Vincent Neil Emerson with special guest Kelsey Waldon

Name: Vincent Neil Emerson with special guest Kelsey Waldon
Start: 2025-03-01T20:00:00-06:00
Location: 2715 Rochester St, Kansas City, MO, United States, Missouri 64120

Schedule

Sat, 01 Mar, 2025 at 08:00 pm

UTC-06:00

Location

2715 Rochester St, Kansas City, MO, United States, Missouri 64120 | Kansas City, MO

Vincent Neil Emerson has become a staple among folk and country music fans nationwide, celebrated for his honest tales of life on the road, heartbreak, and struggles of all sorts. His first LP, Fried Chicken & Evil Women, from 2019, established him as a refreshing voice in the modern country music landscape. The songs from that first album were charming and playful songs, but didn't reveal the entirety of Emerson's story.
On his brilliant new album, The Golden Crystal Kingdom, Emerson transcends the role of a honky-tonk country singer and becomes a chronicler of his history. The album is a bold continuation of the story he tells on Vincent Neil Emerson, with songs like the title track exploring the feelings he was left with after his days spent playing in Texas honky-tonks and dancehalls, and the track "The Time of The Rambler," inspired by the early days of living in his car and busking on the streets.
He was born and partly raised in East Texas, around his Choctaw-Apache family, and spent most of his life moving around the state. Raised by a single mother, he lost his father to suicide when he was nine. Emerson dealt with those feelings of abandonment and loss on his self-titled album, with the track "Learning to Drown" in particular.
His grandmother and grandfather brought the family to Texas when Emerson's mother was a child, leaving their ancestral Choctaw-Apache homelands in Louisiana behind to try and build a better life for themselves and their children. Emerson always identified with his Native American roots, but it wasn't until 2021's self-titled album that he examined and tried to shed light on the devastating history of his tribe with the song "Ballad of the Choctaw Apache."
Sonically, The Golden Crystal Kingdom finds Emerson expanding his scope into rock and roll territory, tapping into the storied sounds of folk music gone electric, and following in the footsteps of artists like Bob Dylan and Neil Young. On the album, Emerson retains his diamond-sharp storytelling while imbuing the work with a freewheeling rock and roll aesthetic, creating an album as fun as his live shows and as cathartic as his previous work.
With production from Shooter Jennings, Emerson wanted to establish some sounds as touchstones but emphasized following his own intuition for the aesthetics of his record. "I didn't really want to model this record after anybody else's music, but I've been heavily influenced by a lot of old rock and roll music from the sixties and seventies singer-songwriter music," Emerson explains.
The album wasn't necessarily created as an opposing force to the country and folk sounds his fans have come to expect, but he did want to make a record that showcased another side of himself as a writer. He also leaned on friends and collaborators like Jennings, Steve Earle, and Rodney Crowell to help him flesh out this album.
Emerson has been able to call these one-time heroes friends and mentors, and it is these relationships that have helped the songwriter find his confidence in writing about his personal history and standing up for the causes he believes in. Emerson wrote "Man From Uvalde" after the horrific and tragic mass shooting in the city of Uvalde, Texas, and he was initially hesitant to include the track on The Golden Crystal Kingdom. "It's a daunting thing to try to dive into social issues in songwriting because I wasn't sure how people would really take it," Emerson says. "I recorded a rough demo version of the song, and I sent it to Steve [Earle]. I just wanted to get his thoughts on it and see if it was worth anything. He got back to me, and he said he really liked the song and thought it was great. He gave me a few ideas and ways to look at the subject differently, and it really helped me finish the song. That encouragement gave me the confidence to include it on the album."
The Golden Crystal Kingdom also pays tribute to some of the peers Emerson cut his teeth with in the music scene. He covers the Charley Crockett song, "Time of the Cottonwood Trees," and is quick to pay tribute to his labelmate and dear friend Colter Wall. "Those two had my back since day one. They've been some of my biggest supporters, and they've always inspired me to write better songs and encouraged me to pursue this," Emerson reflects. "Especially at a time when I was starting out and I didn't really have a lot of encouragement or even self-confidence to do this, they were always there for me."
As a kid who grew up in a trailer with a single mother, went through bouts of homelessness as a young man, and grinded through countless shows to get where he's at, Vincent Neil Emerson is never quick to praise his own work ethic. He always refers to the friends, family members, and collaborators who have shown their faith in his vision.
But humility doesn't mean Emerson isn't one of the hardest working, most talented songwriters to emerge from the alt-country underground in years. His style is one of a kind, and his ability to blend tales of the everyman with tributes to his past, present, and future make him a peerless songwriter. On The Golden Crystal Kingdom, Vincent Neil Emerson carries on the torch of his singer-songwriter forebears while infusing the legacy with his unique and thrilling point of view.

https://www.vincentneilemerson.com/

Kelsey Waldon More than a decade and a half into her career, Kelsey Waldon is herself one of those singular voices. Across four acclaimed full-length albums full of both “heavy twang and spitfire pedal steel” and “coffeehouse confessionals” (Rolling Stone), she’s brought listeners into her world and shared her own experiences and perspectives. Her new project, There’s Always a Song, however, is about the singular voices that shaped her into the artist she is today.

