In the year 2023, Allison Russell has actually come as close as anybody is to being the face of Americana music, despite the fact that there are any rock-solid artists who’ve remained in the spotlight longer than she has– like Jason Isbell, Lucinda Williams and her good friend and coach Brandi Carlile– who definitely count as poster young boys and ladies. She may even be the front-runner for the artist of the year reward at the upcoming Americana Honors & & Awards reveal, which occurs in Nashville Sept. 20, regardless of that Billy Strings has actually been chosen once again to protect his title. Russell chooses to see these things in community-building, not competitive, terms, however to a degree, it’s that extremely coalition-mindedness that has actually made her precious in these neighborhoods, in addition to her supplying a vibrant and sweet brand-new voice as a Black, queer lady.
Or brand-newishRussell’s brand-new album, “The Returner,” launched Friday, is just her 2nd album under her own name, so even fans might consider her as a beginner on the scene, following the 2021 release of her solo launching, “Outside Child,” which won her an album of the year prize at last September’s Americana Awards. As the Canadian-born, Nashville-based artist sometimes has to advise individuals, she’s been at this for 18 years, as part of the duos or groups Birds of Chicago and Po’ Girl (with her partner, JT Nero) and Our Native Daughters (with Rhiannon Giddens, Amythyst Kiah and Leyla McCalla). “Of course it’s enjoying win something and it’s enjoyable to be commemorated, however I’ve never ever made art to do that. For 18 years, I was uncelebrated,” she states. “For 18 years, no one provided a shit about what I was doing, and I still made art. The only thing that is various about having it be acknowledged is that it suggests possibly a couple of more individuals will listen to me when I continue to crow about these dazzling artists that I get to remain in neighborhood with.”
The day prior to the rapturous “The Returner” came out, Russell got on the phone with Range to discuss the brand-new album and its more noticable grooves; her extremely particular– or far more extensive– meaning of Americana; the status of her narrative; and being Joni Mitchell’s present preferred reed gamer. (Scroll down to see her “Returner” trip dates, which begin Oct. 13 and consist of drop in L.A. Nov. 1 and New York City Nov. 30.)
Even prior to this album came out, you’ve gotten to have an interesting year. At the Joni Jam at the Gorge up in Washington, you got to be Joni Mitchell’s clarinet gamer, to name a few contributions.
That was extraordinary. The very first time I heard clarinet was on Joni Mitchell’s tune “For Free,” and it inscribed on me. I was a small young child concealing under the piano at my grandmother’s home listening to my mother play along to the “Ladies of the Canyon” album, and I keep in mind the electrical energy going through my little small young child brain, hearing that clarinet for the very first time. To come so full-circle and play clarinet on phase with Joni and have her be so into it, I’ll never ever get over that. I’ll never ever overcome her stating “the most lovely clarinet gamer ever.” It’s on record: I get to hear my hero state that. It’s so meta and cheerful and surreal.
Joni Mitchell and Allison Russell participate in MusiCares Person of the Year honoring Joni Mitchell at MGM Grand Marquee Ballroom on April 1, 2022 in Las Vegas, Nevada. (Photo by Frazer Harrison/Getty Images for The Recording Academy)
Getty Images for The Recording A
Your previous record, “Outside Child,” dealt a lot with genuine injury from your youth and youth. The brand-new album, “The Returner,” is more outrightly celebratory, and it begins with the lines, “So long, goodbye, farewell, goodbye to that tunnel I went through.” That appears type of like a purposeful segue that will talk to anybody acquainted with the last album. Do you consider how the brand-new record will play to individuals who associate with it as a sort of follow up to the previous one, versus all individuals who will be having their very first experience of you through this album?
