#eliot bronson

[kaitlinj16]

"Oh, there's nothing you can teach me,

That I don't already know how to do,

Turn off that music,

I ain't gonna dance for you,"

-eliot bronson 🖤❤

[independentartistbuzz]

Indie 5-0 with Eliot Bronson

Over the course of five albums, indie folk singer Eliot Bronson has created his own brand of acclaimed Americana. He’s an award-winning songwriter, a road warrior, and an internationally- renowned musician with a voice that swoons and sweeps, championed by everyone from The Baltimore Sun — who’ve hailed him as “a folk singing wunderkind”— to Grammy-winning producer Dave Cobb, whose work on 2014’s Eliot Bronson and 2017’s James placed Bronson on the same client roster as Jason Isbell, Chris Stapleton, and other heartfelt songwriters.

This coming Sunday October 23rd, Eliot’s Watch Party stream from his performance with An Empty Room, a 6 part original series that explores the connective tissue between 6 uniquely influential artists in the Atlanta music scene, will be on Volume.com. 

All shows in the series are free. Reserve your spot for Eliot’s performance here.

We got a chance to speak with Eliot Bronson about his music, career and his Empty Room performance. So, let’s dive in:

What drives you to write music?

I'm not sure I put this into words. I suppose there's a need to communicate and express what language can't get at alone. To bring others into my inner world, however briefly. It's almost a sacred thing.

What does your writing process look like?

I don't write lyrics down, for one. I basically improvise. Sometimes I like to say, I sing nonsense until it becomes sense.

What is your favorite part of performing in front of an audience? Which song is your favorite to do live?

There's nothing like the connection that can happen with a great audience. There's an energy exchange that makes everyone involved a better version of themselves. I can't say I have one favorite song to sing live. Probably the best moments are when I try out a brand new song and it really lands with folks.

What song/album inspires you and why?

Man, where do I start? Tom Waits, Swordfishtrombone; Dylan, Desire. Jawbreaker, Debussy, Lucinda Williams. I could go on all day.

What are you most excited about for your Empty Room performance?

These episodes are so well done. I love the storytelling. I can't wait to share what y'all have done with the bare essentials.

Connect with Eliot Website / Instagram / Facebook / Twitter / YouTube / Spotify

Find An Empty Room here: Apple: https://podcasts.apple.com/us/podcast/an-empty-room/id1646252139

Spotify: https://open.spotify.com/show/6aZx4LfbM7CJwP25vu9wdo?si=GF3DSFLBT7O-PWywAloV5g

Google Podcasts: link to be active within 24 hours

Stitcher: https://www.stitcher.com/show/1026731

Pandora: https://www.pandora.com/podcast/an-empty-room/PC:1001026731

iHeartRadio: https://iheart.com/podcast/102305162/  (link may not work for 24 hours)

Amazon Music: https://music.amazon.com/podcasts/568c284b-c390-4e88-bfe3-de7e25c52615

TuneIn: link to be active within 24 hours

[musiconspotify]

Eliot Bronson

Empty Spaces (2020) … about starting again …

#EliotBronson

[thankfolkforthat]

Album Review: Eliot Bronson – Empty Spaces

Album Review: Eliot Bronson – Empty Spaces...

Eliot Bronson’s new album is 32 minutes and 55 seconds of beautiful, soft, heartfelt music reflecting on love, loss and healing. The 40 year-old singer songwriter has yet again delivered the goods in the form of his new release Empty Spaces.

The opening track ‘The Visitor’ sets the tone for the rest of the album with a melancholy lead guitar and layered lapsteel that wraps around your ears…

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[thankfolkforthat]

New Release: Eliot Bronson - Empty Spaces / Good For You

New Release: Eliot Bronson - Empty Spaces / Good For You....

Empty Spaces, the new record from Eliot Bronson, will be released on July 24th. As a ‘concept album’ you could look at Empty Spacesas travelling through “Stages of Grief.” There were a lot of changes going on for the young romantic; including the breakup of a 10-year relationship, the end of an engagement, and a move from his adopted home of Atlanta to his current headquarters in Nashville (and…

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[listening-through-the-lens]

Eliot and James

get your ears to the tunes of Eliot Bronson’s captivating album James

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[breakthruradiotv]

Eliot Bronson - BTR Live Studio [ep380] Singer-songwriter Eliot Bronson grew up in Baltimore, Maryland. There, he played in folk band The Brilliant Inventions, would up in Atlanta, and released two solo records before getting himself to Nashville to record his latest cycle of Americana songs with a full band of seasoned musicians as well as sought-after producer Dave Cobb at the helm. Here, he stops by Saltlands Studio to share some raw, solo versions of the songs, highlighting his timeless and powerful vocals. Featured song: “Nothing Like Me” Complete broadcast and audio playlist: http://b-t-r.co/1IEOQUL Eliot Bronson’s self-titled album is available now from Saturn 5 Records. Official website for Eliot Bronson: http://eliotbronson.com Facebook: http://facebook.com/eliotbronsonmusic Twitter: @EliotBronson

