portfolio & artist roster

By Jacy Meador

Michael Hearne’s destiny has been tangled in wire and wood since he first laid his hands on a guitar at the age of seven. With a natural ear for harmony and an aptitude for picking, it wasn’t long before a young Michael Hearne was a fixture at parties and local events in his childhood hometown of Dallas. By the age of sixteen he had honed his skills on the guitar and, without a doubt in his mind about his destiny, he hit the road as a touring musician.

Michael’s career over the next few decades would take him across the southwest and beyond. Calling the mountains of northern New Mexico home for many years, Michael shared his talents as a singer, songwriter, and picker in bars, listening rooms and dance halls throughout the region. In the 1980’s, he toured as a member of Michael Martin Murphey’s band, recording on Murphey’s 1982 self-titled album for Liberty Records. Hearne has penned songs for Jerry Jeff Walker and Gary P. Nunn (“Lesson to be Learned from Love”) and his New Mexico anthem, “New Mexico Rain,” was recorded by country music legend Johnny Rodriguez as well as by his uncle and aunt, Bill and Bonnie Hearne. Michael has also co-written with Mentor Williams, Andy Byrd, Shake Russell, Keith Sykes, and many others.

Making a name for himself in his chosen hometown of Taos, New Mexico – Michael’s signature sound on the guitar and beautifully distinctive voice became an integral part of any two-stepping event in the area. Still a local favorite and a multi-time winner of Taos News ‘Best of Taos’ award for performer and singer – Michael wrote and recorded some of his best work during his years at the feet of the Sangre de Cristo Mountains. Recording countless albums both with his band South by Southwest and as a solo artist, and writing such classic tunes as the fan favorite “New Mexico Rain” and “High Road to Taos,” Michael found endless inspiration in the culture and natural beauty of the area.

After hosting years of informal barn dances, Michael officially began his Big Barn Dance Music Festival in 2003. Now a three day event featuring the best songwriters and performers in Americana, Bluegrass, Country, Singer-Songwriter and everything in between, the event draws music aficionados from across the United States. Throughout the event, Michael is found either on-stage – adding his signature sound to the music of his friends and peers, or just to the side- soaking in the music and preparing to introduce the next talented act to his enraptured audience.

After recording several albums in the early 2000s – including the critically-acclaimed concept album Sight and Sound: Songs Inspired by the Fine Art of Northern New Mexico (winner of seven awards at The New Mexico Music Awards), Michael made his way to Nashville, Tennessee. There, he wrote and recorded 2011’s Life in America – after surviving the historic Nashville floods in 2010. The album not only showcased some of Michael’s best songwriting to date, but the talents of producer Mark Fain and some of the top pickers in Music City, including Bryan Sutton, Stuart Duncan, and Andy Leftwich.

With this new album in hand, Michael packed his bags for the nation’s other country music mecca – Austin, Texas. There, he teamed up with renowned Americana songwriter Shake Russell, touring throughout the year and recording a duo album as well as another solo album, Red River Dreams, in 2016. Still occasionally found performing with South by Southwest – made up of long time members Carmen Acciaioli, a musical master of the steel guitar, fiddle, mandolin, dobro, and hammered dulcimer; and the extremely talented Zeke Severson on stand up and electric bass – Michael makes a point to spend some time in his New Mexico homeland as well.

Now with many miles behind him and countless stages beneath his feet, Michael has amassed a dedicated and ever-expanding fan base. After many busy years of touring, recording, and promoting his Big Barn Dance Music Festival, Michael Hearne still has no doubt in his mind about his calling. Whatever he might be doing, Michael is sure to be found with a guitar in hand, his destiny intertwined as ever in wire and wood.

by Jacy Meador

Nestled deep in the Texas Hill Country, just outside of Fredericksburg, you’ll find a former gas station turned restaurant & music venue named the Hill Top Café. A visit to this eclectic café gives a good idea of the worldly, yet down-home nature of Johnny Nicholas’ unique style. Built piece by piece, recipe by recipe, and song by song by Johnny Nicholas and his beloved late wife Brenda, the Hill Top Café is covered in music memorabilia and old photos from his nearly five decades of touring. The décor, home-cooked food, and tunes on the old jukebox give a glimpse into the vast melting pot of Americana that define not only the food at the Café, but the incomparable musical style of Johnny Nicholas.

Often referred to as a ‘bluesman,’ to classify Johnny Nicholas as strictly a blues artist is quite a misnomer. Nicholas’ signature style of music might be better defined as deep roots music. His musical roots grow deep and wide – spanning the many musical traditions found across the country. Drawing from the wealth of musical influences found in areas such as Chicago, Louisiana and Texas – Nicholas’ original music stirs together elements of folk, blues, western-swing, jazz, Cajun and country. While his dexterity on the guitar, husky growl of a baritone, and talent on the 88’s make him well at home in the world of blues and jazz, Nicholas’ skill as a songwriter, multi-instrumentalist and performer of authentic Americana music is not to be understated. Having written “the first song he was proud of” in the early 1970s at the encouragement of his friend and mentor Robert Lockwood Jr. – Johnny Nicholas has been writing his own brand of organic, deep roots music for nearly 50 years. 

