TO BE RESCHEDULED
In the tightknit musical community of Austin, Texas, it’s tough to get away with posturing. You either bring it, or you don’t.
If you do, word gets around. And one day, you find yourself duetting with Bonnie Raitt, or standing onstage with the Allman Brothers at New York’s Beacon Theater and trading verses with Susan Tedeschi. You might even wind up getting nominated for a Best Blues Album Grammy — three times in a row. And those nominations would be in addition to your seven Blues Music Awards, three Austin Music Awards, the Grand Prix du Disque award from the Académie Charles-Cros in France, a Living Blues Critics’ Award for Female Blues Artist of the Year, and the title of an “inspiring American Artist” as a United States Artists 2018 Fellow.
There’s only one Austinite with that résumé: Ruthie Foster.
Her latest, Joy Comes Back – on Blue Corn Music. When she recorded this album, Foster wasn’t merely singing about love and loss; she was splitting a household and custody of her 5-year-old daughter. Music was her therapy.
The comfort she felt within the studio gave her the strength to pour the heartache of her family’s fracture and the cautious hope of a new love into 10 incredible tracks, nine of which are by a diverse array of writers ranging from Mississippi John Hurt and Grace Pettis (daughter of renowned folk singer Pierce Pettis), to Chris Stapleton and Black Sabbath. Producer Daniel Barrett described the album to local hero Warren Hood, who lays fiddle and mandolin on “Richland Woman Blues,” as “some blues, some folk, some soul, some rock, some gospel.” Hood replied, “Sounds like Ruthie Foster music.” It takes a true artist to make an outside song their own and, if you know Ruthie, you know she succeeds. The Recording Academy might want to put its engraver on notice. Every note on Joy Comes Backconfirms this truth: It’s Ruthie’s time.