https://www.wsmv.com/today_in_nashville/the-danberry-s-perform-love-conquers-war/video_4b9cc072-17a2-55a3-8292-dfc403354930.html

https://www.stitcher.com/podcast/into-the-van-with-mike-west/e/77546177

For episode 13, I sit down with Nashville based singer-songwriter duo The Danberrys to talk their new album "Shine", writing and working as a duo, touring, spirituality and lyrics and so much more! The Danberrys are somehow both charmingly old-world and very much of this moment. The married couple’s rich pastoral blues and muscly folk evoke the big-hearted storytelling of pioneering giants like the Carter Family but could only come now, as a mixed offshoot of roots music’s ever-growing family tree.

https://www.thedanberrys.com/

BY LEE ZIMMERMAN

Although The Danberrys make a formidable impression with their new album Shine, it’s easy to get distracted by the fact that they don’t prey to any one style in particular. It’s tempting to try and peg the duo simply as Americana, roots, gospel or soul, when in fact they mine a hybrid drawn from all the above. Both Dorothy Daniel and her husband Ben DeBerry cull the traditional sounds gleaned from an upbringing in rural Tennessee, but it’s the way they serve them up in that makes their music such a singular encounter. So while they’re likely to frustrate those who might want to pigeonhole them simply for the sake of expediency, their darker designs and steadfast delivery suggests they’re more much than simply another down home combo. Co-producer and percussionist Marco Giovino draws on an impressive cast of standbys to buttress the sound — among them guitarist Duke Levine, guest vocalist Darell Scott and keyboardist Tom West — but there’s never any doubt that Daniel and DeBerry are the ones truly responsible for putting that stoic swagger in Shine.

https://www.cowboysindians.com/2020/08/new-music-the-danberrys/

BY DANA JOSEPH

Press materials recommend the Danberrys if you like Shovels & Rope, Little Big Town, Brandi Carlile, Neko Case, and M. Ward. To give you a better idea, the married duo describe their music as a true blend of many classic American rock, folk, and country sounds. “There’s even some funk, some bluegrass — just a smidge of everything,” says Dorothy Daniel, one half of the singer-songwriter duo with husband Ben DeBerry. “It’s true Americana.”

And award-winning Americana at that.

The East Nashville staples recorded their first EP in 2010 with no real expectations or idea of how the industry worked. The EP landed them a few Independent Music Award nominations, including Best EP, as well as an opening spot for Robert Earl Keen at the Ryman Auditorium via a contest put on by WSM 650. “Both of our subsequent full-length albums also received several nominations, including two nods for Best Americana Album,” Daniel says.

The awards are naturally part of the story, but what really makes the Danberrys distinctive is Daniel’s voice. It’s powerful — soulful and ethereal, like she’s channeling something emanating from both earth and sky for a sound that’s equal parts flesh and spirit. People who sing this authentically have usually been through some serious trials and tribulations.

And she has — though you might not necessarily guess it from the overcoming and triumphant imperative of the title of the Danberrys’ new album, Shine.

The 12-song collection — which has garnered great reviews from American Songwriter and The Boot, among others — reveals the pair balancing hard times and hope with music that puts to use years of artistry in bluegrass, blues, funk, folk, gospel, and pop.

DeBerry’s nuanced and accomplished guitar joins with Daniel’s evocative voice in a marriage of musical talents as complementary as the duo’s real-life pairing.

We talked with Dorothy Daniel about the Danberrys’ new music and the process of getting to Shine.

Cowboys & Indians: Congrats on the new album. How did it come about?

Dorothy Daniel: It all began when we received a message from Brian Brinkerhoff. Someone had mentioned our music to him and he liked what he heard and wanted to help us make a record. Brian challenged us to begin co-writing with the expectation that we would be recording a stripped-down duo-style record. After we finished the songs, it was clear these songs needed a bigger sound to do justice to the material. Brian called Marco Giovino (our all-time favorite drummer) and asked him if he’d be interested in co-producing the record. After Marco came on board, we worked with him to refine the songs, and we selected a perfect handful for this record. Marco put a killer band together, and we traveled to Marco’s studio in Boston to meet all of the guys for the first time and to record these 12 tunes.

C&I: What were the sessions like?

Daniel: Marco has a very organic, old-school approach in the sense that we were all in the same room and we didn’t really rehearse the material. Most of the takes on the record are full-band live performances (including lead vocals) that were captured during the first one or several run-throughs. One interesting and unexpected aspect of the recording process for us was the weather. We recorded this out in the suburbs of Boston in Marco’s home studio in late January. Apparently, everything in Massachusetts is covered in ice and snow during that time of the year. We literally slid into his driveway every morning and then slid down the trail around the back of his house to the studio. For a couple of Tennessee natives, this was no small thing. Ha!

C&I: How about recording — who did you work with?

Daniel: Marco brought in some of his favorite players for this project, and we were totally blown away by all of them. Duke Levine plays guitar and mandolin, Neal Pawley is on guitars and tuba, Marty Ballou is on upright and electric bass, and Tom West played keyboards. Of course, Marco played drums and vibes, and we had some other musicians sprinkle their magic on a few songs as well, namely Darrell Scott on guest vocals for “The Mountain.” We recorded the bulk of the record over three days at Marco’s studio with the band, and then we came back to Nashville and recorded background vocals and just a few overdubs at Doug Lancio’s and Mikie Martel’s studios. Amanda Broadway and Vanessa McGowan sang most of the harmony, along with us.

C&I: What are some of your favorite moments in the music?

Daniel: It’s hard to pick a favorite lyric because they are all so personal and meaningful to us. But we would probably have to say these lines from the title track, “Shine,” sum up our personal daily mantra and our whole reason for making music in the first place: “Sometimes darkness may roam / Shine, shine wherever it goes.” We also both still love and often even tear up when “The River Is Wide” kicks in after the bridge. It was such a palpable, powerful moment in the studio and it captures the spirit of the lyrics perfectly.

C&I: Tell us about the video for “Shine.” What were you trying to convey?

Daniel: The song is about overcoming the devastating effects of childhood sexual abuse. It was a little tricky trying to convey the topic in a palatable way visually. The video producer, Scot Sax, and I came up with the concept of a little girl waking up from a nightmare and realizing she’s free and safe. The video starts off in confined, dark spaces and ends with the drone shot of the wide-open pasture and sunset. The song and video are meant to portray healing and liberation from the trauma that inevitably haunts victims of abuse into adulthood.

C&I: What’s something people might be surprised to learn about you?

Daniel: We’ve been married for almost 14 years and we have a 1-year-old daughter. Also, I am a CPA and Ben is an IT expert — that usually turns heads. And I used to have the worst stage fright. I could always sing, but I had zero confidence as a person in general, so singing in front of groups of people gave me the worst anxiety. The last four years for me have been constant, unrelenting therapy, healing retreats, neurological brain training, meditation, and spiritual journeying dealing with PTSD from the trauma of being raped as a child. I’ve found my strength and my confidence, something I never had before. The new record was written during this time of intense introspection and healing.

C&I: How did you get into music?

Daniel: Both of us were exposed to music through our parents and through the church at a young age. Ben grew up hearing his dad play ragtime piano and listening to ’70s and ’80s music. He started taking guitar lessons when he was 10, and music became an obsession after that. I was always a natural singer; I started writing my own songs shortly after Ben taught me to play guitar in college.

C&I: Where are you from and what did you grow up listening to?

Daniel: I was born in Nashville and grew up about an hour out of the city in Charlotte, Tennessee. Ben was born in Peoria, Illinois, but his family moved to middle Tennessee when he was in the 4th grade. We live together in East Nashville now with our daughter.

Ben grew up listening to ’90s country, Jimi Hendrix, and B.B. King just to name a few. His dad was actually a deejay in college, so he was exposed to a broad spectrum of music as a kid. I lived out in the country, so I grew up listening to the big country-pop stations out of Nashville. There was also a great Motown station out of Nashville at that time. My dad was also instrumental in exposing me to some of the great songwriters like Bob Dylan and Johnny Cash at an early age.

C&I: Who are some of your musical influences?

Daniel: Ben’s guitar playing is influenced by John Scofield, Tony Rice, B.B. King, Mark Knopfler, JJ Cale, Leon Russell … just to name a few. I've been greatly influenced by female singer-songwriters like Patty Griffin, Julie Lee, Sarah Siskind, and Julie Miller. New Orleans, funk, and classic rock have been a huge influence on both of us.

C&I: What’s your process like?

Daniel: We don’t have an exact process; it varies greatly from song to song. Our new record, Shine, which came out at the end of July, is the first record where we co-wrote every song together, and this has become our overwhelmingly preferred method. I typically come up with the spark for the song — the melody or chorus — and then Ben helps finish the musical form of the song while I focus on the lyrics. It doesn’t always go down like that, but this seems to be the norm, at least lately.

C&I: What have you been doing during the pandemic?

Daniel: We’ve been very entertained and busy raising our daughter. Not having the usual playdates and outings you typically schedule to keep kids busy has been extremely challenging. We’ve also been focused on our album release, which has thankfully kept us very busy. And we’ve been doing some live-streaming on Facebook and Instagram and joined in some group musical projects with fellow musicians around town. One such project is called Playing It Forward by keyboardist Brother Paul Brown, created to benefit MusiCares.

C&I: When things normalize, what should we do when we’re in your town?

Daniel: Nashville is a great place to visit. If you visit during post-quarantine times, you should check out all of the amazing restaurants and music venues. There are also lots of outdoor attractions within an hour or two from town. Montgomery Bell State Park in our hometown of Dickson is beautiful, and there are tons of canoe-worthy rivers close by.

For more on the Danberrys, visit their website and follow them on Facebook, Twitter, Instagram, YouTube, Spotify, Soundcloud, or Bands in Town.

The Danberrys’ Feel Good Playlist
“Sweet Georgia Brown” — Brother Bones & His Shadows
“Life” — Dr. John
“The Harder They Come” — Jimmy Cliff
“Man Gave Name to All the Animals” — Bob Dylan
“Infinite Sky” — Joe Pisapia
“All Night Long (All Night)” — Lionel Richie
“Lay It Down” — Al Green
“Just Kissed My Baby” — The Meters
“How I Got Over” (Live at New Temple Missionary Baptist Church) — Aretha Franklin
“Yes We Can” — Lee Dorsey
“Joyful Noise” — Leon & Mary Russell

https://www.wideopencountry.com/the-danberrys-the-road/

BY BOBBIE JEAN SAWYER

Nashville-based singer-songwriter duo The Danberrys (Dorothy Daniel and Ben Deberry) sing an anthem of persistence on the bluesy folk song "The Road," featured on their recently released LP Shine.

The song's video, which Wide Open Country is premiering today, features a large group of people walking down East Nashville's streets.

"Making this video was possibly the most fun we've ever had. 'The Road' is a statement about our collective journey as human beings, so we wanted to show different 'voices' singing the song in an intimate way, and we also wanted to show all of these same people walking down a road together reminiscent of a soldiers' march. We recruited a large group of friends and family and did most of the shooting in one long day. It was a huge undertaking, but we think we pulled it off," Deberry tells Wide Open Country. "We did the group shots in the street in front of our East Nashville home, so that posed several unexpected challenges. We had this vision of a group of people walking together and forming all kinds of shapes in the street, but that level of coordination took all morning to nail (in the freezing February weather while dodging traffic to boot). Most people had never been on camera before, so there was a lot of liquid courage being passed around, especially for the dancing shots. Even though Dorothy was five months pregnant at the time, she ran around playing cheerleader all day, trying to make everyone feel loose and comfortable in front of the camera by acting completely ridiculous off camera."

Deberry says creating the video was a huge undertaking, but worth every second.

"Once we finally got the group shots we wanted, we headed to the directors' (Anana Kaye and Irakli Ganbriel) home studio in the afternoon to film everyone individually singing the song. We asked everyone to actually sing the song (versus lip-syncing) because it looks more realistic, so Dorothy literally sang every word at the top of her lungs with all twelve people (for multiple takes each) so nobody would feel self-conscious about their voice. While she sang and danced around behind the camera, I held up huge cue-cards with the lyrics. We probably did this for 40+ takes. It was exhausting, but totally worth it."

Watch the video for "The Road" below.

https://bit.ly/33EFLjJ

Join your host Will Payne Harrison as he talks to Nashville Americana Duo The Danberrys about their newest album Shine, releasing a project during quarantine and more. Don't forget to rate and review the podcast and share it with your friends!

http://www.pennyblackmusic.co.uk/magsitepages/review/11571/R/Danberrys-CD-Shine

BY NICKY CREWE

Husband and wife duo Dorothy Daniel and Ben DeBerry have their own story to tell. They first met as high school sweethearts, then parted company and pursued their individual musical careers and eventually got back together in 2006, moving to Nashville in 2008. In 2016 they were approached by Brian Brinkerhoff who wanted to work on a new album with them. He encouraged them to co-write the songs. This they did whilst on tour, calling in bluegrass songwriter Jon Weisberger on three of the songs featured.

The recording process reads like a story too. The album was recorded in three days at Dagotown Recorders in Boston, including some live full band recordings. Producer and drummer is the Danberrys’ musical hero Marco Giovino who has worked with Robert Plant and Band of Joy in the past.

The Danberrys tell stories and don’t shy away from sharing some of their own past experiences through their music. Their songs explore both the darker side of life and the hope that has to shine through in order that we can deal with it. As a result there is a powerful and dramatic energy to these songs. It’s no surprise that the title track is called 'Shine'.

Dorothy Daniel’s fantastic voice is showcased on 'Francis', but she also comes into her own when Darrell Scott provides vocal accompaniment on the featured single 'The Mountain'.

The final track, when she and Ben DeBerry sing in unison on 'Rain' is a perfect ending to the album, rain and shine.

In interview she tells us that 'Holding the Bag' is her favourite, while Ben’s is 'Never Gone'.

With twelve great songs to choose from you are spoilt for choice. 'The River' is Wide is about the emotional scars of childhood, healed by her meditation practice. While the sound and energy of their music is country blues, the stories go deeper and darker to a more spiritual place.

My current favourites are 'The Mountain' and 'Undertow', and I love the driving beat of Maddie’s Ghost, with its echo of Band of Joy’s music.

I’d love to see these songs played live. The Danberrys are definitely on my wish list for the future.

http://www.thealternateroot.com/reviewarchives/the-danberrys-shine

BY DANNY MCCLOSKEY

​Inspiration in song is what drives Dorothy Daniel who, along with musical/life partner Ben DeBerry, are the Nashville, Tennessee duo The Danberrys. The tracks on their recent release, Shine, share the same music motivation, Dorothy feelings that ‘I’ve had to reach and grow, to find something bigger than myself to keep going. That’s the kind of music that moves me. I want to hear something that makes me want to get up and keep going––to feel like a warrior’. The Danberrys set a scruffy trance groove as they make a shield of song with “Love Conquers War”, the rough-edged rhythm coursing under Shine’s words and music. A ragged rumble trudges down “The Road”, a heartbeat thump guides “Never Gone”, a triphammer patter teases “Holding the Bag”, and a rolling beat revolves around “Francis”.

A percussive path guides The Danberrys over the soundscape of Shine. The title track opens Shine, a seductive drumbeat pulling into the album as “Rain” hits the album’s exit as The Danberrys close out the album making a clatter to wrap around their joy. Musical gem Darrell Scott joins The Danberrys in the shaggy second line groove of “The Mountain” as a sturdy beat taps a tambourine for “The River is Wide” as Shine falls prey to the flirtatious tug looking for a way out in “Undertow”.

https://www.lonesomehighway.com/interviewsold/2020/7/29/an-interview-with-dorothy-daniel-of-the-danberrys

BY DECLAN CULLITON

Nashville based band The Danberrys are husband and wife duo Dorothy Daniel and Ben DeBerry. They recently released their latest album SHINE and it has been justifiably earning very positive reviews, including one from our good selves at Lonesome Highway. The album consists of material drawn largely from personal experiences, both painful and often still at the healing stage. Dorothy spoke openly with us recently about the album, the disruption caused to them by the pandemic and intimate matters that she is overcoming.

Despite having its release date put back to late July, your new album SHINE has already been receiving great reviews both in the U.S.A. and Europe. That must be particularly satisfying and uplifting in these uncertain times?

Yes! It really is so wonderful when people connect with what we're doing. We've hit so many bumps in the road with this album release, so reading (most of) the reviews has been uplifting, to say the least. Paul McGee wrote a review for Lonesome Highway that was particularly generous and thoughtful. Not gonna lie ... given the current atmosphere, some of the reviews have made me cry happy tears.

Notwithstanding the glowing reviews, I believe the album was created during a traumatic four-year period for you. It covers a journey from acute depression, through a healing process and appears to arrive at a time when your confidence is at a high point. Is the lack of opportunity to perform the material live at present therefore particularly frustrating?

In a word, yes. But we've also been doing some live streams, so that has helped. We've also done quite a few recordings for music outlets and other projects, so I do feel like we're still getting to perform.

A number of the songs cover issues that are even more relevant currently, that when you created them. The River Is Wide, The Mountain and Love Conquers War especially come to mind. Were these songs written with specific issues in mind or more open-ended?

We almost always draw from personal experience when songwriting, so all of the songs on the record (and those three songs in particular) are actually quite personal to us. There is a specific story behind every song - some experience or feeling that we were processing with our music. However, we've always tried to craft the songs in a way that they can be interpreted to mean different things for different people. We've both always been huge fans of the mystery behind lyrics. It's more fun to guess at what the lyrics mean than to have it handed to you on a platter. It's somewhat harder to write that way - it's like writing three songs in one - but the process is more rewarding to us and the resulting songs tend to be more universal and timeless. We use a ton of symbolism as well, especially for The River is Wide and Francis, on this particular album.

The songs on the album are credited as co-writes with your husband Ben DeBerry, with bluegrass player Jon Weisberger also getting a co-write on three of the tracks. Did you each agree on the subject matter for each song and develop the lyrics from there, or how exactly did that process evolve?

The three songs we wrote with Jon were actually songs that I had started a few years ago. I had a verse and chorus (at least) to begin with, and we just finished the songs with Jon. Ben and I used to write solo, so we each have a pool of unfinished songs in the bank. Jon taught us how to write together. He didn't know that's what he was doing...but that's what he did.

After finishing those three songs with him, we had learned to communicate with each other as professionals instead of married people (two totally different things!), and we had effectively entered the creative space at that point, which is that place where you've made yourself actively open to receive and it just starts flowing in. Most of the remaining songs on the album came easily after those first three co-writes with Jon. One of us would come up with a melody or a guitar lick and then we'd just sit down and hammer it out. I usually focus more on lyrics and melody, and Ben is better with chord structure. Ben came up with two of the songs, Rain, and Love Conquers War, and I mostly just helped him finish them.

You move a few paces away from your previously more acoustic sound with SHINE, adding a more bluesy and folky edge this time around. Is this the trajectory you see yourselves traveling going forward?

Yes and no. I think we've definitely left the acoustic string-band sound behind, but I would like to be open to bringing back some of the old instrumentation into the broader sound. It also feels like we might be leaning into a bit more of an Indie Rock vibe in the future. Only time will tell.

You have the legendary Darrell Scott adding vocals on The Mountain. How did that materialize and what other players feature on the album?

Having Darrell on this album was one of the greatest gifts. One of our producers, Marco Giovino, is good friends with Darrell. They had worked together on a few projects, including Robert Plant's Band of Joy. Marco sent the song to Darrell and he apparently really liked the song, so he agreed to sing on it. He's amazing. Can't say enough about him as a musician and human being. All of the other players on the album are equally spectacular: Duke Levine on guitars and mandolin, Marty Ballou on upright and electric bass, Neal Pawley on guitars and trombone, Tom West on keys, Marco (of course) on drums & perc & vibes, and Vanessa McGowan and Amanda Broadway on background vocals. We had an all-star cast of musicians and friends on this record.

As well co-producer Marco Giovino, Brian Brinkerhoff, who has worked with Van Morrison and more recently Carla Olson, is also credited. What lead you to them and what did they add to your music that otherwise might not have unfolded?

Brian Brinkerhoff called us out of the blue after our last album, GIVE & RECEIVE, was released. We didn't know him, but we had a mutual friend who had turned him onto our music. He said he wanted to make a record with us, so we asked around to a few other artists in town who had worked with him. We initially agreed to record a stripped-down, duo-style record at Brian's home studio in Santa Cruz, CA, but when we started writing the songs, it quickly became clear that these songs were not suitable for that kind of record. Brian had mentioned that he knew Marco at the beginning of the project, so we asked if we could possibly get him involved. We were beside ourselves when Marco signed on to co-produce the album. He's one of our favourite all-time drummers, and he brought the swampy tribal vibes to this record as nobody else could. He also hand-picked the players and provided the studio. He worked with us for weeks via email prior to our scheduled studio dates to get the song structures and tempos just right. Marco's impact on this record was huge and hugely positive.

You speak openly of difficult personal periods in your life, in particular dealing with and eventually becoming aware that you were struggling with Post Traumatic Stress Disorder. Has that realization and acceptance been a weight removed from your shoulders?

In a way, yes. I was extremely relieved to have a name and a source for all of the "issues" that had been plaguing me, but awareness does come with a price. Awareness is only the beginning - the real work (and it's hard work) starts there. I remember feeling almost euphoric after discovering I had been sexually abused as a child. My therapist told me at the time to prepare for the wave of emotional turmoil that was about to unfold, but I didn't listen to her. I was just so grateful to finally understand why I had struggled so much with all of this debilitating depression, anxiety, and physical pain and numbness. But then the wave hit and a big part of me wanted to go back and unlearn everything - I wanted to push it all back down where it came from. But there really is no turning back at that point. I've come to understand that healing will be my life's work. I've had to work diligently (every day, every minute) to re-wire my body's stress response, and I’ve discovered over time that it’s something I will need to maintain. Healing from that type of trauma is not a fix-it-and-forget-it situation. The process has been much slower than I expected, but I’ve made it through the tunnel to the other side. The hardest part is over, and I’ve come to accept certain gifts that these life experiences have bestowed upon me.

Your life journey has most certainly generated the groundwork for striking and intense storytelling. Has songwriting been therapeutic in terms of dealing with these issues?

Absolutely yes. It's partly how I process my emotions. I learn things about myself when I'm writing. It's like I open up to my subconscious and let it speak freely to me. It's very healing.

Your musical career was launched at an early age, singing in church as a young girl. I gather this was quite a daunting experience for you?

Yes, I hated it! I had terrible stage fright and would be sick for weeks beforehand just thinking about it.