Born in Rhode Island, Nicholas’ early influences of Howling Wolf, Bob Dylan, Ray Charles and The Band as well as his love of Chicago Blues and New Orleans music mingled with traditional music of the Greek community of his childhood. In 1964 while a freshman in high school, Nicholas officially started his first band The Vikings. In the historic year of 1969 he helped form a band in Providence called Black Cat – a collaboration with his friends Duke Robillard, Frannie Christina, Larry “Slow Drag” Peduzzi, and Steve Nardella. The group made a pilgrimage together to the now legendary 1970 Ann Arbor Blues Festival, but shortly thereafter the band amicably diverged into two groups. Robillard started Roomful of Blues and Nicholas started the Boogie Brothers with Nardella and Christina. As 1970 rolled around, Nicholas found himself living outside of Ann Arbor in what was little more than a shack they dubbed The Apple Grove. This little home became known as a friendly place where Chicago bluesmen and other like-minded artists and outlaws could stay while playing in Ann Arbor. The Boogie Brothers became a mainstay of the town’s burgeoning roots music club scene and Nicholas became a regular at the 1972, ’73 and ‘74 festivals in Ann Arbor. During this time, he also made his recording debut on Atlantic Records, performing with the Boogie Brothers on a double album compilation of the 1972 Ann Arbor Blues and Jazz Festival – singing one of his songs and backing up Boogie Woogie Red and Johnny Shines.

After playing a gig with Commander Cody at the Hill Auditorium in Ann Arbor, Cody suggested that the Bay Area would be a better home base with a larger audience. So, Nicholas, Christina, and Nardella piled into their VW bus and headed to Oakland where Cody introduced Nicholas to the members of Asleep at the Wheel – who were also recent transplants to the Golden State. While Nicholas still called the Apple Grove home, and California became his band’s headquarters for a spell, his ramblings across the country certainly didn’t cease. Nicholas’ desire to seek out his musical heroes soon took him to the Gulf Coast and southern Louisiana where he discovered Clifton Cheniers’ magical Zydeco band as well as Cajun music and swamp pop. Finding a parallel between Greek culture and Cajun culture – both love good music and good food – Nicholas was quick to make friends. Doug Sahm introduced him to Link Davis Jr., son of classic Cajun fiddler Pappa Link Davis, who wielded a mean saxophone and loved to play the blues as much as Cajun music. Davis had recently joined Asleep at the Wheel and Nicholas found himself performing alongside not only Davis, but renowned Cajun artists Nathan Abshire and Dewey Balfa. 

As Nicholas’ reputation grew among some of the more veteran bluesmen of the time, he found himself billed at the 1974 Ann Arbor Blues and Jazz Festival as ‘Johnny Nicholas & The Chicago Blues All Stars with Big Walter Horton, Hubert Sumlin, Mack Thompson and S.P. Leary.’ The same year, Asleep at the Wheel packed up and moved their operations to the budding music scene in Austin, Texas. While Nicholas still didn’t call Texas home yet, he often found himself down in the heart of Texas performing alongside his old friends and the scene’s many cosmic cowboys, as well as hanging out and playing at the original Antone’s “Home of the Blues” on sixth and Brazos. In 1975, Nicholas finally turned the Apple Grove over to a friend to spend more time in Chicago, South Louisiana and Austin. Rambling back and forth between these music hot spots – Nicholas hopped freight trains and hitch hiked his way around the country. While spending time in south Austin, he began recording informally with some of the boys from Asleep at the Wheel in Ray Benson’s living room, adding the trove of recordings he had made with Johnny Shines and Big Walter Horton back in his Detroit & Ann Arbor days.

The year of 1977 saw the release of Johnny Nicholas’ first solo album – Too Many Bad Habits – on Blind Pig records. A year later, Nicholas officially moved to Texas and joined Asleep at the Wheel. While with the band, he was a featured vocalist on the band’s album Served Live on Capital Records and Asleep at the Wheel earned their first Grammy for a cover of Count Basie’s “One O’Clock Jump.” Served Live’s “Jumping at the Woodside” was also nominated for a Grammy. While off the road with The Wheel, Nicholas and Link Davis Jr. would return to Basile, LA to play with Nathan Abshire, Johnny Spain, Dewey Balfa and other artists in the Acadian neighborhood. Nicholas remained active with Asleep at the Wheel until 1980. His final performance with the group coincided with the famous closing night of the Armadillo World Headquarters in Austin on New Year’s Eve of 1980. 

