allison moorer tour 2022

• Allison Moorer
• Country Music

Allison Moorer Talks Looking Past Her Music Career and New Job With Country Music Hall of Fame and Museum

by Chris Piner May 12, 2024, 1:30 pm

The voice behind hit songs like “Send Down an Angel”, “The One That Got Away”, and “I Found A Letter”, Allison Moorer released ten studio albums throughout her time in country music. And given the popularity that surrounded her, stars like Miranda Lambert, Trisha Yearwood, and even Kenny Chesney covered her songs. Although enjoying her time in the spotlight, it seems that Moorer decided to take a step away from the stage. But having a love for music, the singer apparently snagged a new job at the Country Music Hall of Fame and Museum. 

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On Thursday, the museum announced that Moorer was joining their ranks as a writer and editor. Given her years in the music industry, it seemed like the perfect fit. Especially when knowing she wrote two books, Blood and I Dream He Talks To Me . With a background in country music and a gift for words, it appears any publication would be thrilled to add her to their roster. 

[RELATED: Allison Moorer Makes Music with Her Son on ‘Wish For You’]

Allison Moorer Will Never Stop Making Music

Speaking with Variety about her sudden career shift, Moorer recalled her past. “I figured out probably on my second or third record—so this was a long time ago—that I did not want to be playing the same clubs when I was 45 as I was when I was 25.” While worried about what her future in music looked like, she added, “I knew very quickly that I was going to have to probably do something else to earn a living, because I just couldn’t manage it all. There’s no way you can do an artist career if you’re a wife, a mother, whatever else you’re called to be, and particularly if you have a child with special needs.”

Although looking at other careers in the music industry, Moorer hoped to give back to country music. “Landing here is a way for me to give back to what saved me, which is and has always been art. Country music is a huge part of my family’s story. It’s culturally significant and it’s personally significant.”

While fans of the singer want more albums, Moorer promised she would never step away from music. “I’m still making music. Kenny Greenberg and I are working on a duo project that will not be under either one of our names, so that will be coming. We’re just two studio rats that like to get in there and make stuff up. And that’s one of my very, very, very favorite things to do.”

(Photo by Rebecca Sapp/Getty Images for The Recording Academy )

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Show Review: Allison Moorer and Shelby Lynne at Birchmere

Allison Moorer and Shelby Lynne at the Birchmere

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Holding an acoustic guitar, Shelby Lynne stood on stage with her sister, describing a song she wrote almost a decade ago about following their father into the Alabama woods.

“This is actually daddy’s,” Lynne said, putting a palm on the Gibson B24 that sister Allison Moorer has used on each of her albums. “I’m playing daddy’s guitar. This is the guitar I learned to play on.”

Lynne paused for a second. “We just haul the history around with us. Ya’ll know how that rolls.”

Family history looms large for Lynne and Moorer, critically acclaimed singer-songwriters who performed at The Birchmere in Alexandria, Va., as part of a short “Not Dark Yet” tour. That history, and the sibling bond that has only strengthened in the decades following horrific tragedy, was a constant thread throughout the 90-minute show Wednesday night.

Lynne was 17 and Moorer 14 when their parents died in a 1986 murder-suicide. Their father, Franklin, was a frustrated songwriter and musician who physically and verbally abused their mom, Lynn, and the girls. For the first dozen years of their careers, which saw Moorer receive an Academy Award nomination and Lynne win a Grammy, the siblings toured separately and did not speak publicly about the tragedy.

That has changed, especially for Moorer, in the past decade. Over the past five years, she has written and released two memoirs with accompanying music — Blood , about their parents and their childhoods in rural Alabama; and I Dream He Talks to Me , about raising her nonverbal autistic son. Meanwhile, Lynne has continued to release a series of albums on her own label, including 2021’s The Servant , a series of gospel covers.

Lynne and Moorer first went on the road together in 2010, then again in 2017 after releasing Not Dark Yet , a stunning and mesmerizing collection that included nine covers and one original song. Performing a series of covers and originals that left the audience entranced and enriched, their music was a mix of soaring harmonies, nostalgia, and melancholy.

“We’ve been singing so long together,” said Moorer, who has referred to touring with her sister as the “daily opening of a vein” because of the history and emotion involved. “What a blessing.”

The covers, including Townes Van Zandt’s “Lungs,” Nick Cave’s “Into My Arms,” and The Killers’ “My List” come from the sister’s CD. They also performed a beautiful rendition of the title track, itself a transcendent cover of a Bob Dylan song, but opted not to perform the lone co-written original, “Is It Too Much,” which acknowledges each other’s wounds.

Lynne, who wrote the forward to Blood , took much of her father’s wrath. As she held the guitar on Wednesday night, she prefaced the song “Following You” with a story about her father.

“I was following daddy out in the woods, shooting squirrels and stuff. I followed behind him with a .22 rifle, trying to step in his footsteps,” she said. “I couldn’t quite make it. This is a song about him.”

Both Lynne and Moorer, who were accompanied by Joe McMahan on acoustic and electric guitar, played a series of originals. Highlights were the back-to-back versions of Lynne’s “Where I’m From” and Moorer’s “Alabama Song,” followed later by Moorer’s “A Soft Place to Fall” and Lynne’s “Johnny Met June.”

