuch Records. We recorded outside at Joe Thompson’s house and Etta Baker’s house – you can hear the wheat in the wind and two different broods of cicadas, which had not emerged simultaneously since 1803. With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way. With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes. We’re going on tour this Spring and Summer with a bigger all-acoustic band called Rhiannon Giddens & The Old-Time Revue. Fan pre-sale for the tour begins tomorrow at 11am local time – go to rhiannongiddens.com/tour now to receive the pre-sale code. Pre-save/Pre-order ‘What Did the Blackbird Say to the Crow’ at the link in bio. Photography by @karencoxphotography #RhiannonGiddens #JustinRobinson #WhatDidTheBlackbirdSayToTheCrow #CarolinaChocolateDrops #JoeThompson #EttaBaker #Banjo #Fiddle #Nonesuch #NonesuchRecords
Last year I spent three days in North Carolina with fellow @chocolatedrops member Justin Robinson (@countrygentlemancooks) to record ‘What Did the Blackbird Say to the Crow,’ an album of North Carolina fiddle and banjo music, which is now coming out April 18 on Nonesuch Records. We recorded outside at Joe Thompson’s house and Etta Baker’s house – you can hear the wheat in the wind and two different broods of cicadas, which had not emerged simultaneously since 1803. With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way. With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes. We’re going on tour this Spring and Summer with a bigger all-acoustic band called Rhiannon Giddens & The Old-Time Revue. Fan pre-sale for the tour begins tomorrow at 11am local time – go to rhiannongiddens.com/tour now to receive the pre-sale code. Pre-save/Pre-order ‘What Did the Blackbird Say to the Crow’ at the link in bio. Photography by @karencoxphotography #RhiannonGiddens #JustinRobinson #WhatDidTheBlackbirdSayToTheCrow #CarolinaChocolateDrops #JoeThompson #EttaBaker #Banjo #Fiddle #Nonesuch #NonesuchRecords
Last year I spent three days in North Carolina with fellow @chocolatedrops member Justin Robinson (@countrygentlemancooks) to record ‘What Did the Blackbird Say to the Crow,’ an album of North Carolina fiddle and banjo music, which is now coming out April 18 on Nonesuch Records. We recorded outside at Joe Thompson’s house and Etta Baker’s house – you can hear the wheat in the wind and two different broods of cicadas, which had not emerged simultaneously since 1803. With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way. With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes. We’re going on tour this Spring and Summer with a bigger all-acoustic band called Rhiannon Giddens & The Old-Time Revue. Fan pre-sale for the tour begins tomorrow at 11am local time – go to rhiannongiddens.com/tour now to receive the pre-sale code. Pre-save/Pre-order ‘What Did the Blackbird Say to the Crow’ at the link in bio. Photography by @karencoxphotography #RhiannonGiddens #JustinRobinson #WhatDidTheBlackbirdSayToTheCrow #CarolinaChocolateDrops #JoeThompson #EttaBaker #Banjo #Fiddle #Nonesuch #NonesuchRecords
Last year I spent three days in North Carolina with fellow @chocolatedrops member Justin Robinson (@countrygentlemancooks) to record ‘What Did the Blackbird Say to the Crow,’ an album of North Carolina fiddle and banjo music, which is now coming out April 18 on Nonesuch Records. We recorded outside at Joe Thompson’s house and Etta Baker’s house – you can hear the wheat in the wind and two different broods of cicadas, which had not emerged simultaneously since 1803. With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way. With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes. We’re going on tour this Spring and Summer with a bigger all-acoustic band called Rhiannon Giddens & The Old-Time Revue. Fan pre-sale for the tour begins tomorrow at 11am local time – go to rhiannongiddens.com/tour now to receive the pre-sale code. Pre-save/Pre-order ‘What Did the Blackbird Say to the Crow’ at the link in bio. Photography by @karencoxphotography #RhiannonGiddens #JustinRobinson #WhatDidTheBlackbirdSayToTheCrow #CarolinaChocolateDrops #JoeThompson #EttaBaker #Banjo #Fiddle #Nonesuch #NonesuchRecords
This ones for all the Sally Annes #alicerandall #grammys2025. — we didnt win the Grammy but we won the night☺️
It was 15 years ago today: Carolina Chocolate Drops’ (@ChocolateDrops) album ‘Genuine Negro Jig’ was released. Earning a GRAMMY Award for ‘Best Traditional Folk Album,’ the multi-instrumental trio of @RhiannonGiddens, @DomFlemons, and Justin Robinson (@countrygentlemancooks) reclaims and revives banjo-driven string-band music from North Carolina’s Piedmont region. They had met five years prior at the Black Banjo Gathering in Boone, NC, and trained in the Piedmont banjo and fiddle musical tradition under the tutelage of the legendary Joe Thompson. The band reunites for Giddens’ @biscuitsandbanjosfest in Durham this April. Painting by @julesarthur_arts. Design by @bdewilde. #CarolinaChocolateDrops #GenuineNegroJig #RhiannonGiddens #DomFlemons #JustinRobinson #JoeThompson #Banjo #BiscuitsAndBanjosFest2025 #Nonesuch #NonesuchRecords
