by Jane Lambert

The Free States Let the Songs Do the Talking on “Love & Death”

There is something to be said for music that doesn’t immediately tell you what it is. In a world of genre tags, carefully curated aesthetics and songs apparently designed to make perfect sense within the first fifteen seconds, it is rather nice to encounter an album that seems perfectly happy to wander off and see what happens. No map or flashing neon sign saying this is the important bit, just a collection of ideas allowed to develop at their own pace. And that, in a nutshell, is rather what The Free States are doing on Love & Death.

The project of American songwriter Shaun Lyons, now based in Athens, Greece, The Free States has always been difficult to squeeze into one particular musical box, and frankly, why would you want to? There are traces of rock, soul, alternative music, experimental rhythms and a healthy appreciation of melody, but attempting to reduce all of that to a convenient label would miss the point. Lyons is interested in songs first.

“Definite” is a particularly good example. Built around the wonderfully human problem of being indecisive at a crucial moment in a relationship, it moves in 7/4, which is not generally the time signature one reaches for when trying to make uncertainty sound comfortable. But it works. There is an ease here that makes the unusual rhythm feel natural, while the song itself manages to be thoughtful.

Then there is the opening track “Most of All,” apparently born at three in the morning while Lyons’s electric guitar was lying beside him with the amplifier still switched on. Which is probably proof that sometimes the best songwriting advice is simply to leave the equipment where it is and see what happens. The song has a lovely sense of longing running through it, while strings, a refrain and a guitar solo give it a little more space and help distinguish Love & Death from the more guitar driven album that came before it.

Elsewhere, “Man the Baddies” brings considerably more muscle to the proceedings. What began around thoughts of war, friends being conscripted and the complicated question of what it actually means to move forward. It is energetic, rhythmically unusual and probably the heaviest thing The Free States have recorded, but there is no neatly packaged political statement waiting at the end of it. Lyons is more interested in the uncomfortable business of making decisions, which is rather more interesting than having the songwriter hand you a conclusion and ask you to tick a box.

Lyons has talked about songwriting as something that needs to happen before consciousness starts getting in the way, and there is freedom in that approach.

There is a similar freedom in the way the album was made. Recorded largely in Athens, with drums captured in several different rooms and vocals recorded together in another, Love & Death is clearly more interested in capturing a good performance than in constructing some immaculate sonic monument. Lyons makes much of the music himself, working with trusted collaborators when required, and there is something appealingly old fashioned about that. You have an idea, you make the record, you listen to it and you decide whether it works. Revolutionary stuff apparently.

Love & Death is an album that can groove, can rock and it can become rhythmically peculiar, it can pull back and allow a melody to carry the weight and it can occassionally make you wonder where on earth Lyons is taking you before realising that you rather like the journey. The Free States have remembered that the scenic route is where the interesting stuff happens.

Listen here:

09.02.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH WINCHESTER 7 & THE RUNNERS

There is a particular kind of magic in music that sounds familiar as well as entirely its own. Winchester 7 & The Runners understands that balance instinctively, drawing on the energy of garage rock, the melodic instincts of classic songwriting and the sun soaked spirit of surf music, while placing the unlikely sound of an electric tenor ukulele right at the centre of it all.

This is a project that is playful without being lightweight, carefully crafted without losing its sense of spontaneity and firmly rooted in the belief that a great song should still be able to cut through the noise.

We caught up with Winchester 7 & The Runners for this exclusive interview to talk about the creative thinking behind the project, the making of the music video and the inspiration behind “The World From My Bed”, and what lies ahead for the band.

Watch the Official Music Video here:

1. Tell us the story of this track. Why did you choose to visualize it specifically in this way?

The song started innocently enough. My family was talking about how much of current events my teen daughter learns about on Tiktok and its often dubious accuracy. I thought how much of a change that represents to our communications and how, generally, weak people’s innate critical reasoning can be. So, I started writing from a perspective of a “it was this, now it’s that” sort of thing.

But, that sort of song starts to sound like cranky old man shouting at clouds pretty quickly whereas I was more interested in the contrast than suggesting that one was better than another. I don’t know if you’ve heard this, but older news media has made its share mistakes of too – like how Dungeons & Dragons is deadly or that time when Martians invaded.

