Of all the tropes surrounding New Orleans, the city is perhaps known best for its musical spirit. It’s a mecca for musicians of all stripes who wish to live relatively cheaply, link up with fellow creatives in dingy dive bars, find inspiration in the bacchanal, and, ideally, give birth to something—a song, an idea, a moment—that resonates with people. There are countless stages getting scuffed up nightly in a constant shuffle of equipment and performers, and a year-round festival season to celebrate what feels like every type of food and music imaginable.
Yet, in this robust tapestry of song and celebration, musicians Dusky Waters (née Jenn Jeffers) and Teena May felt there was something missing. As Black women who’d always been drawn to folk and country music, New Orleans provided them with something they hadn’t experienced in previous lives elsewhere in the country: a community of fellow Black musicians participating in these Americana genres that often felt gatekept. Finding that community was validating, but they still felt they were flying under the radar, or that they were perceived as the exception to the rule. They saw an opportunity to not only bring attention to their peers, but to also provide an educational experience regarding the legacy of their music, and they took advantage of this opportunity by organizing New Orleans’ first-ever BlackAmericana Fest in September 2024 at The Broadside.
The fest was a hit, and the organizers got right to work prepping this year’s event. Dusky Waters joined me at St. Noir on St. Roch to discuss plans for BlackAmericana Fest’s sophomore run.
So, it’s Year Two of the festival, and already a big expansion. It was a one-day festival last year, now you’ve got two days of programming and some bigger names. Let’s start with the success of Round One and how it segued into this new, bigger iteration of the festival.
Last year was magical. Truly one of the best days of my life. When [Teena and I] started this, we knew that we were really excited about creating this space. We knew there were a lot of artists who felt like we felt, which is just like, “Hey! We have a place and a story and a history in Americana, country, and folk music, but that’s not really part of a narrative that most people know or talk about.” And also as a Black artist, it could feel really lonely. Like, “I’m making this music… is anyone else out here?!” And the answer is yes. And linking with Teena was kind of magical in that way, just two artists who share this love for this particular kind of music and genre. And also meeting Lilli Lewis, Joy Clark… I was like, everybody’s here, we’re doing stuff, why don’t we do it together?
So that was sort of the impetus of last year and it was wildly successful! We didn’t know how to throw a music festival. We’re both musicians. I come from—in my other lives—[the] nonprofit and education worlds, but this was new. A big curve. But we had about 1,500 people come out—all of our food vendors sold out of food, which was awesome for them. Our artisan market went really well. And I just heard from artists, “This just felt like a warm hug. Like our space.” I think the sense of belonging was really strong, and that’s what we want. That’s what we’re about.
So yeah! Based off the community response we were like: Hey, seems like there’s some interest and excitement in having these conversations and exploring this side of New Orleans music too… So let’s try to expand!
Within the event you have panels and conversations. It’s more than just music. Can you talk about some of those components?
Yeah totally. I think there’s three components to BlackAmericana Fest that feel really important to us. One is the music, obviously, and specifically making sure that we are mostly lifting up New Orleans, Louisiana, Gulf South artists. Two is a visual component, so how do we think about folk art and the way that visual art tells a story of our belonging? Something that I have learned recently—I just went to this talk with this author, Kristina [R.] Gaddy. She writes about the history of the banjo. So some of the earliest sources about the banjo appearing in the Americas and being played by Black folk are in paintings! Because people weren’t writing about it. So we think of folk art as another important component. And the last is education and storytelling. How do we lean on our elders and actually connect this throughline of our place in this particular part of American music history? Last year we had one panel, a series called “Roots of Rhythm,” and we had Dr. Michael White facilitating with Lilli Lewis, Mona Lisa Saloy, and Dr. Freddi [Williams] Evans. Just talking about the idea that Americana music is Black music.
