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Kelsey Waldon is one of Country music’s most 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 (out May 10th via Oh Boy Records/Thirty Tigers), 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 she 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.
 
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.

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.


“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.”
 
Waldon is featured in the 2024 edition of the Country Music Hall of Fame's "American Currents" exhibit, and she'll perform a special "Songwriter Session" on March 2nd at the museum as part of the exhibition's opening. 2024 tour dates will be announced soon.