Anyway, with all of that in mind, I latched onto the idea that rotting in bed is also, these days, not the same isolated thing it once was. And there I had the title with a bridge written from an imagined perspective of my daughter’s.

So, we set out to shoot a video that borrowed some of those themes in a time travelly sort of way.

2. What was the inspiration behind this new video (visuals, storyline, etc.)?

Something you may not have picked up on is that the trunk on the album cover for our EP No Worse For Wear which is also shown in the video – as an aside, that’s the actual trunk that my great grandfather brought over with him from Northern Italy when he immigrated to the US – was previously seen in a video for our song “The Golden Age”. One in the back catalogue.

Anyway, in that one, Jack opened the trunk and got out a device that he used to time travel back to the ’50s to visit my grandparents on a vacation of theirs to what appears to be Atlantic City, in an effort to escape COVID lockdown. Hey, it was a nice thought!

In reality, we were all stuck together for the bulk of it as travel restrictions happened right after we all got together to record.
So, at the end of “Waitin’ Here For You”, Jack finds his time machine again, after rummaging his way through the thing, and we all get a bit of a surprise. The video for “The World From My Bed” picks up from there with me (Win) shown stuck on a bed in some sort of time pocket with some surreal stuff happening just outside the window that I mostly ignore.

3. What was the process of making the video?

I wanted to create a video that built upon the prior video release for our song, “Waitin’ Here For You”. We shot the album cover while filming that video in the same session. We sat on the couch for some stills and then started to do our thing as the song played in a continuous shot.

“The World From My Bed” was shot right after that to keep some continuity.

The World is literally seen from my bed outside that time window, as I rot away with my uke, phone, and a good book. We then added some footage of feature vocalist Airinna Namara, who sings the bridge, in said window and got our video!

Keep up with Winchester 7 & The Runners on the Website

08.19.26

by Jane Lambert

Remembering Blind Boone: Ken Lovern Turns History Into Music

There is something fitting about ending a story with a song called “Good Things.” After the hardship, uncertainty and extraordinary circumstances explored throughout Blind Boone the Musical, Ken Lovern’s fourth and final single arrives with a sense of warmth and forward motion. It settles into the groove and lets the music do what it does best – brings people together.

At the centre of the track is Lisa Henry, whose vocals give “Good Things” its human warmth. There is an easy to her performance that immediately draws you in. She is surrounded by the unmistakable sound of OJT (Organ Jazz Trio), the Kansas City organ-jazz outfit with whom Lovern spent more than thirteen years performing at the city’s Green Lady Lounge.

That history matters. Lovern isn’t approaching organ jazz as an aesthetic borrowed for the occasion; it is part of his musical vocabulary. The Hammond organ sits comfortably at the heart of the arrangement, giving the track its earthy character while the rhythm section keeps everything moving with the relaxed confidence of musicians who know exactly where the groove is. And then there is Robert Rebeck’s shaker.

It might sound like a small detail, but it is precisely those details that give “Good Things” its personality. The shaker adds another rhythmic layer to the arrangement, contributing to the sense that this is music made to be experienced physically. You can feel the pulse as much as hear it.

Listen here:

The emphasis on groove is central to Lovern’s wider approach. His work on Blind Boone the Musical has never been about creating a museum piece reconstruction of nineteenth-century music. Instead, he takes the history of Boone and filters it through the musical traditions that have shaped his own life: jazz, ragtime, blues, gospel, classical music and contemporary American sounds. “Good Things” perhaps captures that philosophy better than any of the previous singles.

The earlier releases have taken listeners through very different chapters of Boone’s story. “Quindaro” looked towards his family’s history and the search for freedom. “School for the Blind” explored the young Boone’s developing musical abilities. “Boone Plays It Back” introduced the virtuoso and the extraordinary talent that would eventually make him a celebrated performer. Here, the atmosphere is different.

That doesn’t mean the track ignores the complexity behind Boone’s story. Quite the opposite. The warmth of “Good Things” feels more meaningful because we know what has come before it. Boone’s achievements existed alongside blindness, racism, exploitation and the many barriers faced by Black performers in nineteenth and early twentieth-century America. To end the project’s sequence of singles with a song that embraces optimism feels less like glossing over those realities and more like acknowledging the resilience that allowed Boone to overcome them.