“Every time I walk into one of these venues I wonder who’s been here before me. There are lots of ghosts in these places lurking around. I wrote this about one of my own,” Lynne said in her introduction to the lovely song about Johnny and June Carter Cash.

One of the sweetest parts of the evening was a series of covers dating back to the siblings’ youth. Moorer noted the first time the two sang together at a fiddler’s convention when they were kids. Even though the show was mostly bluegrass music, the two “got up there and did the songs we knew, which was mainly the Everly Brothers.”

They played three Everly Brothers songs — “Price of Love,” “Brand New Heartache,” and “Maybe Tomorrow” — before segueing into Moorer’s sublime cover of Jessi Colter’s “I’m Looking for Blue Eyes” from 1976’s “Wanted! The Outlaws,” country music’s first million selling album.

“It’s always good to go back and remember the songs that taught us to do what it is we do,” Moorer said. “When you’re trying to write your own songs you learn other peoples’, so we were lucky to have parents who had pretty good taste.”

“They loved to pick and sing,” Lynne said. “They did have pretty good taste. We were pretty much reared on the Everlys, Waylon and Willie and all that good shit.”

Moorer was only 4 when “I’m Looking for Blue Eyes” was released. Lynne noted she has tapes of her singing it “when she was just little, not making sense, and she knew every word of this. It’s her song.”

“Can you imagine me not making sense?” Moorer asked as the audience laughed.

She paused. “I’m trying to unlearn it. I’m working on it.”

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About Shelby Lynne and Allison Moorer

Allison Moorer: The Autotelic

And just like that

2023 is done..

Hi Friends.

I am so grateful to have had a short break at the end of this year. After the endurance test that was 2022, I expected a smoother 2023 — alas, it was quite the triathlon. But I’m still here, and I’m better than I’ve been in a while, maybe better than I’ve ever been. It feels off to think and say that, for I am ending this beautiful year feeling like a lot of big waves took me down and left me gasping for air, but instead of feeling swept away and wanting, I feel polished, mercifully stripped of artifice and defense mechanism and like I am finally able to stand in the power of my own power, with the resolution to live with clarity, authenticity, and integrity.

My favorite thing about 2023:

My personal growth. I am not who I was a year ago. This was a year of healing, of taking to the mat many constructs that were stuck in my mind, body, and spirit and working with them through a loving, soft, warm, and slow embrace of my spirit and all that it is instead of through the hot, slick, glaze of lack, anger, and bitterness that made the slide into self-loathing such a smooth and quick trip. I did a lot of talk therapy, then I decreased that by half to accommodate EMDR, which has changed everything for me. I’m starting to actually dig down far enough to find the sources of trauma and terror that have been stuck in my body since I was a toddler. It’s fascinating and exciting and ultimately freeing — to feel real agency over myself and what happens to me is a brand new thing. To rework my identity to make room for the notion that I can have boundaries with myself and others feels damn near psychedelic. I also accepted medical help and started figuring out my brain chemistry and how to get it back to baseline health. What a gift.

Stillness feels like moving. In the best way.

What changed me:

John Henry turned 13. That was a big moment and a bit of an exhale. We made it this far!! Again, more gratitude.

Another John Henry moment — during the summer, he and I were hanging out in his bedroom and I was chatting away to him like I do sometimes about how cool he is, how proud of him I am, what an honor it is for me to be his Mama and how glad I am that he chose me to be on his journey with him, how he is the best son in the whole world — and he took my face in his hand and said the sweetest “MaMaMa.” It can be hard to know how he feels sometimes. I was floored by how hard he probably had to work to do that as words do not come easily to him, and by the tenderness between us that I treasure so much.

My husband went on a two-week trip to the Grand Canyon and we were out of contact for the entirety of it. It was hard for me and my abandonment issues, but I grew significantly. Being alone in any sense of the word is something I never have to be afraid of again.

Spraining my medial collateral ligament and being on crutches for a week. That was a crash course in empathy that I needed to take. It was also one in boundaries and self-love. I’ve never handled physical vulnerability well, but the truth is, my body is aging. I’m grateful to be in really good health and I’m very active and plan on staying on that course, but it is with a renewed sense of respect and awe for my earthly carriage with which I enter the 2nd half of my 52nd year.

It all adds up to more self-respect and honor for myself and who I am on this earth and in this universe. I feel like a grown up. Wow! I am in much better control of myself in all departments, which just makes life more pleasant in every way.

What I enjoyed:

Making art. Falling in love with painting. Letting my spirit guide me to what I wanted to do next. I didn’t complete any projects, write any books, or do anything that deserves some sort of fancy dismount and ta-da , but I made a lot of music (that you’ll hear more of in the coming year) and made a lot of marks with words and pigment. Some years you find, some years you show. This was a year of finding and working at new methods of expression.

Being John Henry’s Mama. Don’t we learn more from our children than we can ever teach them? He is growing so fast (Willie and I are now the smallest creatures in the house) in all the ways. It’s hard for me to believe that I’ll be the parent of an adult in 4 1/2 more years, but I will. I pray and hope for the most resilience, strength, kindness, and care to encircle us for all of the days we have left to live together.