Many artists, like yourself, admit to suffering from stage fright, which often surprises the casual punter who assumes anyone getting on a stage must be bursting with confidence! What’s the magic formula for overcoming this, or is there one?

I think most performers probably have a certain level of jitters before getting on stage. At this point, I try to re-frame those feelings as excitement, and that usually works to settle me back into my body. The only way to get over it is to keep doing it. There is no better way of getting over stage fright than to get on stage. And to get on stage again. And again. And again.

The Danberrys performed regularly at The 5 Spot at Five Points in East Nashville at the weekly bluegrass sessions staged there. Given the seemingly endless pool of musical talent in East Nashville, how difficult is it to stand out from the crowd?

That's a really difficult question to answer. I think the only thing we can do as artists is to be authentic. If you're being yourself, telling the truth about yourself with your music, then you will resonate with people. Talent doesn't hurt (obviously), but I strongly believe there is an invisible magnetic force that emanates from confidence and presence, and you only have that power when you're being truly authentic. I think that's what connects with audiences.

Growing up near Nashville and eventually moving into East Nashville, no doubt you’ve witnessed the neighbourhood morphing into a very cool place to reside. Given the ongoing pandemic and the pressures on those working in the arts, do you envisage that musicians and others working in the industry will be priced out of continuing to live in the area?

It's already happening. Musicians were getting priced out of East Nashville way before the pandemic. Most musicians who move to town can't even afford rent in East Nashville, forget buying a house. It really has impacted the local music scene, but I do believe artists will find a way to make it work. We're creative like that.

Finally, having navigated and overcome some difficult hurdles over the past number of years, how difficult has the COVID-19 pandemic been for you both personally and professionally?

We've had our good days and some bad…some really bad. There have been a few moments where I felt like I regressed some years with my anxiety. Luckily, I/we have the tools to deal with it at this point on our journey, and we have each other and our daughter, so it hasn't been lonely. Professionally, it's been frustrating at times. Many plans have been foiled, but we always (always) eventually return to the belief that everything is working out for the highest good of all...a basic trust in the universe that has been hard-won. So even when our personal and professional plans fall apart, we take comfort knowing that something big is in the works. It’s easy to see if you ignore the news and start paying attention to the people around you. When we focus on our community and our fellow humans, it’s easy to see the beautiful transformation taking place.

https://www.wmot.org/post/danberrys-release-shine#stream/0

BY ANALEE

The Danberrys are Nashville husband and wife duo, Dorothy Daniel and Ben DeBerry. I first heard Dorothy’s commanding voice and Ben’s picking during a Grateful Dead tribute show at the 5 Spot several years back and I was drawn to their sound and pleased to discover their original music. Their new album, Shine was produced by drummer Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller) and executive produced by Brian Brinkerhoff and it’s out today.

AnaLee: I know it’s been tricky getting this album out during the pandemic, and that you’ve worked really hard to make that happen, congratulations! I’ve enjoyed all of your previous releases, but it feels like you’ve really come into your own on this album and I think Shine is your best yet. The production, the songs, Dorothy’s voice and Ben’s guitar playing... it all just really works. Tell us about the inspiration behind these songs and a little about making the album.

Dorothy & Ben: It really means so much to us when people connect with what we’re doing. This album is very different from our past work, sonically and process-wise, and it does feel like we’ve come home to ourselves in a way with these tunes. Brian Brinkerhoff approached us about making a record after we released Give & Receive, and his only real stipulation was that we co-write everything together (not something we had successfully done before). At the time, we were venturing through one of the hardest periods in our personal and professional lives, in the process of coming back into the world after taking some time off to heal. Dorothy had been dealing with severe PTSD, and we had recently cancelled a string of shows & had even come close to divorce. Our foundations as a couple and as a band had crumbled, and we were re-building, re-imagining, re-emerging, re-everything. We had a lot of life material to work with for this record, and we used the writing to process our emotions and experiences. There is some darkness on this album, but hopefully you can hear our unwavering hope and faith as well.

Recording the album was a totally new experience for us. We flew out to Boston, MA, to Marco Giovino’s home studio, having never met him in person. He had signed on to co-produce the album with Brian after he heard the songs we’d written for this particular project. We had initially set out to record a stripped-down acoustic record, but the songs seemed bigger than that once we had written them. Marco put together a killer band of Boston musicians, and we met everyone on the first day of recording. It was a little nerve-wracking – placing that much trust in people we’d never met – but we had always been huge fans of Marco’s work & it just felt right. We recorded most of the album over three long (amazing) days. Marco’s producing style is very raw and authentic – very few overdubs, very few passes, just capturing the magic that happens when a band plays a song together for the first time. It was a completely different experience for us, and we couldn’t be happier with the way everything turned out.

AnaLee: You’ve been collecting pre-orders for the album for a month or so now, with a portion of the proceeds from the vinyl and CD pre-sales going to the restoration efforts of the Promise Land Heritage Association in Charlotte, Tennessee, which I believe is near where you both grew up? Tell us about the foundation and why it was important for you to recognize their work?

Dorothy & Ben: Dorothy grew up on Promise Land Road, just a few hundred feet from the two remaining buildings of the once-thriving Promise Land Community. Promise Land was settled by freedmen after the American Civil War, and the stories of those times have been passed down through the ancestors of Promise Land for generations. Growing up on land that was once encompassed by a large slave plantation and hearing those stories as a child had a huge impact on Dorothy’s perception and knowledge of racial injustice. Over the years since Dorothy left home, Promise Land has been placed on the National Register of Historic Places and has grown tremendously with its community outreach programs and educational tours. We played the opening of a Smithsonian traveling exhibit there just last month.

It’s pretty obvious that there’s a watershed moment happening in our country right now, and we had been looking for ways to better show up for our black communities and to help bring awareness to racial injustice after the most recent wave of racially-motivated violence. Dorothy reached out to the former (sometimes not-so-former) director of Promise Land Heritage Association, Serina Gilbert, and that’s when we found out they were raising money to restore the church building. This building in particular has a fascinating and truly inspirational history. The church was the home of the famous Promise Land Singers who hosted “All Night Singings” during the days of segregation – it was the only place where black and white people could legally congregate together in Dickson County during that time. We decided that helping the fundraising efforts for the church would be a good place for us to start. There’s much more to do, and many ways to do it, but starting with our hometown felt right for us.

AnaLee: We have two videos to talk about today! A music video for the title track, Shine, plus, Nashville’s Scot Sax made a short documentary about the making of the album.

Dorothy & Ben: Yes! Scot Sax actually directed both videos. He’s a genius (and a wonderful friend and fellow human to boot). Dorothy and Scot dreamed up an impossible vision for the music video, and we were so happy with the way it turned out. The song is about Dorothy’s experience of overcoming childhood trauma, so it was a tricky subject to tackle visually. The imagery is meant to convey that feeling of relief when a child wakes up from a nightmare and discovers that she is actually safe. It was shot on Dorothy’s family’s land in Charlotte, TN. We hauled a whole bedroom out into a cow pasture in the middle of the blazing hot summer. We also burned a bed in Dorothy’s uncle’s tobacco barn. It took two full days to get all of the shots. Dorothy’s family hosted our huge crew and helped with generators and trucks and other supplies. It was an enormous undertaking, but it was worth it. Our favorite shot is of the butterflies flying around the door at the very end – so surreal. Scot actually mined a lot of the material for the documentary while we were planning the music video for Shine. We had a long, intense conversation with him one night in his basement about the story behind Shine – abuse, suicide, healing, the meaning of life, faith in the light, those types of things. He was secretly recording the conversation, and he ended up using several snippets from that conversation for the documentary (with our permission, of course). It was the first time Dorothy had talked openly about her childhood experiences, so watching the documentary for the first time was a little intimidating and ultimately quite freeing. Scot really pushed for the unfiltered truth, and he was so instrumental in helping Dorothy find her voice around these difficult topics. Much of the material on this album is inspired by life experiences that people simply do not talk about, so talking about this music has become part of the healing process.

https://www.theeastnashvillian.com/the-danberrys-shine-in-dark-times/?utm_campaign=later-linkinbio-eastnashvillian&utm_content=later-8875919&utm_medium=social&utm_source=instagram

BY RANDY FOX

The Danberrys’ new album, Shine, finds the husband and wife team of Dorothy Daniel and Ben DeBerry able to create the next chapter in their musical journey while finding the way forward during troubled times.

“When we wrote this album we were going through a lot of personal and professional turmoil.,” Daniel says. “I was dealing with anxiety and other problems. Our relationship had been on the rocks, and our band had crumbled and was reforming.”

That’s when the couple received a phone call from Brian Brinkerhoff; the independent manager and producer wanted to executive produce and finance the Danberrys’ next album. “He reached out to us at a time when we really didn’t know how we were going to make another record,” DeBerry says.

While the Danberrys’ first three albums had hewed close to the traditional folk-bluegrass line, the couple wanted a bigger and more expansive sound even though they weren’t exactly sure how to capture it. That’s when Brinkerhoff introduced them to drummer and producer Marco Giovino (Robert Plant’s Band of Joy, Patty Griffin, Buddy Miller).

“We were writing really big songs about emotionally charged topics, and they felt like they needed more than just an acoustic guitar,” Daniel says.

“We knew we wanted to do something different, but we didn’t know what direction to go in,” DeBerry adds. “We wanted to rock, but we didn’t know what it was going to look like.”

After refining their songs, Daniel and DeBerry headed north to Giovino’s Boston studio where they worked with several top-notch Beantown musicians who meshed perfectly with the couple from Tennessee.

“When they started playing the music, it was overwhelming for me,” Daniel says. “It sounded exactly how I had dreamed the songs should sound.”

The resulting album propels the Danberrys into new territory both lyrically and sonically. It addresses the pain and sorrows of confronting tragedies through the transcendent experience of finding new hope in dark times. It’s also the first album from the couple to feature all co-written songs (a process encouraged by Giovino).

Originally scheduled for release on May 15, the album was delayed by the pandemic. But both Daniel and DeBerry say the current state of our nation and the world makes the album seem even more timely.

“A lot of the songs are about overcoming hardships and feeling lost,” DeBerry says. “There are so many things that are going on right now that it seems to address.”

“The album is about healing and putting one foot in front of the other during very difficult times, and keeping your eyes pointed upward and outward,” Daniel says. “So I think it’s very relevant right now. We were writing about things that were very personal to us but the way we write I fell it’s kind of serendipitous that it’s coming out right now.”

The Danberrys’ Shine is available on most streaming platforms. Vinyl editions, as well as merch, can be purchased at their album store.

http://imperfectfifth.com/the-danberrys-shine/

BY LEIGHA STUISO

Nashville-based duo, The Danberrys, are back with their third full-length album Shine. The twelve-track collection strays from their traditional sound, but comes full force with all the stops. There is a bit of a dark atmosphere throughout with graceful combinations of rock, blues and folk incorporated. Dorothy Daniel and Ben DeBerry created an enchanting record that you’ll catch yourself playing on repeat. It’s one of those records that every time you listen, you will find new meanings behind the lyrics or different instruments like an electric guitar or drums. The duo spoke about the meaning behind the album, “Shine represents a major shift in our sound, moving away from our acoustic-centric past while staying rooted in our love for the song and the groove. By venturing outside of our comfort zone, sonically and process-wise, we were able to make an organic record that we’re excited for the world to hear.”

Immediately, we are introduced to this repeated idea of looming darkness with the title track. “Sometimes darkness may roam / shine, shine wherever it goes”, reminding us that the dark is only a way to find the light. It could be used as background music for a movie scene where a character is almost just breaking out of their struggles, similar to something you might have heard in the tv series Sons of Anarchy. Similar to “The Mountain”, which was the first single off the record, the themes continue: keep growing from your past, don’t let it take you down. The sound in this track was inspired by New Orleans traditional second-line rhythm and blues.

There are lots of stories incorporated into these songs, especially with“Francis” and “Never Gone”. Daniel’s vocals guide through these compelling narratives, conveying the pain behind the words. “Never Gone” is based on their friend’s father who battled a chronic illness and said goodbye on his own terms, breaking the hearts of his family in the process. Although there are some darker tracks than others, “Love Conquers War” teaches a positive message of wisdom. Not only do the lyrics radiate this message, but the instrumental backs it. With the closing track, “Rain”, Daniel and DeBerry sing together and bring back this theme of worry and darkness. In the end, success comes through deep beliefs and unity. The sound is reminiscent of Margo Price and is easy on the ears. The Danberrys are back and they’re ready to have their messages heard all around the world.

https://www.forfolkssake.com/interviews/39685/interview-ffs-5-with-ben-deberry-of-the-danberrys?fbclid=IwAR0Ihpt4mFYaX11leRy6abn0SG7X0NhPd2MGNkjVT3o3G0Dj1ubIhOHi-WQ

BY JONATHAN FRAHM

Dorothy Daniel and Ben DeBerry are the Danberrys. More than just a clever moniker, the duo are the latest to begin climbing up the Americana ladder. Between their textured instrumentation, fiery vocals, and savvy lyricism, we think that there’s a pretty good chance that they’re bound to be one of the next big things on the roots rock block.

Ahead of the release of the duo’s new album, Shine, on 24 July, DeBerry sat down to take on our ongoing ‘FFS 5’ interview series.

Please tell us a bit about yourself. Where are you from and how did you get started in music? Any defining moments along the path to present day?

Dorothy and I both grew up about an hour outside of Nashville in Dickson, TN. We were both into music from a very young age. When I was ten, a music teacher showed up to class with an acoustic guitar, and I was immediately drawn to it. A month later, I got my own guitar and started taking lessons. I never looked back. It’s been an obsession ever since. Dorothy was always a singer, getting coaxed onto stages by her parents and various other adults in her life.

We had a top-notch choral director in high school, Cindy Freeman, who taught us the importance of dynamics and musicality and how to stand apart musically. That education proved to be priceless, and I still remind myself of those concepts whenever I feel like I’m backsliding into some bad habits.

A defining moment was when I wrote the songs for our first EP, and we were lucky enough to run into a recording engineer who saw promise in our talents. His name was Wilton Wall, now a close friend, and he recorded our first EP for free. We learned a lot from those sessions, and we still love the Company Store EP with its quirkiness and real factor.

Dorothy has said the biggest defining moment in her musical career was the day I gave her a guitar and taught her to play her first song. She immediately discovered that she was a writer, as well as a singer. Every new song she learned to play inspired her to write something of her own. That was a huge turning point for her.

As an artist, how do you define success?

Success in an artist-driven world can be very fickle. One sets goals and then hopefully achieves them. After those goals are met, you set them even higher, and thus the cycle continues. I think the artist Aaron Lee Tasjan summed it up perfectly in his song “Success” when he says, “Success ain’t about being better than everyone else. It’s about being better than yourself.” Success for us is being able to meet ourselves in the moment instead of living for the completion of that next goal. We both play and write music in the hopes of projecting a message of hope, healing and wonder. The greatest feeling as a musician is when you find you’ve inspired others to follow their dreams or when you realize that your songs have helped someone through a tough time in their life. That’s success. That’s the reason we make music.

What do you find to be your greatest struggle when it comes to the music business?

The business side of music is not for the faint of heart. There is so much rejection on so many levels. Timing is everything, and networking also has a huge impact. The business side seems to require a certain amount of strategery that’s counter-intuitive to an artist’s way of being. Being open and vulnerable with your music can be challenging in a world where everyone has an opinion about the validity of the art you’re making. I think the greatest struggle is trying not to overlook your achievements while still reaching for that next level. And holding yourself to your own standards, instead of someone else’s standards, is key. At the end of the day, you have to ask yourself why you’re making music and whether you’re proud of the music you’ve made. If the answer is yes, then you need to keep going and trust that things will work out.

What do you think is the most realistic goal you can achieve as an artist and band? What do you hope to achieve?

In our view, no goal is unrealistic if you’re willing to work for it. We believe our music has the ability to reach the ears of a global audience that appreciates a wide variety of genres. Given the current state of the world and the music industry, however, we’re not sure what short-term goals are realistic. At this point, our long-term hope is that we’re able to keep making records that we’re proud of.

Outside of music, what do you like to do that you feel contributes to the creativity that you tap into for your music?

Playing with our 1-year-old daughter is very rewarding and inspiring. Creativity just oozes out of her, and it’s fun to jump on that ride with her. We also enjoy a variety of outdoor activities that includes things like hiking, camping, fishing, disc golf, and biking. Dorothy finds creativity and inspiration while sitting on the beach reading a good book. She inundates herself with stories and literally studies and obsesses over psychology and the things that motivate human behavior and thought. I’m typically more laid-back. I find my mojo in the woods in the Smoky Mountains.

https://www.albumism.com/reviews/the-danberrys-shine?fbclid=IwAR1ypnkX8vVNbLH4DPEnVuV1yeNA7KU_nFX0TY69XACTvdYLrhQYL5lCq9Y

BY STEVEN OVADIA

4.5 Stars

The Danberrys are a husband and wife country duo—Dorothy Daniel with a voice as attention-grabbing as a finger poke to the neck and Ben DeBerry, a guitar player who always finds the perfect lick without making you feel like you're listening to someone practice. Based upon these facts alone, Shine is a fun, impressive album.

But the two singer-songwriters go beyond solid songs, creating a captivating album that mirrors the work of another famous songwriting duo, a couple of California kids who wound up fronting a little band called Fleetwood Mac. The Danberrys tap into a Stevie Nicks/Lindsey Buckingham energy in a powerful way.

It's interesting to see a contemporary band, especially a country one, grab so much of that Nicks/Buckingham vibe. Part of my surprise is because of the nature of that Fleetwood Mac era’s popularity, which has waxed and waned over time. Rumours, Nicks' and Buckingham's second album with Fleetwood Mac, has sold over 20 million units in the United States alone. It's an album everyone either currently owns or owned at some point in their lives. But at the same time, the 1977 album has also spent some time relegated to soft rock or easy listening.

More people might be familiar with the songs from waiting rooms than from live shows. But we, as a culture, keep returning to Nicks/Buckingham era Fleetwood Mac about as often as the band itself reunites. Because there's a magic there. There's something special in the way their music complements the two of them. It's hard to look, or listen, away as Nicks and Buckingham selflessly share the spotlight in songs, while also clamoring to top each other. The emotions, good and bad, happy and angry, are all out there, and neither can do a thing to tamp it all down. It's their circus and we're along to see if anyone survives the high wire.

So while the Danberrys don't explore and exploit the relationship dysfunction that made Fleetwood Mac appointment listening, Daniel and DeBerry have a similar push and pull that's just as magnetic. You hear it right away on "Shine" which feels like a country version of Fleetwood Mac's "The Chain."

But the comparisons don't end with a familiar hook. Daniel's voice is melodic and pleasing, but it's neither light nor pretty. She tells stories, but she's commanding our attention, rather than trying to charm us into hearing her. DeBerry weaves slide guitar throughout the track, not in a flashy way, but still impressively. It's the sound of two artists interested in supporting each other, but also equally concerned about their own performances.

Shine's songs sometimes vibrate with Daniel's and Berry's ambition. "The Road" is one of the album's straight-ahead country tracks, during which Daniel sings, "Time is a funny thing / Changes everything that you thought would remain if you left it / alone," squeezing in that extra syllable because the ideas are too expansive and important to risk chopping down.

The equivalent for DeBerry is "The Mountain," another more traditional country track, and a duet between the two. DeBerry has a reliable voice but seems much more comfortable expressing himself through his guitar. The track features lots of beautiful slide guitar candy, the equivalent of Daniel's slipping in extra words to preserve her ideas, both almost trying to expand their songs without making them longer.

We still talk about Fleetwood Mac because it was such an unusual combination of high-quality songwriting and talented performers. Those are important factors, but for Fleetwood Mac, and The Danberrys, the secret ingredient is the interpersonal glue bridging the songwriting and performances. That tension or pressure or pride—whatever it is pushing two artists in a band that can barely contain all of their talents—is what makes songs memorable. You hear it all over Shine and the moment you do, you're going to find yourself craving more of it.

Notable Tracks: “The Mountain” | “The Road” | “Shine”

https://americanahighways.org/2020/07/22/interview-dorothy-daniel-of-the-danberrys-talks-about-her-struggles-the-duos-new-album-shine-and-the-healing-power-of-music/?fbclid=IwAR17s88jDjADcnz7cN2qPOzrHZYGs_A856fMJt8frBP270OCbCjgCdo96fY

BY JOHN MICHAEL ANTONIO

Dorothy Daniel is a singer-songwriter who along with her husband Ben DeBerry comprises the critically acclaimed Americana duo The Danberrys. An engaging and inspirational figure, recently Daniel and I spoke by phone about her struggles to overcome childhood sexual abuse, stage fright, and Thoracic Outlet Syndrome and about The Danberrys’ exceptional new album Shine and the healing power of music. Our conversation, edited for clarity and length, is below.

Americana Highways: You have been very open about having stage fright as a child. How did you overcome it and is it something that you still deal with?

Dorothy Daniel: I think I deal with it a lot better now than I used to. I think all artists have a little bit of stage fright because it’s just part of human nature. Mine was a really debilitating kind, which I found out later was really a result of the PTSD that was caused by me being sexually abused as a child. I overcame it by forcing myself to do something that scared me every day. Even though getting on stage was the scariest thing I could do, I still joined the choir and sang when people asked me to sing at different functions.

When my husband and I got married I was still struggling with it. When we got married he was a very busy local musician around Nashville and he would always ask me to get up on stage and sing with him, which I did, even though it terrified me. And when we started our band and started playing gigs at festivals and other places, even though it mortified me, I still just kept doing it. I think what also helped me overcome it was one day realizing that I am still here, that I am still alive and that people are actually liking my singing. My healing from the abuse has helped me too because as I have healed and grown as an individual, my confidence on stage has grown as well.

I realize now that I have this strength inside of me that I didn’t recognize or appreciate for a really long time. I also think I didn’t appreciate the fact, until years later, that I had pushed myself so hard for so long to face my fears. I think that sometimes when you are in the middle of fighting something heavy and horrible like that it’s easy to not give yourself enough credit for what it takes to wage your daily battles.

AH: When you were 24, you were also diagnosed with Thoracic Outlet Syndrome. Can you talk about the events leading up to that diagnosis and how alternative medicine and alternative therapies became your healing strategy?

DD: I had experienced really bad muscle tension in my body my entire life. I didn’t really realize how bad it was, because you know when you are a kid, you really only have your own experience to go by, so I didn’t know that everybody didn’t feel the way I did. Like my stage fright, it was also brought on by my PTSD.