[musiccityroots]

Keyed Up

Eliot Bronson was up first with a set that called to mind some of the top tier Americana masters – Tim Easton or Steve Earle or Greg Trooper – with crisp, clean sounds and melodies that felt inevitable. Eliot, a charming guy with enviably vertical hair, wielded a small body acoustic guitar and led a band featuring electric guitar (mostly played in sleek slide style by Bret Hartley), acoustic bass and drums. “River Runs Dry” was gentle but soulful and nourishing. Bronson showed nice strong fingerstyle guitar chops on “New Pain” over a chugga-chugga beat. My favorite of the night was the song I noted in the preview, “I Just Came Back To Tell You I’m Leaving.” Its Celtic-inspired melodic figure and dark smoldering groove was all held in perfect balance with its biting lyrics. Plus Eliot was a fun interview to boot. I should have asked him about hair product, but we ran out of time.

The M sisters in Michaelis (Meagan, Mallory and Madeline) were certainly more steeped in contemporary country than most of our Roots fare, but it’s good to tap in now and then to that side of Nashville’s multi-faceted scene. They offered boppy fun songs of girls and good times (“High Heels and Hangovers” “She Likes Champagne”) and one really lovely mid-tempo classically-shaped song called “Around The World.” That’s where their three-part sibling harmony glowed with the most luster. But the no-band, two-guitars-plus-percussionist format kept the spotlight on the voices all set, and impressive voices they were.

I’ve already given away some of the best bits about Greyhounds of Austin TX, but they’re worth going on about. Anthony Ferrell manned a trio of well-used keyboards, including the iconic Fender Rhodes electric piano that is the stuff of my psychedelic jazz dreams. Andrew Trube, dressed like a secret agent man with an LBJ hat, played with bare fingers on antique electric guitars, achieving not just twang but Tarantino twang (sort of the black belt level of this American martial art). In the middle sat Anthony Cole who brought his own incredibly compact drum set. That’s all one should need y’all, and he proved it with beats as slippery and fat as a side of bacon. Ferrell takes most of the lead vocals with a fine, rangy voice that calls to mind Sam Cooke and Al Green. The falsetto bits made opener “What’s On Your Mind” utterly hooky. Trube took over singing on “Amazing” and “Yours To Steal” which had tons of atmosphere and gothic reverb. I couldn’t see the fully clad spaceman emerge at first from where I was sitting, but I could feel the energy in the hall rise up in a mix of awe and WTF (aspiring performers, this is a good thing to aim for). He was a perfect surreal touch, slow dancing as if floating in the void. Drummer Cole ended “B-Sizzle” with not so much a drum solo as just a long passage of elegant, enthralling solo drumming. Like getting my back scratched. And then the melodica finale on closer “Soul Navigator.” Hell, I’d follow these cats anywhere they navigated.

I’d have worried about some artists following that, but not Chuck Mead. Cool as a rhinestone yet enthusiastic as a kid, he’s a magnificent ambassador for the very heart and soul of Americana music. It’s country but it’s inventive and with these new songs from the album Free State Serenade, he elevates his game to his highest level ever. They’re rich with place and delicious  place names, like the Wakarusa River and Neosho Valley. And Mead isn’t just rattling them off for the wordplay; every place is a story. “The Devil By Their Side” told of a Civil War catastrophe in Lawrence, KS (Chuck’s home town) to a boogie beat (driven in expert fashion by Chuck’s old hands Mark Miller on bass and Martin Lynds on drums). “Evil Wind” got in the head of one of the murderers from In Cold Blood. Meanwhile, legal killer Carco Clave played the best steel I’ve ever heard him play, grabbing gorgeous jazz chords and offering searing solos. My favorite song of the set I think was “Slow Train Through Arkansas,” because of its vivid pictures and its utterly soothing and seductive tempo.

With Chuck and Jim Lauderdale conspiring, it’s no surprise they looked to Hank Williams for the Nashville Jam. “Mind Your Own Business” proved to be one of our best ensemble pieces ever, with strong vocals all around and studio-ready solos, including one by Farrell on melodica. Thanks to all for an evening with chemistry and character. Oh, and to Monell’s our new catering partner who brought great eats for cast, crew and fans. Fine food and music. The keys to a great time.

Craig H.