Learning how to both take better care of my relationships and recognize when one needs a radical shift in one direction or another. Growing isn’t easy, especially within relationship, but it’s always worth it. I still don’t embody the graceful, all-loving, patient, and understanding being that I’d like to be, but there’s always next year, right?

Being a friend. Being a sister. Being a wife and partner to my husband.

Being at home. Gardening, cooking, and slowing down when I could.

Favorite travel:

Sometimes it’s hard to remember where I’ve been at the end of a year. But some highlights were — driving up the west coast with H. during the tour he did with Patty Griffin, the Omni Grove Park in Asheville, NC for John Henry’s spring break with friends, the Roaring Fork Valley for summer adventure camp, San Miguel de Allende, Mexico for a glorious week of art and adventure. But my favorite travel was in the quiet mornings at home when I’d wake very early, step happily out of bed, make my way to the kitchen for a cup of coffee, and then sink into thought, prayer, or making something before the sun came up. I love being with others and being out in the world learning what it can teach me, but my solitude has become a revered space that I have learned to protect. For a person who was told from an early age that her worth came from looking after others, from performing, from being something for others to pick apart at their leisure, it’s been a challenge for me to say no when I need to. Now I know that it is indeed a complete sentence.

What I didn’t like:

The news. The wars. The endless brutality that human beings heap on each other. The inability to communicate successfully and the fallout that inevitably comes from it. The sharpness of air travel. The cheapness of things and the dishonesty about the cheapness of things. Callous, reckless, and selfish dishonesty. The rate at which Narcissistic Personality Disorder seems to be growing. People wearing leggings and acting like they’re pants. Overwrought food and overeager servers. Apathy.

What I hope to improve in 2024:

My ability to listen and stay quiet until I need to make a sound.

My level of patience.

My flexibility — of mind, body, and spirit.

My artistry.

My skills of relating.

My consideration of myself.

Being here with y’all has been wonderful. Thank you for your support of this community, my meandering endeavors, and simply, of me. I’m so grateful for y’all. I hope to have more features up and running soon from the Sunday Selfie Series podcast to merging the old website blogs so they’ll live here. AND! Doing a series of paintings to recreate all of those oil pastel crest drawings I did to accompany the writings. A Saint Seven album. And that nagging novel. Yep. It’s still knocking on my door. I guess the best thing 2023 taught me was to keep the faith, live up to your own standards, and allow things to unfold as they will. My favorite prayer is always:

God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference .

Peace. Love. Onward.

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Allison Moorer Releases Title Track From 'Wish For You' EP

Wish For You will be released on February 11, 2022.

These songs are about soul communication, love, and the universal language of music," says Allison Moorer of her digital EP, Wish For You. "When I first realized John Henry was making up his own melodies and humming them on repeat, I learned them too so I could sing them with him. Any chance for communication with my son is one I can't ignore. So he'll sing a line, and then I'll sing a line... it's a conversation."

The title track is out today on all streaming services; Wish For You will be released on February 11, 2022 through Moorer's own Autotelic Records via Thirty Tigers.

Moorer's son, John Henry Earle, now 11-years-old, was diagnosed with autism when he was 23-months old.

He has a severe speech disability, which hinders his capacity for spoken language. Wish For You features songs that Moorer wrote around melodies that John Henry has created.

"I know I was channeling for most of the writing on this collection of songs. For instance, I wrote 'One Voice' on the spot. I will never forget this - it was a Saturday in June 2021, and I stayed up late one night. All day long I'd planned to write after John Henry went to bed, and when he was finally asleep, I sat at the dining room table and recorded 'Stardust & Freedom.' I knew that the lyric I'd written for 'One Voice' was connected to it but didn't know exactly how. I just spontaneously joined the two songs while the tape was rolling, and it worked. I feel like John Henry was coming through me for certain that night. We have a kind of telepathy. We've had to develop one, and I'm so grateful for it."

The songs are indeed inventive - most beginning while Moorer sat on her living room floor surrounded by instruments and figured out how to record her ideas in Garage Band. They were brought to fruition with her longtime collaborator, producer and ace guitarist Kenny Greenberg, at his studio. Greenberg and Moorer played or programmed all of the instruments themselves except for the live drums and percussion and one flute part. Wish For You finds Moorer stretching as a vocalist as well - these songs are pitched higher than most of the work she has previously done and it suits her, as does the license she gave herself to layer on as many harmony parts as she wished.

"Doing this EP set me free as a singer. John Henry's melodies are so interesting - they lean classical to my ear, and they're not necessarily western in tone - who knows how he's coming up with his tunes. I tried to get out of my comfort zones and be as open as possible when writing music around them. These songs sound like what I think John Henry might like - and they reflect how I feel when I'm with him in our calm and joyous moments. They also indicate how little I have to prove as an artist anymore -I'm just grateful to be here and to still be making music however I'm called to do it."

Moorer released I Dream He Talks to Me: A Memoir of Learning How to Listen, chronicling her life with her son in October 2021. You don't need one to understand the other, but of course, experiencing both will only provide a fuller picture.