Later that June, Johnny and Brenda (who he had met a few years earlier at Antone’s Night Club) married in Fredericksburg, and Nicholas officially began to call Texas home. They purchased that old old gas station just outside of Fredericksburg and spent the next several decades mixing Johnny’s music and Brenda’s cooking with a lot of love to form the Hill Top Café. Since Brenda’s passing in 2016, Johnny has continued to host phenomenal music and the finest food in the Hill Country at the Café. 

Johnny Nicholas’ music, much like the Hill Top’s menu, is a melting pot of American roots traditions, a dozen different cultures, and – most importantly – a lot of kindness and love. When not on the road, Sunday mornings find Nicholas (or one of his many talented musical cohorts) hosting a “Gospel Brunch” at the Hill Top – with music and food to fill your soul. 2018 saw the re-release (and Grammy-nomination) of Nicholas’ debut album Too Many Bad Habits as a special double vinyl box set. He continues to tour across the United States – often traveling back to his original stomping grounds in Rhode Island and the east coast. Still calling central Texas home, Nicholas’ residency at The Saxon Pub in Austin, Texas with his band Hell Bent is a must-see show – often featuring some of the talented friends he has amassed over the years. 2019 took Nicholas overseas to both Hawaii and France – as well as on multiple east coast and west coast tours. Still showing no signs of slowing down in 2020, you can catch Johnny Nicholas at your favorite listening rooms, dance halls and festivals across the country. With several album projects in the pipeline, fans can only expect more original deep roots music from the incomparable Johnny Nicholas. 

By Jacy Meador

When the talents of brothers Drew, Tim, and Tres Womack are combined with the styles of their musical kin Luke Adair and Josh Droegemeuller – the unprecedented result is The Sum Brothers. For the last couple of decades, the voices of the five now bandmates have woven in and out of each other’s live shows and studio albums. Always supporting each other’s music, often playing together, but never forming an official band – until now. 2018 sees the first time that all three Womack brothers have come together as an official group. Over the years the brothers have collaborated on multiple bands and solo projects. Often found performing on the same stages, but at different times, the Womack brothers’ musical evolution can be traced through festival lineups across the years. One such event is The MusicFest at Steamboat, Colorado where Tim’s band The Phaze performed during the early years, and Drew has had several solo performances. Recently, Tres, Josh, Luke and their band the Chubby Knuckle Choir have brought their joyful noise to the Rocky Mountains as well. Knowing that the band would be the aggregate of so much more than just the talents of the three brothers, they wanted to choose a name that could reflect the evolving sound and lineup of the group as they brought in other influences and writers on each project. Tim suggested the name Sum Brothers, and the guys ran with it.

While this may be the first time the three Womack brothers have officially collaborated, sharing a stage together is certainly nothing new. Drew and Tim Womack were key members of the Waco-based band Sons of the Desert from 1997 to the band’s dissolution in the early 2000s. During that time, the Sons released a debut album with the title track “Whatever Comes First” charting on Billboard’s Top 10. Drew and Tim worked with a number of Nashville superstars during their time with the band, including singing vocals on Lee Ann Womack’s 2000 hit “I Hope You Dance.” Drew wrote and co-wrote nine top-10 hits during his time in Music City, including Kenny Chesney’s “She’s Got It All” as well as earning five ASCAP Awards and two BMI Awards. As a band, Drew and Tim received three Academy of Country Music Awards, a Country Music Association Award, and two Country Music Television Awards. Despite their success, the group dissolved shortly after the release of “I Hope You Dance”. Both Womack brothers went on to continue successful solo careers – Drew releasing a self-titled album in 2003 that earned him two Top 5 singles as well as an international tour and Tim garnering songwriting credits for Aaron Tippin, John Anderson and more. Meanwhile, Tres Womack, along with Luke Adair and Josh Droegemeuller, were jamming along as the Chubby Knuckle Choir – a genre-defying band formed in 2009 that blended country, bluegrass, R&B, and swamp blues into a sound all their own. However, after nearly ten years of touring and several album releases, the Choir dissolved as well.

Having collaborated so often under the name of other bands, The Womack boy’s reunion should be no surprise. Tres Womack’s 2008 solo release Freakshow features the talents of not only his brothers, but the skills of Luke and Josh as well. Freakshow gives an early sneak peek to the sound that the Sum Brothers would refine into an official band a decade later. In keeping with their tradition of having at least one Womack brother perform at The MusicFest at Steamboat, The Sum Brothers will not only be celebrating the formation of their band at the festival this January but celebrating the release of their debut album – due February 2019. The new album shows the next step in the evolution of the Sum Brothers sound. “The instrumentation is bluegrass, but the songs lean more to the Country/Americana sound of the writers. We have so much material, it’s going to be tough to pick final cuts,” says Tres Womack of the new album. The Sum Brothers will be kicking off their debut tour in Steamboat Springs, CO this January playing the best of the Sons of the Desert, Chubby Knuckle Choir, their solo efforts and, of course, the highly anticipated new album. 