This year I’m really excited, we’re going to have two educational panels, and then one additional sort of “Songs and Stories” component at the festival… So the first night we’ll have two of our headliners, Dom Flemons and Sunny War, in conversation about music in history and belonging. It’s called “What We Carry: Black Lineage in Folk and Americana Music.” And then on Saturday, Bruce [Barnes]—who is also known as “Sunpie,” from Sunpie and the Louisiana Sunspots—is going to be curating a panel about the Chitlin’ Circuit, and thinking about what it means, past and present, to tour as a Black musician. We are working on getting some New Orleans legends in the house like Little Freddie King and Mr. [Curtis] Doucette [Jr.], who runs the Dew Drop Inn, which was on the Chitlin’ Circuit.
Can you give a little background on the Chitlin’ Circuit?
You know what the Green Book was? The list of places where Black people could travel and stay safely in the South? So the Chitlin’ Circuit was [made up of] the places where Black folks could play music and expect some sort of safety and being treated well. And I think it’s a really interesting time to be a musician, period. A lot of the livelihood of musicians is being on the road. And in a way, it feels like right now it’s less safe again? To be a Black musician on the road, especially if you’re talking about the things we’re talking about, in this climate of anti-… Well, insert anything there.
So that’s sort of the educational component, and that’s the historical story that we’re exploring this year. We’re going to have a curated history walk as well that explores the Chitlin’ Circuit.
Nikki Hill (with Matt Hill)
Do you find, in this time where people are feeling less safe, is anything similar coming up on social media circles? Even word of mouth, letting people know where it’s cool to play? Is there anything like that happening in real time that you know of?
That’s a good question. Not that I’ve seen, but I’m also not the most social media-savvy person… But Crys Matthews—who’s going to be one of our out-of-town featured artists—she just won an award at Folk Alliance International for her music, but also her activism. Crys is queer and Black, and very unapologetic, but also has this ability to hold people with love who are expressing bigotry. It’s amazing. I’m like, wow girl. I don’t know that I could do that all the time.
But Crys is coming, and I was talking with Crys about that. Like how do you tour and go to these super rural places and play for these rural, sometimes mostly white audiences who like, consciously or unconsciously are voting, or expressing beliefs that kind of deny your right to live freely and authentically?
What was her response to that?
I mean, that is her calling, having those conversations. And it’s an authentic expression of herself, and she’s like, “I’m not gonna be quiet or be less of who I am because it makes people uncomfortable.” And she said that sometimes people come up to her and they’re like, “Wow, I wasn’t sure about everything you said but your music really moved me.” And I do think there’s this question about how we’re connecting across lines of difference. It feels like it’s just getting harder, and lines of difference are getting even more codified here. So I think this is also our way of addressing that, through a festival. Like this is an inclusive place for everyone to be here. I think there’s space for all of us to engage in cultural celebrations along lines of difference, and honor our collective and individual histories, and have it not be a threatening thing or like we’re leaving someone out.
Looking a little into your and Teena’s history—you’re from Arkansas and she’s from Virginia, places where country music has a hold for sure. And it sounds like you both were attracted to that style of music, but felt like it wasn’t for you. You had to kind of re-learn, in your case, “No! Banjo is a Black instrument! We brought it over!” Things that I’ve learned listening to like, interviews with Rhiannon Giddens, that sort of thing.
My hero!
Well, I saw you had Dom Flemons [Giddens’ bandmate in the Carolina Chocolate Drops], and of course I was going to ask—did you try to get Rhiannon? Are you saving her for the next iteration? Have you had a chance to engage with or work with her before?
I have not, yet. Obviously it’s the dream. I have done some asking around and it seems like she’s booked three years out. She’s a busy, busy lady! And she also just started a music festival this year, called Biscuits and Banjos.
Getting back to the fact that you felt excluded from this music that Black people have had a right to and an involvement with for so long. How do you think it is that you came to New Orleans? Did you have a sense that you would find this community of people who felt the same way here? Why do you think New Orleans became a magnet for people like you and Teena and the others that you mentioned?