"Kenny Greenberg, who wrote and produced these songs with me and is an integral part of this project, asked me what genre I thought it goes in. I said, 'I don't know. I call it spirit music. These songs don't really have anything to do with who I've previously been as an artist except that I feel like everything I've previously done on record finally adds up. It got me here, to the most meaningful and positive music I've ever made."

Listen to the new track here:

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Shelby Lynne & Allison Moorer Concert Setlists & Tour Dates

Shelby lynne & allison moorer at city winery, boston, ma, usa.

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Shelby Lynne & Allison Moorer at City Winery New York City, New York, NY, USA

• The Rock and the Hill
• I'll Hold Your Head
• Easy in the Summertime
• Miss You Sissy
• Where I'm From
• Alabama Song
• Following You
• The Ties That Bind
• All I Have to Do Is Dream
• I'm Looking For Blue Eyes
• Johnny Met June

Shelby Lynne & Allison Moorer at City Winery, Philadelphia, PA, USA

Shelby lynne & allison moorer at rams head roadhouse, annapolis, md, usa, shelby lynne & allison moorer at the newton theatre, newton, nj, usa, shelby lynne & allison moorer at sellersville theater, sellersville, pa, usa.

• Every Time You Leave
• Not Dark Yet
• What's Happened to Blue Eyes
• The Color of a Cloudy Day
• Silver Wings
• Into My Arms
• Is It Too Much
• She Knows Where She Goes

Shelby Lynne & Allison Moorer at Infinity Music Hall & Bistro, Hartford, CT, USA

Shelby lynne & allison moorer at appel room, jazz at lincoln center, new york, ny, usa, shelby lynne & allison moorer at cadogan hall, london, england, shelby lynne & allison moorer at the stoller hall, manchester, england.

Shelby Lynne & Allison Moorer

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• Into My Arms ( 13 )
• Alabama Song ( 12 )
• Not Dark Yet ( 12 )
• Where I'm From ( 12 )
• Every Time You Leave ( 11 )

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Boudleaux Bryant Nick Cave & the Bad Seeds Jessi Colter Elvis Costello Bob Dylan Merle Haggard Jason Isbell & Amanda Shires The Judds The Killers Kris Kristofferson The Louvin Brothers Shelby Lynne Allison Moorer Nirvana Tom Petty and the Heartbreakers Elvis Presley Townes Van Zandt

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30 people have seen Shelby Lynne & Allison Moorer live.

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Allison Moorer Wrote a Book About Her Son’s Autism. His Melodies Inspired Moorer’s New Music

By Stephen L. Betts

Stephen L. Betts

Allison Moorer ’s son John Henry was playing in a New York City park in 2019 when he climbed an old, squeaky glider and began stomping his foot to its rhythm, then singing along. Using video of John Henry’s instinctive performance that his teacher had sent, Moorer’s longtime musical collaborator Kenny Greenberg created a loop while she crafted a hypnotic, soaring anthem to accompany it.

Those unique melodies and compelling rhythms imagined by John Henry can heard throughout “All We Have Is Now,” the first track from Moorer’s new EP Wish for You , which Greenberg produced. A slight stylistic departure from her past work with its use of found sounds and looped beats, Wish for You is a companion piece to Moorer’s second book, I Dream He Talks to Me: A Memoir of Learning How to Listen , which detailed coming to terms with John Henry’s autism. Diagnosed at 23 months old, her son’s severe speech disability hinders his capacity for spoken language. It was while Moorer was helping him learn sign language that she discovered his love for music.

“I don’t know that I would ever come up with [that melody],” Moorer says. “That would probably never come to me because that particular melody is rooted in something that is not in me. Maybe it has something to do with the music that John Henry has been exposed to.” Moorer cites John Henry’s New York City birthplace and his musical family — John Henry’s father, Steve Earle, and stepfather Hayes Carll are both musicians, as is his aunt, the singer-songwriter Shelby Lynne. “We all listen to everything all the time, and so he has a lot more exposure to a lot more different kinds of music than I did. But I feel like John Henry is maybe hooked into something that I, as a supposed neurotypical person, am not.”

Moorer became enthralled with the ability to connect with her son through music, especially when considering the myriad mysteries that still surround the causes and effects of autism. “We do connect through music like human beings do. But not in the way that I connect with Kenny when we’re in the studio and not in the way that I connect with the musicians when I’m playing live,” Moorer, whose previous book Blood chronicles the deaths of her and Lynne’s parents, points out. “It’s a quieter thing; it’s more an internal thing. It’s about us communicating in an almost telepathic way. I can only imagine what’s really in there that he hasn’t figured out a way to express yet.”

When it came to writing the book, Moorer penned much of it in real time. She approaches the subject with both refreshing candor and much-needed humor, but admits she initially struggled with whether she had the right to share intimate details of her son’s life without his ability to grant her permission.

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“I wrestled with all of that. I still do,” she says. “I know that there is a population out there that is very ready to condemn me for what I did. And I completely understand it. There are people [within the special-needs community] who advocate for people with autism, who can’t necessarily communicate with words. That group of people would say, ‘Well, you have no right to do that,’ which I totally get. But as a parent I have a different take on that. When I wrote Blood , that was largely an exercise about remembering, looking back, how we build our memories, what makes up our memories and what sticks with us and why. But I am not blithely going through this experience as if it affects no one but me.”