Well, I believe it works for both. Of course I have a predisposition towards the deep geeks like me who take the entire journey, and who took the “Outside Child” journey. I believe that they will discover layers of connection, and throughline, and points of resonance, that they would not if they had not heard the very first volume, if you will. I believe it’s really apt that you’re calling it a follow up. It’s stand-alone, however it is the 2nd volume in the trilogy, actually. “Outside Child” is sort of broadly the past, “The Returner” is Volume 2– it’s broadly today– and Volume 3 will be broadly the future. In the fullness of time, when the 3rd volume is readily available, for individuals that wish to take the deep dive, there will be a journey that’s an arc throughout the 3. No one has to do that.
Relatively, this is nearly a celebration album– although nobody would call something as thematically packed and remarkable as “Eve Was Black” a celebration tune, and even the most positive, uptempo tunes have some quite heavy lyrics embedded in them. It would be reductive to call it a good-time album. And yet …
Musically, it absolutely has a more celebratory feel. And it’s more embodied in general. You do not need to take the cerebral journey if you do not wish to. It’s definitely there …
Let’s talk once again for a minute about making a record with strong grooves to it. There is a commitment to your 9-year-old child, Ida, in the liner notes, where you state she asked for a modification of rate. Is that something that actually occurred?
Yeah, there’s an uproarious story. JT and Brandi remained in the studio with Tanya Tucker when she was taping that last beautiful record that Brandi and Shooter produced. JT contributed a tune to that record called “City of Gold,” and we got to exist while Tanya was cutting her vocals. Catherine, Brandi’s fantastic other half, was at the hotel swimming pool with all the kids. And Eva (Brandi and Catherine’s child) was inquiring about where I was. And Catherine was discussing, “Oh, Ida’s mother does what your mommy does. They’re all at the studio today, so you’ll see them later on.” And Ida cuts off Catherine and states, “Oh, no, my mommy does not do what your mother does. My mama simply sings unfortunate tunes about her unfortunate past.”
And Catherine was attempting not to laugh and stated, “Oh, well, Ida, your mother has such a charming voice …” And Ida cut her off once again, stating, “Yeah, she’s got an excellent voice, however let’s admit it, she even makes ‘Jingle Bells’ sound unfortunate.” I simply groaned when Catherine informed us that story. Which is something that Ida’s taken me to job for a lot over the last number of years. She’s like, “Why do not you ever compose a delighted tune? Why do not you ever compose any bangers?” It was actually essential to me to not dissatisfy my child and to compose her a couple of bangers for this record.
To talk once again about this brand-new record, there are some intriguing elements to the actual physicality of it. It has such fantastic rhythms and changes them up a lot, however something that might be stated quite regularly through it is that is a record that makes you wish to move. By the time you get to the groove of the 3rd tune, “All Without Within,” the noise of it strikes you on a truly standard, primal, even non-cerebral type of level. And I was struck by a couple things that repeat in the lyrics. You’ve got the line “I’m back inside my body,” which is something that individuals who have injury in their past might connect to or strive towards, if they have actually disassociated. In the future, in “Stay Right Here,” you discuss that once again, stating “something that I discovered when I was 3, how to leave my body.” And so the noise and feel of the record have this direct connection to what you’re dealing with a little bit thematically.
Quite. No, that is really well-caught and astute. And obviously in my particular injury, it was not simply psychological and mental and physical, it was sexual too. There’s a genuine dissociation from your own physicality and your own body and your own sexuality. That part of recovery has actually been recovering my own delight in my body, my own pleasure in sex, my own pleasure in sexuality, all of it. And I’m absolutely digging into that, thematically and sonically, on “The Returner”– quite the returning from the dissociation of, in order to endure, needing to leave one’s body, and recovering it. Even with all the scars and with the discomfort, there’s likewise happiness. There’s likewise durability. There’s likewise the wonder that your body heals and gets more powerful which you can recover your own delight in yourself.
You’re handling some heavy things sort of playfully sometimes. In the tune “Demons,” speaking about those satanic forces of the title, you sing, “So we put ’em on the bus, however we didn’t let ’em drive, turned them all to Freedom Riders.” It’s a light-hearted method of handling some hard things.