I think I came to New Orleans like a lot of people come to New Orleans. I just visited once and was like, “There’s something different here…” There’s something so deeply joyful and beautiful. I moved here because I was like, “I think I love it here and I want to play music.” That was in 2015. I didn’t know anything about the music scene here. I didn’t know anyone. I had no idea if there was anyone else playing this music…
I was like 25 when I moved here and I’d been a touring artist for about three years. I was living in Natchez, Mississippi for a while actually, doing a teaching program across the river in Ferriday, Louisiana, and I met a songwriter and we ended up going on tour. That was kind of like the birth of Dusky Waters, me as an artist. But no, I moved to New Orleans because it seemed like a great place to be and to play music. But then I met Joy Clark! And then I met Lilli Lewis. And then I met Kelly Love Jones and it was like, oh cool. We’re out here. [laughs]
At open mics and songwriters’ circles? That kind of thing?
What a great question. I have no idea. I know there was an early show, with me, Lilli, and Joy? Or me, Lilli, and Kelly? It was at the Hi-Ho, and I was, at the time, a loop artist. I had a loop pedal. And I remember this particular show, I was trying some crazy stuff. And basically, I got off the click track which is kind of what you can’t do with your looping. And Kelly was just down there like, “It’s OK!!!”
That’s a good friend.
Yeah I was like, “She’s cool!” I felt immediately a sense of kinship and warmth, and they were all amazing, smart, friendly, badass musicians. So that was kind of a spark, but it took another eight or nine years for me to really dream up the idea of the festival and feel like it was something that I was in a place where I could try to make it a reality.
And was meeting Teena a big component of that? I feel like she’s such a get-it-done gal.
Teena was a catalyst. She can be such a great cheerleader behind a vision. And she knows everyone. I can be like, “I don’t know how to do this!” And she’s like, “But we know someone who does!” We met at Fete du VOID, which is another small festival in Oakdale, Louisiana. And I was like, “I have this idea, and it seems insane. I don’t even know if I can do it!” And she was like, “We can do it.” It was very serendipitous.
And when would that have been?
That would’ve been fall of 2023.
Because there’s an interesting component in this timeline to me, which is that Cowboy Carter dropped in March of ‘24.
Yeah!
And I just wonder if that was a really validating moment, because she was receiving all this criticism you’re talking about like, “WHAT? Beyoncé does COUNTRY?!” Like, you think a woman from Texas doesn’t have any ties to country music? She had a song with the Dixie Chicks circa Lemonade! This isn’t new, you just haven’t been paying attention!
Totally… We started in fall of 2023, and then she dropped her album and we were actually like, “Thank you, thank you, thank you,” because it made it feel really relevant to people. Because she has a huge platform. I think it’s awesome. I love Beyoncé. I really think this is a community effort, and anyone who’s spreading the gospel, that’s awesome for all of us.
One of the cool parts about Cowboy Carter is how much exposure she gave to other Black country artists. Like I had been in love with Brittney Spencer and Tanner Adell, and now everybody knows them. This is great. I think this is what it looks like to use your platform in an inclusive way.
Now, we can talk about what’s happened since then with the Grammys making a different country category like… literally??? Tale as old as time… Like cool, let’s actually racially segregate country now because a Black woman won it. I don’t know what they’re calling it, like “New Country?” I don’t know. Something dumb.
Mia Borders
Crazy. The Suffers is the other big headliner you have—I recognized that name, I saw them at Voodoo Fest a few years ago, they were dressed as Mario characters, they were super fun. So that seemed like a big name. Did you have people reach out to you after the success of last year’s fest to get on the lineup? How did you decide on headliners?
Definitely had lots of local folks approach us, and then we went to Folk Alliance International last year and presented. It’s the largest folk conference convening. It’s going to be in New Orleans next year which is really cool. So we did applications this year and we had interest from all over the world actually. People from London, all over the States. It was really cool. We were like, “This is amazing… Also this is still a small festival, I wish we could book everyone!”
I’m sure it’s very flattering to have interest from London but I think you want to keep it more of a local, Gulf South festival? Do you make those distinctions, or if someone’s music is relevant enough do you still consider them?