It is a common thing that when you suffer a lot of trauma that your body tends to want to guard your heart by pulling your shoulders in and forward. With your brain constantly being in fight or flight mode because of PTSD, it is constantly pumping cortisol and other stress hormones into your body, which eventually makes your muscles freeze in what they call trigger point patterns.

My muscles were pulling my bones together so hard that they were crushing my brachial plexus, which is a group of nerves that come from the spinal cord in the neck and travel down the arm. These nerves control the muscles of the shoulder, elbow, wrist and hand, as well as provide feeling in the arm. Or to put it another way, the brachial plexus is what controls the blood flow to your arms that fills up in your nerves.

Because my nerves were being crushed like this, the pain got so bad that I couldn’t work at my day job of being an accountant or do simple things like washing my hair or buttoning my pants. It was a really dark time in my life and I was only 24 like you said.

At the time, thinking that it was a purely physical problem, I went to the Vanderbilt Orthopedic clinic to see if they could diagnose what was wrong with me. They couldn’t. After running a bunch of tests on me which were inconclusive and putting me through physical therapy, which my body didn’t respond to, they basically told me that there was nothing else they could do for me.

They basically recommended that I find a doctor who could start prescribing pain medication to me because I was probably going to be disabled for the rest of my life.

I didn’t handle that news very well. I was very angry at the world and very depressed and feeling incredibly suicidal. It was at this point, my husband Ben, who I consider a guardian angel of mine, told me that I needed to quit my job as an accountant and that we needed to figure out what was wrong with me and that we needed to do whatever it took to get me well again. He would not let me give up and on days when I didn’t feel like getting out of bed because of my depression, he would come into our bedroom and start playing some Al Green and start dancing around the bed, and yank me up out of bed and dance with me.

He really pulled me up by my bootstraps at that time and together we decided we were not going to take my condition or my diagnosis as final. He was adamant in telling me that we were going to figure it out and fix it.

With his love and guidance, I started reading a lot of Wayne Dyer and other mind over matter type books and even though I was initially skeptical about alternative medicine and therapies, I eventually started doing massage therapy, acupuncture, and acupressure, all which helped alleviate some of the physical pain that I was feeling.

Eventually, after a meeting with a therapist, I was able to take what she said to me, do my own research and determine that my physical ailments were indeed a direct result of the PTSD, which of course, as I said earlier, was a direct result of the sexual abuse I had suffered as a child.

Healing from that kind of abuse is difficult because sometimes the silence and the secrecy surrounding it is just as bad if not worse, than the abuse itself because you can get attacked emotionally for just talking about it and oftentimes you feel victim’s shame. It’s just a vicious circle that never seems to end and although it is sometimes hard to talk about it, I do talk about it because I can. There are so many victims and survivors of childhood sexual abuse who can’t talk about it for a variety of reasons. I talk about my abuse because I think they need to hear that you can overcome it. I am living proof.

AH: Your new album “Shine” which was originally supposed to have been released in May is now being released on July 24th. It has a different sound than your previous releases. Was that a conscious decision on yours and Ben’s part or did it just come about when you started writing the songs and saw that they were going in a certain musical direction?

DD: I would say kind of both. We knew that we wanted to kind of move away from the straight-up acoustic and string band sound because that can be very restricting. We also knew that we wanted to bring in more layers sonically speaking. When we wrote the songs there was also a realization on my part that these were big songs. They needed a lot of background singers, they needed bass, and they needed badass drums.We knew that we needed the music to step up and meet the grandiosity of a lot of these songs because a lot of them were ballads.

Our drummer Marco Giovino, who I consider to be one of the best drummers in the world and who also was our producer for the record, obviously had a lot to do with the resultant sound of the record. With the way he drapes his drums, he doesn’t play like a lot of other traditional drummers play. Rhythm has always been a big part of our sound and we wanted to keep it and combine it with the electric elements, the drums, and other stuff. We wanted a sound that would sound almost tribal and he really helped us achieve the sound we were looking for.

AH: This is the first album that you and Ben co-wrote every song together, albeit with a little bit of help from others. Can you describe what that process was like?

DD: Ben and I had always just written our songs separately and then took them to the other person and if the other person liked them, we would then take them to our band. And that’s how it would always work. So, if I was going to sing the song I wrote it. If Ben was going to sing the song, he wrote it and that’s how a lot of our older records are.

With this record, our executive producer, Brian Brinkerhoff, insisted that we co-write the songs together, which we were cool with because we had actually never done that before. We called upon an old friend, the wonderful bluegrass singer-songwriter Jon Weisberger to help us and he really taught us how to write songs with each other. He showed us how to commit to finishing a song, how to communicate with each other as songwriters, and how to speak to each other as professional songwriting partners. After working with Jon it really gave us a lot of confidence in our ability to write songs together and now going forward, Ben and I want to write all of our songs together.

AH: On the title track to the new album, you sing the wonderful lyrics “Sometimes darkness may roam / Shine, shine wherever it goes”. Would you say that this is the overall message of the album – that you have to be proactive in eradicating the darkness you experience in the world?

DD: Yes, I think that you nailed it with that assessment. It is the overriding and unmistakable message of this album. It’s really the overriding message of everything we have ever done. It’s our mantra. We are never going to write puffy, happy, or one hundred percent feel-good kind of music because that doesn’t reflect our life experiences. I think that part of our purpose as human beings on this planet is to show each other, by relating our own experiences, that you can overcome the darkness that is in the world. You have to keep going and you have to keep putting one foot in front of the other and you have to be always reaching for something bigger than yourself. If you can do that, it can be done and it will be done. We are not going to heal from all of the hurt in the world as individuals or as a society if we keep turning away from the darkness. You have to walk right into the middle of it and confront it head-on.

AH: How would you best describe the power of music and its ability to help you overcome life’s obstacles?

DD: Oh my God, it’s everything. I think about this a lot. There is a mystical and metaphysical power and a certain healing quality to music. I was just thinking about this yesterday because I was in a bad mood because of all the things going on in the world and I put on Al Green’s ”Lay It Down” and I just sat there and sobbed while listening to it. It helped me release all of the emotions that I was feeling and just holding onto. I think music moves the emotion out of your body. It heals in that way and I don’t think the lyrics even matter sometimes. Sometimes it’s the words but other times it’s just the rhythm or the beat of it. Yesterday for me it was the words “Lay it down / Let it go / Fall in love”. In that song, Al Green was singing about something totally different but to me, I heard “Let it go / Lay it down / Fall back in love with life / Fall back in love with yourself / Fall back in love with this world”. I just think that music is everything and it’s like the fabric of life. I think everything in the world is built upon sound, everything is vibration and I think that is why music talks to us the way it does in its mystical, magical way. It’s in our subconscious and speaks to the part of us that goes beyond ourselves.

https://riffsandrhymes.com/2020/07/20/interview-the-danberrys/

BY ROBERTO JOHNSON

A month into the summer, 2020 is shaping up to be an outstanding year for albums, a worthy follow up to a stellar 2019 that capped off a memorable decade of music. Granted, with a global pandemic and social unrest stirring all around the world, new releases this year arrive under a largely different set of circumstances.

Musicians putting out new records this summer are sailing uncharted waters. Right in the middle of those sweeping tides are Nashville mainstays The Danberrys, the husband-and-wife duo comprised of Ben DeBerry and Dorothy Daniel. The band’s third album, Shine, will be released in the U.S. this Friday, but the path to get to this point has been anything but clear and easy.

Initially slated to drop in spring, COVID-19 altered the course of the band’s original release schedule. “At some point in May, we had to pick a day,” says Daniel. “We couldn’t wait forever. It was going to be crazy no matter when we released it and now is the time to roll with the punches.” They followed through with the album release in Europe and settled on a July date for America. After a long and unforeseeable journey, Shine arrives as a symbol of the new horizons The Danberrys have been pursuing for years, both musically and personally.

Clocking in at 12 tracks and just under 50 minutes, Shine is simultaneously an acoustic tour de force and a gritty roots-rock record. With production and musical contributions from Brian Brinkerhoff, Marco Giovino, Darrell Scott and others, the album hangs its hat on personal storytelling laid over gripping, blues-tinged hard folk. Unlike their previous albums, which were mostly recorded with musicians from their inner circle, the making of Shine occurred entirely with brand new faces and with new methods. It was a process which Daniel describes as “raw and real.” From the soaring boogie “The Mountain” to the atmospheric Americana of “Francis” to the menacing shuffle “The Road,” the album crosses over country, folk, blues and rock with comfort and style.

The release of a new record is always cause for celebration, especially when considering the world’s chaotic state. This album in particular is a special milestone for The Danberrys, as Daniel and her husband are no strangers to adversity. Well before coronavirus ever existed, Dorothy’s musical ambitions were put on halt as she battled PTSD from childhood trauma and later, a gruesome nerve diagnosis that left her with great pain and the inability to use her arms and hands.

Eventually, Daniel turned away from conventional forms of therapy and towards alternative medicine, which turned out to be the help she needed and a revolutionary experience. With an unrelenting spirit and Ben’s loving support, Daniel persevered and achieved a newfound level of physical and emotional balance. “The last four years for me have been constant, unrelenting therapy, healing retreats, neurological brain training, meditation and spiritual journeying,” she says. “I’ve found my strength and my confidence, something I never had before.”

Along with album number three, most recently, Daniel and DeBerry have embraced a new adventure and challenge: parenthood. At this point in their career and lives, they’ve never been more equipped to handle what lies in front of them. Shine is another marker on their continued path to inner peace and creative freedom.

Editor Roberto Johnson caught up with Dorothy Daniel to talk about the making of The Danberrys’ new record, creative life during the pandemic, pursuing alternative medicine and more. Check out their full conversation below.

Your album release was pushed back due to COVID. This year has been pretty tough on musicians. How are you doing considering the circumstances?

Dorothy: It’s so insane how everything is working right now. I had a part-time accounting job I got laid off from at the beginning of COVID and I’ve been kind of waiting for them to give me the green light to come back. My husband has a part-time job and has been doing a little bit of work with that. It’s just been crazy trying to juggle, not really having steady daycare for our little girl and then Ben popping in and out while trying to do all the record release stuff. So, just doing all these things and hanging out with the baby when I can.

How has your day-to-day life changed since the virus hit? Have you picked up any new creative habits or maybe settled into other ones you didn’t use to have the time for?

Dorothy: One of the biggest challenges for us is that we have a one-year old. If we didn’t have our daughter, I would probably be writing every day. At the very beginning, we were like, ‘Let’s just start writing,’ so we already have some tunes put down for our next album. But then stuff started picking up a little more and we didn’t have our daycare. Creatively, it’s been a struggle also because we’re doing the album release and all the behind the scenes that goes into that. It’s not making music, but that’s been fun for me too.

I’d love to ask you about making the record. How would you describe the recording of this album compared to your guys’ previous projects?

Dorothy: This one was totally different. This album was a pretty big departure from our older sound. We’ve always been more of a string band, almost bluegrass in a lot of ways. Previously we just picked the studio and then us and all of our friends went in and recorded the stuff together. We knew everybody really well and the people had been playing the songs with us on the road for a long time. This time, we had never met anybody that recorded or produced this album until the day we started recording. It ended up being freaking amazing. But there’s a lot of nervousness that goes in beforehand. We knew we wanted to do something bigger, more rock and more electric. Brian Brinkerhoff, who ended up co-producing of the album, just called out of the blue. We signed on to do a stripped-down duo recording with him, even though that wasn’t what we were heading towards. We started writing the songs and got back with Brian and were like, ‘These songs are big, they need a lot of layers, background vocals, all that stuff.’ He put together a band of his top Boston guys and we set a date. We knew they were going to be good, but we had no idea it was going to sound as good as it did. The first song we recorded was “Never Gone” and I couldn’t even sing it ’cause I was crying in the vocal booth, ’cause it sounded so good.

It sounds like the recording process was very collaborative. What do you miss most about the Nashville community right now?

Dorothy: Right when the virus happened, we were just starting to come out of our new baby isolation. We were just starting to get our lives back a little bit. It’s been like two years since I was really out on the scene and getting to see all my friends and go and do as many shows as I wanted. That’s definitely one of the hardest parts: not being able to go out and watch people play. The live streaming has been all right but it’s not the same. Your phone just doesn’t sound as good.

One thing I love about the record is how well Ben’s guitar playing compliments your voice. What is it about his style and ability that adds so much to the musical fabric of each song?

Dorothy: He’s an amazing guitar player, especially rhythmically. He’s not just a singer-songwriter guitar player. He’s very aggressive. He loves funk music, so he’s super in pocket. His playing has its own voice. We’ve been together since we were 17, so at this point it’s like we meld into each other in a way. It wouldn’t sound anything like it does if it were just me singing with my guitar.

A lot of the themes you guys explore in your writing revolve around concepts like overcoming adversity and finding redemption. You’ve personally dealt with different mental health traumas at various points in your life. How would you say that’s informed your songwriting?

Dorothy: Well, it’s everything. Both of us write from our personal experiences. Every once in a while, we’ll write through the eyes of a friend, but we almost solely write from personal emotions. It’s just what we do. It’s healing to write and to be able to sing and put voice and music to emotions you’re trying to process. Even though I was the one actually experiencing the trauma, Ben was in the pit with me. He was like my ally. He had to learn and grow and go through his own personal challenges and realizations.

Not long ago, you received a diagnosis regarding nerve pain in your arms and hands. How did that impact your relationship with your music?

Dorothy: I was 24, so it’s been a while, but they call it Thoracic Outlet Syndrome. Usually they can treat people with with physical therapy, but I was one of the 20% that wasn’t responding to it. At the end of it, the Vanderbilt Orthopedic Clinic was like, ‘Basically, we can’t help you. You’re just gonna have to get on pain meds and manage.’ That kind of sent me on the journey of self-awareness. I started looking into alternative medicine, reading books about the power of your mind, the power of intention. It really started to connect me more to my spiritual self and heal a lot of the core emotional issues that were causing the physical tension.

What are some alternative practices you implement in your life now?

Dorothy: You can meditate all day, every day. But if your brain was hardwired to be in fight-or-flight 24-7, meditation is not going to get you very far. One of the best things I ever did was I went down to Miami to this place that does brainwave optimization, where they listen to your brainwaves and play them back to you like a guitar tone or a piano. They play your brainwaves back to you and your brain hears itself. It’s like, ‘Oh, no. That’s not how I should sound.’ And it adjusts itself. I would feel the plates in my skull loosening up and shifting. It’s the most insane thing I’ve ever experienced. I have a home unit that I use just to keep helping my brain form new pathways. I have rituals I do in the morning and at night to release everything I absorb during the day and reconnect to God or the great spirit or whatever you want to call it. I am in constant communication with that part of myself. I’ve just cultivated this daily walking-meditation type mentality out of necessity. I’ve learned too, you have to pay attention to what you eat and put in your body. A lot of what goes on in your mental and emotional world is directly related to what’s going on with your physical body and vice versa. If you’re eating like crap, you’re gonna feel like crap.

Knowing what you know now, looking back on those experiences, is there something you would change about how you dealt with these obstacles? Are there things you wish you would have known sooner or do you think time was an essential part of overcoming the challenges you faced?

Dorothy: I’m not sure I could have made any different decisions. You kind of just are where you are. I do feel like I was always doing my best. I never gave up, you know what I mean? I wish I could go back and tell myself to just let go a little bit more. I was very determined. I had that ‘I’m going to fix myself’ kind of mentality. It doesn’t really work when you’re healing from childhood trauma. If I could, I would go back and be more gentle with myself and allow myself to take days off to just lay on the couch and be sad. Those are actually very productive. It took me a long time to figure that out, but I don’t think I could have done it any differently.

There are a lot of inspiring songs on the new album, “The River Is Wide” and “The Mountain” being two that come to mind. Do you have a favorite that sticks out above the rest?

Dorothy: It changes. “The River Is Wide” has remained one of my favorites. I still cry when I listen to it. I love “The Mountain” for Darrell Scott. Listening to him sing on my song, it just makes me so happy. I love “Never Gone” too. That’s about the experience of one of my best friends. I sent her the rough draft of it and she wrote me back three or four days later saying, ‘I didn’t know how to respond. It just made me cry so much. I really felt like he was speaking through you to me 30 years ago.’ It meant a lot for me to be able to kind of give her that gift, to feel like she was connected with her dad. That whole story gives it a special place in my heart.

You and your husband have a long history both musically and personally. What does this album represent to you in terms of its place in your lives?

Dorothy: It’s just like another another baby. I was talking to my friend about the album and the release day and I called it the due date. I feel that way about all of our albums. When I go back and listen to them, I remember what I was going through at the time that I wrote it and all of the emotions. This album came to life during a time that was so emotionally charged for us. It’s like a marker, you know? It’s a reminder of what we’ve been through and how much we’ve overcome.

. . . . .
Photo credit: Boudica Photography and Michelle Stone. Purchase and stream The Danberrys’ new record ‘Shine’ out everywhere this Friday and listen to “The River Is Wide” ahead of the album’s release below.

https://yorkcalling.co.uk/2020/07/16/discovery-the-danberrys/?fbclid=IwAR0bz2HAikwkkKhbkvg05RBcVLw3WViPHxzHH87ziPGXwrJmwf0Kjdjpvgo

BY JANE HOWKINS

The Danberrys are an American country/Americana group, with Undertow being their latest track to be released.

It’s a fantastic track, with a brilliantly catchy melody that works extremely well with the driving melody of the track. There’s more going on here than first meets the eye, with layers of guitar riffs building up throughout the track, and it will take a few listens before you can fully appreciate everything here. The vocal style also works well with the music, and we can’t wait to hear what The Danberrys come up with next. Check the track out below and see what you think!

https://glidemagazine.com/246039/song-premiere-the-danberrys-deliver-slinky-southern-bluesy-charm-on-the-road/?fbclid=IwAR0w8maqrcS56Ht7Ipqhzn46piv4PscwII63yNbgQK6uvhlzcEJveSfUotw

Nashville’s The Danberrys are somehow both charmingly old-world and very much of this moment. The married couple’s rich pastoral blues and muscly folk evoke the big-hearted storytelling of pioneering giants like the Carter Family but could only come now, as a mixed offshoot of roots music’s ever-growing family tree.

In 2009, the two recorded singer/guitarist Ben DeBerry’s original material together on a whim, and The Danberrys were born. More than a decade later, six Independent Music Award nominations, including two nods for best Americana album and one for best EP, punctuate/their résumé. Their 2016 LP Give & Receive earned serious acclaim, and the pair’s fourth album, Shine (out 7/24) sails past the high expectations that ensued. Produced by ace drummer Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller) and executive produced by Brian Brinkerhoff, Shine captures the Danberrys’ fiercely guarded independence––and revels in it. Singer Dorothy Daniel’s commanding voice roars low and high––an ideally nuanced partner for DeBerry’s subtly virtuosic guitar playing. For the first time in their career, the two co-wrote every song together, pulling in the help of a third songwriter on a handful of the tracks.

Their unforced creative approach is on triumphant display on Shine, the twelve-song collection reveals a pair of artists putting years of passionate study in bluegrass, blues, funk, folk, gospel, and pop to brilliant use: conversational stories and metaphorical sketches of the natural world rest on beds of complex bluesy folk. “I’ve always loved music that makes you guess what it’s about,” Daniel says. “We want our songs to be vague enough that they could be interpreted to mean different things.”
Glide is proud to premiere “The Road” (below) from The Danberrys, a self-described “unfinished gem” and one of the first co-writes between Dorothy and Ben. The duo lends itself an inspiring flair that delves into the Nashville Americana pop immediacy of Margo Price, while stepping in the southern blues roots of Lucinda and Dolly.

“We knew we had to find our way together as writers, so we began scheduling co-writes with songsmith Jon Weisberger. “The Road” was one of our first co-writes, and we are so thankful and happy to have Jon’s creative voice on this song and record, say Ben. “It was the perfect material to start with – a song about the bumps and illusions we face on the road of life and finding the will to get up every day and keep going. It’s also about being gentle with yourself and accepting that there is no “getting there”…it’s only ever about the journey, and we’re all walking that same old road together. “

https://www.billboard.com/articles/news/8504489/2020-album-release-calendar

By Ellie Goulding

With more and more music released each year, it's a near-impossible task to keep track of everything that's coming. From pop to hip-hop to alternative to K-pop to country, the choices made available feel endless -- not to mention vinyl, re-releases and collectible editions.

Below, check out Billboard's running calendar of upcoming releases to make sure you're in the know; check back often for updates to our schedule of albums to look forward to each week.

July 24
Abracadabra, Abracadabra
Alex Aiono, The Gospel at 23
André Bratten, Silvester
Cinder Well, No Summer
Courtney Marie Andrews, Old Flowers
Cub Sport, Like Nirvana
The Danberrys, Shine
DOV, It Feels Alright EP
Ellen Siberian Tiger, Cinderblock Cindy
George Clanton & Nick Hexum, George Clanton & Nick Hexum
Glassio, For the Very Last Time
The Gooms, Laugh.
Gregory Uhlmann, Neighborhood Watch
Howling, Colure
Immaterial Possession, Immaterial Possession
Jaguar Sun, This Empty Town
Jess Cornelius, Distance
Jesse Dayton, Gulf Coast Sessions EP
Jessy Lanza, All The Time
Jon Hassell, Seeing Through Sound (Pentimento Volume Two)
Katie Dey, mydata
Lakes, This World of Ours, It Came Apart EP
Liza Anne, Bad Vacation
Lori McKenna, The Balladeer
Lupe Fiasco & Kaelin Ellis, House EP
Make Them Suffer, How To Survive A Funeral
Maverick Sabre, You Know How It Feels EP
Misterwives, Superbloom
The Naked and Famous, Recover
Neck Deep, All Distortions Are Intentional
Nelson Kempf, Family Dollar
Neon Trees, I Can Feel You Forgetting Me
Patricia Lalor, Do It Again EP
Primal Fear, Metal Commando
Ronan Keating, Twenty Twenty
Safehold, Boyish
Samuel Proffitt, Shades EP
Skullcrusher, Skullcrusher EP
Snowgoose, The Making of You
Wotjek, Atmosphere
Zoë Nutt, How Does It Feel

https://www.bluestownmusic.nl/recensie-the-danberrys-shine/

Tekst: Peter Marinus

Om de komende, ongetwijfeld zinderend hete, zomer door te komen heb ik de perfecte soundtrack! En die komt van the Danberrys, een echtpaar uit Nashville, dat bestaat uit Dorothy Daniel en Ben De Berry. Hun derde album staat namelijk vol met broeierige, zinderende Americana.