I enjoy that. We require humor. I suggest, the birth of humor is that we need to handle tough and distressing things, everybody, to differing degrees, and humor belongs to what gets us through. All humor is rooted in discomfort, I believe. Which’s part of the transcendence and the alchemy of it. Yeah, absolutely, “Demons” is lively …
And I can’t wait on you to see the video for that, which will be out in October. I went to Prague for 3 days with among my earliest, dearest youth good friends, whose name is Ethan Topman. We’re in fact birthday twins, born the very same year in the very same city, Montreal. He remained in Beyonce’s camp for a long period of time on the visual side of things, doing set style for “Formation” and all those remarkable brief movies that became part of “Lemonade.” Now he’s remained in the Taylor Swift camp for the last 3 or 4 years. He did the art style and innovative style for the Eras Tour. This video for “Demons” is Ethan’s very first time in the director’s chair on a main video, doing the idea and the visual story of it, and it was a lot enjoyable working together.
In a current interview, you stated of this album, “I was entering into it really deliberately wishing to be secured of my own folk ghetto.” You are at an intriguing point in regards to noise and image where things are altering a bit. Clearly you’ve been tagged as Americana, and individuals associate that with dressing down, sort of, whether it’s musically or fashion-wise …
I disagree with that so extremely. I do not believe Americana is restricted to sort of a stripped-down thing. For me, Americana shows more the method I think of American history– and when I speak about American history, I do not simply indicate the lower 48. It’s a much older, much deeper story that covers Haiti to Nunavut, Caribbean to Canada and the Arctic Circle. To me it’s all of the landmass and the waves of migration and cultural clash and impact and cross pollination. That is the story of this so-called brand-new world that, obviously, from a native point of view, is at least 15,000 years of ages, and it’s not all one story, either. The native individuals crossed over the Bering Strait throughout the Ice Age, today there is incontrovertible DNA proof that lots of native individuals likewise originated from the Pacific Islands and became part of that fantastic seafaring custom 15,000 years prior to Columbus and the Spanish and the French and the English and the Portuguese and the Dutch and the Vikings and everyone else appears. To me, there’s this oversimplification of what we believe of as America and, by and by, what we believe of as Americana.
I believe it’s a lot wider, and I believe that’s part of why I enjoy and I feel comfy determining as Americana, since it is Extensive. It actually exceeds category. Naturally it’s a paradoxical thing where, yes, it is dealt with as a category, state, within the Recording Academy. To me the Americana neighborhood and the history of the music and the music that has actually come out of this large and extraordinary cultural experiment that is the melting pot of the Americas is such a larger story. Chaka Khan is as much Americana as Lucinda Williams, to me. Hip-hop and jazz and R&B and soul and those spin-offs are as much Americana as country-and-Western and folk– which all have, obviously, diasporic African structures. It’s simply such a much deeper, more extensive and more intriguing story that exceeds somebody placing on some cowboy boots and some denims to get on phase.
There were a number of interviews I check out where I got … not disappointed, precisely, however they misinterpreted what I was stating. I wasn’t stating that I’m leaving Americana. I’m stating that whatever that I’m doing can be accepted within that. Mike Taylor from Hiss Golden Messenger and I were having that discussion about what has actually been sort of the noise of Americana, and how that’s simply one little small branch of the tree …
You have strings throughout this album, which is a genuine switch. Integrate that with the more balanced nature of a great deal of the tunes, and there have actually been some evaluations that in fact discussed the word disco. It truly does not seem like that, per se, possibly you might state there is a feel to a few of making use of strings that returns some cool minutes of the ’70s more than anything anyone would think about, like, chamber pop, which is the other huge association individuals have with string areas.
I truly do not believe in periods, and I do not eavesdrop periods, you understand? I will state, absolutely, I have actually been getting truly into the oeuvre of Roberta Flack, particularly a record called “Quiet Fire.” Therefore I expect because sense, you might state it’s an age. She covers so much … as do all of the authors and artists and interpreters that I truly like. None can be pigeonholed to simply one period. And I seem like that’s sort of a bit more of an outdoors imposition, of requiring to simplify because method.