The book also touches on the challenges of Moorer and John Henry navigating everything from daily routines and rituals to air travel and occasional difficulties with impatient strangers. Like any parent, Moorer observes her son’s behavior closely, but knows the key to understanding his autism and finding normalcy in challenging circumstances is balance and acceptance.

“He was six or seven years old before I started to go, ‘Wait a minute. I’m trying to fix this. I’m trying to change who he clearly is,’” she says. “That’s probably not the best, most painless way to go through this experience. It can be very isolating to be in a relationship with your child when it is one where you’re left out of things, when you feel like you can’t go out in the world without being armed for bear because you don’t know what’s going to happen and what effect the environment is going to have on the child.”

Ultimately, both the book and the EP are love letters to fellow parents dealing with extreme circumstances. “Although there are some difficult things in the book, I hope the overall effect is one of peace, love, respect, faith, belief, and making the best of whatever your situation is,” Moorer says.

Allison Moorer and Shelby Lynne will begin a seven-city tour together on April 25 at Nashville’s City Winery. On Friday, Feb. 11, at 6:30 p.m. CT, Moorer will read passages from I Dream He Talks to Me at an online-only event from Nashville’s Parnassus Books.

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Shelby Lynne and Allison Moorer

At City Winery Boston May 2, 2022 By Michael Lasalandra

Sisters Shelby Lynne and Allison Moorer brought their exquisite sibling harmonies to the City Winery Boston May 2, wowing a sold-out crowd with a tour de force performance of songs that plumbed the depths of their souls, celebrated the joy of resilience and displayed the unconditional love between sisters who endured and came through a family tragedy that might  destroy most children. 

Their world was shaken to the core when their alcoholic, abusive father shot and killed their mother and then turned the gun on himself when they were just teenagers. They turned to each other for support and have spent the last 36 years processing the event, while maintaining separate solo careers that have garnered numerous awards, including a Grammy for Lynne and a Grammy nomination for Moorer.

The duo has been singing together since they were young children. Their mother used to sing and their father played guitar. “We grew up listening. to mom and dad’s records, learning to sing harmony.” Lynne said.

The elder sister recalled how Moorer could sing perfect harmonies with her and their mother as early as the age of 3.

“There is nothing like having a baby sister to sing with you and she happens to be the best there is,” Lynne said. “And we’ve been singing together forever.”

Despite pursuing solo careers for decades, the duo had never recorded together or toured together until 2017. At that time, they played the Sinclair in Cambridge to support their first-ever album, Not Dark Yet, named after the Bob Dylan song that was one of many interesting covers on that album, including Nirvana’s Lithium, Nick Cave’s Into My Arms , and Merle Haggard’s Silver Wing s. 

This night they closed with the Dylan song about growing old. They also did Cave’s Gothic Into My Arms . 

It is hard to pigeonhole their music. Lynne’s is a combination of country, soul and rock. Moorer is more closely associated with Americana. She is an ex-wife of singer-songwriter Steve Earle and is currently married to singer-songwriter Hayes Carll.

This show opened with Townes Van Zandt’s Lungs, then moved into The Rock and the Hill, a song off Moorer’s 2019 album, Blood , which dealt with the tragedy and the lifelong struggle to come to terms with it. She also wrote an acclaimed memoir of the same name. It was the first time either sister had addressed the tragedy in detail.

The duo then moved into a few songs that celebrate their Alabama roots, and then did some songs they used to sing as young children, Including the Everly Brothers’ All I Have to Do is Dream. They acknowledged their debt to the brothers, considered among the best harmony duos ever. All harmony duos owe them a debt. Just ask Paul McCartney or Simon and Garfunkle. 

“Sissy has beens singing that song since she was 3 years old, said Lynne, who pretty much always refers to Moorer as “Sissy.” In fact, they dubbed this tour the “Sissy Tour.” The Boston show was the last one on the tour and, according to Lynne, the best. “It’s time to quit and we’re just getting good,” she said.

Despite what their father did, the sisters seem to have found a way to appreciate him for whatever good things he did in his life and the fact that he, as well as their mother, gave them an appreciation of music. At least that’s how I looked at it. 

Lynne was playing her father’s guitar, a 1963 Gibson B-25. They also sang a song she wrote about him, Following You, and one that Moorer wrote, The Ties That Bind.

Before ending the show, they paid tribute to Naomi Judd of the mother-daughter duo The Judds, performing two of their songs. Judd committed suicide last week.

“We knew every Judds song,” Moorer said. “It was like losing mama again.”

There were tears welling up in her eyes as she talked about Judd, as there were many times during the show when they sang a song that seemed to be inspired by the tragedy. They did not specifically talk about the event, but several songs subtly referenced it. 

Despite the sadness of some of the songs, the show was actually quite joyful. The sisters looked deeply into each other’s eyes as they executed their perfect harmonies, and smiled at each other constantly. I have ever seen such an expression of love among performers. 

“Singing together is everything to us,” Lynne said. “All I want to do on my dying day is sing with you Sissy.”

As they finished their last song, the emotional Not Dark Yet , Lynne looked at Moorer and said: “I love you.”