There is also a pleasing circularity to the release. Lovern began this project after discovering Boone’s story almost by accident, becoming fascinated by a musician who had once been famous enough for a Kansas City theatre to bear his name but had since slipped from popular memory. Now, through these songs, Boone’s story is being placed back into the musical conversation. “Good Things” works because Lisa Henry’s vocals, OJT’s organ driven groove and Rebeck’s percussion combine into something loose, soulful and unmistakably alive.

And perhaps that is exactly how this chapter should end. Not with a solemn farewell, but with real groove. Not with the past being put to bed, but with the feeling that there is more music still to discover. With “Good Things,” Ken Lovern closes the singles campaign for Blind Boone the Musical on an uplifting note.

About Ken Lovern

Ken Lovern is a Kansas City based composer, jazz organist and storyteller whose work blends the influences of jazz, ragtime, blues, gospel, classical and American roots music. He is the creator, composer and lyricist behind Blind Boone the Musical, an original historical musical fantasy exploring the life of Missouri pianist and composer John William “Blind” Boone.

Lovern has spent more than three decades performing and composing across a wide range of musical styles. For more than thirteen years, he played Hammond organ with his group OJT (Organ Jazz Trio) at Kansas City’s legendary Green Lady Lounge, performing four or five nights a week and becoming a familiar presence in the city’s celebrated jazz scene. His jazz compositions can also be heard across numerous OJT releases, including the album Ground Level.

With Blind Boone the Musical, Lovern combines his experience as a live jazz musician with theatrical storytelling to bring the remarkable story of Blind Boone to contemporary audiences. The full project, including vinyl and CD editions and a companion graphic novel, is set for release September 2, 2026.

08.14.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH KEN LOVERN

Some of the most important moments in a person’s life happen before anyone knows what they will become. A child displays an unusual gift, someone takes notice and a single act of encouragement can alter the course of a life. For John William “Blind” Boone, one of America’s great musical pioneers, that moment came when a former Confederate general recognised something extraordinary in a young boy and decided he deserved the opportunity to develop it.

“School for the Blind,” the third single from Kansas City composer and jazz organist Ken Lovern’s Blind Boone the Musical, tells that remarkable chapter in Boone’s story. Set in post Civil War Missouri, the song explores Francis Cockrell’s efforts to persuade the people of Warrensburg to help nine-year-old Boone travel to St. Louis to study music at the Missouri School for the Blind.

The accompanying video brings that history into the present, combining artwork from the project’s companion graphic novel with archival photographs, historical imagery and footage of the musicians recording the song.

We caught up with Ken to talk about the remarkable relationship between Cockrell and Boone, the importance of showing the community that helped nurture the young musician’s talent, and the creative process behind bringing this pivotal chapter of Blind Boone the Musical to life on screen.

Tell us the story of this track. Why did you choose to visualize it specifically in this way?

In the song “School for the Blind,” former Confederate General Francis Cockrell is convincing the town of Warrensburg, Missouri to help young John Boone attend the Missouri State School for the Blind in St. Louis.

After the Civil War, Blind Boone’s mother, Rachel Boone, finds employment in the home of Francis Cockrell. Cockrell is immediately taken with young John Boone. Boone is a cheerful, charming, and enchanting child, and he imitates bird calls and other sounds he hears. Boone plays the tin whistle and forms a musical group with the other neighborhood children. He is a very talented child with a lot of potential.

Cockrell becomes a champion for Boone, and arranges for Boone to attend the Missouri School for the Blind in St. Louis where Boone can study music. Cockrell convinces the town elders to help him finance the education and the train fare to St. Louis. In the fall of 1872, nine-year-old Boone travels alone 225 miles to St. Louis. While Boone only attended this school for a few semesters, this time was instrumental in developing his ability to play piano. Francis Cockrell was correct when he realized that Boone had talents that deserved cultivating, and he convinced an entire town to help.

What was the inspiration behind this new video (visuals, storyline, etc.)?

I wanted to show the musicians creating the music for this track, and I also wanted to tell the story of the town of Warrensburg supporting young John Boone.

What was the process of making the video?

I used images from the Blind Boone the Musical comic book and historical images to help tell the story. I was particular interested in trying to explain Francis Cockrell’s motivation in helping this child of a former enslaved person.

I used video images captured during the recording of the track to show the musicians. My intent was to weave the musician images with the historical images and comic book art to convey the captivating story of Blind Boone.