Ze worden op hun album geholpen door producer Brian Brinkerhoff (o.a. bekend van zijn werk met Van Morrison), mede-producer Marco Giovino (drums), Duke Levine (gitaar, mandoline), Darrell Scott (zang), Neal Pawley (gitaar, trombone, tuba), Marty Ballow (bas), Amanda Broadway (backing vocals), Vanessa McGowan (backing vocals), Tom West (keyboards), John Deaderick (pump organ) en Sam Margolis (backing vocals).

Het album opent met het broeierige, traag bonkende Shine. Een Americana nummer met zinderend gitaarwerk en de krachtige warme stem van Dorothy. Het nummer klinkt enigszins als een Americana variant op het geluid van Fleetwood Mac. Daarna volgt het zacht vibrerende Holding The Bag. Een intiem nummer dat engelachtig voorbij zweeft compleet met warm accordeon werk.

In The Road klinkt het duo iets venijniger door de smerige gitaarriffs, die een haast swamprock-achtig sfeertje veroorzaken. Francis klinkt vervolgens intiem en warm deinend met een heerlijk galmende gitaar.

The River Is Wide is stuwend en toch loom met prachtig twangende gitaar en huilende steelgitaar. De single The Mountain is een hoekig broeierig funky nummer vol snijdend slidegitaarwerk en de prachtstemmen van Dorothy en Darrell Scott. Undertow opent met haast Indian tribaldrums in een vibrerend Americana nummer.

De afsluiter van het album, Rain, zit meer in de mystieke folk hoek.

Zak deze zomer lekker lui onderuit op je ligbed en laat je verwennen door deze heerlijk intieme klanken van the Danberrys!

https://uproxx.com/music/new-albums-coming-out-this-month-july-2020/

BY DERRICK ROSSIGNOL

Keeping track Of all The new albums coming out In A given month Is A big job, but we’re up for it: Below Is A comprehensive list Of The major releases you can look forward To In July. If you’re not trying To potentially miss out On anything, It might be A good idea To keep reading.

Friday, July 24
A Shoreline Dream — Seek To Hide (Latenight Weeknight Records)
The Acacia Strain — Slow Decay (Rise Records)
Acceptance — Wild EP (Tooth And Nail Records)
André Bratten — Silvester (Smalltown Supersound)
Bill Kirchen — The Proper Years (The Last Music Company)
Cinder Well — No Summer (Free Dirt Records)
Courtney Marie Andrews — Old Flowers (Fat Possum Records)
Cub Sport — Like Nirvana (Cub Sport Records)
The Danberrys — Shine (Singular Recordings)
Dave Mason — Alone Together… Again (Geffen)
Devendra Banhart — Vast Ovoid EP (Nonesuch)
DOV — It Feels Right EP (Turntable Kitchen)
Eliot Bronson — With Somebody (Saturn 5 Records)
Gregory Uhlmann — Neighborhood Watch (Topshelf Records)
The Gooms — Laugh (Squange Records)
Jess Cornelius — Distance (Loantaka Records)
Jessy Lanza — All The Time (Hyperdub)
Judicator — Let There Be Nothing (Prosthetic Records)
Kamaal Williams — Wu Hen (Black Focus)
Liza Anne — Bad Vacation (Arts & Crafts)
Lori McKenna — The Balladeer (C&N Records)
The Lotts — We Are The Lotts EP (Whispering Pines)
Luke Jenner — 1 (Manono Records)
Mannequin Online — I Feel It EP (Nettwerk)
Maverick Sabre — You Know How It Feels EP (FAMM)
Nicolas Bougaïeff — The Upward Spiral (Mute)
Quicksails — Blue Rise (Hausu Mountain Records)
Samuel Proffitt — Shades EP (Nettwerk)
Seasick Steve — Love & Peace (Contagious)
Shirley Collins — Heart’s Ease (Domino Recording Company)
Snowgoose — The Making Of You (Ba Da Bing!)
Winter — Endless Space (Between You & I) (Bar None Ent.)

https://www.beehivecandy.com/search/label/The%20Danberrys

The Danberrys make their third appearance here this year with the new single 'Undertow' ahead of next months album release and again the duos varied Americana, is simply gorgeous.

Nashville’s The Danberrys are somehow both charmingly old-world and very much of this moment. The married couple’s rich pastoral blues and muscly folk evoke the big-hearted storytelling of pioneering giants like the Carter Family but could only come now, as a mixed offshoot of roots music’s ever-growing family tree.

In 2009, the two recorded singer/guitarist DeBerry DeBerry’s original material together on a whim, and The Danberrys were born. More than a decade later, six Independent Music Award nominations, including two nods for best Americana album and one for best EP, punctuate their résumé. Their 2016 LP Give & Receive earned serious acclaim, and the pair’s fourth album, Shine, sails past the high expectations that ensued. Produced by ace drummer Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller) and executive produced by Brian Brinkerhoff, Shine captures the Danberrys’ fiercely guarded independence––and revels in it. Singer Daniel Daniel’s commanding voice roars low and high––an ideally nuanced partner for DeBerry’s subtly virtuosic guitar playing. For the first time in their career, the two co-wrote every song together, pulling in the help of a third songwriter on a handful of the tracks.

Their unforced creative approach is on triumphant display on Shine, the twelve-song collection reveals a pair of artists putting years of passionate study in bluegrass, blues, funk, folk, gospel, and pop to brilliant use: conversational stories and metaphorical sketches of the natural world rest on beds of complex bluesy folk. “I’ve always loved music that makes you guess what it’s about,” Daniel says. “We want our songs to be vague enough that they could be interpreted to mean different things.”

“We could spell it out,” DeBerry adds. “But we’re bored with the obvious.”

The title track kicks off the album with moody, guitar-punched swagger. Darkness sets the stage only to give way to the light Daniel and DeBerry refuse to stop seeking. “The song is a reminder––a daily mantra,” Daniel says. “How do you get through today and continue to grow and let go of all the things from your past that want to keep you down and keep you from being who you really are in the world?” Beginning with only Daniel’s voice, which is soon joined by DeBerry’s somber electric guitar, “The Mountain” addresses similar life-affirming themes. The incomparable Darrell Scott adds backing vocals to the track, which grooves as it soars.

https://writteninmusic.com/albumrecensie/the-danberrys-shine/

Het vanuit Nashville opererend echtpaar The Danberrys heeft een nieuw werkstuk klaar. Op de opvolger van Give & Receive evolueren Dorothy Daniel en Ben DeBerry van de vertrouwde akoestische benadering naar een ruimer geïnstrumenteerd geheel. De hulp van gewaardeerd gitaarvolk als Duke Levine en Neal Pawley gecombineerd met de door bassist Marty Balou (Duke Robillard) en Marco Giovino bemande ritmesectie is daarbij niet onbelangrijk. Giovino, eerder actief bij Patty Griffin en Buddy Miller, assisteerde producer Brian Brinkerhoff in de Dagotown Studio’s in Boston.

De heldere en soepele stem van Dorothy trekt de aandacht naar zich toe als ze het eerste van het dozijn verhalen. Het slepende Shine, een soort van klaagzang gevoed door resonerend snaren en slidewerk dat de bezwerende mantra ondersteund. De door Ben aangeleverde subtiele gitaarescapades gedijen in een smaakvol mengsel van bluegrass, blues en folk in songwerk dat het duo voor het eerst gezamenlijk aanlevert.

Na de donkere, bewolkte opener wordt in Holding The Bag klaart lucht enigszins op met sfeervolle accordeon en heldere vibrafoon klanken. Rauwe snarenreplieken en eenmeer gedreven ritmiek voeren het tempo enigszins op in The River Is Wide. Het is de eerste van enkele songs die in nauwe samenwerking met bluegrassfenomeen Jon Weisberger tot stand kwamen. Never Gone ademt een identieke rurale meer beklemmende sfeer uit met galmende gitaren bij het verhaal van een vriend van Ben’s vader die met een genadeloze chronische aandoening worstelt en de strijd opgeeft tot groot verdriet van de achterblijvers. Maddie’s Ghost is op nerveuze picking geënt.

In The Mountain horen we Darrel Scott op de achtergrond terwijl in Rain de stemmen van het getalenteerde stel zich in een mooie unisono gezangen terug vinden. Twee songs die tot de hoogtepunten behoren van een organisch werkstuk.

https://ear2theground-music.blogspot.com/2020/06/e2tg-6262020-featured-friday-lockdown.html

"Undertow" by The Danberrys (single)

Long-time East Nashville duo, Ben Deberry and Dorothy Daniel have a new album that sounds fantastic. Deberry has been a regular at my two favorite Nashville bars (The 5 Spot and Dee's) for a long time. It is always nice to hear him play, but it is especially nice to hear The Danberrys making music.

https://www.popmatters.com/the-danberrys-undertow-premiere-2646249732.html?rebelltitem=1#rebelltitem1

BY JONATHAN FRAHM

Americana's the Danberrys explode in a burst of commanding, bluesy folk-rock on "Undertow", which reflects on a toxic relationship.

Brooding in the reflections of a relationship gone awry, the Danberrys’ "Undertow" sees lead singer Dorothy Daniel take the reins with a fiery vocal performance that makes it a standout song. Her booming vocals hold the arrangement together, surrounded by a swirl of Americana instrumentation that serves to paint a thunderous picture. Alongside vigorous guitar tones courtesy of Ben DeBerry, the duo smoothly slip into a bluesy folk-rock jam akin to the likes of Shovels & Rope or the Old 97s.

The tune comes from the Danberrys’ latest album, Shine. It's the first time in their career that they've co-written every song together. With assistance from producer Marco Giovino (Patty Griffin, Band of Joy) and executive producer Brian Brinkerhoff, the album is chockful of the roots swagger.

Daniel tells PopMatters, "'Undertow' was written at that moment when the rose-colored glasses sort of fall off your face and you're confronted with the fact that someone you've adored and trusted explicitly is actually quite rotten on the inside. That moment the spell is broken, and you realize you've been in the snake pit entangled with a narcissist. The lyrics allude to the almost magically magnetic quality of master manipulators, with their ability to seamlessly pull strings and destroy hearts while lacking utterly in self-awareness. Most of the songs on this album are about hope, making it through hard times, keeping the light on. But this one is just a pure expression of shock and anger at being played the fool."

DeBerry says, "This is one of the few songs on the album where Dorothy's lead vocals were recorded in East Nashville at Doug Lancio's studio. Doug is a heavy-hitting guitar player and producer, and having his energy and input on this album was a true gift. The music for the song was recorded right outside of Boston at Marco Giovino's studio (Marco is also a co-producer). We finished the album in three long, packed days, and this song was one of the last we recorded. We had just come off a New Zealand tour where Dorothy had developed a bad chest infection, so her voice was weak by the end of the third day. She busted out ALL of her essential oils (as one does) and commandeered a humidifier to help aid in the dire situation. At that point, Marco, in his flawless, man's man Bostonian accent, yelled from the control room, 'Daaarathy, I can smell tha laven-dah comin outta da mon-i-dahs!" We still chuckle every time we smell lavender.'"

https://guitargirlmag.com/news/music-news/popmatters-premieres-new-single-from-nashvilles-the-danberrys-american-songwriter-uncut-the-boot/

The Danberrys – Shine (July 24th)

Nashville’s The Danberrys are somehow both charmingly old-world and very much of this moment. The married couple’s rich pastoral blues and muscly folk evoke the big-hearted storytelling of pioneering giants like the Carter Family but could only come now, as a mixed offshoot of roots music’s ever-growing family tree.

In 2009, the two recorded singer/guitarist DeBerry DeBerry’s original material together on a whim, and The Danberrys were born. More than a decade later, six Independent Music Award nominations, including two nods for best Americana album and one for best EP, punctuate their résumé. Their 2016 LP Give & Receive earned serious acclaim, and the pair’s fourth album, Shine, sails past the high expectations that ensued. Produced by ace drummer Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller) and executive produced by Brian Brinkerhoff, Shine captures the Danberrys’ fiercely guarded independence––and revels in it. Singer Daniel Daniel’s commanding voice roars low and high––an ideally nuanced partner for DeBerry’s subtly virtuosic guitar playing. For the first time in their career, the two co-wrote every song together, pulling in the help of a third songwriter on a handful of the tracks.

Their unforced creative approach is on triumphant display on Shine, the twelve-song collection reveals a pair of artists putting years of passionate study in bluegrass, blues, funk, folk, gospel, and pop to brilliant use: conversational stories and metaphorical sketches of the natural world rest on beds of complex bluesy folk. “I’ve always loved the music that makes you guess what it’s about,” Daniel says. “We want our songs to be vague enough that they could be interpreted to mean different things.”

“We could spell it out,” DeBerry adds. “But we’re bored with the obvious.”

The title track kicks off the album with moody, guitar-punched swagger. Darkness sets the stage only to give way to the light Daniel and DeBerry refuse to stop seeking. “The song is a reminder––a daily mantra,” Daniel says. “How do you get through today and continue to grow and let go of all the things from your past that want to keep you down and keep you from being who you really are in the world?” Beginning with only Daniel’s voice, which is soon joined by DeBerry’s somber electric guitar, “The Mountain” addresses similar life-affirming themes. The incomparable Darrell Scott adds backing vocals to the track, which grooves as it soars.

A preternaturally gifted singer, Daniel first performed on her hometown church stage––after her parents combatted her severe stage fright with gentle reminders that everyone would just “be so disappointed” if she didn’t get up to sing. Up the road in Dickson, DeBerry picked up the guitar at 10 and never put it down.

DeBerry and Daniel began dating in high school and didn’t break up until two years into college. Right before the two parted ways, DeBerry gave Daniel a guitar and taught her a handful of chords and songs. “I was left with a broken heart, a guitar, and three chords,” Daniel says, then laughs. “So I just started writing––mostly sad songs about Ben.”

Five years later, the two ran into each other in their college town of Cookeville, Tennessee. Four months after that, they were married. The two moved to East Nashville, where DeBerry––who had been performing locally for years––became a regular at the now-iconic Wednesday-night bluegrass jams at The 5 Spot. “I immersed myself in playing, and I just started writing one day,” DeBerry remembers. “Dorothy said, ‘Those songs are cool––we have to record them!'”

“Holding the Bag” mixes sorrow and masterful storytelling, pulling listeners into an unnamed character’s heartbreaking perspective. Daniel has a habit of diving into her stories and the people in them. “Please forgive me, I’m a selfish man,” she sings on the heavy “Never Gone”. The two wrote the song about a friend’s father who battled chronic illness and chose to say goodbye on his own terms as much as possible, breaking the hearts of his daughters and wife in the process. Haunting “Francis” is another compelling experimentation with perspective and narrative.

While sadness and longing course through the entire record, bright-eyed positivity is never far away. “Love Conquers War” offers timely wisdom, while “Coals Glow” shares a story of stubborn light. Album closer “Rain” features the duo singing in unison, and once again, what begins as embattled pleading and worry unfold into faith and unity.

“The River is Wide” is a stunner with classic bones and modern candor. Daniel got the idea for the song after a vision she experienced while meditating, a practice she’s employed to re-center and heal for years. Building from a subdued reflection over strings to a heart-pounding, tambourine-led chant, the song lays bare the mental and emotional chains trauma leaves behind, which engulf survivors in feelings of self-doubt and insignificance. “My childhood is scarred by severe physical and psychological trauma, and I was enslaved to the things that happened to me when I was little,” Daniel says. “I hadn’t really been able to live my life––suffered from stage fright, zero self-confidence, and self-hatred. I had to reach for something way bigger than I am to get out of that. I had to keep on walking.” With strength and vulnerability, the track epitomizes the entire album’s tender balance of hard times and hope.

Taken all together, the songs on Shine prove that the Danberrys see music as part of a bigger purpose. “My goal in life is to figure out what we are doing here. Why are we here?” Daniel says. “There are a lot of reasons to feel helpless, pointless, and irrelevant in this world. I want people to feel hope when they listen to our music. That’s the reason we do it.”

https://pickinguprocks.com/2020/06/21/weekly-new-wonders-playlist-20-2/

https://www.tennessean.com/story/news/local/dickson/2020/06/19/smithsonian-exhibit-rural-american-history-opening-promise-land/3220757001/

A touring Smithsonian exhibit on rural communities is arriving at the Promise Land Historic Site and provides another reason for Dickson County residents to visit and learn about the history of local African-Americans as well as rural America.

The Smithsonian’s Crossroads: Change in Rural America Exhibition opens Saturday 5 p.m. with a concert by folk musicians from Dickson County, The Danberrys.

“This exhibition will allow people to reflect on the rural cultural history and explore what the future holds for us,” said Serina Gilbert, exhibit planning committee member.

Gilbert noted that Dickson County and surrounding counties are predominantly made up of rural communities and hoped the exhibition would “encourage conversations about what makes our communities unique and where do we go from here.”

Promise Land has a long-standing relationship with the nonprofit Humanities Tennessee organization, which organized the exhibition’s statewide tour. Gilbert said she was eager to be a host site for the exhibit when Humanities Tennessee leadership asked two years ago.

Two of of Promise Land Historic Board Members, Lori Forte and Candi Driver, attended training programs for the exhibition. Gilbert said they were enthusiastic about the event after the training, and Forte has served as the project's coordinator.

The Danberrys

The Danberrys, which is married couple Dorothy Daniel and Ben DeBerry, had been involved with Promise Land in prior years before moving out of the county. Daniel’s family lived on a nearby farm.

Daniel said in recent weeks they had been “actively looking for ways to show up for our Black communities and amplify the message of racial justice in our country.”

“There are a lot of problems in this world, and there are a lot of different ways we can work together to solve these issues,” she wrote in a social media post. “We decided the best place to start, for us, is by supporting the fundraising efforts of the Promise Land Heritage Association in Dickson County, a non-profit historic preservation and community service organization.”

Gilbert said Daniel hoped to contribute a portion of the pre-sales from the Danberry’s new album to Promise Land. During that conversation, the concert for the exhibition was born.

This is the sixth and last stop in Tennessee for the Crossroads: Change in Rural America Exhibition, which will close Aug. 12 and be returned to the Smithsonian.

Tours of the exhibition can be arranged June 20 thru Aug. 12 by appointment.

Organizers ask that visitors bring their own lawn chairs and blankets for the outdoor concert, which starts at 6 p.m.

The Promise Land Historic Site is located at 707 Promise Land Road in Charlotte.

Call or text (615) 707-2130 to schedule appointments or to ask questions. For further details please visit the Promise Land Heritage Association Facebook page. COVID 19 guidelines will be in effect at the premises at the Promise Land Historic Site

http://www.whisperinandhollerin.com/reviews/review.asp?id=15114

Our Rating:8/10 Stars

One of the many delights of HBO's Deadwood series is the music chosen to be played over the closing credits of each episode. This includes swing, folk, blues, gospel and contemporary classics that celebrate the wide-ranging roots and branches of traditional Americana. And this is the self same musical ethos that informs The Danberrys, an Ashville-based husband and wife duo.

Dorothy Daniel's glamorous looks are at odds with the raw authenticity of her vocals. Her voice links very effectively with Ben DeBerry’s robust guitar playing. The sound is electric and twangy in contrast with the acoustic material of their previous three albums.

"We want our songs to be vague enough that they could be interpreted to mean different things", says Daniels although a title like Love Conquers War is fairly unambiguous.

The rousing title track makes for an arresting opening which Daniel, forgetting her pledge to be enigmatic, describes as a daily mantra on how you may "continue to grow and let go of all the things from your past that want to keep you down and keep you from being who you really are in the world”.

Many lyrics apparently touch upon the physical and psychological pain she experienced as a child and the powerful tune The River is Wide ("and hard to cross") alludes most obviously to this trauma.

The record was co-produced by Brian Brinkerhoff and drummer Marco Giovino. The duo also worked alongside bluegrass artist, Jon Weisberger, on a few of the songs.

The collection was recorded at Dagotown Recorders in Boston, MA in three days. Guest musicians include Duke Levine on guitar and mandolin and Darrell Scott, who sings on the album’s first single The Mountain.

The closing tune, Rain, features Daniel and DeBerry harmonising over broader themes of faith and unity. Like most of the tracks, it would not be out of place on the Deadwood soundtrack and anyone who has seen the series knows this is high praise indeed.

https://morningstaronline.co.uk/article/c/album-reviews-june-7-2020

BY KEVIN BRYAN

★★★★

THIS is the third full-length album from Nashville-based Americana duo The Danberrys and a more compelling introduction to the couple’s highly spiritual sound would be difficult to imagine.

Husband and wife Dorothy Daniel and Ben DeBerry were once high-school sweethearts and, although their relationship may have gone through a few understandable ups and downs since those far-off teenage days, the natural empathy which exists between the two performers still informs the deeply atmospheric narratives which have become the Tennessee duo’s trademark, prompting comparisons with illustrious musical forebears such as country legends The Carter Family along the way.

Shine marks a distinct musical progression from its bluegrass-dominated predecessors, with The River Is Wide, The Mountain and the life-affirming title track emerging as three of the most accomplished creations here.

https://northernskyreviews.com/2020/06/02/the-danberrys-shine/

BY ALLAN WILKINSON

From the initial twang of “Shine”, the opening song from Nashville-based duo Dorothy Daniel and Ben DeBerry’s latest album of the same name, we seem to be effortlessly transported to the swampy backwoods of the Deep South, with its dark and atmospheric undertones. The husband/wife team deliver these dark, if at times spirited glimpses of Americana, over a dozen selections, each self-penned, three of which are co-written with Jon Weisberger, with Dorothy’s soulful voice at the fore throughout.text

Recorded in just three days and produced by Brian Brinkerhoff and Marco Giovino, these childhood sweethearts feed off one another’s strengths throughout the record, especially on the album’s first single release “The Mountain”, which features a soulful guest appearance by Darrell Scott. In places, the songs are enigmatic and instil a desire to learn more about the characters and themes, “Francis” for instance, or perhaps “Never Gone”, a song about a friend’s dying father, who seeks forgiveness in his final hour. As a timely follow up to 2016s Give and Receive, Shine maintains a certain vitality and promise for the duo, but I still think the best is yet to come. 3/5 Stars

Choice Track: The Mountain (NSV 502)

https://www.lonesomehighway.com/music-reviews/2020/5/29/latest-album-reviews

BY PAUL MCGEE

Ben DeBerry and Dorothy Daniel grew up in the Nashville area and were childhood sweethearts before parting during their college years, as life pulled them in different directions. Happily, they reunited some years later and eventually married. In 2011 they released a debut 4-track EP and followed that with their self-titled full album in 2013.