For me, it’s actually much, far more about the circle of artists that influence me who occupy this record. It’s the reality that Larissa Maestro is among the terrific string arrangers and string plan authors of our time, as are SistaStrings, which they are, by simply who they are, up until now beyond any box. They all showed up in the classical world, however they were turned down by the classical world, honestly, since of bigotry and sexism and not due to the fact that they weren’t fantastic genius gamers. Larissa went to Berkeley on scholarships. SistaStrings [the collective name for sisters Monique and Chauntee Ross, on cello and violin] were homeschooled, genius classical gamers from the time they were 3. They’re virtuosic gamers, however they are listening a lot more broadly and existing worldwide a lot more precariously than, state, your typical classically trained individual whose identity does not require them to show why they need to remain in the space every day. And their voices exist on this record, and it’s not me determining to them, “This is what you ought to play. This is what you must do.” That’s the circle work of this record. … Those string structures are authorial and they’re not determined by me going, stating, “Let’s get this period or that period.”
And I completely comprehend why individuals feel the requirement to frame things within that, when I would presume that the method we play together hasn’t been heard previously, due to the fact that we are people who have not existed prior to. Obviously we’re affected by whatever that we’ve ever listened to, which is hugely, broadly diverse. When it comes to SistaStrings, when it comes to Larissa Maestro, in my case, for that matter, everyone were deeply soaked in listening to Baroque music and listening to romantic and symphonic music in our youth. I was actually not permitted to listen to pop music in my youth, so I’m constantly approaching things type of obliquely and, in such a way, playing catch-up with popular culture recommendations.
You have your other half and brother-in-law as coproducers, however almost everybody who uses the album is female, or gender-nonconforming, which holds true of your live band too. Naturally we need to inquire about that, despite the fact that artists seldom get asked, “Why do you have an all-guy band?” A minimum of we might think there is an intentionality behind it, in your case, that does not always exist in the opposite scenario.
These are a few of the artists we appreciate the most on the planet. It’s not a trick that all these ladies are on this record. It’s since they are the most motivating artists I understand. I’ve remained in neighborhood and becoming neighborhood with each of them in specific depth over the last 2 years because “Outside Child” was launched. … Why I have actually occupied the record the method I do isn’t even if there’s an imbalance in the market. No one bats an eye if it’s all men on whatever all the time. That may have been the very first motivation of why I wished to present ladies, state, for “Once and Future Sounds” at Newport (Folk Festival) when it was my “Outside Child” launching, and it was my launching as a manager in July 2021. It may have begun as an incentive of, “Oh, there’s this imbalance, and I wish to represent Black females and queer ladies and females of color and allies on the phase that Mother Odetta constructed.”
Elenna Canlas, Allison Russell and Ganessa James carry out at the seventh yearly Love Rocks NYC Benefit Concert for God’s Love We Deliver at Beacon Theatre on March 9, 2023 in New York City. (Photo by Mike Coppola/Getty Images for Love Rocks NYC/God’s Love We Deliver)
Getty Images for Love Rocks NYC/
What wound up occurring was simply this deep sisterhood and communion and being hugely motivated by not simply by what everyone plays, however by the method that we appear for each other in neighborhood also … and the important things we do not need to state, and the methods we do not need to show ourselves to one another. None people concerns our right to listen to or play any sort of music we desire. That has actually not been an offered for any of us, in our histories and the manner in which we showed up. I suggest, it’s sort of theorizing from what took place for Rhiannon, Layla, Amythyst and I with Our Native Daughters. It’s a growing of that very same sort of circle and understanding and all the important things that we do not need to state due to the fact that we are not prejudiced and prejudiced versus each other. We, regrettably, in more male-dominated, white-dominated, straight-dominated areas, have actually needed to discuss our existence and show why we must exist at all. When you’re not needing to lose a lot of time and energy with that sort of bullshit, the innovative growth possibilities are simply sort of limitless, and it’s cheerful and it’s empowering.