The Rock and The Hill

I’ll Hold Your Head

Easy in the Summertime

Miss You Sissy

Where I’m From

All I Have to Do Is Dream

Looking fort Blue Eyes

Johnny Met June

Sunday Morning Coming Down

Into My Arms

Thunderstorm/Hurricane

Not Dark Yet

ABOUT THE AUTHOR

Michael Lasalandra is a music fan and an artist who paints portraits of musicians, among other. subjects. His work can be seen at mlasalandra.com.

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Shelby Lynne

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Shelby Lynne is a singer and songwriter hailing from Quantico, Virginia, United States who was born on October 22nd, 1968. Since debuting in 1988 she has released 13 studio albums and is best known for having one of the most distinctive, celebrated voices in modern country music.

Born to a musical family and raised in Mobile, Alabama, Shelby Lynne's childhood was pockmarked with tragedy to say the very least. While her parents introduced her to music and fulled her passion for it at an early age, her father was an abusive drunkard who shot and killer Lynne's mother and himself when she was 17 years old. For anyone to have the drive to do anything after that would be heroic, so the sheer inner strength that Lynne must have had to leave her life in Alabama behind and move to Nashville Tennessee to pursue a music career must put many to shame. It would be enough to pursue it, but Lynne thrived in Nashville, whose first demo got her invited onto the TV show Nashville Now.

As a result of her performance on the show, she signed a record deal with CBS Records, and released her debut album “Sunrise” in 1989. For the next decade, Lynne was constantly on the verge of breaking out, but never quite got the hit that she needed to get to the next level. She had a devoted fanbase and charted several singles on the country charts, but it wasn't until her 1999 album “I Am Shelby Lynne” that she finally hit the big time, winning the Grammy award for Best New Artist in early 2001. In her acceptance speech, Lynne remarked upon the absurdity of winning the Best New Artist award “thirteen years and six albums” after she debuted, but all the same, she had arrived and arrived with style.

Ever since then, she's remained a beloved figure in modern country music, with over 25 years of experience to her name and some of the best live shows in the business. For becoming such a name in the face of such adversity, Shelby Lynne comes highly recommended.

Live reviews

My son took me to see Shelby Lynne at the Birchmere in Alexandria VA in July 2018. I met her after the concert and started to choke as I talked about her music. She put her arm around me and said, "Just take your time." As an author, I explained how I used her music to help a character through bad times and handed her an excerpt. She told me she would cherish my words. Such a gracious entertainer.

Rick went to the living area and picked up a couple of pillows. He returned to Elle’s room and put them on the floor near her bed. He lay down and stared at the ceiling. He had just closed his eyes when Elle spoke.

“I want to go home.”

“Elle, you are home.”

“It’s not working.”

“What’s not working?” he asked.

“Shelby knows.”

“‘I want to go back so I can run away again’,” he quoted a Lynne song.

“I’m not doing it right,” she said. She paraphrased the song, “I keep going back and running away all over again . . . and again . . . and . . ..”

“Lynne writes it’s because pain is what you know, Elle. Pain is your comfort zone. It’s the one thing that’s never deserted you.”

Elle knew Lynne had found some peace through her music. She closed her eyes and reached out to the woman who understood. Keep singing Shelby ’cos I’m not there yet.

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I saw Shelby Lynne this vivacious singer in Portland. She was singing on a simple stage. It was just her and her guitar. Her hair was cut short, and she was wearing a gray vest and a black shirt. I knew she was a beautiful singer, but I didn't grasp her intensity or the passion of her voice until I saw her live. She has a tough outer appearance, but a sweet, tender vulnerability underneath that bravado that she communicates to the audience expertly.

She regaled us with personal stories in between her songs, and I remember being so touched by her kindness. I sat next to my best friend in a quiet, dark theater silently mouthing the lyrics to her songs. I was entranced the entire time, I swear. I felt as if she had put on spell on me! The crowd requested she sing, "Leavin'" and she obliged us all. I loved the way she looked directly at us. My personal favorite song of hers "Wall in Your Heart," which she sang in a way that I had never even heard it. I might be a little sentimental when I say this, but seeing her live really was one of the best experiences of my life.

Shelby lynne was everything I thought she would be! My mom passed when I was 18 years old and shes the one who ontroduced me to Shelby back when i was 7 years old basically at the beginning of her career. So Ive been a fan ever since. So this one was for my momma..wish she coulda been there ❤ Id love to see her again..and maybe next time do a meet and greet. Shelby lynne writes songs that touch the soul and keeps u grouded..and Idk about anyone else but I need more of that raw talent in my life.

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The real deal. "Looking up until the next thing brings me down", She shares our love of George Jones and will sometimes share a story about him. Love that she was so kind to my shy daughter.

Venues ve seen her in are closed now. Glad to see concerts opening up again. "A livin',breathin',tragedy."

Great concert but boring audience . I don't like sit down concerts anyway. Beside us no one was under 65 years old. Will not go to the folly theatre again

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Past concerts

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Eighth Room

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Allison Moorer on Setting Performing Aside to Take a Job With the Country Music Hall of Fame and Museum: ‘It’s a Way to Give Back to What Saved Me’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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“Musicians often say, if you have a plan B, you’re gonna use it,” says singer-songwriter Allison Moorer . “And, you know, I didn’t for a long time. So I’m grateful that I have the ability to do something like this. You don’t really see this very often, do you?”