Their original folk, bluegrass, old-time country sound began to develop by the 2016 album, GIVE AND RECIEVE, leading to this new release, which certainly highlights a very rounded, mature set of songs. The distinct vocals of Daniel take centre stage and her delivery on the twelve tracks is faultless. DeBerry provides fine harmonies, and their dynamic is clearly evident on the final song, Rain, which deals with dwelling on the positive and keeping the ever-present dark thoughts down.

Indeed, this is a theme that runs through the album with a message of positivity and not letting the hard times sway you from the righteous path. There is a message of hope and spirituality in these songs and the gospel tinged arrangement on The Mountain (Darrell Scott on guest vocal), looks to a higher power and believing in a bright tomorrow. The soulful shuffle of the arrangement hints at a Bonnie Raitt influence, with a Little Feat groove.

The project was co-produced by Brian Brinkerhoff and Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller), who also plays drums, percussion and vibes. He is joined by Neal Pawley (Southside Johnny & the Asbury Jukes) on guitars, trombone, tuba, background vocals and Duke Levine (Mary Chapin Carpenter, Robbie Fulks, Lucy Kaplansky) who contributes on guitars and mandolin. This A-team is anchored by the superb Marty Ballou on upright and electric bass while the keyboard sound is handled by Tom West, with John Deaderick on pump organ.

Adding the talents of Ben DeBerry on guitars and vocals, plus Dorothy Daniel on lead vocals and tambourine results in a heady mix of diverse music and coloured by backing vocals from Amanda Broadway, Vanessa McGowan and Sam Margolis. There is also mention of ‘additional recordings’ by Doug Lancio (Patty Griffin, John Hiatt) and Mikie Martel, two more musicians who add even more to the overall feel and production. With so many heavy hitters turning up, you would expect the bar to be raised quite high and the Danberrys certainly prove to be equal to the challenge.

The title track is a swampy blues number with a message to look for the light and banish the darkness. The guitar sound is vibrant, as it is on the similar blues stomp of The Road. Maddie’s Ghost is reminiscent of a Dire Straits sound and a look back at the past in its ability to stay with us. Holding the Bag and Undertow are songs that look at deception and lies, feelings of being let down, but the life affirming mantra on The River Is Wide to keep on going and never give up, shines through more strongly. This positive stance is mirrored on Love Conquers War which asks us to choose love over hate and Francis is a song that deals with helping each other and not feeling lost and alone.

A very accomplished and confident offering with plenty to appeal to lovers of that rich Americana/Roots sound.

https://slimchanceisback.blogspot.com/2020/05/the-danberrys-shine.html?m=1

Nashville duo The Danberrys - real life couple Dorothy Daniel and Ben DeBerry, which should tell you something about the origins of the band name - have been making fine records for a while already. Their new, third album Shine has recently been released on a limited scale in Europe, and it’s definitely a highlight in their career so far - a record that walks the tightrope between country and folk rock with style. Daniel's warm, smooth vocals are the focal point all the way through, and the equally smooth production manages to raise the temperature even further.

It gives the record a sultry feel that’s a little reminiscent of Chris Isaak’s early work, which sets it apart from many other americana productions in recent years. The majority of these twelve songs are ballads - and there’s some real gems among them - but at the same time they come with an engraved invitation for some slow dancing. That goes for the moody title track as well as for more folky songs like Francis and The River Is Wide. The only song that doesn’t fit the ballad mold is the tight rocker Maddie’s Ghost, but even that one fits in perfectly with the overall feel of the album. All in all, the Danberrys are a class act.

https://www.ruta66.es/2020/05/discomatico/the-danberrys-shine-singular-recordings/

BY EDUARDO IZQUIERDO

Esta pareja de estadounidenses formada por Dorothy Daniel y Ben DeBerry con sede en Nashville nos habían acostumbrado a un sonido acústico que abandonan de manera notoria en este álbum sin que ello los aleje en exceso del sonido de raíces. No hace falta escuchar mucho par a darse cuenta que han añadido a su habitual propuesta sonidos más cercanos al rock y al blues eléctrico. Para ello han contado con el productor Marco Giovino (Buddy Miller, Band of Joy) que ha entendido perfectamente la evolución que el dúo le pedía para sus canciones, algo que explican a la perfección declaraciones como estas: “Shine representa un cambio importante en nuestro sonido, alejándose de nuestro pasado acústico mientras permanece arraigado nuestro amor por la canción y el ritmo. Al aventurarnos fuera de nuestra zona de confort, sonoramente y en cuanto al proceso, pudimos hacer un disco orgánico que nos entusiasma que todo el mundo escuche” . Con ellos ocupándose de todas las canciones no dista mucho la lírica de este trabajo de la apuntada en su exitoso Give and Receive (2016), aunque quizá haya algo más de madurez en su forma de encarar los textos. Buen paso adelante.

https://takeeffectreviews.com/may-2020-1/2020/5/11/the-danberrys?fbclid=IwAR1_uQR4wzYSfaplpegyvPKYDufERItsVraEMiLbyv4Xj9UOO5-IyB88Unw

8/10

A Nashville husband and wife duo with a penchant for acoustic sounds, this 3rd album has The Danberrys hitting a career high as they spread their wings into rock, blues and folk territory with the aptly titled Shine.

The pair start the album with the title track, where blues guitars and a hazy atmosphere align with Dorthy Daniel’s soaring pipes, and “Holding The Bag” continues the landscape with shimmering melodies amid the cautious delivery.

In the middle, “The River Is Wide” benefits greatly from playful tambourine as the tune builds into a lush pop-rock anthem with some funk, while “The Mountain” is pure power and melody with expressive singing from Darrell Scott. “Love Conquers War”, one of the album’s best, then offers dynamic instrumentation in a charming, sublime execution of rootsy sounds.

Near the end, “Maddie’s Ghost” moves with a swift pace of warm rock’n’roll, and “Rain” exits the listen Ben Debarry’s strong pipes complementing Daniel on the gorgeous duet.

DeBarry and Daniel create a timeless brand of Americana here, where brass, mandolin, and upright bass from their very capable band help illuminate these tunes that you won’t forget anytime soon.

Travels well with: Sons Of Bill- Oh God Ma’am; Lindsay Lou- Southland

BY TERRY STAUNTON

7/10

Country couple's detailed portraits of troubled lives

The Nashville-based husband-and-wife duo of Dorothy Daniel and Ben DeBerry have been fashioning vividly drawn Americana since 2013, and this third full album finds them venturing into deeper, darker chambers of the heart. "Never Gone" tells of a man admitting to lifelong selfishness on his deathbed, thus hurting his family one last time, and "Holding the Bag" maps the uncertain road ahead for a woman who's finally broken free from a controlling beau. The centrepiece is, perhaps, "The River is Wide". with Daniel examining the psychological scars of her own traumatic childhood in a fine balancing act between hard times and hope.

https://americansongwriter.com/the-danberrys-bring-shine-during-dark-time-with-new-album/

BY BRAD CURRY

During a time of such uncertainty and feeling of hopelessness, it’s important to have those close to you surrounding you to ease these feelings. For husband and wife duo The Danberrys, this is a pretty easy feat, considering they spend the majority of their time making music, most recently completing their new album ‘Shine,’ which is being released July 24th in the United States.

This togetherness that the married duo portrays comes without thought but it hasn’t always been easy. “We met in choir in high school but we broke up so all I did for basically 5 years was wrote sad songs on my guitar.”

While the two have obviously fallen back in love, they still have a very different relationship than others. “Being married and performing together was fun at first but when you live with bandmates, it sometimes feels more like work.”

While it may not always be smooth sailing, there’s no doubt that the two create great music. This new album is one that came about through a little bit of luck. “As a musician, you dream of this philanthropist helping you and appreciate what you do and this happened. We were playing a fest in East Tennessee and their happened to be a guy from California that was watching us and he asked the guy who runs the fest if there were any bands that he needed to watch out for and he got the call and really liked our music and wanted to record a record. We were skeptical at first and but asked around and found out he was awesome” says Dorothy.

Through this creation process, they got to work with one of their heroes Marco Giovino, who helped them see a new vision in this record. “We were originally going to do it as a stripped down record but as Marco came on board, we were able to create something bigger and take a different path from the sound we had on our other records.”

2020 has not been easy for any of us, particularly Nashvillians, including The Danberrys, who live in one of the hardest hit areas in the Nashville areas. They are now going through a different setback thanks to the COVID-19 outbreak that has overtaken the entire world. Instead of playing on stages across the country, they are playing from home via livestream shows. While it’s not nearly the same sort of rush as a real show, Dorothy says that it has some benefits. “One really cool thing about all this is the fact that our international fans can now see us live whenever they want to!”

The Danberrys new album ‘Shine’ will be available everywhere in the United States on July 24th.

http://www.ilpopolodelblues.com/wp/2020/05/the-danberrys-shine/?fbclid=IwAR0JpYdQ380aXA6_r7JmTX4uY6hsuYDA8is5aQdoB_h7pjUkZ3N8OsYjc04

BY MICHELE MANZOTTI

La proposta del duo di Americana formato da Ben DeBerry (chitarra e voce) e Dorothy Daniel (voce solista) guarda oltre di Nashvile, dove la formazione è di base. Guarda più a sud per alcune sonorità tex-mex, swamp o southern rock, Oltreoceano per momenti folk, ma anche ad altre realtà urbane (East Coast) per la cura nella scelta degli strumenti. D’altra parte Shine è stato registrato proprio a Boston dove il duo ha portato la sua storia musicale. Nonostante il titolo, l’album propone un’atmosfera malinconica se non dark in alcuni punti. Ma non per questo i brani mancano di vivacità ritmica e invenzione melodica con i due che si completano a vicenda, affiancati da ottimi musicisti. Un buon album dove evidenziamo la traccia titolo, la ballata Francis, Never Gone, il ritmo di The Mountain (forse il brano migliore), Love Conquers War. Se la prossima volta il duo ci regala un disco più solare ci conquisterà definitivamente.

https://www.musiccrowns.org/new-music/shine-entertains-us-with-guitar-riffs-a-catchy-tambourine-and-inspirational-lyrics/

The Danberrys are a married couple from Nashville, Tennessee.

The duo have been on the music scene since 2010, at the start of their musical journey their songs had a blue grass feel to them but the most recent release is more rock / americana.

‘Shine’ entertains us with guitar riffs, a catchy tambourine and inspirational lyrics delivered by Dorothy Daniel and her country themed vocal performance.

http://www.maximumvolumemusic.com/review-the-danberrys-shine-2020/

BY ANDY THORLEY

Sometimes, I feel it’s my duty on the reviews that I write on this website to tell you the truth.

“Shine”, is the third full length album by Nashville duo The Danberrys.

The band is a husband and wife team Dorothy Daniel and Ben DeBerry and this record is a move away from their traditional acoustic feel to a more fully fledged sound to capture elements of rock, blues, and folk, venturing into a darker atmosphere.

That’s what normal reviews say, right? That’s the sort of thing? And you think: “crikey, the writer knows his stuff,” don’t you?

Here’s the truth. Half of the time, I know that stuff for real. There are bands that I review on this site that I would back my knowledge against anyone’s. The rest of the time, I use material like that above, which is provided for me.

So, here’s what I know, and we’ll start from there, shall we? “Shine” is brilliant. Genuinely superb.

That’s about it, for now. The rest we’ll get to.

The opening title track is primal in a way that only two pieces can do, some fabulous blues guitar, but crucially, incredible percussion from co-producer Marco Giovino (who gets bonus points for working with Buddy Miller) and he ensures the sound is just the right side of raw.

The band who write all 12 tracks (bluegrass royalty Jon Weisberger gets a co-write on three), are masterful, poetic storytellers. The imagery on “Holding The Bag”, together with the interesting instrumentation, is typical of what they do.

A word too, for Daniel’s voice. Rich and soulful, it conveys the emotion on the likes of “The Road” brilliantly. There is just a hint of the blues of desperation here, the outsider, and an us against the world feel. It suits them.

However, they are just as adept at the floating, more ephemeral sort of track too. “Francis”, seems to float in and out, and it is a mark of the interesting nature of the band generally, but this album in particular that Daniel sings the lyrics from a male perspective with no issue at all.

Those who have loved – as I have – Mark Knopfler’s more recent bluesy shuffles will find much to enjoy in the more folk elements of “Never Gone”, and as often on this type of Americana crossover, the landscape is used to superb evocative effect in “The River Is Wide”, and it gets somewhat funky too, which is a segue that you perhaps didn’t expect.

Although the band is built around the core pair, there are many special guests in this ensemble cast. Perhaps the best of these is the vocals of Darrell Scott in “The Mountain”. His cameo is understated, yet totally effective. Indeed, that is an epithet you could apply to the whole album.

The acoustic driven “Undertow” is underpinned by it’s bassline and the slow, southern drawl of “Love Conquers War” is a real highpoint. The sort of traditional sounding thing that is still as laid back and fresh as can be. There are many catchy hooks on “Shine” this is maybe the best, and the harmony line that Daniel finds can only be described as lovely.

Without doubt this is a labour of love, of course. But the real skill is that it sounds effortless. “The Coals Glow” is a case in point, and an album that takes many twists, turns and possesses many surprises, has another with the almost rock n roll strain of “Maddie’s Ghost”. The tale of “a good girl in a bad world doing bad things” suckers you in, as so many do on this most compelling of things.

“Rain” is beautifully delivered, a duet, with DeBerry taking the centre-stage for the only time with Daniel harmonising and the percussion rumbling, as if to indicate the storm. The overall affect is one something akin to the equally beguiling recent Harrow Fair record.

“Shine” does just that, and stands apart from the competition by having a wonderful, almost wilful outsider streak, as befits such a bold reinvention as this one. And that, I promise you, is the whole truth.

Rating 9/10

https://www.folker.de/rezis/rezensionen.php?ausgabe=202003&region=in

BY MARTIN WIMMER

"Take a hand, be a friend, / It all begins when we put an end to the hate that we create / While enslaved to the way of men.“ Americana auf der Höhe der Zeit liefern Sängerin Dorothy Daniel und Gitarrist Ben DeBerry Nashville nicht nur im Albumhighlight „Love Conquers War“. Neben der schwungvollen Gospelhymne überzeugen auch die restlichen elf energischen Tracks. Koproduziert wurde die vierte Scheibe des verheirateten Duos von Marco Giovino, der auch exzellente Drums und Percussion beisteuert. Zum ehemaligen Mitglied von Robert Plants Band of Joy passt als Gastsänger auf dem ebenfalls mit stark religiösen Untertönen aufgeladenen „The Mountain“ auch dessen Weggefährte Darrell Scott. An Plants dunklen Folkrock mit Patty Griffin, die elektrisch-bluesige Seite von Lucinda Williams, die souveräne Klarheit von Rosanne Cash und die elegischen Cowboy Junkies erinnert das. Beste Referenzen. Und nicht vergessen: „Hand in hand, every man, all is one, we shall overcome!“

https://folkandtumble.com/audio/shine-the-danberrys/

BY GERRY MCNALLY

Husband and wife team Dorothy Daniel and Ben Deberry are best known for their old world, acoustic, Americana folk music heavily influenced by the style of the Carter Family. Their third album 'Shine' finds them taking their influence from a more Southern blues base resulting in an exciting new electric sound.

‘Love Conquerors All’, ‘The Mountain’, ‘The River is Wide’, and ‘Rain’ are replete with the influence of old time Americana spirituals and sound as if the lyrics were lifted straight out of The Great American Songbook.

‘Shine’ – with searing blues guitar and soaring vocals is song that carries an upbeat message of striving against adversity – quickly sets the tone for the rest of the record. In a similar vein, ‘The Road’ is also imbued with an inspiring message to never give up.

Co-produced by Marco Giovino (Band of Joy, Patty Griffin, Buddy Millar), the album was recorded in Boston at Dagotown Recorders. Working together as a band, most of the sessions were recorded live in the studio with guest contributions from Duke Levine and Darrell Scott. The resulting mix perfectly captures the energy and feel of the sessions beautifully blending acoustic and electrics instruments together in unison within the melodies.

Melodic harmony soaked country rockers, ‘Never Gone’ and ‘Undertow’ deal with classic themes of loss, hurt and repentance.

With ‘Shine’, The Danberrys have taken a bold step in embracing a new electric sound that mixes the blues with Americana and old time spirituals. The resulting record is an upbeat inspiring listen that shines like a beacon of hope in dark times.

https://rockingmagpie.wordpress.com/2020/05/08/the-danberrys-shine/

The Silky Smooth Essence of Darkly Romantic Americana

Although this is their third album I’m not sure I’ve ever heard of husband and wife duo, The Danberrys, but you know me ……. nothing if not open minded and musically adventurous.

YEE and indeed HAW!

Dorothy Daniel hadn’t even opened her mouth when I knew that this album was going to be right up my metaphorical street! Ben DeBerry’s hauntingly strummed guitar made my head pop up like a meerkat; but when Dorothy’s smoky and ethereal vocal slid in like Spring mist I couldn’t do anything other than sit back in my chair and let it all sink in for the next forty plus minutes; without moving an inch.

I-Tunes dubbed this Americana/Blues when I downloaded the CD to my laptop; and I can’t totally disagree, but even that description doesn’t come close to what you actually hear, here. There’s as much Country and Folk as there is anything else, with The Road and Never Gone evoking memories of both Linda Ronstadt and Emmylou at times; but Rain is beautifully harmonious Hill Music that will send a shiver down your spine.

There’s even a Guest Singer in the mix too; none other than Darrell Scott who joins Dorothy on The Mountain which at only four minutes long, has all the hallmarks of an Epic Story; and I’m sure can be stretched out on stage, with even more evocative guitar playing and intense drumming.

I’m still at the stage where some songs are unravelling to reveal hidden depths (Love Conquers War?) and others have already left me marvelling at not just the storytelling (Maddie’s Ghost) but also what a truly special voice Dorothy Daniel has and certainly knows how to use it to entrap unsuspecting listeners (The River is Wide & The Coals Glow?).

Which brings me to choosing a Favourite Song. Perhaps I should close my eyes and just stick a pin in the track list on the back cover; but I like to give the illusion of being more professional than that (which will make some people laugh!) so I’m finally selecting the shimmering Holding The Bag which is perhaps the most ‘Folkish’ of everything here; but in a true Country-Folk manner, combining a heartbreaking tale with evocative singing and a perfectly subtle accompaniment from the musicians in the background.

SHINE certainly isn’t a ‘concept album’ in any shape or form; but ………. the way the moods change from song to song in the character driven stories give you the sense that the couple have sequenced the tracks in such a way, as to make you feel that you are joining them on an emotional journey from somewhere to here.

https://www.folkradio.co.uk/2020/05/the-danberrys-shine/

BY BOB FISH

There’s a scent of snake oil and elixirs to Shine by The Danberrys. It’s a collection haunted by ghosts. The music feels as though it was born in the swamps, even though residing in Nashville puts Dorothy Daniel and Ben DeBerry a far piece from the snakes and gators. Yet, rather than being a transitional work, Shine is the sound of a band that understands exactly how their sound is evolving.

For a couple with thirteen years of marriage under their belts, they are rediscovering who they are and what makes them tick as a band. Rather than being confined to any one box or category, they fill in several boxes simultaneously. For the first time, they are writing together as a duo. The results expose Daniel and DeBerry as a duo breaking loose of the shackles that come with writing in a vacuum of individuality. They discovered, “Writing is healing – a great purging of the emotions.”

Shine sounds as if it emerged from the delta, a bluesy blast of slide and raw emotion about learning to let go of the ties that hold you back. “You left me here all alone down in the dust feeling my bones. Cut so deep that I can’t see the sizzle of pain pouring out of me.” With the bass drum echoing and backing vocals almost sounding like a siren deep in the mix, The Road suggests there are some things that just have to be done, like it or not, “Nobody’s going to listen to me, nobody’s going to turn their head to see, cause I’ve got no business talking anyhow.”

Their relationship has had its fair share of ups and downs. The couple began dating in high school, breaking up two years into college. Just before the breakup, Ben gave Dorothy a guitar. As she relates, “I was left with a broken heart, a guitar and three chords. So, I just started writing – mostly sad songs about Ben.” With the two writing together, the subject matter has changed a bit, yet there is still plenty of emotion. The evidence is displayed on The Mountain. Amidst the slide guitar barrage, the vocals of Darrell Scott and Dorothy intertwine gorgeously as the song ends.

Today, snake oil and elixirs have been replaced by three chords and the truth. Thanks to The Danberrys, the future is in good hands, hands that understand how to make steel sing and songs that are a salve for broken spirits. Shine does just that, providing a wellspring of hope during trying times.

https://www.messengernewspapers.co.uk/leisure/18434036.music-reviews/

BY KEVIN BRYAN

"Shine" is the third full length album from Nashville based Americana duo The Danberrys , and a more compelling introduction to their highly spiritual sound would be difficult to imagine. The husband and wife pairing of Dorothy Daniel and Ben DeBerry were once high school sweethearts and the natural empathy which exists between the two performers helps to inform the deeply atmospheric narratives which have become the Tennessee duo's trademark, prompting comparisons with illustrious musical forebears such as country legends The Carter Family along the way. "The River Is Wide," "The Mountain" and the life affirming title track are three of their most accomplished creations here.

https://americanahighways.org/2020/05/06/review-the-danberrys-shine-is-wonderfully-diversified/?fbclid=IwAR0-brNKbInobB4UTZnzgFVa6YmybBcEPHM3jmBLF_Ow9KB7CtyAmA2RvFI

BY JOHN APICE

Nashville-based husband & wife duo Dorothy Daniel & Ben DeBerry (The Danberrys) began as an acoustic team but their 3rd LP sharpens their edges & toughed their showcase on Shine (Drops May 8 – Singular Recordings).

Lots of wonderfully diversified song ideas, albeit based on musical roads walked by many. Instantly likable is “The Road,” which reminded me of the intonation of New Zealand’s alt-country singer Donna Dean’s (“Rain Fall Down” among others).

But while I find Dorothy’s vocals smooth there is a single word that vocally could be improved & pronounced better. More of that later. As for her performance, Dorothy’s tonality is impeccable. At times, she could be even more contrasting (as Donna Dean does) with some vocal aggression.

“Never Gone,” has an infectious melody. Ben (guitars/vocals) allows Dorothy the center ring & while her vocals are not too smoky, not too high, it sparkles. While she’s not yet a Sandy Denny or Annie Haslam, she has the marzipan sound of Jennifer Warnes, Linda Thompson, or Christine McVie.

The band: Marco Giovino (co-producer/drums), Neal Pawley (guitars, trombone, tuba, bv), Duke Levine (guitars, mandolin), Marty Ballou (upright & electric bass), Tom West (keyboards), John Deaderick (pump organ), Amanda Broadway (great name), Vanessa McGowan & Sam Margolis (bv).

