I’ve lived my whole life along the I-64 corridor in Virginia — Norfolk until I graduated high school and then Richmond for college and beyond. It’s a stretch Gold Connections frontman and leading creative force Will Marsh knows just as well, given his Charlottesville roots and his time spent at the College of William & Mary in Williamsburg. His drive between home and school probably wasn’t too different from mine — between an hour and a half and two hours if the traffic was kind. Worse on summer weekends when the Outer Banks were in business.
We had the opportunity to speak over the phone early in June. The first full-length Gold Connections album, Popular Fiction, had come out a few weeks before, giving me more than enough time to fall hard for Marsh’s writing and knack for studio decision-making. I’d also gotten a kick out of tracing the way standout tracks like “Salt” and “Isabel” evolved from versions he recorded in 2014 with W&M contemporary Will Toledo of Car Seat Headrest for the self-titled Gold Connections EP, which didn’t end up being released until 2017. Hearing more about how those two projects took shape and the tremendous care Marsh puts into how his music is presented was really interesting, and it got me thinking about I-64. Whether long or short, there’s something sacred about the time between recording and releasing music. How many times did those songs provide a uniquely private soundtrack to a drive along that stretch of road? What else might the people next to us on the highway be carrying with them? What hopes, problems, and creations?
All that said, Marsh is looking and driving squarely forward, with an outstanding debut LP and the backing of Richmond’s EggHunt Records. Click here to read the River City Magazine article I wrote about our conversation. It’s in the inaugural issue of River City as a standalone publication, and I’d love it if you grabbed a copy around town or checked it out online. You can hear yet another version of “Isabel” below, from a Bridge Room Session I’d recommend highly.
“It’s the most wonderful time of the year…”
-Christmas song written by someone who hasn’t witnessed a Friday Cheers schedule rollout
I’ve said it before, and I’ll say it again: Friday Cheers is my favorite part of the year. It’s warm but not sweaty, the weekends feel longer, since the early Cheers start times mean you’re outside and enjoying yourself ASAP… it makes me so happy. Here’s the full schedule. Things are going to be a little nutty this year, given that Mrs. YHT is set to deploy Baby YHT #2 in early May, but here are three of the shows I’m hopeful that we/I/y’all will be able to make:
Lee Fields & the Expressions with Kings — May 5
This show being announced was my Lee Fields wake-up call. I see his records nearly every time I go to Steady Sounds, and I keep meaning to learn more about him — now’s the time. I’m doing it. You can’t stop me. Friday Cheers has hosted two of the best soul shows I’ve ever seen — Charles Bradley and the late great Sharon Jones — so this one shouldn’t be missed.
Conor Oberst with Big Thief — June 2
Already snagged a ticket for this one. I wrote a short time ago about how psyched I am for his special-guest-heavy upcoming album Salutations, and since it’ll be out by the time this show rolls around, I’ll almost certainly be spending some quality time at the merch tent on June 2.
Car Seat Headrest with Gold Connections — June 30
OK, so I saw them twice last year. I don’t care — as Toddler YHT’s hero Ariel once said so poignantly “I want more…” Speaking of wanting more, I managed to find a used copy of Teens of Style, the album prior to Teens of Denial, and I was surprised by how many of the older (relatively speaking — he’s released ocean of material already) songs I knew. I recommend prepping for this show by diving into Will Toledo’s earlier stuff, which can be found on Bandcamp.
Hope y’all are getting excited as well. Here’s another link to the full schedule and here’s a link to an article I wrote last year about Friday Cheers that includes an interview with Venture Richmond Festival Manager Stephen Lecky.