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What made the most sense, going back years for her, was not trying to flog her wares on the road anymore — something that many artists of her approximate age and skill set will be able to relate to, whether or not they have their own plan B.

“I figured out probably on my second or third record — so this was a long time ago — that I did not want to be playing the same clubs when I was 45 as I was when I was 25,” Moorer says, calling in from her new desk job. “And I wasn’t exactly the most commercial thing going, so I just kind of looked around me and saw that people who were in the lane I was in did tend to just kind of play the same clubs at 45 as they did when they were 25 … if they were lucky.”

“it takes a lot of effort to keep that kind of career rolling. And the truth is, outside of our genre and roots music, people don’t have careers that are that long. … When you’re 20, it isn’t weird to jump up in front of people on stage and go, ‘Hey, look at me.’ As a 51-year-old woman, I don’t want to do that. I’m over it. I don’t want to be picked apart. You know, it’s hard for women. Everybody wants to know why you don’t look like you did when you were 22. For a lot of people, it’s ‘Why don’t you sound like you did when you were 22?’ It can make you want to hide it really can. I used to not have much vulnerability, or I certainly didn’t show it, about doing things like that. But as I got older, and started becoming aware of who I was and got out of defense mechanism and out of a complete and total 24/7 trauma response to the world, I started going, ‘Hmm, this is the most nuts thing a person could do.’ It was also a door I walked through because I didn’t have a guide. I didn’t have parents; I didn’t have anyone telling me anything.” (Moorer was orphaned at a young age, as detailed in her “Blood” book.) “The guide I had was my sister, and I’m really lucky I had her. Art has always saved me and it has given me an incredible life. And this is just a continuation.”

One thought was that the master’s degree could lead to a teaching career, beyond whatever she learned in that process that helped with writing the two memoirs. “But honestly,” she says, “I started praying last August for a direction that would bring me peace of mind, and in January I found out about this job. And so I sent an email to Michael Gray [VP of museum services], and it worked out. Who knows where it will go, but I hope I’m here at the Hall of Fame for 20 years. I feel confident, because I said that prayer and I was led to something that is ultimately perfect for me. Because in this position I can pull all of those pieces together.

“This is the practical side of me coming out. It’s funny because a couple of people have asked me recently what sign I am, and I’m on the cusp of Gemini and Cancer. So that’s hard, to have that birthday, because it’s confusing — Geminis are out and do a lot of different things, and cancers are quite different. So, I’ve always dealt with all of these different facets of what I was interested in. I have never been like a laser beam: I must be a country star. Never. Never. And in fact, in some ways I went through the performing door because it was open. I’ve always had that side of me that wanted to just hunker down in the corner and read and not have anything to do with being that person that gets up on stage and does all that. I have loved that and it has given me an incredible life, but I’m almost 52 and I have stepped away from solo performing. First of all, there’s not the opportunity — I couldn’t put together a tour that made sense if my life depended on it! So it’s not worth putting all of my eggs in that basket.

So maybe the duo will get to do a showcase at the Hall of Fame’s theater, and, as a museum staffer, handle the introduction herself? “I don’t know about dipping the beak two times,” she laughs. Plus, she points out, “It’s a rock record.” (Although, it should also be pointed out, the museum loves to include genre crossovers in its historical annotations.)

Moorer’s career stretches back to her 1998 debut, “Alabama Song,” the first of three albums she made for Universal Music’s Nashville imprints before she switched over to more Americana-favoring labels like Sugar Hill, Rykodisc and Thirty Tigers. Her highest-charting single wasn’t as a solo artist but as the featured guest on Kid Rock’s country radio version of “Picture” in 2002, at a point when she and that artist would have seemed a little less like oil and water. She was nominated by the Academy of Country Music for top new female vocalist in ’98, while her transition to Americana was signaled with a nom for the Americana Honors & Awards’ artist of the year category in 2004. She is remembered by film buffs for her 1999 Oscar nomination for “A Soft Place to Fall,” featured in the Robert Redford film “The Horse Whisperer.” She finally found a soft spot with the Grammys with then-husband Steve Earle, landing a joint nomination in the country field in 2008.

She is part of a musical family, having recorded and toured with sister Shelby Lynne in 2017 and produced and made occasional appearances with her husband, Hayes Carll. Moorer is mindful at this moment, jumping in as a historian and chronicler of country, of how her love for the music really goes back to her mother’s and grandmother’s influence on her and Shelby.

“The first thing I did as far as decorating my cubicle was bring a photograph that I had framed at home of my sister and me sitting on either side of our mama when we are 4 and 7. We’re singing into one microphone together, and my father’s to the left, my grandmother’s behind us, and two of my mother’s first cousins are behind us as well. And that’s the first thing I put in my cubicle, because that is why I’m here.

It might be corny to call this a soft place to fall, but the word “landing” does pop up in. “Landing here is a way for me to give back to what saved me, which is and has always been art,” she says. “Country music is a huge part of my family’s story. It’s culturally significant and it’s personally significant. So I am delighted to be a part of things here, because I can put all of my pieces into one intention, and that feels really good and meaningful to me at this point in my life.”