Darrell Scott guests on the beautiful shuffling “The Mountain,” & his soaring vocals compliment Dorothy’s dynamic performance. Falling back into a more pensive voice Dorothy is exceptional on the darker “Undertow.”

With all songs written by the duo, they offer a wealth of styles: rock, folk & alt-traditional. “Love Conquers All,” “Holding the Bag,” Both well-constructed catchy melodies. “The Coals Glow,” played refined, unimposing with clarity & proficiency.

Adding a pinch of J.J. Cale musicality possibly comes with “Maddie’s Ghost,” a Cale style guitar strides along in a typical Oklahoma blues tradition. Dorothy proves she’d be an effective blues stylist. Concluding with “Rain,” the duo approaches The Rankins, & the amazing & creative inter-vocalizing style of 60s duo Lyme & Cybelle (“Follow Me” – Lyme was the late Warren Zevon). The unified vocal is like syrup on buttermilk pancakes. Beautifully performed.

Criticism: Unless it’s for vocal effect on “Shine” the singer should always go for the vowel to hit notes (at least that’s what I was taught). Singing “A” or words that begin with “a” it’s not pronounced like the first letter of the alphabet. That can be a distraction. Add polish: it’s pronounced “uh” as in: “uh-way,” “uh-lone” or even “yes-ta-day,” as opposed to “yester-day” — no hard r’s. I noticed it more than once. Minor flaw.

Overall, the songs are indeed always sung very well.

The CD artwork does not justify the music. The stitched insert is well-designed, but the front CD art poorly represents the songs contained. That colorful well-rendered kaleidoscopic artwork is meaningless to the music.

The 48-minute, 12-track CD was Produced by Brian Brinkerhoff & Marco Giovino. Available at the website. https://www.thedanberrys.com/

https://rootstime.be/index.html?https://rootstime.be/CD%20REVIEUW/2020/MEI1/CD5.html

BY DANI HEYVAERT

Het is niet voor het eerst dat we het in deze kolommen over het echtpaar Dorothy Daniel/Ben DeBerry hebben: dit is immers hun vierde plaat en in het verleden kwamen ze hier telkens aan bod en schreven drie verschillende recensenten in de meest lovende bewoordingen over het koppel, dat hun beider namen tot bandnaam liet versmelten.

Ik denk, na zeer ampele beluistering van deze nieuwe plaat, dat ik niet degene zal zijn, die de lijn van positieve commentaren zal verlaten: dit is namelijk opnieuw een bijzonder fijne Americana-plaat geworden, waarin het koppel nog maar eens aantoont dat ze samen de knapste melodieën kunnen bedenken en dat ze bij machte zijn die melodieën te koppelen aan hoogst interessante teksten die misschien niet altijd de meest optimistische zijn, maar die wel handelen over dingen en situaties waarvan je aanvoelt dat zij -beiden samen of één van hen- ze ook echt hebben beleefd.

Deze songs handelen dus over De Dingen Des Levens en, zoals we intussen allemaal weten, is de kans klein dat zulks neerkomt op rozengeur en maneschijn. Daarnaast stel ik vast dat het duo voor deze plaat een hele stap weg gezet heeft van de sound die we van hen gewoon waren en die in het akoestische folkidioom onder te brengen was. Op de nieuwe plaat, die trouwens een heel doorleefde live-sfeer uitademt, wordt er bij momenten stevig gerockt, wat de formidabele stem van Dorothy nog meer dan anders de kans geeft om te schitteren. Die stem, ergens tussen Stevie Nicks en Nathalie Merchant in, zal wellicht altijd een van de voornaamste attractiepolen van de muziek van het duo blijken te zijn en ergens is dat een beetje jammer, want de kwaliteit van de songs, de sterkte van de arrangementen en de samenzang van man en vrouw dreigen daardoor een beetje ondergesneeuwd te raken, wat ik bijzonder jammer zou vinden, nu ik een aantal keren het afsluitende “Rain” gehoord heb, al os die song allerminst het enige hoogtepunt op een plaat die bulkt van de knappe verhalen die vaak in een waas van droefenis beginnen, maar steevast hoop en licht in zich dragen.

De inbreng van de onovertroffen Darrell Scott op “The Mountain is een regelrechte treffer, net zoals het fraaie gitaar- en mandolinewerk van Duke Levine, een sessiemuzikant, zoals alleen Nashville ze kan voortbrengen. Dat kun je de hele plaat lang horen, al zijn er toch een paar nummers die er voor mij bovenuit steken: “Holding the Bag”, bijvoorbeeld, een hartverscheurend mooi lied over lijden en afzien en “The River is Wide”, een nummer dat tijdens een meditatiesessie geboren schijnt te zijn en dat op de plaat uitgewerkt wordt tot een heuse “chant” over de sporen die een onheuse behandeling in de kindertijd op mensen kan nalaten.

Naar ik begrijp, werd de hele plaat in nauwelijks drie dagen ingeblikt en dat vind ik redelijk straf, temeer omdat je de hele tijd het gevoel hebt naar een band te luisteren, die danig op elkaar ingespeeld is. Natuurlijk: de goeie sessiemuzikanten groeien in Nashville aan de bomen, maar ook zij kunnen slechts een puik resultaat als dit neerzetten op voorwaarde dat de aangeleverde songs de nodige kwaliteit hebben. Samengevat: The Danberrys leveren met voorsprong de beste van hun vier platen af en danken dat in grote mate aan de stap die ze richting rock gezet hebben. De weg naar het heuse meesterwerk lijkt open te liggen!

http://www.fatea-records.co.uk/magazine/reviews/TheDanberrys/

BY MIKE DAVIES

Their first since 2016's Give and Receive, Nashville duo Dorothy Daniel and Ben DeBerry frame the album with tracks titled 'Shine' and 'Rain'; see what they did there. Marco Giovino in the producer's chair, it's evident from the opening that there's been a musical shift and that old bluegrassy sound has transitioned into something tougher and harder, the title cut being a steady bluesy stomp that calls to mind the snarly prowl of Neil Young's 'Ohio' on a song, drawing on gospel-like lyrics, about finding a way out of the darkness. Giovino providing puttering drums and vibes, 'Holding The Bag' is a musically lighter but still moody piece and again anchored on a lyrics about being abandoned ("standing in the middle of the pieces of a broken life") and left carrying the weight, leading into the loose limbed Southern bluesy guitar groove and clangy percussion of 'The Road', one of three co-writes with bluegrass songsmith star Joe Weisberger.

A multi-character confessional sung by Daniel in the voices of those left alone, including a child refugee, 'Francis' is a slower curl through blues and soul that has hints of Gillian Welch to it while on the walking beat and desert twang 'Never Gone' she adopts the persona of a selfish man seeking forgiveness based on a friend's father who, battling a chronic illness, broke his family's hearts by choosing to say goodbye on his own terms.

Initially sparse and spooked before gathering pace, 'The River Is Wide' provides the centrepiece, a song about the mental and emotional legacy of physical and psychological trauma and, once again, about finding a way to rise out of the darkness it brings. It's followed, in turn, by the funky rhythm title track, Darrel Scott providing harmonies behind Daniel's gospel-infused vocals as she sings about looking for something to hold on to and help climb life's steep path.

'Undertow' (a song about being brought down by a faithless lover, a hungry ghost) rides a tribal thump drum beat and a kind of swampy, bluesy Stevie Nicks groove before positivity shines its light with the mid-tempo crowd swayer 'Love Conquers War' ("teach the young to live without/Our fathers' sins"). There's more of a familiar twangsome country sound and chug to 'The Coals Glow', a narrative about a restless soul ("two eyes looking out from a runaway train") while another familiar musical note's struck on Maddie's Ghost ("she's just a good girl, in a bad world, doing bad things") except this time it's a Mark Knopfler guitar riff.

And so, they end with the fingerpicked 'Rain', DeBerry's vocals finally to the fire with his wife harmonising, the drums thumping and Duke Levine on mandolin as they sing "we all fall down" but "making a joyful sound". Shine on.

https://folking.com/the-danberrys-shine-singular-recordings/

BY BILL GOLEMBESKI

The Danberrys’ Shine is filled with spooky Americana old time medicine show stuff. This record carves a deep wagon wheel groove, like (the world famous!) Hamlin’s Wizard Oil Company, who brought music and happy times to the masses, and also sold its Wizard Oil, an alleged cure for just about everything.

Well, there’s musical elixir in these tunes, too.

Apparently, this is a departure from a previous acoustic sound. Well, as Arthur ‘Big Boy’ Crudup sang, “That’s All Right” because Shine pulses with Americana dust, which is eerie dust, tumble weed dust, ghost town dust, Turkey Scratch, Arkansas dust, Mark Twain dust, and Moon landing dust. And because of democracy, it’s all about the very same and equally melodic dust.

The title track bounces with Bayou charm, and it’s really nice to know the sound of John Fogerty’s “hound dog chasin’ down a hoodoo” is still alive and well. And thank you to Marco Giovino for his dancing duppy drumbeat.

‘Holding The Bag’ lightens the weight but deepens the depth. An accordion exhales the tune while Dorothy Daniel’s vocals soar like a really decent prayer dipped in okra gumbo.

And then Ben DeBarry ups the raunchy guitar dial on his amp, and ‘The Road’ spits and stings like the wicked words of an Eden serpent’s temptation. Good rock ‘n’ roll always gifts forbidden fruit with a seductive melody.

A point of reference: Fans of Kasey Chambers and Shane Nicholson’s brilliant Rattlin’ Bones will find this album has more Appalachian soup beans, cornbread, and chow chow. So sure, as Elvis Costello sang, “blame it on Cain”, Shine thumps the Bible with well-worn and wearied tears.

There’s more Americana vernacular: ‘Francis’ slows the pace with a spiritual confession that begs for humanity’s “halo of silver and gold” and really does approach the soulful music of The Band’s ‘Unfaithful Servant’. And ‘Never Gone’ goes further into the waters of contrition. ‘The River Is Wide’ is slow and intense and bubbles with the trauma paid to Charon for a dark ride. The soulful pulse continues with ‘The Mountain’. This one slips with funky roots, a nice slide guitar, and Darrell Scott’s very excellent background vocals. ‘Undertow’ oozes more tough bluesy stew.

And then there is a bit of obvious optimism: ‘Love Conquers War’ is drenched with melodic hope. It’s always a good thing to toss a hopeful coin into any turbulent river. A lot of people should sing this song. It’s a nice respite. ‘The Coals Glow’ slides with the personification of “stubborn light”. ‘Maddie’s Ghost’ gets all Dire Straits brisk with a breeze of a tune.

The final song, ‘Rain’, is quick and acoustic with Ben DeBerry on joint lead vocal with wife Dorothy (more of that, please!).

So, yeah, prayers and okra gumbo, indeed! But there are stories here, stories of sorrow and stories of faith. And there’s deep spirituality, too. But, as Walt Whitman said, “I hear America singing”, and Shine sings with grooved Hamlin’s Wizard Oil Company’s medicine show music, which is always ready for a certain rock ‘n’ roll Americana tug at any forbidden tree fruit watered with that Wizard Oil magical and musical elixir cure.

http://www.keysandchords.com/album-review-blog/the-danberrys-shine

BY MARINO SERDONS

Ben Deberry en Dorothy Daniel schitteren op hun nieuw americana album. Met ‘Shine’ , hun vierde album, overstijgt het duo uit Nashville definitief de middelmatige massa. Om de sound te onttrekken van de usual country folk, trok het echtpaar van het zuiden naar Boston in het Noorden. Op drie dagen werden twaalf nieuwe songs ingeblikt met een live fullband in de studio. Ondanks de droefheid en harde realiteit zit er grote openheid, spiritualiteit en positivisme verborgen in hun liedjes. Opener én titelsong ‘Shine’ zwalpt op Dorothy’s indringende voice en Ben’s melodieuze (Fender)-gitaar: een dagelijkse mantra als het ware - er is altijd licht na de duisternis. De songs beklijven door een mooie balans tussen gitaar en stem, en vooral hun herkenbaarheid én originaliteit. Sferische melodieën en soft sentiment ontrekken zich aan de klassieke countrystijl. Naar het einde komt de pure country roots wel even explicieter bovendrijven, doch met een hedendaagse twist in muzikale gelaagdheid (‘Maddie’s Ghost’). En ‘Rain’ trommelt als een native folk song op onze hoofden. Een knap einde voor een prachtig album in een schitterend hoesje mét lyrics.

Om het cru te stellen: ‘Shine’ wordt één van de weinige americana/country albums die definitief in mijn collectie blijven. Ik herhaal, dit wordt….kom, speel dit album nog eens…echt moooiii!

One of the best americana albums I ever heard: original, moody, and groovy, endless beautiful and timeless.

https://spirit.rocks/2020/04/28/roots-in-may-2/

BY DAVID PEARSON

A husband and wife duo, Dorothy Daniel and Ben DeBerry were high school sweethearts, then split and used that time to hone their musical craft. Dorothy writing music and Ben performing, before uniting in 2006. In 2011, they officially became The Danberrys with the release of the Company Store EP. In 2013, they released their first full-length album of pastoral blues, robust folk, solid Tennessee roots.The 2016 LP Give & Receive
earned more acclaim, and the pair’s fourth album now takes them from their signature acoustic sound to capture elements of rock, blues, and folk, a darker atmosphere to showcase their original songs.

Guest musicians featured on Shine include Duke Levine on guitar and mandolin and Darrell Scott vocals on the album’s first single ‘The Mountain ’. The title track has gloriously moody, guitar-punched swagger. ‘Holding the Bag’ has a sorrowful lightness and storytelling charm. Overall there’s the slightest essence of Lyndsay Buckingham, possibly enhanced by Dorothy’s smokey vocals. An air of sadness is assuaged by life-affirming themes on a thoughtful album of faith and unity. Solid.

http://musicriot.co.uk/album/shine-the-danberrys/

It’s time for the third Danberrys (Dorothy Daniel and Ben DeBerry) album, “Shine”. The Nashville duo has taken four years over this piece and it’s a marked departure from their more acoustic Americana sound. Just a quick look at the album credits tells you, in addition to the usual guitar, mandolin and even pump organ, there’s another palette of sounds created by the addition of trombone, tuba, vibes, drums and percussion, the last three contributed by co-producer Marco Giovino. The innovative way percussion is used throughout the album is a clear indication of the involvement of drummer on the production team. The instrument tally on the album is impressive, but they’re used sparingly in a minimal and stark production. And let’s not forget the superb vocals, harmonies and counterpoint.

The album’s opener “Shine” sets the tone, building from a sparse primal rhythm to a brooding, supernatural mantra. The message is that we have to continue to shine a light to penetrate the darkness that surrounds us. There’s a melancholy thread that runs through the album although the message is ultimately one of hope; from “Shine” and the simple, folky “Love Conquers War” which references the protest movement and hammers the message home with the final line, ‘We shall overcome’, and the uplifting exhortation to self-belief of the Bo-Diddley-inflected “The Mountain”. The variety of the arrangements means that there aren’t too many reference points, although “Undertow” does hint at Fleetwood Mac.

The lyrics are interesting; they’re very subtle and they’re more about pointing you in a certain direction and allowing you to make your own interpretation. Although there are repeated references to darkness and dying, the album ultimately feels like a positive experience.

“Shine” is a compelling and haunting set of songs with innovative arrangements which holds your attention throughout with its stark intensity.

And here’s a bit of trivia for you. The person playing guitar, trombone and tuba is Neal Pawley, trombone player with Southside Johnny and the Asbury Jukes and Southside’s Americana project, The Poor Fools.

“Shine” is released in the UK on Friday May 8th on Singular Records.

https://johnnysgarden.nl/shine/

De recensies die ik schrijf zijn amper serieus te noemen. Ik schijf primair vanuit het middenrif. Probeer er niet te veel bij stil te staan, gewoon in the blind gaan en luisteren, iedere keer opnieuw, en je daarbij afvragen doet dit iets met mij? Iets zeggen over Shine schoot bijna in de verdrukking. Niet omdat deze plaat mij niet bevalt, maar omdat ik in een luxepositie verkeer. Andere plaatjes dringen minstens zo gretig om nader gehoord te worden. Cd van ene Ben Kunder bevalt mij alvast erg goed, en ook het laatste album van Bart Budwig wil ik nogmaals beluisteren, evenals die van Lucinda Williams. Alles tegelijk gaat helaas niet dus duw ik Jason Isbell, The Dream Syndicate en Laura Marling nog iets verder naar voren.

The Danberrys zijn Ben DeBerry en Dorothy Daniel. Qua klankkleur doet Dorothy mij denken aan Karen Bergquist, zangeres van Over the Rhine. De muzikale inkleuring kent vergelijkbare overeenkomsten, mogelijk dat the Danberrys net een fractie meer rauw zijn. Twaalf door het echtpaar geschreven songs haalden dit album. Twee daarvan kwamen tot stand tijdens hun tour door Verenigd Koninkrijk en Nieuw-Zeeland met Blue Grass muzikant Jon Weisberger.

Nadat de basis van de nummers gestalte hadden gekregen werd producent annex drummer Marco Giovino bij het project betrokken en werd Shine verder aangekleed. De eerste single die van dit album vrijviel was Mountain. Een leuke stimulerende song met gastvocalen van Darrell Scott, terwijl Duke Levin zijn talent als gitarist en mandolinespeler ter beschikking heeft gesteld. Hun album Give and Receive uit 2016 was met stille trom aan mij voorbijgetrokken. Het is niet anders. Niet alles kun je volgen. Echter wanneer je net als ik probeert selectief te zoeken binnen de vloedgolf aan muziek die over ons wordt uitgestrooid, vis dan deze van The Danberrys er voor de aardigheid tussen uit. Shine schijnt, schittert, en is gemaakt met alle eerlijke intenties. Niet wereldschokkend, maar gewoon een erg lekker in het gehoor liggend plaatje.

http://www.lonestartime.com/2020/04/the-danberrys-shine.html

BY REMO RICALDONE

Il duo The Danberrys, formato da Ben Deberry e da Dorothy Daniel, ha base a Nashville ed è al terzo disco, co-prodotto a quattro mani da Brian Brinkenhoff, già con Malcolm Holcombe e Van Morrison tra gli altri e Marco Giovino, batterista con una notevole esperienza alle spalle con Patty Griffin, Buddy Miller e i Band of Joy. “Shine”, come si arguisce dal titolo, splende di luce chiara e cristallina grazie ad una musicalità e ad uno script decisamente intriganti, frutto di una lenta ma costante maturazione che ha portato i Danberrys a rappresentare al meglio quel suono che comprende un po’ tutte le influenze roots, dalla country music al rock passando per blues e folk, catturando benissimo lo spirito un po’ dark’ delle terre a sud della linea ‘Mason-Dixon’. Spiccano in queste sessions, avvenute in soli tre giorni in quel di Boston, Massachussets, le chitarre di Duke Levine, straordinario musicista che ha base proprio da quelle parti, una sezione ritmica sempre precisa e dal suono spesso volutamente ‘sporco’ con il citato Marco Giovino alla batteria e Marty Ballou al basso e, ciliegina sulla torta, il prezioso ‘cammeo’ di Darrell Scott che presta la sua voce nella bellissima “The Mountain”. Le voci poi sono tra i motivi di apprezzamento maggiore, intense, sofferte, accorate, spesso all’unisono ma con una menzione particolare per Dorothy Daniel, vera eccellente sorpresa. L’album scorre con estrema naturalezza ed ispirazione, tenendo alta la tensione e mostrando grande personalità con storie mai banali e frutto di uno sguardo fattosi adulto grazie ad esperienze non sempre positive ma che hanno concorso ad una profondità degna di nota. Gli stili si fondono benissimo e canzoni come “Love Conquers All”, la citata “The Mountain” con il sentore di New Orleans nelle pieghe, “The River Is Wide” e poi ancora “Undertow”, “Holding The Bag” e “The Coals Glow” fanno percepire un grandissimo amore per l’intero spettro sonoro che il ‘deep south’ ci ha proposto negli anni, prendendo spunto da apprezzati predecessori come Buddy Miller e spesso la Band di Robbie Robertson, ‘guida spirituale’ per generazioni di artisti che si sono cimentati con la musica delle radici. Uno sforzo questo decisamente riuscito che merita tutta l’attenzione da parte di chi cerca genuinità e cuore nella musica.

http://www.rootsville.eu/2020/album%20reports%202020/reports/the%20danberrys.html

Dorothy Daniel en Ben DeBerry, kenden elkaar al sinds hun jeugd en zijn ook nu nog een muzikaal duo en daarenboven later ook nog een echtpaar. Na 5 jaar elkaar uit het oog te hebben verloren, namen ze allebei de tijd om hun muzikale skills aan te scherpen. Dorothy begon met het schrijven van originele muziek en Ben werd een bekende artiest, speelde in lokale bands en coverde optredens. In juli 2006 kruiste het paar paden in een bar in Cookeville, TN, en trouwde vier maanden later.

Na heel wat succes te hebben geoogst met hun in 2016 uitgebrachte album "Give and Recieve" wist producer Brian Brinkerhoff hun te motiveren om terug nummers te beginnen schrijven. Tijdens hun Britse en Nieuw-Zeelandse tours in 2017 sprong het paar meteen in het proces en werkte zelfs samen met bluegrass songwriting-goeroe, Jon Weisberger. Het resultaat is deze "Shine", een album met daarop 12 nummers met het kenmerkende akoestische geluid om elementen van rock, blues en folk, dit alles in een toch ietwat donkerse sfeer. Gastmuzikanten stonden op "Shine" zijn Duke Levine op gitaar en mandoline en Darrell Scott, die zijn stem leende aan de eerste single van het album "The Mountain".

Opener is het titelnummer van het album en is getekend door humeurige, gitaargebaseerde branie.Te beginnen met alleen Dorothy's stem, die al snel wordt vergezeld door Ben's sombere elektrische gitaar, behandelt "The Mountain" vergelijkbare levensbevestigende thema's. De onvergelijkbare Darrell Scott voegt achtergrondzang toe aan het nummer, dat meegroeit terwijl het nummer stijgt.

Op "Holding the Bag", waar Dorothy naar verwijst als een favoriet, combineert verdriet en meesterlijke verhalen, waardoor luisteraars het hartverscheurende perspectief van een naamloos personage worden binnengehaald. "Never Gone" is dan weer het favoriet nummer van Ben. De twee schreven het lied over de vader van een vriend die met chronische ziekten vocht en ervoor koos om zoveel mogelijk afscheid te nemen op zijn eigen voorwaarden, waarbij hij de harten van zijn dochters en vrouw brak. De angstaanjagende "Francis" is een andere meeslepende experiment met perspectief en verhaal.