And the males that we pick to let into that circle, like JT, like Drew (Lindsay, the album’s co-producer with Nero), like Brandon Bell (the recorder and mixer), get it. They’re deeply feminist, unbiased, unafraid of their own internal womanly sort of divine. There’s this openness that’s possible and trust that’s possible so that you can take musical and innovative threats in such a way that just merely isn’t possible when you’re really needing to keep your guards method up due to the fact that somebody may state something dreadful like “You individuals are so emotional” or “I simply like Black females’s voices” or “Can I feel your hair”– the shit that has actually been stated to us in various scenarios.
Allison Russell goes to the 21st Annual Americana Honors & & Awards at Ryman Auditorium on September 14, 2022 in Nashville, Tennessee. (Photo by Jason Davis/Getty Images for Americana Music Association)
Getty Images for Americana Music
And I believe that that’s being substantiated beyond this record. SistaStrings are an essential part of Brandi Carlile’s band now. Everyone and their canine is demanding them to being in, and it’s not since of some type of “Oh, we require much better representation.” It’s due to the fact that they’re fucking bad-asses. And Larissa Maestro is now a part of Hozier’s visiting band, greatly associated with plans of the brand-new things. It is dazzling. That program is remarkable, and what she’s doing within that band is so effective. She’s not simply playing in the background. She’s frontline, singing, playing synths, playing guitar, playing cello, singing and part of all of the truly, truly gorgeous and elaborate plans of those tunes. And she’s composing ratings for soundtracks for movies. She’s teaming up with all sort of artists like Wendy and Lisa.
At (the Joni Jam at the Gorge), that was all of our very first time dealing with Wendy and Lisa, however not the last, and they’ve currently used Joy Clark’s brand-new record, and Joy simply got signed to Righteous Babe Records. There is palpable moving, honestly, of power and gain access to occurring since of the manner ins which we are, within our own circles, turning down the divide-and-conquer story that there’s just space for a couple of people and we’re all interchangeable. We’ve called bullshit on that and we’re constructing our own tables and our own circles. The among us who got their foot in the door and got platforms and take advantage of previously, like Rhiannon Giddens and Brandi Carlile, have actually been knocking the door open for the rest people. Each wave people continues to do that. And naturally, Wendy and Lisa were knocking open those doors long prior to we ever were. Annie Lennox was knocking open those doors, Chaka was, Joni was, Mavis Staples was and continues to. To me, that is the underlying reality of it: These fantastic, dazzling females have actually constantly existed. And I think about somebody like Sinead O’Connor, who was 30 years ahead of a curve, so there was this circle to capture her. We’re all her spiritual kids and debtors, and Joni’s and Mavis’ and Lucinda’s and Tracy Chapman’s and Roberta Flack’s. Consider individuals like Christine McVie kicking open the doors for everyone.
And when we’re fortunate adequate to get to deal with the incredible leaders who are still with us, like Wendy and Lisa, like Joni Mitchell, like Mavis Staples, like Chaka Khan– like Willie Nelson, for that matter!– it is so galvanizing and empowering and there’s many things coming out of it. I’m really delighted about SistaStrings’ brand-new record that they’re dealing with. There’s a huge imaginative wave that is coming out of these overlapping circles of intersectional artists and allies who are doing this work beyond what mainstream informed us was possible, beyond what genre-bound, narrow concepts of what category is or ought to seem like or must appear like. It’s a truly amazing time and even from within it I can in some cases go back and take a look around and admire the large innovative force and holistic-ness of this neighborhood. It’s actually interesting to be part of it and it’s an honor to have these artists remain in close innovative neighborhood and communion with me, however likewise to see what they’re doing separately and what they’re performing in other setups. It’s actually amazing.