I’m so excited for Rhiannon Giddens & The Old-Time Revue tour to kick off this April! I’ll be performing along with @countrygentlemancooks, @dirkpowellofficial, @ibassnote, @demxmusic, and @amelia.rose.powell. Pre-sale tickets are available today starting at 11am local time at the link in bio or rhiannongiddens.com/tour April 25-27 – Durham, NC – Biscuits & Banjos (sold out) April 30 – Asheville, NC – The Orange Peel (Hurricane Helene benefit) May 2 – Miami, FL – Miami Beach Bandshell May 3 – Atlanta, GA – The Eastern May 4 – Birmingham, AL – Jemison Concert Hall at Alys Robinson Stephens Center May 7 – Nashville, TN – Ryman Auditorium May 8 – Cincinnati, OH – Memorial Hall May 9 – Chicago, IL – Thalia Hall May 11 – Washington, DC – The Kennedy Center Concert Hall May 13 – Grand Rapids, MI – St. Cecilia Music Center May 15 – Toronto, ON – Koerner Hall at The Royal Conversatory of Music May 16 – Toronto, ON – Koerner Hall at The Royal Conversatory of Music May 17 – Ottawa, ON – National Arts Centre, Southam Hall June 15 – Napa, CA – Uptown Theatre June 16 – Ventura, CA – Ventura Theater June 19 – San Diego, CA – The Observatory North Park June 21 – Berkeley, CA – Zellerbach June 23 – Seattle, WA – The Moore Theatre June 26 – Montréal, QC – Théâtre Maisonneuve at Montreal Jazz Festival
Reflecting on Season 2 of My Music with Rhiannon Giddens on @pbs, I’m filled with gratitude for the incredible artists who joined me in conversation and performance. Each brought their unique heritage and talent — from @wu_man2019’s mastery of the pipa, to the power of @maevegilchrist’s Celtic harp, dynamic violinist @mazzmuse, @sandeepdas.official’s tabla talent, @harukafujiirice’s innovative percussion, and @pura._fe’s powerful vocals — thank you all for sharing your stories and sounds. #MyMusicPBS
So I’ve been quiet on here…I’ve been just unable to say much. I will say at this point in time that I’m working on a couple of things behind the scenes that I’ll announce when they are ready. In the midst of all this mess, the other gigs must continue to be announced and celebrated! I’m excited to announce I’ll be coming to the @hollywoodbowl on June 18! Join me and The Old-Time Revue, @stevemartinreally, @edhelms, @ournativedaughters, @leylacello, @amythystkiah and @alisononbanjo. Don’t miss it! Ticket packages are available now and single tickets go on sale May 6. For more details, go to the link in bio. #HollywoodBowl #ForeverSummer The Old-Time Revue: @countrygentlemancooks (Carolina Chocolate Drops), @dirkpowellofficial, @amelia.rose.powell, @demxmusic, @ibassnote
Check out my discussion on this week’s episode of @nprcodeswitch with host @aparkusfarce, who has been learning the banjo and trying to find her footing in the banjo world, but it’s not always an easy entry as I know well. She reached out to me and @hannah_mayree about creating community and reclaiming an instrument that’s historically already ours, and it was delightful to chat and support her banjo journey! Listen to the episode on all podcast platforms.
Hey everyone! In honor of the upcoming @biscuitsandbanjosfest, we are going to focus on the food and music contributions of many wonderful folks – starting with the second Black man to be given a US Patent on an invention, Henry Blair. His life really exemplifies the multiple layers and complicated makeup of historical American life – he was not enslaved, living in antebellum Maryland. There was a small group of either freedmen or people descended from folks who were never enslaved (a tiny percentage of Black folks were actually indentured – never forget that chattel, race-based slavery was a choice that the folks setting up their nation on Turtle Island actively chose, with the backdrop of the common indenture system, which wasn’t great but only lasted 7 years instead of life and generations). “In claiming credit for his two inventions, Henry Blair became only the second African American to hold a United States patent. While Blair appears to have been a free man, the granting of his patents is not evidence of his legal status. At the time Blair’s patents were granted, United States law allowed patents to be granted to both free and enslaved men. In 1857, an enslaver challenged the courts for the right to claim credit for an enslaved person’s inventions. Since an enslaver’s enslaved people were his property, the plaintiff argued, anything in the possession of these enslaved people was the owner’s property as well. The following year, patent law changed so as to exclude the enslaved from patent eligibility. In 1871, after the Civil War, the law was revised to grant all American men, regardless of race, the right to patent their inventions. Women were not included in this intellectual-property protection. Blair followed only Thomas Jennings as an African American patent holder. Extant records indicate that Jennings received a patent in 1821 for the “dry scouring of clothes.” Though the patent record contains no mention of Jennings’s race, his background has been substantiated through other sources.” — Biography.com Go to the link in bio for more details.
I’m honored to represent @msalicerandall and @ohboyrecords at the 67th #GRAMMYPremiere Ceremony, and to present some awards on Feb. 2 at 3:30 PM ET / 12:30 PM PT. Hoping we can raise some major funds to support wildfire relief efforts. Art should always be in service, even when forced into a commodification culture. Watch it on LIVE.GRAMMY.com
It was 10 years ago today: @RhiannonGiddens & @IronAndWineTour’s Sam Beam’s recording of @BobDylan’s “Forever Young,” from the series finale of NBC’s @Parenthood, was released on Nonesuch. Giddens and Beam performed the track, produced by @JoeHenryMusic, at the show’s Luncheonette recording studio during the final episode. #RhiannonGiddens #IronAndWine #BobDylan #ForeverYoung #Parenthood #JoeHenry #Nonesuch #NonesuchRecords