Opvallend project "The River is Wide" is een knaller met klassieke bouwstenen en moderne openhartigheid. Dorothy kwam op het idee voor het nummer na een visioen dat ze tijdens het mediteren ervoer, een oefening die ze jarenlang heeft gecentreerd en genezen. Voortbouwend van een ingetogen reflectie over snaren tot een hartverscheurend, door tamboerijn geleid gezang, legt dit nummer de mentale en emotionele ketens bloot die trauma's achterlaten.

The Danberrys zijn op de een of andere manier zowel charmante oude wereld als een groot deel van dit moment. De rijke verhaalliederen van het echtpaar landen vaak als bijgewerkte Chaucer of Carter Family terwijl de pastorale blues en robuuste folk van het Tennessee-duo pas nu konden komen. Zes nominaties voor de "Independent Music Award", waaronder twee knipogen voor het beste Americana-album en een voor de beste EP, onderstrepen hun cv.

https://www.paris-move.com/reviews/danberrys-shine/

BY PATRICK DALLONGEVILLE

Danberrys est la contraction des patronymes respectifs de Dorothy Daniel et Ben Deberry, époux à la ville comme à la scène, et basés à Nashville. Après deux premiers albums principalement dédiés au bluegrass, celui-ci représente un pas décisif, puisqu’il présente le couple entouré de pas moins de neuf comparses, et propose un élargissement manifeste de leurs horizons sonores. Blues et Americana se mêlent ici en références à de grands anciens, au rang desquels on discerne bien vite Robert Plant, depuis son “No Quarter” de réunion avec Jimmy Page (la plage titulaire et “Undertow”), jusqu’au magistral “Raising Sand” qu’il réalisa en 2007 avec Alison Krauss (“Holding The Bag”, “Never Gone”, “The River Is Wide”, “Love Conquer War”, “The Coals Glow”). Rien d’étonnant donc de trouver derrière les fûts (et la console) le batteur Marco Giovino, complice régulier de Plant (notamment au sein de son Band Of Joy). Les arômes louisanais ne sont pas en reste (ainsi du second-line beat strié de slide, “The Mountain”), et le blues le plus claudiquant s’exprime sans fard sur un “The Road” que l’on croirait emprunté à Chester Burnett et Hubert Sumlin. L’enlevé “Maddie’s Ghost” pique sa touche J.J. Cale à Mark Knopfler (au croisement de “Call Me The Breeze” et “Sultans Of Swing”), tandis que “Francis” en fait autant avec le Neil Young hagard de “On The Beach”. Dorothy Daniel s’avère de bout en bout une vocaliste passionnée, tandis qu’avec son Deberry de mari, elle s’octroie in extremis un retour bienvenu à leurs racines bluegrass et folk communes, sur un “Rain” hanté et conclusif. Un album mixed-roots particulièrement convaincant.

http://cmdsstewart.blogspot.com/

BY STEWART FENWICK

THE DANBERRYS are the husband & wife duo of Dorothy Daniel and Ben DeBerry, who were high school sweethearts. They went their separate ways but their paths crossed at a gig in Cookeville,TN in 2006, and they were married a few months later.

Now, their third full length album, “Shine” (Singular Recordings) is out here on May 8th. The album marks a change from their previous acoustic sound to a much fuller sound ecompassing modern Country, alongside rock and blues influences. Recorded in Boston over a three day period, the album features 12 self penned songs, three of them alongside bluegrass writer Jon Weisberger.

The first single from the album, “The Mountain” which features Nashville singer songwriter Darrell Scott, is quite a bluesy number.

The title track opens up the album. It’s quite a soft rock number, but with a distinct southern influence.

Similar numbers include “The Road” and “Maddie’s Glow”.

I really liked “Never Gone” and ”The Coal’s Glow”. Dorothy’s vocals come over as quite Country on both tracks.

“Rain”, which closes the album, is probably one of the closest tracks to their acoustic sound. It has quite a haunting folksy feel to it.

Other softer ballads include “Holding The Bag”, “The River Is Wide” and “Francis”.
All the fusions come together on “Loves Conquers War”. There’s a bit of blues, folk and Country, and it comes out sounding gospel. And it was incredibly catchy at the same time.

This is an incredibly diverse collection of material – The Danberrys are impossible to pigeon hole, but I think Country fans should enjoy their sound. Worth checking them out!

https://www.realrootscafe.com/2020/04/03/the-danberrys-shine/

Dorothy Daniel en Ben DeBerry wonen en werken in Nashville. Het getrouwde stel was in een ver verleden op de middelbare school bevriend. In die schooljaren werd er voorzichtig muziek gemaakt en het was niet meer dan logisch dat dat countrymuziek was. Na de diploma’s verloor het bevriende duo elkaar uit het oog. Vijf jaren later, juli 2006, was er een toevallige ontmoeting in een bar in Cookeville, TN. Vier maanden later was er een bruiloft!

Na twee jaren samen muziek te hebben gemaakt waren er de eerste optredens en verscheen er onder de naam The Danberrys de ep Company Store. De release was succesvol, scoorde nominaties voor prijzen en bezorgde The Danberrys een plek in het voorprogramma van Robert Earl Keen (2013).

Daniel en DeBerry maken traditionele country. Er is weinig of geen avontuur te vinden in de muziek. Dat is bij langspeler Shine, net als bij eerdere releases, geen probleem. Voor de luisteraar zijn de liedjes vanaf de eerste draaibeurt herkenbaar. De stem van Dorothy Daniel komt in de buurt van het geluid van Dolly Parton, maar mist de (overigens) overbodige glitter. DeBerry musiceert gemakkelijk en vervalt nergens in overbodige krachtpatserij. Daarbij zijn de juiste muzikanten uitgenodigd naar de studio. Duke Levine heeft zijn bas meegenomen, Neil Pawley sluit met zijn gitaargeluid aan bij DeBerry, Tom West speelt toetsen en John Deaderick is achter een orgel in de studio gaan zitten. Brian Brinkerhoff en Marco Giovino hebben de productie verzorgd en hebben het klassieke geluid van het duo en de gasten vastgelegd.

The Danberrys openen met titelnummer ‘Shine’. Klassieke country, gitaren zorgen voor een mooie melodie en er is veel ruimte voor de vocalen van Dorothy Daniel. ‘Holding The Back’ heeft een prachtig loopje als intro. Het laat horen hoe eenvoudig goede muziek gemaakt kan woorden. De vocalen zijn opnieuw puur en barstensvol emotie. ‘Francis’ is een countryballade. Het is een langzame track die de luisteraar grijpt. ‘Never Gone’ is up tempo. De ritmesectie en de gitaar van DeBerry plaveien de weg voor Daniel. In het liedje wordt verhaald over de vader van een vriend, die zelf wilde bepalen waar zijn leven zou eindigen. Het is een verhaal over het verdriet van de achterblijvers en het respect voor de keuze van de stervende.

Shine telt twaalf nummers. Voor de luisteraars is er veel herkenning. Na vele malen draaien is er meer dan de gedachte dat deze muziek al eerder is gemaakt. The Danberrys maken muziek uit een lang vervlogen verleden maar gemusiceerd in 2020. Het duo maakt splinternieuwe countrymuziek die veel klassieke en herkenbare elementen bevat. Het duo doet dat met veel gemak, klasse en goed gekozen bevriende muzikanten. Shine is veel beter dan bij een eerste of tweede achteloze beluistering lijkt. Deze langspeler verdient uren in de huiskamer of via de iPhone. (Singular Recordings)

http://www.americanadaily.com/2020/03/the-danberrys-shine.html

https://theboot.com/the-danberrys-shine-music-video/

BY ANGELA STEFANO

Americana duo the Danberrys are premiering their new music video, for their song "Shine," with The Boot. Press play above to watch.

The title track of the Danberrys' next album, "Shine" takes an honest look at the healing process that follows a childhood trauma, and its music video offers a visual, and metaphorical, take on the topic. The Danberrys -- Dorothy Daniel and Ben DeBerry -- shot the clip on Daniel's family's land in Charlotte, Tenn. Scot Sax directed the video.

"Sometimes, darkness may roam," Daniel sings, a dark melody brewing behind her. "Shine, shine, wherever it goes."

High school sweethearts Daniel and DeBerry went their separate ways for five years, then crossed paths at a Cookeville, Tenn., bar in the summer of 2006. Four months later, the two were married. They moved to Nashville in 2008 and released their debut EP as the Danberrys, Company Store, in 2011. The project earned the pair a nomination at the Independent Music Awards, and was followed by full-length albums in 2013 and 2016.

Shine, the Danberrys' third full-length album, is due out on May 8. The 12-track project -- produced by Brian Brinkerhoff and Marco Giovino and recorded at Dagotown Records in Boston, Mass. -- finds the couple departing from the acoustic sound for which they're known to incorporate elements of blues, rock and folk into their music. The change allows Daniel and DeBerry to take a slightly darker turn and spotlight their lyrics, some of which they co-wrote with Jon Weisberger.

“Shine represents a major shift in our sound, moving away from our acoustic-centric past while staying rooted in our love for the song and the groove," the Danberrys say. "By venturing outside of our comfort zone, sonically and process-wise, we were able to make an organic record that we’re excited for the world to hear."

Learn more about the Danberrys and their upcoming new album at TheDanberrys.com.

https://1063cowboycountry.com/the-danberrys-shine-music-video/

https://www.newsbreak.com/news/0OPHECrx/the-danberrys-shine-music-video-exclusive-premiere

https://vandalamagazine.com/2020/03/09/the-danberrys-are-continuing-to-explore-their-new-southern-gothic-sound-with-shine/

Husband and wife Americana duo, The Danberrys, officially released their single “The Mountain” in February. The song quickly drew praise, with American Songwriter noting their musical shift to an “…outlaw country style with pivoting riffs and beats.” Now, The Danberrys slow it down and explore the weight of trauma in their latest single, and album title track, “Shine”, out now on all streaming platforms.

“Shine” lyrically delves into the process of healing from childhood trauma. The Danberrys carefully crafted the track to convey the mining for one’s innate divinity by mending the pain from the darkness. Reflecting on the creation of the single, Dorothy Daniel says, “‘Shine’ is about finding forgiveness when there has been no justice, no apology, no explanation – forgiveness for the sake of releasing yourself. It’s about journeying steadfastly towards the tiny seed of light within and setting it on fire. The lyrics reflect the hard-earned skill of existing in more than one place within yourself once, learning to accept and even embrace the dichotomy of darkness and light.”

Not only is “Shine” the title track off The Danberrys’ upcoming album, releasing May 8, 2020, but also the second official track release from the project. With 12 new tracks, “Shine” departs from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. “Shine” will mark The Danberrys’ third full-length album.

Currently, The Danberrys are elated to release “Shine”. To continue exploring the meaning behind “Shine”, The Danberrys will be releasing a music video for the track. Directed by Scot Sax, and filmed on Dorothy Daniel’s family’s land in Charlotte, TN, the music video will depict the story of a child escaping and healing from a nightmare. Be sure to check out The Danberrys on social media and check out “Shine”, available on all streaming platforms.

http://outloudculture.com/2020/03/08/insiders-guide-cloe-wilder-gina-chavez-blaise-elise-lieberth-chynna-lewis-jenny-jam-the-weeks-brittany-allen-the-danberrys-alexandra-lost-carrousel-lili-kendall-kyngs-soulnidus/?fbclid=IwAR3iKFVJmzcm82_m8E0qf6drZp_gTMUEhl2YPF5QeNGPM9ov9xYeSDIVnEo

BY NEILL FRAZER

Husband and wife Americana duo, The Danberrys, officially released their single “The Mountain” in February. The song quickly drew praise, with American Songwriter noting their musical shift to an “…outlaw country style with pivoting riffs and beats.” Now, The Danberrys slow it down and explore the weight of trauma in their latest single, and album title track, “Shine”, out this Friday on all streaming platforms.

“Shine” lyrically delves into the process of healing from childhood trauma. The Danberrys carefully crafted the track to convey the mining for one’s innate divinity by mending the pain from the darkness. Reflecting on the creation of the single, Dorothy Daniel says, “‘Shine’ is about finding forgiveness when there has been no justice, no apology, no explanation – forgiveness for the sake of releasing yourself. It’s about journeying steadfastly towards the tiny seed of light within and setting it on fire. The lyrics reflect the hard-earned skill of existing in more than one place within yourself once, learning to accept and even embrace the dichotomy of darkness and light.”

Not only is “Shine” the title track off The Danberrys’ upcoming album, releasing May 8, 2020, but also the second official track release from the project. With 12 new tracks, “Shine” departs from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys’ third full-length album.

Currently, The Danberrys are elated to release “Shine”. To continue exploring the meaning behind “Shine”, The Danberrys will be releasing a music video for the track. Directed by Scot Sax, and filmed on Dorothy Daniel’s family’s land in Charlotte, TN, the music video will depict the story of a child escaping and healing from a nightmare. Be sure to check out The Danberrys on social media and check out “Shine”, once available on all streaming platforms.

http://www.pmstudio.com/music/music.html?page=20200307-11001

https://rocknloadmag.com/news/the-danberrys-are-continuing-to-explore-their-new-southern-gothic-sound-with-shine/

https://www.beehivecandy.com/2020/03/the-caress-marle-thomson-thrillhouse.html?m=1

Husband and wife Americana duo, The Danberrys, officially released their single “The Mountain” in February. The song quickly drew praise, with American Songwriter noting their musical shift to an “...outlaw country style with pivoting riffs and beats.” Now, The Danberrys slow it down and explore the weight of trauma in their latest single, and album title track, “Shine”, out this Friday on all streaming platforms.

“Shine” lyrically delves into the process of healing from childhood trauma. The Danberrys carefully crafted the track to convey the mining for one’s innate divinity by mending the pain from the darkness. Reflecting on the creation of the single, Dorothy Daniel says, "'Shine' is about finding forgiveness when there has been no justice, no apology, no explanation - forgiveness for the sake of releasing yourself. It's about journeying steadfastly towards the tiny seed of light within and setting it on fire. The lyrics reflect the hard-earned skill of existing in more than one place within yourself once, learning to accept and even embrace the dichotomy of darkness and light."

Not only is “Shine” the title track off The Danberrys’ upcoming album, releasing May 8, 2020, but also the second official track release from the project. With 12 new tracks, "Shine" departs from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys’ third full-length album.

Currently, The Danberrys are elated to release "Shine". To continue exploring the meaning behind “Shine”, The Danberrys will be releasing a music video for the track. Directed by Scot Sax, and filmed on Dorothy Daniel’s family’s land in Charlotte, TN, the music video will depict the story of a child escaping and healing from a nightmare. Be sure to check out The Danberrys on social media and check out "Shine", once available on all streaming platforms.

https://www.newsbreak.com/news/0OL389DX/premiere-again-the-danberrys-shine

http://www.elmoremagazine.com/2020/03/music-news/once-again-the-danberrys-shine

Husband-and-wife duo the Danberrys slow it down and explore the notion of forgiveness, a concept that, with all the craziness in the world today, has crept up in importance in so many lives.

The title track from their newest album, “Shine” lyrically delves into the process of mending pain, and learning to accept the dichotomy of darkness and light.

Dorothy Daniel and Ben DeBerry were high school sweethearts, split for 5 years and pursued musical careers separately until they crossed paths again at a bar in Cookeville, TN. They married four months later. The couple began performing together and moved to Nashville, officially becoming The Danberrys in 2011 with the release of their EP, Company Store, which garnered an Independent Music Awards nomination, as did their second release, Give and Receive, nominated for Best Americana Album and a win for Best Bluegrass Song for “Long Song.”

Dorothy Daniel told Elmore, “‘Shine’ is about finding forgiveness when there has been no justice, no apology, no explanation – forgiveness for the sake of releasing yourself. It’s about journeying steadfastly towards the tiny seed of light within and setting it on fire. The lyrics reflect the hard-earned skill of existing in more than one place within yourself at once, learning to accept and even embrace the dichotomy of darkness and light.”

Directed by Scot Sax and filmed on Dorothy Daniel’s family’s land in Charlotte, TN, the music video is about finding forgiveness when there has been no justice, no apology, no explanation.

http://getreadytorock.me.uk/blog/2020/03/album-review-the-danberrys-shine/

BY PETE WHALLEY

The third album from Americana husband and wife duo The Danberrys (Dorothy Daniel and Ben DeBerry) is something of a ‘game changer’.

While their previous two outings – The Danberrys (2013), and Give And Receive (2016) – were distinctly acoustic, bluegrass flavoured affairs, Shine sees them push their boat out into deeper waters to spectacular effect, capturing elements of rock, blues and soul.

Opening with some tasteful blues guitar, and a gentle ‘stomp’ rhythm, the vocal melodies adding a Neil Young ‘Ohio’ groove to proceedings, the title track sets the tone – in quality terms – for much of what follows.

Daniel’s honeyed, emotive, and often haunting vocals, are at the centre of everything that is good about Shine. With its wistful blues guitar lines and subtle gentle retro ‘twang’, the haunting ‘Never Gone’, is an instant ‘classic’, Darrel Scott lends some excellent harmony vocals to the album’s first single ‘The Mountain’, and ‘Maddie’s Ghost’ has a driving Mark Knopfler groove, while the delicate duet closer – ‘Rain’ – neatly doffs a cap to the duo’s finger picking acoustic roots.

There’s some great song writing, playing and vocals on display here. So if Americana is of interest to you, do yourself a favour and investigate the Danberrys. ***1/2

https://americana-uk.com/the-danberrys-the-mountain-listen

BY JONATHAN AIRD

Husband and wife duo, Dorothy Daniel and Ben DeBerry go back a long way – they were high school sweethearts, but split and followed their own paths for five years. Dorothy Daniel wrote her own music, Ben DeBerry played in a number of local bands. When their paths crossed again they picked up some stitches and, well the rest is history.

‘The Mountain‘ is the lead single from the duo’s new album ‘Shine‘, The Danberrys third full-length album. It sees them moving their musical dial away from an acoustic sound to one with a solid soul of rock.

http://www.digiindie.com/2020/02/the-danberrys-thedanberrys-f-darrell-scott-the-mountain/

https://madnesstocreation.net/2020/02/14/weekend-brunch-edition-vol-17-part-1-weekly-news-shorts-plus-spotify-playlist/?fbclid=IwAR25K4wCZhQzlHyaJgT3oVfNs_ymwcSTTaXTcPcF7Lu0a1U6r-sgwfbR8zI

https://ear2theground-music.blogspot.com/2020/02/e2tg-2142020-featured-friday-spirit-of.html?fbclid=IwAR1Rgbr1OlLvbN3ajmG3dFcP7493xFqhh46nz1bZpH5Q808hW171t7Ciwdc

https://gigsoupmusic.com/news/new-music-news/the-danberrys-return-with-new-single-the-mountain/

SKYLAR BLAKE

Nashville-based married music duo, Dorothy Daniel and Ben Deberry, combined their passion for music to become The Danberrys in 2011. They found their rhythm in their debut EP, Company Store, and soon began grasping nominations and praise from the Independent Music Awards. Becoming award-winning artists only further their determination in developing their own musical footing. After taking a break from music to allow life to flourish, The Danberrys make their official return with grittier, lyric-based music introduced in their latest single “The Mountain”.

“The Mountain” takes on New Orleans’s traditional second-line rhythm and blues, combining it with Daniel’s striking vocals. The single even features the recognizable sound of American songwriter Darrell Scott, who has collaborated with the likes of Emmylou Harris, Steve Earle, Guy Clark, and Mary Gauthier. Combining the two, Daniel carries the lyrics effortlessly with Scott’s vocals adding a shadowy depth.

The Danberrys also showcase their songwriting skills with “The Mountain”. They explore destruction and how it transforms into a complex catalyst towards wisdom. They bring this message with a nearly delicate power, a duality in sound and meaning. It brings a complexity to the track beyond its instrumentation.

With “The Mountain”, The Danberrys officially introduce their upcoming third full-length album Shine, releasing May 8th. The record itself is a turning point for the duo and shows them taking a step back from the acoustic sound heard on their previous releases. Instead, they explore various pieces of roots music in a darker tone.

“The Mountain” certainly serves as a great debut for what’s to come. Next on board are more compelling singles, specifically the title track “Shine”, which drops in March.

https://rocknloadmag.com/news/66452/

(New York, NY) February 9th, 2020: Americana duo The Danberrys officially release their new single “The Mountain”. For the single, Dorothy and Ben pulled inspiration from New Orleans’s traditional second-line rhythm and blues. The single also features vocals from American songwriter Darrell Scott, who has collaborated with the likes of Emmylou Harris, Steve Earle, Guy Clark, Mary Gauthier, and more. Their lyrics reflect a message of destruction becoming a catalyst in creating new strength and wisdom.

“The Mountain” is the first single off The Danberrys’ upcoming album Shine, out May 8th, 2020. Comprised of 12 new tracks, Shine masterfully departs from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys third full-length album.

In the meantime, The Danberrys are excited to finally release “The Mountain”. The single will soon be proceeded by more incredible singles including the title track “Shine”. Be sure to check out The Danberrys on social media and check out “The Mountain”, now available on all streaming platforms.

The husband and wife duo, Dorothy Daniel and Ben DeBerry, were high school sweethearts. After splitting for 5 years, each took their time honing in on their musical craft. Dorothy began writing original music and Ben became a known performer, playing in local bands and cover gigs. In July 2006, the pair crossed paths at a bar in Cookeville, TN, and married four months later.

With undeniable chemistry, Dorothy and Ben began performing together and made the move to Nashville in 2008. In 2011, they officially became The Danberrys with the release of their EP, Company Store.

The EP was a success, landing them an Independent Music Awards nomination and a spot opening for Robert Earl Keen at the Ryman Auditorium. In 2013, The Danberrys released their first full-length album, which furthered their reputation as solid roots artists and continued to earn them more IMA nominations, including a nod for Best Americana Album. Their second full-length record, Give and Receive, was released in 2016, and brought The Danberrys international attention. They quickly headed on to 3 international tours (UK 2017, NZ 2017, UK 2018) as well as more nominations with the IMA, with another nod for Best Americana Album and a win for Best Bluegrass Song for their single “Long Song”.

https://guitargirlmag.com/news/music-news/nashville-based-award-winning-duo-the-danberrys-bring-it-all-in-new-single-the-mountain-out-now-on-all-streaming-platforms/

(New York, NY) February 9th, 2020: Americana duo The Danberrys officially release their new single “The Mountain”. For the single, Dorothy and Ben pulled inspiration from New Orleans’s traditional second-line rhythm and blues. The single also features vocals from American songwriter Darrell Scott, who has collaborated with the likes of Emmylou Harris, Steve Earle, Guy Clark, Mary Gauthier, and more. Their lyrics reflect a message of destruction becoming a catalyst in creating new strength and wisdom.