In the previous number of years you’ve gone from somebody who required to be promoted by others, like Brandi, to get a foot in, to somebody who is doing the promoting. This is the 2nd year in a row where you’ve had a huge take a look at the Americana Honors & & Awards. It possibly a little early for you to do any torch-passing, however you have an interest in paying it forward.
I’m extremely fired up I’ve been fortunate enough to get to team up with individuals like Sunny War– her brand-new record is amazing– and with individuals like Peter One. There are young artists like Julie Williams who I believe are so appealing. Pleasure Clark’s very first single for Righteous Babe drops October 5, a beautiful tune called “Guest.” Megan McCormick simply dropped a brand-new record called “Are and Be” that is among the most gorgeous things I’ve heard in ages. You understand, Elenna Canlas from my band– or not my band; I do not own any person, however the Rainbow Coalition, the ensemble of caring, picked household who moved each other– she’s got a brand-new job called “Lupa” that’s simply elegant. The entire Black Opry cumulative, the work that they’re doing … Ganessa James, who plays bass on this record, has a dazzling record turning up. Kaia Kater, who I simply believe is an outright genius, is dealing with a brand-new record– a Canadian/Caribbean banjo gamer and simply dazzling author, activist, artist.
I suggest, I hope I’ve been spending for everything along as I go, and definitely, I’m grateful for the acknowledgment from the Americana neighborhood, and I’ll be simply as thrilled to be cheering on whoever else gets chosen for Artist of the Year next year, and all my fellow candidates. My theory of all of that is it’s a lot about neighborhood structure and it’s a lot about music patronage, those events. Naturally it’s enjoying win something and it’s enjoyable to be commemorated, however I’ve never ever made art to do that. For 18 years, I was uncelebrated. For 18 years, no one offered a shit about what I was doing, and I still made art. The only thing that is various about having it be acknowledged is that it suggests possibly a couple of more individuals will listen to me when I continue to crow about these fantastic artists that I get to remain in neighborhood with. I’ve constantly been doing that, however nobody wished to listen to me 18 years earlier, and now possibly a couple of more individuals do. Ideally that’s all to the good of increasing awareness for more artists within our all-Americana, higher type of genre-fluid neighborhoods of artists and activists, cultural employees and cultural ambassadors.
You revealed a long time ago you were dealing with your narrative, covering a great deal of the terrible occasions that were covered in the “Outside Child” album. Do you get frustrated by individuals asking, “How’s your book occurring?”
No, no, I do not get frustrated. I went through a duration of sensation actually overwhelmed with it, however I’ve gotten to a better location. Obviously I’m behind due date. It was simply unavoidable when we needed to go up the date of the record and simply the strength of the outward-facing work that’s gone on over the last 2 years. Time has actually been at a premium, and it’s been truly hard to take unbroken time to deal with the writing.
It’s a finding out curve for me. I compare it to songwriting, where, when you get to the recording of it, you have the convenience of your neighborhood that you’re developing the tunes with in the studio, and even in the writing, you have the solace of instant tune and music. Whereas it’s much more difficult to hear tune throughout a book. And it’s raised a lot of things I believed I was okay with or that I was recovered from, and naturally I’m understanding: No, not, refrained from doing, not recovered, back to treatment. You understand, all of the layers of simply self-reckoning that enter into narrative work. It seems like you’re flaying yourself and devitalizing yourself at the very same time, you understand? It’s not quite and it’s challenging, however it’s essential.
And I feel actually fortunate to be with Bryn Clark, my editor at Flatiron Books. Bryn simply modified Elliot Page’s fantastic brand-new narrative, “Pageboy,” and she is Tarana Burke’s editor and Ashley C. Ford’s editor. She’s been so patient with me, assisting me complimentary myself from my own regret about how I wished to have the ability to kip down a chapter a week and I could not.