“It’s like, I kind of was able to find my voice through these voices, you know?” Waldon says. “A part of me doing this album is expressing so much gratitude for the music that I love, for music that has meant a lot to me and helped me.”

These eight songs, from the earliest pages of the country and bluegrass music songbooks, helped the singer-songwriter from Monkey’s Eyebrow, Ky., find her place in the world before she became an artist whose own work generates buzz, lands on year-end best-of lists, and, in 2019, led Waldon to become the first artist in 15 years to sign a deal with John Prine’s Oh Boy Records. These days, they remind Waldon of why wanted to make music in the first place.

“There’s a lot of bullshit out there, and sometimes our goals and dreams get clouded by competition or become jaded. [These songs are] like something tapping into me and being like, ‘That’s why you love this.’ It feels like home to me; it feels like the truth,” Waldon shares. “It just brought me so much joy to work with my peers, my friends, people I really admire.”

There’s Always a Song might not even exist, in fact, if not for S.G. Goodman, who in addition to also being a fellow western Kentuckian has been one of Waldon’s good friends since before they were making headlines with their music. During one of their frequent catch-up phone calls, Waldon told Goodman she would love to find a reason to collaborate and asked Goodman if she’d be up for recording a song together. Goodman suggested “Hello Stranger,” specifically citing the 1973 version by Hazel Dickens and Alice Gerrard.

“Everybody in the world has done ‘Hello Stranger,’ so it was really important to me to make that fresh,” says Waldon. “It was so fun [being in the studio together to record it].”

Waldon didn’t stop with Goodman, though. Fellow John Prine devotee and “kindred spirit” Amanda Shires joins Waldon on fiddle for the Bill Monroe classic “Uncle Pen” — arranged in half time like Goose Creek Symphony’s version from 1971 — while Isaac Gibson, lead singer of 49 Winchester, helps Waldon honor his fellow Virginian, Ralph Stanley, on the devastating “I Only Exist.” Margo Price, one of Waldon’s first friends in Nashville, rounds out the list of guests, singing with Waldon on “Traveling the Highway Home,” which Waldon selected from fellow Kentuckian Molly O’Day’s catalog.

“These collaborators are people I really admire, and I think they all have their own special thing going on. They’re carrying their own rightful torch,” Waldon muses. “We’re all just branches off one big ol’ wise tree, you know? In our own unique ways, I feel like each person is bringing their own flavor to country music as we know it today.”

Waldon’s band, meanwhile, was a key inspiration for There’s Always a Song. The songs on this album are among those they frequently listen to in the van while on tour; Waldon and fiddler Libby Weitnauer, in particular, have bonded over their love of old-time and Appalachian music. They’d been out on the road for much of the year before they entered Nashville’s Creative Workshop studio (prominently featured in Heartworn Highways and a longtime Nashville staple) to make this record, which Waldon co-produced with GRAMMY Award-winning Engineer/Mixer/Producer Justin Francis.

“[The tour] felt … electric, and the band just had so much great chemistry onstage — and that really inspired me, too,” says Waldon. “I just kind of wanted to see what that would mean in the studio.”

Waldon opted to tackle two songs alone: Jean Ritchie’s witchy and powerful “Keep Your Garden Clean” opens There’s Always a Song, while the haunting and beautiful “Pretty Bird,” another song by Hazel Dickens, marks the project’s halfway point. A cappella performances “are just such a big part of mountain music,” Waldon says, so she wanted to make sure the album also captured that tradition.

“It’s very vulnerable, but to me it’s like, pure as the morning snow, and soulful in its own way, because it’s just people singing from literally the depths of their soul.”

That kind of soul music resonates now just as it did when these songs originated. Its relevancy lies not in a particular decade, but in the songs’ ability to capture and convey timeless emotions and experiences.

“These songs are deep. They were here long before me, and they will be here long after I’m gone, after any of us are here. They will survive the test of time,” Waldon says. “It’s like they live in some kind of universe that just survives forever. These songs know the secrets to life.”
https://www.kelseywaldon.com/