Suki Waterhouse

Host of “The Midday Show” (Mon-Fri, 10 AM - 1 PM): Began DJing at KEXP (then KCMU) in April 1994 and still loves it as much today as I did then.Passionate about music, fashion, and community, Eryka started DJing at house parties during their teens, and these days host intimate listening sessions and creating emotion-evoking mixes for events.

For Eryka, life is a runway where outfit and soundtrack are essential. Music, from steel tongue drums to Tibetan bowls, has been deeply therapeutic, demonstrating its timeless ability to transcend and connect. Each human connection in Eryka's life comes with its own soundtrack, underscoring music's profound influence on their journey.

Then, steadily, she learned to love the stillness. Rancho Deluxe finds the songwriter at home, embracing the contentment and rootedness of a slower, steadier life dedicated not to the music industry, but to music itself. The album takes its name from the home studio that Nicki assembled with her co-writer, producer, and partner Jesse Noah Wilson. It was there within walking distance of the Cumberland River that Rancho Deluxe was recorded during a series of inspired live takes, capturing not only the strength of Nicki’s voice — cut from the same cloth as Linda Ronstadt’s croon and Bonnie Raitt’s bluesy belt — but also the spirit of the musical community she’s built in Tennessee.

“This is a harvest record,” she says proudly. “It’s a collection of the fruits of my labor. I’ve taken all these life lessons and experiences, and I’ve learned from them. Jesse and I have an amazing arsenal of friends and family that we recruited to play on the record, and that interplay lends itself to a freedom in the studio. We were focused on catching the moment, being in the room together, and experiencing something communally.”

Something communal, indeed. Joining her in the creative process were musicians like Kai Welch (Kacey Musgraves), Jess Nolan (Jenny Lewis), and Cameron Neal (Elle King, Shakey Graves), all of them celebrated songwriters in their own right. The band worked together for five days, taking inspiration from a wide swirl of influences — including Paul McCartney’s Ram, Fairport Convention’s folk-rock, Lee Hazlewood’s western psychedelia, Wilco’s rootsy experiments, and Californian soul music from the 1960s — to push Nicki’s songs into new directions. “It was a room of producer brains,” says Jesse. “Once we had all these musical minds together and we started making noise, my only job as the record’s producer was to put some type of reins on the horses.”

The results speak for themselves. On “Tumbleweed” — a song about embracing life’s unpredictable twists and turns, inspired by a rafting trip through the Grand Canyon — Nicki transforms herself into the frontwoman of a loud-and-proud rock & roll band, her voice soaring over wah-wah guitar riffs and astral keyboard sounds. On “Falling Out Of Dreams,” she channels the sun-soaked spirit and Laurel Canyon vibes of her native California, asking big questions about her life’s purpose over even bigger melodies. Praised by Rolling Stone as an “outstanding belter,” she flexes her vocal chops during tracks like “Keep On Growing” — which doubles as a showcase for drummer Richard Millsap, whose changing time signatures give the song its unique, deep-seated groove — and the gorgeous, mid-tempo “Taking Chances.”

“I’ve been through a few dysfunctional romantic relationships,” Nicki admits. “I’m still in one with the music industry, and that’s the only dysfunctional relationship that I’ll still allow in my life. ‘Taking Chances’ is about that. I co-wrote the song with Jamie Drake, and when we came up with the line ‘I can’t believe I still believe in you,’ we knew it was the perfect distillation of our thoughts about the music industry. This is an industry where you gamble on yourself, and the sky’s the limit… but there’s no guarantee or linear trajectory, either.”