I seem like I’ve had in fact some genuine advancements over the last number of months. I’ve understood that the story of the book requires to move even more forward into the future, due to the fact that I wish to inform more of the happiness of today also in this book, and not be so stuck in the worst parts of my history. Naturally I need to inform that part too, and determining how to browse that, it’s not completely direct. There’s a sort of a musical technique to the writing of memoirs that I’m still discovering my voice within. I’m feeling re-galvanized, and I’ve been composing a load over the last couple of months, so I’m feeling excellent about having actually a completed manuscript by the end of this year. believe it in fact works truly well, because at first I was believing the narrative would come out prior to “The Returner,” however it feels right for “The Returner” to come out initially, and for the narrative to most likely be getting here more in combination with the 3rd installation of this trilogy.
It did appear intriguing that you were composing this book about a distressing past at the very same time you were type of composing the brand-new album as an entire subsequent chapter to that.
I believe it was an advancement, in doing this record, to make me understand narrative does not need to be caught in the worst parts of your past. Narrative is likewise recollecting about the wonder of playing Joni Jam. It’s likewise about the wonder of conference Annie Lennox and definitely falling for her and feeling the sense of kinship and nearly like a strange, long-lost household connection. It’s getting to sing with among my earliest crushes, Norah Jones, getting to sing “Seven Spanish Angels” with her for Willie Nelson[athis90[athis90th birthday program at the Hollywood Bowl]That’s all part of the narrative for me now too, which is so happy.
Allison Russell’s 2023-24 trip dates:
Sept 15– Harvest Music Festival– Fredericton, Canada
Sept 16– CityFolk Festival in Ottawa, Canada
Sept 22– FreshGrass Festival– North Adams, MA
Sept 23– Farm Aid– Noblesville, IN
Sept 24– XPoNential Music Festival– Camden, NJ
Oct 13– The Ark– Ann Arbor, MI
Oct 19– Terminal West– Atlanta, GA
Oct 20– Princess Theatre– Decatur, AL
Oct 21– Toulouse Theatre– New Orleans, LA
Oct 25– 3TEN ACL Live– Austin, TX
Oct 28– The Lensic– Santa Fe, NM
Oct 29– MIM Music Theater– Phoenix, AZ
Nov 01– El Rey Theatre– Los Angeles, CA
Nov 03– HopMonk Tavern– Novato, CA (offered out)
Nov 04– Sweetwater– Mill Valley, CA (offered out)
Nov 05– The Center for the Arts– Grass Valley, CA
Nov 07– Hult Center for the Performing Arts– Eugene, OR
Nov 09– Mississippi Studios– Portland, OR (offered out)
Nov 10– Admiral Theatre– Bremerton, WA
Nov 11– Tractor Tavern– Seattle, WA (offered out)
Nov 13– The State Room– Salt Lake City, UT
Nov 15– Boulder Theater– Boulder, CO
Nov 16– Bluebird Theater– Denver, CO
Nov 17– Roaring Fork Sessions– Aspen, CO
Nov 29– World Cafe Live– Philadelphia, PA
Nov 30– Music Hall of Williamsburg– Brooklyn, NY
Dec 02– Caramoor Center for Music and the Arts– Katonah, NY
Dec 03– Infinity Hall Hartford– Hartford, CT
Dec 07– The Sinclair– Cambridge, MA
Dec 08– Portland House of Music– Portland, ME (offered out)
Dec 09– Levon Helm Studios– Woodstock, NY (offered out)
Jan 11– The Basement East– Nashville, TN
Jan 13– Sheldon Theater– St. Louis, MO
Jan 14– Thalia Hall– Chicago, IL
Jan 16– St. Cecilia Music Center– Grand Rapids, MI
Apr 27– Stagecoach Festival– Indio, CA
May 27– CFG Bank Arena– Baltimore, MD (opening for Tyler Childers)
Allison Russell on Her Joyful New Album, ‘The Returner,’ Building a Rainbow Coalition and Redefining Americana as a 15,000-Year Movement posted first on https://www.twoler.com/
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