At the museum, she says, “Getting to see what is in this building, it’ll just knock you down over and over again. … One of the things I’ll be doing here is help with books. I was assigned my first manuscript to read, a book by an artist who has a contract to write an autobiography. And I think why they wanted me is because I can go in there and have a different perspective than someone else who would be assigned that book would. There’s so many talented people in this building, but from what I can tell, they really like to build out variation, so everything is covered.” Joining the museum staff at the same time as Moorer is another illustrious addition, journalist Jon Freeman, who was highly visible in the community recently as an editor at Rolling Stone Country.

“What I love about it is the depth, the layers, the connecting of the dots, because that’s just so rich to me. I’m almost through my second week, and I see how we don’t stop till we get to the bottom. And that just appeals to me as a writer, and I am delighted to be part of preserving what has come before and helping interpret that and being here to help figure out what’s coming next. It makes so much sense to me. Whereas the music business, it hasn’t always made that much sense to me. … I’m incredibly grateful that they they took a chance on me, and I really, really want to do a good job here – it’s important to me.”

She’s drawn back to a seminal moment in her childhood. “This would’ve been early ‘80s, so I probably 10 or 11 when I noticed this, but you remember that song ‘The Weekend’ by Steve Wariner? “There’s an acoustic guitar part in the chorus that is like a little paintbrush moment on that record. And I remember noticing it as a child and thinking, ‘Hmm, that’s an interesting choice.’ And then I remember putting that together with the acoustic sounds on the Billy Sherrill records that I had heard. And I was going, ‘Ohhhh… OK. I’m starting to see how these choices are made and what they do.’ And that’s where my head has always been.”

The puzzle is adding up for her, in all sorts of ways. “I think this is the best part of aging,” she says, “is you start to put your pieces together.”

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Gagarin Cup Preview: Atlant vs. Salavat Yulaev

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Gagarin cup (khl) finals:  atlant moscow oblast vs. salavat yulaev ufa.

Much like the Elitserien Finals, we have a bit of an offense vs. defense match-up in this league Final.  While Ufa let their star top line of Alexander Radulov, Patrick Thoresen and Igor Grigorenko loose on the KHL's Western Conference, Mytischi played a more conservative style, relying on veterans such as former NHLers Jan Bulis, Oleg Petrov, and Jaroslav Obsut.  Just reaching the Finals is a testament to Atlant's disciplined style of play, as they had to knock off much more high profile teams from Yaroslavl and St. Petersburg to do so.  But while they did finish 8th in the league in points, they haven't seen the likes of Ufa, who finished 2nd. 

This series will be a challenge for the underdog, because unlike some of the other KHL teams, Ufa's top players are generally younger and in their prime.  Only Proshkin amongst regular blueliners is over 30, with the work being shared by Kirill Koltsov (28), Andrei Kuteikin (26), Miroslav Blatak (28), Maxim Kondratiev (28) and Dmitri Kalinin (30).  Oleg Tverdovsky hasn't played a lot in the playoffs to date.  Up front, while led by a fairly young top line (24-27), Ufa does have a lot of veterans in support roles:  Vyacheslav Kozlov , Viktor Kozlov , Vladimir Antipov, Sergei Zinovyev and Petr Schastlivy are all over 30.  In fact, the names of all their forwards are familiar to international and NHL fans:  Robert Nilsson , Alexander Svitov, Oleg Saprykin and Jakub Klepis round out the group, all former NHL players.

For Atlant, their veteran roster, with only one of their top six D under the age of 30 (and no top forwards under 30, either), this might be their one shot at a championship.  The team has never won either a Russian Superleague title or the Gagarin Cup, and for players like former NHLer Oleg Petrov, this is probably the last shot at the KHL's top prize.  The team got three extra days rest by winning their Conference Final in six games, and they probably needed to use it.  Atlant does have younger regulars on their roster, but they generally only play a few shifts per game, if that. 

The low event style of game for Atlant probably suits them well, but I don't know how they can manage to keep up against Ufa's speed, skill, and depth.  There is no advantage to be seen in goal, with Erik Ersberg and Konstantin Barulin posting almost identical numbers, and even in terms of recent playoff experience Ufa has them beat.  Luckily for Atlant, Ufa isn't that far away from the Moscow region, so travel shouldn't play a major role. 

I'm predicting that Ufa, winners of the last Superleague title back in 2008, will become the second team to win the Gagarin Cup, and will prevail in five games.  They have a seriously well built team that would honestly compete in the NHL.  They represent the potential of the league, while Atlant represents closer to the reality, as a team full of players who played themselves out of the NHL. 

• Atlant @ Ufa, Friday Apr 8 (3:00 PM CET/10:00 PM EST)
• Atlant @ Ufa, Sunday Apr 10 (1:00 PM CET/8:00 AM EST)
• Ufa @ Atlant, Tuesday Apr 12 (5:30 PM CET/12:30 PM EST)
• Ufa @ Atlant, Thursday Apr 14 (5:30 PM CET/12:30 PM EST)

Games 5-7 are as yet unscheduled, but every second day is the KHL standard, so expect Game 5 to be on Saturday, like an early start. 

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Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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