Keep up with Ken Lovern and Blind Boone the Musical here.

08.04.26

by Jane Lambert

Apropos Brings Soul Music’s Past and Future Together on Latest Single “10th Floor”

There are certain artists whose music feels connected to a much larger conversation. Artists who understand that every generation adds another layer to the sounds that came before it. With his latest single, “10th Floor,” the Detroit singer-songwriter Apropos draws from decades of soul tradition while creating something that is unmistakably his own.

From the opening moments, “10th Floor” establishes a world of warmth and atmosphere. The track moves with smooth confidence, built around rich piano melodies, subtle grooves and Apropos’s distinctive vocals. His voice has the character of classic soul – full of texture, full of emotionv-vwhile the production places the song firmly within the landscape of contemporary R&B.

“10th Floor” explores the memories attached to certain places and the way a shared moment can transform an ordinary space into something meaningful. It is a song about connection, and the comfort found in creating a private world with another person.

Apropos understands that some of the most powerful emotions exist in quieter moments. In the conversations after the excitement has faded, the familiar routines and the memories that continue to return long after an experience has passed. He captures those feelings with sincerity.

Produced by Jake Bass, “10th Floor” brings together organic soul influences and contemporary production techniques with impressive balance. The arrangement is carefully considered, from the layered harmonies to the subtle instrumental details, to contribute to the overall mood. The song creates an atmosphere that honours the emotional foundation of soul music.

Apropos’s journey adds another layer of meaning to this release. After gaining national attention with his appearance on The Voice, he stepped away from the spotlight to focus on rebuilding his voice and refining his artistic direction. That time of reflection has led to music that feels more focused and confident, shaped by experience and a deeper understanding of his own creative identity. Throughout his career, Apropos has embraced the idea of being a bridge between generations of music. The influence of Detroit soul, gospel traditions and classic R&B can be felt throughout, but they are woven into a contemporary sound that speaks to today’s listeners.

Apropos demonstrates clarity here. “10th Floor” is very much a statement of artistic purpose from a musician who understands where he comes from while continuing to explore where he can go.

Keep up with everything Apropos on his Website

08.04.26

by Jane Lambert

George Collins Turns Happiness Into a Groove with Soulful New Single “Happiness Looks Good on You”

There is something wonderfully underestimated about a genuinely happy song. Not a song that simply throws a few optimistic words over a predictable melody, but a song that understands that joy requires honesty. Happiness is most powerful when it has been earned; when it comes after uncertainty, disappointment and the inevitable twists and turns that life throws our way.

George Collins understands this perfectly. With “Happiness Looks Good on You,” he avoids the trap of writing a simple feel good anthem. Forget trying to box it neatly into one genre. Americana? Soul? Roots? Gospel? New Orleans rhythm and blues? The truth is that great songs rarely care about the labels we attach to them. They simply find their own space, and Collins’s latest offering does exactly that. Drawing inspiration from the timeless sounds of artists such as The Staple Singers, Dr. John, Allen Toussaint, and The Neville Brothers, he creates a track that feels both familiar and completely alive.

Listen in here:

From the opening moments, “Happiness Looks Good on You” carries a warmth that is impossible to resist. The Hammond organ rolls gently beneath the arrangement, the horns add flashes of colour and excitement and the groove settles into that rare space where sophistication and pure enjoyment exist side by side. It’s music made by people who understand that sometimes the best songs are the ones that make you instinctively move before you even realise you’re doing it.

But beneath the irresistible rhythm sits the real strength of the song: the writing. Collins is not interested in pretending that happiness is effortless. Here, he celebrates the people who have endured difficult chapters and come out stronger on the other side. It is a song about friendship, encouragement and the quiet victories that deserve to be recognised.

And then comes the gospel choir, taking the track from uplifting to genuinely celebratory. The handclaps, soaring harmonies and joyful energy of the finale make it feel like a room full of people gathering together to celebrate life itself. It is impossible not to smile as the song reaches its conclusion.

With his latest single, “Happiness Looks Good on You,” Collins has created a cheerful song, reminding us that optimism is not naïve, and joy is not superficial.

And with New Ways of Getting Old showcasing even more of his thoughtful songwriting, there has never been a better time to discover an artist who understands that great songs don’t need to shout. They simple need to connect with the listener.

Follow George Collins on his Website HERE