For Nicki, the gamble began back in San Francisco. It was there that she formed Nicki Bluhm and The Gramblers, the Bay Area act whose mix of rock, California country, and hippie soul — along with viral covers of songs like Hall & Oates’ “I Can’t Go For That,” which the band recorded in their own van — catapulted her into the Americana mainstream. Her new fans included members of the Grateful Dead, and Nicki soon found herself touring alongside legends like Phil Lesh and Bob Weir, sharing the stage with the same icons who’d helped inspire her sound. When she left California in 2017 to go launch a solo career in Tennessee, she took those West Coast roots with her, creating her own musical geography with records like 2018’s To Rise You Gotta Fall — produced in Memphis by Grammy winner Matt Ross-Spang (Jason Isbell, Margo Price) — and 2022’s Avondale Drive (her first collaboration with Wilson).

Moving to Nashville was more than a fresh start; it was an introduction to a richly collaborative songwriting culture, too. She dove deep into the city’s musical traditions, even nodding to a group of one-time Nashvillians who’d taken her on the road several years earlier. “I spent a year touring with The Infamous Stringdusters in 2016,” she remembers. “I loved watching those guys play bluegrass every night.” She salutes the Dusters’ string-band stomp with the Rancho Deluxe track “Cumberland Banks.” Laced with banjo (played by Mumford & Sons’ Matt Mennefee), dobro (played by Greensky Bluegrass’ Anders Beck), and acoustic guitar, it’s a song for campfires and front porches, nodding not only to the years Nicki spent playing folk festivals as The Infamous Stringdusters’ unofficial sixth member, but also to her new home down South. “Every song on this record represents an era of my life as a musician,” Nicki adds, pointing to a track list that’s as diverse as her own history.

Friends. Family. Freedom. Those are Nicki Bluhm’s guideposts now. She’s still the same sharp-eyed songwriter who blurred the lines between the jam-band world, the country-rock scene, and the folk community with career-launching singles like “Little Too Late.” But the woman who’s spent nearly 20 years on the road living life at 80 miles per hour has learned to slow down and actually enjoy the journey, too. “I’m growing, I’m reflecting, and I’m recalibrating,” she says. “I’m forging ahead in a new way, but doing it on my own terms this time.” It’s a mentality that’s changed not only her life, but her art, as well. A song like “Simple Side of Me” — one of Rancho Deluxe’s brightest moments, shot through with Thin Lizzy-inspired guitarmonies and a poppy, propulsive pulse — might have seemed out of place on her past records, but here, it’s another sign of Nicki’s decision to follow the muse wherever it leads.

Full of independent spirit, Rancho Deluxe is a homemade gem of a record. These are Nicki’s strongest songs to date, rooted in resilience, relaxation, and the relationships she’s built with like-minded musicians. She couldn’t be any less interested in the rat race of the music industry these days. Instead, she’s doubling down on what — and who — she really loves.If you’re already familiar with Fleck — the genre-blurring virtuoso has done more to expand the possibilities of the banjo than any other player in the instrument’s history. To wit: last year, he released a collaboration with his new all-star trio with harpist Edmar Castañeda and drummer Antonio Sánchez is nothing less, featuring instrumentation that might safely be called uncommon. The year prior, it was his inspired reimagining of Gershwin’s Rhapsody in Blue. Fleck has also been the banjo’s most thoughtful advocate and ambassador, and his acclaimed 2008 documentary Throw Down Your Heart and its accompanying soundtrack celebrated the instrument’s unsung African roots. Still, many fans would argue that Fleck’s greatest achievement is the Flecktones, another band of brilliant improvising musicians with an unusual format. (To start, their percussionist, Roy “Future Man” Wooten, plays an original invention called the Drumitar.) 

Fleck has the virtuosic, jazz-to-classical ingenuity of an iconic instrumentalist and composer with bluegrass roots. For over 30 years, he has led Béla Fleck and The Flecktones, the groundbreaking quartet inspired by jazz, funk, bluegrass and beyond. From writing three banjo concertos for full symphony orchestra to collaborations with Dave Matthews, Chick Corea, Zakir Hussain and beyond, many tout that Béla Fleck is the world’s premier banjo player. As Jon Pareles wrote for The New York Times, “That’s a lot of territory for five strings.”