×

Hear the Best New Folk Music with Fresh Cuts Friday

Ready for some of the best new music we’ve heard this week? It’s a great list as you’ll see below — and as you’ll hear when you join me for my ‘Fresh Cuts’ radio hour! Listen every Friday at 2 p.m. Eastern, 11 a.m. Pacific via the 24/7 stream on our website, app, or your smart speaker.

Or, just click on the Fresh Cuts stream whenever it’s convenient for you.

In the meantime, check out some of the best new music we’ve been listening to this week.

###

Folk Alley is able to produce and offer this weekly new music hour thanks to support from our members. If you enjoy the Fresh Cuts hour please donate to Folk Alley or consider becoming a sponsor.


Kora Feder, “In a Young Person’s Body”

Some Kind of Truth is the second album from California-born songwriter Kora Feder, featuring “In a Young Person’s Body.” Of the track, she shares “John Prine died April 7, 2020, and that’s when I started writing this song. I was in lockdown in my small apartment in Philadelphia, feeling like I was aging a decade a minute.”


Morgan Toney, “Pjila’si Piskwa”

Based in Unama’ki (Cape Breton), Mi’kmaq fiddler Morgan Toney who offers a fusion of Celtic fiddle with Mi’kmaq songs and traditions. “Pjila’si, Piskwa” are two Mi’kmaq words. “Pjila’si” (jill-ah-see) translates to “Welcome”, and “Piskwa” (bis-kwa) translates to “come in.”


Olivia Ellen Lloyd, “You”

Out today, Do It Myself is the new album from Brooklyn-based, West Virginia-born Olivia Ellen Lloyd. Of the song “You” she shares “I wrote this song in a School of Song workshop led by Courtney Marie Andrews, and I feel really indebted to her for the great songwriting advice and prompts she dispensed during that course,” explains Olivia Ellen Lloyd. “Mike Robinson and I finished it together in the studio and I think it is one of the best songs I’ve ever written.”


Tony Kamel, “Makin’ It Work”

We’re All Gonna Live (out 4/18) is the debut solo album from Wood & Wire frontman Tony Kamel. He says, “Simply put, I was reflecting on adjusting to parenthood, both as a musician and in general,” he says earnestly of the song’s genesis. “It’s a lot of finagling and, kind of, barely figuring things out.”


Supported By