“Patience is a virtue.” Those words are tattooed across Coleman Williams’ right arm, forever reminding the alternative-country singer/songwriter of the benefits of taking one’s time.
The lesson wasn’t always so clear. As the great-grandson of Hank Williams Sr., grandson of Hank Williams Jr., and only son of Hank 3, Coleman spent years waging an internal battle with the expectations thrust upon him by his own lineage. He represented the fourth generation of country music’s most legendary family — hence his nickname, “IV” — and the pressure to launch his own career was enormous. Although Coleman would eventually make his mark with Southern Circus — the genre-bending debut from his band, IV and the Strange Band, combining southern storytelling and country textures with 100-watt guitar amps and DIY attitude — he needed to break free first and discover his own musical approach along the way.
“Before I even knew who I was, people were already expecting things of me,” he says. “It felt like there was zero freedom of expression for someone with the last name ‘Williams.’ Singing about a bloodline didn’t appeal to me, though. I wasn’t interested in fitting into a shadow that already existed. What did appeal to me was the underground scene in Nashville.”
Coleman became a fierce champion of Nashville’s house-show circuit as a teenager, drawn in by the scene’s supportive spirit and DIY ethics. This was a community that valued principles over pedigrees. A community that offered artists of all stripes a place to express themselves. From punk shows to heavy metal gigs to electronic experiments, Coleman loved it all… and for the first time in his life, he felt like he belonged somewhere.
Igor started Red Elvises in 1995, following a dream he had that Elvis Presley came to him and told him to start playing rock’n’roll. Not one to say no to the King, Igor and his Russian friends started playing on Santa Monica’s 3rd Street Promenade. Their street musician days did not last long, however, as they drew such huge crowds that the City of Santa Monica brought them to court and ordered them off the streets. Since then Red Elvises have been constantly touring, with occasional breaks from the road to record an album or take part in film and television projects. This constant work for the last 15 years has led to them gaining a world-wide following, with successful tours all over North America, Europe and Russia (Red Elvises bootlegs have been found in Siberia).
Hogslop String Band is a Nashville-based group that blends traditional Southern old-time string band music with high-energy rock-and-roll, creating a unique and irreverent sound. Formed in 2009, the band features Kevin Martin (fiddle), Gabriel Kelley (guitar, harmonica, vocals), Daniel Binkley (banjo, vocals), and Casey “Pickle” McBride (washtub bass) . Known for their dynamic performances, they have graced stages like the Grand Ole Opry and festivals such as Under the Big Sky, and their latest album, Down The Road, showcases their genre-defying style .
Shane Smith & The Saints is a Red Dirt country band from Austin, Texas, formed in 2011 by singer-songwriter Shane Smith, originally from Terrell, Texas. The band includes Bennett Brown (fiddle), Dustin Schaefer (guitar), Chase Satterwhite (bass), and Zach Stover (drums). They are known for their energetic live performances, rich four-part harmonies, and a sound that blends country, folk, rock, and Americana influences. Their discography includes four studio albums: Coast (2013), Geronimo (2015), Hail Mary (2019), and Norther (2024). The band’s exposure increased significantly after their music was featured on the television series Yellowstone, introducing them to a broader audience.
Whitey Morgan & the 78’s is an American country band from Flint, Michigan, led by singer-songwriter Eric Allen, who performs under the name Whitey Morgan. Formed in 2005, the band is known for its gritty, hard-driving outlaw country sound, drawing comparisons to legends like Waylon Jennings and Merle Haggard. Their discography includes notable albums such as Honky Tonks and Cheap Motels (2008), Whitey Morgan and the 78’s (2010), Sonic Ranch (2015), and Hard Times and White Lines (2018), all of which showcase their commitment to traditional country themes and styles.
Brent Cobb & The Fixin’s is a Southern rock and Americana band led by Grammy-nominated singer-songwriter Brent Cobb. The group’s sound blends storytelling roots with gritty rock influences, and their upcoming album Ain’t Rocked in a While (releasing July 11, 2025) was recorded live to tape for a raw, vintage feel. Known for their high-energy performances, the band is currently touring across the U.S.
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“Everyone knows that you can sing…”
For The White Buffalo – aka singer / songwriter / guitarist Jake Smith, Oregon-born, Southern California-raised – it was time to take the less travelled path; to assemble notions for studio album Number 8, the follow-up to ‘On The Widow’s Walk’ (Snakefarm, 2020), and embark on a voyage of discovery.
Out with the old, the organic, the expected, the tried; in with the new – new producer, new studio, new location, no distractions, no looking back…
Enter ‘Year Of The Dark Horse’…
“You think we’re a country band? A folk band? Americana? Rock? What the fuck are you gonna say now?!” laughs Jake. “With this album, I wanted something outside of what I’ve ever done. I wanted to open up. Do something dangerous. I’m hard to put into a singular genre as it is, but now I really wanted to take away any kind of preconception or pigeon-holing.
“And don’t ask me, cos I don’t know what it is! It’s a genre-bending thing – there’s elements and influences from ELO, Daniel Lanois, Tom Waits, The Boss, circus, pirate music, yacht rock, and I’m driving and pushing some of these numbers in a way I’ve never done before.
“At the top of the pandemic, I put the acoustic guitar on its stand, got a synthesizer and began writing on it, not really knowing how to play keys, just exploring the different sounds and landscapes. In the not knowing, it allowed me to expand my vocal melodies and compositions in ways the guitar had possibly limited.”