Amelia Ray

Amelia Ray is The Interpreter: part storyteller, part musician, and possible spy who has performed in 25 countries and speaks seven languages. Amelia’s unique perspective and songwriting ability inspires Cultural Cohesion – a celebration of our diversity and common understanding of our shared experience through music.

Cracking the code of what it means to be human, Ray has written compositions like “Ana no potable” – a song in Spanish in the voice of a disgruntled constituent to a lousy mayor –, “Dream” – a tribute to musicals dedicated to anyone who’s ever pursued their passions – and “Hambone Says” – a performance piece that uses a contemporary past aesthetic to explore U.S. racial and music history, and which won the Global Film Exhibition 2024 Best Music Video award. Her newest single, “Pretending to Read,” sees our protagonist covertly people-watching on the subway while using a book as a clever disguise for her true intentions.

The San Francisco Bay Area native founded The Quarantuned Music Festival – a series of virtual music festivals benefitting artists affected by Covid-19 concert cancellations in 2020 – and Europe for Ukraine, an initiative to produce an original, multilingual composition in support of the Ukrainian people. Ray also leads financial confidence panels and songwriting workshops online and at conferences worldwide. The globetrotter may be hiding behind a book on a subway near you. Join the mailing list to find out where

Learn more at https://ameliaray.net/home

David Childers

Singer-songwriter David Childers is a recent inductee into the NC Music Hall of Fame, and is the proverbial study in contradictions. A resident of Mount Holly, North Carolina, he’s a former high-school football player with the aw-shucks demeanor of a good ol’ Southern boy. But he’s also a well-read poet and painter who cites Chaucer and Kerouac as influences, fell in love with folk as a teen, listens to jazz and opera, and fed his family by practicing law before turning in his license to concentrate on his creative passions.

 
The legal profession’s loss is certainly the music world’s gain. Childers’ new album, Run Skeleton Run, releasing May 5, 2017 on Ramseur Records, is filled with the kinds of songs that have made him a favorite of fans and fellow artists including neighbors the Avett Brothers. Scott Avett contributes to four tracks, and Avetts bassist Bob Crawford co-executive-produced the effort with label head Dolph Ramseur. (Crawford and Childers, both history buffs, have recorded and performed together in the Overmountain Men).
 
In fact, it was Crawford who kickstarted this album, Childers’ sixth solo effort, by suggesting he reunite with Don Dixon (R.E.M., the Smithereens), who’d produced Crawford’s favorite Childers album, Room 23 (done with his band the Modern Don Juans). Crawford also suggested tracking at Mitch Easter’s Fidelitorium Recordings.
 
“I’ve made records in my living room and been perfectly happy with it. But I think ol’ Bob wanted to give it one more shot,” Childers says. “It’s kind of like the Wild Bunch at the end of the movie, on their last train robbery.”
 
Not that he’s suggesting this is his “last train robbery.” Not with songs as rich as these. Sounding like literature and playing like little movies — several are under three minutes long — they’re populated by sailors, hermits, lovers and killers, facing off against fate, skeletons, good, evil, or simply the trials of everyday existence. Lust, virtue, guilt, innocence; alienation, desperation, sorrow, gratitude … he examines these conditions with such precision — combined with music that draws on folk, rock, rockabilly, country and Cajun influences — he doesn’t need lengthy exposition.
 
“You look at a song like ‘Pancho and Lefty’; it tells a story in four stanzas,” Childers notes. “An amazing story. That’s the way I approach songwriting. You don’t have to say so damned much. ‘The train went down, oh lord oh lord.’”
 
Childers has always regarded his place in the musical pantheon as that of an outsider, though not deservedly so. As those involved with this album indicate, he’s well-regarded among tastemakers. Evidence includes playing the syndicated World Café and Mountain Stage radio shows (he’s done the latter twice), as well as Merlefest’s mainstage. He’s also toured in Europe, and hopes to again. But he credits the support of Crawford and Ramseur with helping him sustain his musical career — which began in college, though he didn’t start recording until the ’90s.
 
Childers’ father had given him a banjo when he was 14, but he still had his “jock mentality” back then and didn’t do much with it. That changed when he picked up a guitar at 18.
 
“My girlfriend had left me for one of my best friends and I was all shook up and needed an outlet besides drinking and fighting. As soon as I learned my first chords on a guitar, I knew I had a friend who would never betray me,” he recalls.
 
“I used to be afraid of growing old, but now I wouldn’t trade where I am for all the lean fury of my youth,” Childers insists, saying he’s happier now than he’s ever been.

Learn more at https://www.davidchilders.com/

The Wild Hares

With a focus on tight harmonies and bass-driven rhythms, The Wild Hares of Alleghany are a Roots, Americana, and Folk duo featuring Vicki Burton on guitar and banjo and Joanna Davis on bass. Their fun-filled style weaves a winding path through timeless covers and original musings.

Learn more at https://www.facebook.com/WildHaresMusic/