We are specifically focused on the Mississippi Delta region. To me that means New Orleans for sure, parts of South Louisiana, Gulf Coast for sure. But when I think about where this music welled up, it is the Delta. We have artists coming down from Memphis, I feel like those are neighbors and all in the same family. Memphis, Mississippi, North Louisiana. So anyone outside of that radius we would consider an “out-of-town” artist, and we’re trying to keep the balance 80/20 local talent versus out-of-town. But yeah we’re really excited to bring in some national headliners for the first time.
Another difference is that it’s ticketed this year as opposed to being a free fest last year, though I saw you had options to donate community tickets to make it still very accessible. Did you want to talk about some of those changes?
Sure. That was a hard decision for us. At the heart of this work is access and inclusion. We want to make sure that no one is turned away for lack of funds. I think we’re learning a lot in our second year, like we’re now a nonprofit and so there are all these other expenses and things that come along with that. There’s that, coupled with the extreme cuts to arts funding. So many grants that we relied on last year and wanted to pursue again are just gone. And people are feeling it across the board. All of our nonprofits are suffering, money is being cut in every way. And also, when you think about the other ways that festivals raise money, which is through sponsorships, people are just feeling really uncertain about their businesses and maybe have less to give.
Well more power to you for making a prudent, if difficult decision while also doing your best to make it as accessible as possible with these other options. It sounds like you navigated that decision really well, actually.
Thank you! Still navigating! So yeah, the cost of the festival is, you can get a weekend pass for $30. That’s two days of music. We were like, “What feels accessible to us?” And two hours of minimum wage for two days of music feels pretty fair… Also we do have a few hundred community tickets reserved. They’re totally free. If people want to come but that amount is a barrier, please just email us for tickets. We’ll make it happen. Eleven and under, kids are free. We’ll have our Kids Zone again.
What goes on in the Kids Zone?
Last year we had Art Camp 504 doing a combo of coloring and instrument-making crafts. This year we’re still finalizing that part but there’ll be a Kids Zone with activities. The Jazz National Park is also coming and is going to do a range of activities. I did hear from parents last year, “The kids had something to do, so I could have fun!”
That’s important!
Yeah. Because we do want the kids there too, when we think about inspiring the next generation of musicians. We want them to see themselves. Oh, one more thing I’d like to shout out on the education side—the Black Banjo Reclamation Project is coming. They’re from California and they do similar work, educating people on the history, and also teaching people how to create their own banjo. So they’ll have a booth, and they’ll also be doing a featured hour-long sort of flash performance, because the founder is also a musician. So I’m excited about that.
One last thing—we actually just ran a photo of you performing during the Southern Nights series, which I believe is in conjunction with the fest? If you wanted to tell us a little about that.
Yes! Our goal is to have a variety of programming as an organization. So that’s our other series. It’s a monthly series. We had it at Saturn Bar for a while and it just moved to Snug Harbor, which has been fun.
So it’s sort of like a permanent residence?
Well, it’s for the summer, but hopefully it’ll turn into one! It’s going well. It’s about celebrating women songwriters in Americana, and specifically giving a platform to women artists you may not know! The format of it is fun, we do like a songwriter-in-the-round kind of thing, introduction to the artists, hearing about their stories, performing songs solo in the round. And then we do a tribute set to a musical heroine. So the last show we did a tribute to Tracy Chapman, which was really, really fun. I think what’s been cool about it, other than [that] I love meeting artists and getting to collaborate with people that I wouldn’t be able to… Getting to go back and relearn or refamiliarize myself with some catalogs of artists who’ve been influential is really cool. Like, Tracy Chapman’s music is so relevant right now. The struggles of working class folk, and… yeah. It was powerful in that way.
BlackAmericana Fest will take place on September 26 and 27 at The Broadside. For more info check out blackamericanafest.com.
Top photo of Dusky Waters, and other photos from the 2024 BlackAmericana Fest, by Tamara Grayson
Bottom photo of Dusky Waters at St. Noir by Angela Calonder