By Jacy Meador

Sum Brothers’ debut album Brownwood (released January 1, 2019) perfectly showcases the collaborative talents of real-life brothers Drew, Tim and Tres Womack, and their brothers in music Luke Adair, Eric Raines, and Josh Droegemeuller. The album moves seamlessly from one unique track to the next – tied together by a sound that is authentically Americana. Punctuated throughout with sweeping fiddle solos, dynamic electric guitar leads, and poignant lyrics, Brownwood boasts not only the deft musical skills of the Brothers, but the depth and variety of their songwriting.

The album’s introduction comes in the form of an acoustic guitar and Drew Womack’s plaintive voice singing “Well I used to pray to Jesus but I done backslid, carrying the burdens of a preacher kid” on the Holly Williams’ tune “Railroads.” At the end of the first verse, the rest of the band comes in, driving the song’s momentum. While Tres Womack lays down the bass line and Eric Raines drives the beat on drums, guitarist Tim Womack exchanges solos with Josh Doegemueller on fiddle. The sounds Luke Adair’s picking on the banjo can be heard dappled across the backdrop of the music – adding yet another layer to Sum Brothers’ unique sound.

The album moves from the opening track to two love songs, “Hold That Thought” (co-written by Drew Womack, Tia Sillers and Mark D Sander), and “I Came Around” (penned by Josh Droegemueller). From these rocking anthems of love, the album moves into one of the project’s stand-out tracks – “Rebecca’s Moon.” Painting a mental image with sweeping, musical brushstrokes, it is easy to imagine the beauty of the moon in this tune. The lyrics draw the listener into a story of longing for lost love, and the attempt to move on. One of the songs written solely by Drew Womack, his crooning voice throughout adds the perfect touch of authenticity to this heartfelt song.

“Rebecca’s Moon” fades into the fiddle and piano laden track of “She Ain’t Through” featuring the talents of guest musician Vaughan Jones on the keys. The only track penned entirely by Tres Womack, it showcases not only his talent as a writer, but his soulful voice is featured throughout. Alternating between a rocking, lullaby-like fiddle solo and the melodic plinking of the piano, the beauty of the music almost seems to ease the heartache the song is about. The tempo picks back up with “Deadly Game” by Luke Adair which features a gritty, rocking country beat. Luke’s banjo shares a rapport with Josh Droegemueller’s fiddle in this raucous tune – the two deft instrumentalists trading solos back forth. “A Little Bit More” keeps up the pace but with a more cheerful, upbeat attitude. Trading the banjo for a mandolin, Luke’s picking is featured throughout.

The rocking, overdriven guitar on “I Built Me a Boat” brings to mind the driving beat found on the first track on the album, bringing the listener full circle. The hopeful spirit of this track tells the tale of someone who has finally been able to move on after heartbreak declaring “You cried us a river, so I built me a boat, watch me driftin’ away.” Again, guest pianist Vaughan Jones is featured on the keys, this time on the B3 organ in a solo reminiscent of the 1960s sound. In a demonstration of the breadth of Americana music and their mastery of it, Sum Brothers shift easily from this classic, American rock to an acoustic, bluegrass-esque jam on “Behind My Eyes”. With a stripped-down introduction of Tim’s flatpicking on the guitar and Drew’s gritty vocal, the song evolves into a banjo-driven jam with the full band.

The album concludes on the title track “Brownwood” which gives a somber insight into small town life. Settling in on a relaxing, folksy chord progression, the singer lovingly describes the darker side of life in a rural Texas town in 1982. While alluding to the closed mindedness of small towns, the song also shows the love and support that can be found in such tight-knit neighborhoods. This final track paints a beautifully complex picture of the good and bad of small towns, moving seamlessly from a feeling of nostalgia to one of remorse and back again. Upon finishing the album, it was hard to believe that so much ground was covered in ten tracks. No two songs are alike, yet they flow together into something larger. As a debut album, this project couldn’t have been a better showcase for the talent of Sum Brothers. 

Brownwood was produced by Drew Womack and Sum Brothers themselves and was recorded at several Texas studios including Max’s Playhouse (engineer Drew Womack), Yellow Dog Studios (engineer Adam J. Odor), and Koke Studeios (engineer Eric Raines) as well as in Steamboat Springs, Colorado (engineer Steve Boynton) where the album made its official debut at The MusicFest at Steamboat in January 2019.