“The Mountain” is the first single off The Danberrys’ upcoming album Shine, out May 8th, 2020. Comprised of 12 new tracks, Shine masterfully departs from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys third full-length album.

In the meantime, The Danberrys are excited to finally release “The Mountain”. The single will soon be proceeded by more incredible singles including the title track “Shine”. Be sure to check out The Danberrys on social media and check out “The Mountain”, now available on all streaming platforms.

https://www.beehivecandy.com/2020/02/selkama-danberrys-pawn-painters-detalji.html

Americana duo The Danberrys officially release their new single "The Mountain". For the single, Dorothy and Ben pulled inspiration from New Orleans’s traditional second-line rhythm and blues and features vocals from American songwriter Darrell Scott. Their lyrics reflect a message of destruction becoming a catalyst in creating new strength and wisdom.

"The Mountain" is the first single off The Danberrys' upcoming album Shine, out May 8th, 2020. Comprised of 12 new tracks, The Danberrys masterfully depart from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys third full-length album.

In the meantime, The Danberrys are excited to finally release "The Mountain". The single will soon be proceeded by more incredible singles including the title track "Shine". Be sure to check out The Danberrys on social Media and check out "The Mountain", now available on all streaming platforms.

https://www.dopecausewesaid.com/dope-features/award-winning-americana-duo-the-danberrys-are-returning-with-third-studio-album-shine

Nashville-based Americana duo The Danberrys are kickstarting 2020 with the official announcement of their upcoming album, “Shine”, out May 8th. Comprised of 12 new tracks, The Danberrys masterfully depart from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys third full-length album.

After the release of their successful 2016 record, Give and Receive, Dorothy and Ben were approached by producer Brian Brinkerhoff (Van Morrison, Ike Stubblefield, Sam Butler, Ash Grunwald) to create a new LP, and he encouraged the duo to co-write it. While on their 2017 UK and New Zealand tours, the pair dove head-first into the process and even worked alongside bluegrass songwriting guru, Jon Weisberger, on a few of the songs. Once the tunes were ready, they began building their musical team.

They brought on producer/drummer Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller) to co-produce, which became a dream come true for The Danberrys, “[he] has always been a musical hero of ours, and he brought this record to life with some major mojo.” Shine came to life at Dagotown Records in Boston, MA. The album was recorded in three days and features several live full-band recordings. Amongst some of the musicians featured are Duke Levine on guitar and mandolin and Darrell Scott, who lent his vocals on their upcoming single “The Mountain”.

Reflecting on the process of creating “Shine”, the duo revealed, “Shine represents a major shift in our sound, moving away from our acoustic-centric past while staying rooted in our love for the song and the groove. By venturing outside of our comfort zone, sonically and process-wise, we were able to make an organic record that we’re excited for the world to hear.”

Currently, The Danberrys are gearing up for the official release of the first single, “The Mountain”, on February 7th. For the track, Dorothy and Ben pulled inspiration from New Orleans’s traditional second-line rhythm and blues. Their lyrics reflect a message of destruction becoming a catalyst in creating new strength and wisdom. “The Mountain” drew attention from Americana Highways who praised the new single, saying, “The groovy rhythmic layers are truly innovative and the lyrics ring with potent gratitude.”

https://americansongwriter.com/the-danberrys-welcome-new-writing-experience-for-the-mountain/macie-bennett/

BY MACIE BENNETT

Nashville Americana duo The Danberrys are leaping outside of their usual comfort zone with a new writing experience, one they can do together and with a splash of New Orleans flair.

Dorothy Daniel and Ben DeBerry, normally both solo writers in their shared band, who took little input from each other for songwriting responsibilities, are now teaming up in a real way for a first ever co-writing situation.

“The Mountain” was the first song that Ben and I truly wrote together as a team. We had always written the material for our band separately, with only minor input from each other, and this album was sort of our first dive into the co-writing realm,” said Daniel. “We had been talking about writing something with that traditional New Orleans second-line feel, so the idea had been swimming around in my mind for a while. I started hearing the rhythm of the song in my head one day, and the lyrics to the first verse just flowed out. I played it for Ben, and he immediately sang the chorus back to me. We sat down on the floor with our guitars, and I want to say it took maybe an hour to finish the song.”

DeBerry adds, “This is the song that gave us the confidence to write the rest of this record. Our executive producer had requested from the beginning that we co-write the entire album together because we had never done that before. This song was an experiment of sorts to see if we could make it work. Being married to your bandmate can be an emotionally complex situation, and it took us years to figure out how to write a song together without having a complete communication meltdown. When we finished writing “The Mountain”, we knew we had written something special and we felt like we had established a new normal for ourselves as co-writers.”

“The Mountain,” is just an excerpt of what’s to come from their forthcoming album Shine, set for release in May. “The Mountain” spouts an outlaw country style with pivoting riffs and beats. It’s a dark and dangerous take on life’s ups and downs. Daniel’s vocals are propelling and weave vital, sultry femininity through the music, allowing for a welcomed contrast. Vocalist Darrell Scott was also featured on the track, inserting worthy harmonies and soulful technique positioned alongside Daniel.

Life’s ups and downs were poignant for Daniel in the making of “The Mountain.” She explains the kind of darkness she was living with during the time, something she used as a driving, conceptual force for the song.

“At the time, we were living through the tail end of what I would call a “dark night of the soul” that had lasted about four long years,” she said. “Our mental and emotional foundations, our marriage, our faith in love, everything had been tested. The song is really a snapshot of where we were at that point in our lives, looking at our path from a bird’s eye view and re-framing those experiences as divinely orchestrated, while at the same time very much living in the grit of each moment, asking and reaching for strength to somehow make it to the other side of these huge obstacles that had presented themselves in our lives.”

Alternatively, DeBerry found the presence of feedback from co-producer and drummer Marco Giovino supportive. Giovino stepped in to provide essential input that would make the record stronger. He pushed for better song form and structure, really giving the album a groove and natural flow. DeBerry additionally touched on the experience with featured vocalist Darrell Scott and his contribution to the song’s success.

“The soul that Darrell brings to everything he does is at the top of the top shelf,” DeBerry said. “Everyone who contributed to this track really got our vibe and helped us tell this story we had written in an extremely potent way.”

http://www.penseyeviewnew.com/pev/2020/02/06/the-danberrys/

BY RICHIE FRIEMAN

Ben and Dorothy Daniel DeBerry have a sort of…serendipitous aura around them. There’s a bit of magic there that really shines through as that sought-after ‘x-factor’ – a difference maker found in their music spanning several records. Their Americana approach borrows from all the great American genres, giving specific focus to both the lyrical and instrumental content of each song, all written within the backdrop of Music City, USA: Nashville, Tennessee. We mentioned that the Danberrys4relationship between Ben and Dorothy Daniel is somewhat serendipitous; the two actually came together in high school before parting ways halfway through college…a somewhat symbolic breakup that included Ben gifting Dorothy Daniel a guitar. Fast forward five years later, and the two randomly ran into one another at a local college bar…four months later, the Danberrys (a marriage and music) were born. Not long after tying the knot, the couple started playing in a jam band in Nashville. And again, through a bit of magic, the sound man for one of their shows specifically walked up to Ben and Dorothy Daniel and offered to help them produce their own EP…for free. It was mostly a collection of originals Ben had been working on, and $500 later, the resulting EP was nominated for a few Independent Music Awards. Not bad.

Fast forward again to today, following more music and even more Independent Music Award nominations, The Danberrys have a follow-up album on the horizon to their 2016 LP Give & Receive, a record that goes in a new direction for the duo, an album titled Shine. We asked The Danberrys for the download on the upcoming collection – they told us, “For this record, we worked with executive producer Brian Brinkerhoff and co-producer/drummer Marco Giovino. From the beginning, Brian requested that we co-write every song, which was an intimidating concept for us as we had always written separately. To get our feet wet, we began writing with a third writer, Nashville’s bluegrass songwriting guru Jon Weisberger, who ultimately taught us how to write together without killing each other…Jon was awesome to work with. It was the first time either of us felt like we really clicked with another writer. Jon got our confidence and creative juices flowing, and we just started coming up with new ideas and working those out together at home and on the road. We had just come through an extremely hard period of our lives, so we seemed to have endless inspiration.” Click to https://www.thedanberrys.com/ to prepare yourself for The Danberrys new direction on Shine, as well as for a swath of new shows as the duo begins filling out its upcoming schedule. Now, keep reading. There’s still so much more to learn in all the answers to the XXQs below.

XXQs: The Danberrys

PensEyeView.com (PEV): How would you describe your sound and what do you feel makes you stand out from others in your genre?

The Danberrys (TD): Our sound is a blend of what we think of as the major American popular music genres: Rock and Roll, Soul, Folk, Country, Funk, Pop, Blues, even a little Bluegrass. It’s the true definition of Americana music. We like to think that our songwriting content and forms are a bit different than those of many of our peers. We don’t tend to follow the “rules” of music, so at times our sound ventures out of any box you could find. At least that’s what our friends with music degrees tell us. Ha! We’ve also spent a lot of time perfecting our instruments, so the musicality of our songs is a bit more refined than what you would typically expect in the Americana genre, where the focus is typically more about the lyrics of a song rather than the execution of the song. We like to think that we’ve focused on both.

PEV: Now calling Nashville home, what kind of music were you two into growing up?

TD: We grew up right outside of Nashville in Middle Tennessee. Luckily, both sets of our parents had good taste in music, so we were exposed to healthy doses of some of the greats: Johnny Cash, Bob Dylan, CSNY, Fleetwood Mac, Billy Joel, Creedence Clearwater Revival. Dorothy also listened to all of the top 40 country and pop artists being played on the big Nashville stations. Ben’s dad was a radio DJ, so he listened to more hand-curated record collections than radio. As we grew into our own tastes, we listened to an even wider variety of music. Lots of classic rock and blues but also the music of our teenage years, which was alternative rock. Nirvana, Cake, Live, Pearl Jam, all that stuff. Led Zeppelin was a huge influence on both of us. Also, there used to be an amazing Motown station out of Nashville that Dorothy loved. She knows just about every word to every The Danberrys 3Motown song ever.

PEV: Do you remember your first concert?

TD: Ben’s first “real” concert was a split bill featuring The Doobie Brothers with Michael McDonald and Lynyrd Skynrd. Dorothy’s was the Moody Blues with her best friend’s mom.

PEV: What was it like trying to break into the music scene in your hometown, when you first started out as a band? What was your first show like together as a band?

TD: We’re lucky, in a way, that Nashville is our hometown. Dorothy was actually born in Nashville and moved back here right after college for work. When we got married in 2006, we rented a house close to Belmont University and Music Row. We had always both been musical and Ben had taught guitar lessons for a long while in our college town, so our band formed very organically as an extension of our marriage. We were playing together in a jam band in a now-defunct Nashville rock club when a sound man who had recently transplanted from New Orleans after Katrina saw us. He walked up to us after the show and offered to make an EP for free. Ben had been going to the Wednesday Night Old Time Jam at the 5 Spot in East Nashville and had recently written a handful of songs inspired by that style of music, so we thought, “why not?” We recorded the EP for $500, using players that Ben had met at the jams. To our surprise, the EP ended up getting us an opening gig at the Ryman for Robert Earl Keen and a few Independent Music Award nominations, including a nod for Best EP. From there, we just kept going and kept making more records when we could afford to. We had a bit of an inside track when starting out due to the fact that we’re from the area. Collectively, we have a lot of friends who moved back to Nashville after college, so it was easier for us to get more folks out to shows, which leads to invites from venues to return.

Our first real show as The Danberrys was at Norm’s River Road House right outside of Nashville. It was a tiny, but iconic, music venue with all the best kinds of vibes. We had been following our friends Blue Mother Tupelo around for about a year, and they played at Norm’s pretty regularly. One night, they had to cancel unexpectedly due to the flu and Norm called us to see if we could put something together quickly. Our friends had jokingly been calling us the Danberrys (a la Beniffer), so we quickly gave him that name for the bill, thinking we’d come up with something better later. But the name stuck! Sadly, Norm’s was flooded during the big Nashville flood of 2010 and it never reopened.

PEV: What can fans expect from a live Danberrys show?

TD: These days, we’re doing most of our performances with an electric band. We still do some acoustic-based songs, but we always play with a drummer. Our new record is quite a departure from our earlier, string-band sound. Quite a bit more rock and roll these days! We love to throw down. We also love to be soft and thoughtful. We’re always serving the songs, whatever it takes. A live show, we’ve been told, is much like our studio sound. So listen to the record!

PEV: What is the first thing that comes to mind when you step on stage?

TD: “Here we go.”

How has playing in The Danberrys been different from working with other artists or projects in the past?

TD: If you really want to test your marriage/relationship, then you should start a band AND co-write all the songs together. We’ve become an incredibly strong team over the years, but it’s taken us a long while to work out the kinks. It’s challenging, if not impossible, to leave any personal relationship stuff off stage. But the band also feeds our relationship in a way that sustains it. We’ve gone on stage mad at each other and walked off with the issue resolved, having done nothing more than playing a show together. It’s probably safe to say that being in a band with your spouse is doubly difficult and doubly rewarding.

PEV: What is the underlying inspiration for your music? Where do you get your best ideas for songs?

TD: Our music mostly comes from direct life experiences/perceptions. Occasionally, we’ll write about something that we observe or something that a friend might be dealing with. The best material always seems to come from situations where we have a direct line to the emotional content.

PEV: Thinking back to when you first started out, do you ever look back on your career and think about your earlier days and how you’ve arrived where you are today?

TD: The music industry is such a strange beast. Music itself and/or art is highly complicated when you start trying to make a living at it. On one hand, it’s easy to see how we’ve grown, but it’s also easy to miss the almost-naïve magic that was there early on. Starting a band is kind of like dating. When you first meet someone, everything seems larger than life. But it’s not until later on, once you’ve matured and really learned who this person is, that you can really thrive.

PEV: What’s one thing we’d be surprised to hear about the members of The Danberrys?

TD: Dorothy is a CPA (Certified Public Accountant) in the state of Tennessee. Most people seem surprised by that!

PEV: What can fans expect from your upcoming album, Shine? Tell us about the writing process behind this work.

TD: For this record, we worked with executive producer Brian Brinkerhoff and co-producer/drummer Marco Giovino. From the beginning, Brian requested that we co-write every song, which was an intimidating concept for us as we had always written separately. To get our feet wet, we began writing with a third writer, Nashville’s bluegrass songwriting guru Jon Weisberger, who ultimately taught us how to write together without killing each other. The process with Jon was pretty straight-forward and efficient. We drove to his house in White House, TN, and sat at his dining room table, banging it out until we finished the song we were working on for that day. Jon was awesome to work with. It was the first time either of us felt like we really clicked with another writer. Jon got our confidence and creative juices flowing, and we just started coming up with new ideas and working those out together at home and on the road. We had just come through an extremely hard period of our lives, so we seemed to have endless inspiration. Writing is healing – a great purging of the emotions. This record, more so than our previous albums, really visits some of those dark emotional spaces. Marco’s drumming style is very distinctive, and, combined with our songwriting, gives this album an almost tribal feel.

PEV: What is the feeling you get after a song or album is complete and you can sit back and listen to it in full?

TD: There’s always the honeymoon period where you just want to listen and enjoy and no longer nitpick it apart. That usually lasts about a month, and then you can’t stop thinking about recording a new record.

PEV: What would you say is the biggest challenge for musicians trying to make a name for themselves these days?

TD: Just breaking through on some level. There are so many bands and artists out there right now that it can be hard to get noticed. There can be a lot of pressure to conform to a predefined sound, the tried-and-true. It’s very important to stay loyal to who you are. To be genuine.

PEV: With all your traveling, is there one area you wish you could travel around and play that you have not yet?

TD: We would love to tour Western Europe. We’ve done a couple of tours in the UK and one in New Zealand.

PEV: How have all your friends and family reacted to your career? What’s it like when you get to play in your hometown?

TD: Our friends and family are very supportive. They think we’re on some huge adventure all of the time, so they seem to live vicariously through us. Our hometown has always shown up for us, which is awesome!

PEV: What can we find each of you doing in your spare time, aside from playing/writing music?

TD: Ben is an independent IT contractor. He’s also an avid disc golfer and collector of vinyl records. Dorothy can usually be found reading a book, meditating, and deep-diving into the esoteric and healing arts.

PEV: Name one present and past artist or group that would be your dream collaboration. Why?

TD: We would love to work with Chris Wood (Wood Brothers, MMW). He just has that perfect funky folk thing going on. Past collaboration would have to be JJ Cale. We both worship at the altar of simple, addictive grooves.

PEV: Is there an up and coming band or artist you think we should all be looking out for now?

TD: We don’t know her personally, but May Erlewine has recently caught our ear and we can’t stop listening to her.

PEV: If playing music wasn’t your life (or life’s goal), what do you think each of you would be doing for a career?

TD: Ben would be teaching guitar and bass to youngsters. Dorothy would be an acupuncturist.

PEV: So, what is next for The Danberrys?

TD: We’re starting to venture back out into the touring world after the birth of our daughter, Ollie, in May. We’ll definitely be out playing this new material as much as possible and writing for the next record!

For more information, click to https://www.thedanberrys.com/.

https://findyourinnergeek.ca/2020/01/fyig-chats-with-music-duo-the-danberrys/

BY DEAN AMOND

Tell us a little bit about yourselves.

We are a husband/wife musical duo hailing from Nashville, TN. We write and perform songs that draw from a wide palette of genres. We’ve been a band for almost a decade, and this year will see the release of our third full-length album “Shine”.

How much easier is it to create music with your husband/wife than someone who isn’t as close to you?

We both agree that it was much harder to write together in the beginning. When we started out, neither of us had released any original music. We both had strong convictions about what we wanted to say individually, and that actually made it harder to collaborate. After we got 20+ songs out into the world via our first few albums, our lives had converged a bit more & we had matured, personally and in our relationship, and we learned how to write as a team. We have now been married for over 13 years, so we’ve been through many things as a couple. Those experiences forced us to grow and to learn how to communicate effectively as partners – and that naturally spilled over into the business/creative aspects of our relationship. Now we prefer to write as a team.

How would you describe your musical style?

This is always a hard one for us as we truly draw upon many musical stylings. We both love so many different types of music, and our tastes are extremely broad. We even love to listen to choral music, classical Indian music, Hip Hop, you name it. However, our music mostly sounds like a stew of blues, funk, folk, country, rock, and soul. It’s true Americana music.

How have you evolved since your debut EP, “Company Store”?

Ben wrote all of the songs on our first EP, and he wrote it during a time when he was heavily influenced by the bluegrass jams that were happening in Nashville at the time. Since then, we’ve steadily moved away from the bluegrass/string-band sound into something that’s quite a bit more influenced by folk, rock, and soul.

What can audiences expect from your upcoming album, “Shine”?

While every record we have released has been a bit more progressive than the last, Shine is the farthest departure yet. It’s pretty much fully electric, and the bluegrass instrumentation is nonexistent. This new set of tunes focuses on the groove and Dorothy’s vocals, as well as some heavy guitar work.

You’re shifting away from your traditional acoustic sound with this album. Why the change?

We finally made the album that we’ve always envisioned making. We started as a progressive bluegrass/pop band, mostly based on the fact that we moved to Nashville at a time when that type of music was really blowing up on the local scene. Ben was meeting all of these stellar bluegrass musicians at the East Nashville 5 Spot jams, and we just started playing with our friends because it was fun. That community really started embracing us a band, so we started writing and performing songs in that genre. It wasn’t something we really planned out. Every year, every album, we’ve steadily been moving closer and closer to our musical roots. This new record really reveals who we are and want to be as artists and musicians.

What advice do you have for aspiring singers/songwriters?

Do your homework. Find out what you like, who wrote it, who recorded it, and how it all came to watch as much live music as you can, and always try to keep an open mind. Lastly, don’t try to do it all on your own. Find people who you respect, and listen to what they have to say.

What are your lives like outside of music?

We have an 8-month-old baby girl who has brought us joy like nothing we’ve ever known. We also have part-time non-musical jobs. Dorothy is a free-lance accountant, and Ben is an independent contractor in the IT realm.

Let the readers know where to find you online.

You can find almost everything you need to know on our website www.thedanberrys.com. You can also find us on Facebook, Instagram, and Twitter. If you want to listen, then head over to Spotify, Apple Music, Pandora, or pretty much any other online music platform.

https://globalazmedia.com/2020/01/11/award-winning-americana-duo-the-danberrys-are-returning-with-third-studio-album-shine/

Nashville-based Americana duo The Danberrys are kickstarting 2020 with the official announcement of their upcoming album, Shine, out May 8th, 2020. Comprised of 12 new tracks, The Danberrys masterfully depart from their signature acoustic sound to capture elements of rock, blues, and folk. This new musical direction lets the pair venture into a darker atmosphere as well as allowing their self-written lyrics to stand tall. Shine will mark The Danberrys third full-length album.

After the release of their successful 2016 record, Give and Receive, Dorothy and Ben were approached by producer Brian Brinkerhoff (Van Morrison, Ike Stubblefield, Sam Butler, Ash Grunwald) to create a new LP, and he encouraged the duo to co-write it. While on their 2017 UK and New Zealand tours, the pair dove head-first into the process and even worked alongside bluegrass songwriting guru, Jon Weisberger, on a few of the songs. Once the tunes were ready, they began building their musical team.

They brought on producer/drummer Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller) to co-produce, which became a dream come true for The Danberrys, “ [he] has always been a musical hero of ours, and he brought this record to life with some major mojo.” Shine came to life at Dagotown Records in Boston, MA. The album was recorded in three days and features several live full-band recordings. Amongst some of the musicians featured are Duke Levine on guitar and mandolin and Darrell Scott, who lent his vocals on their upcoming single “The Mountain”.

Reflecting on the process of creating Shine, the duo revealed, “Shine represents a major shift in our sound, moving away from our acoustic-centric past while staying rooted in our love for the song and the groove. By venturing outside of our comfort zone, sonically and process-wise, we were able to make an organic record that we’re excited for the world to hear.”

Currently, The Danberrys are gearing up for the official release of the first single, “The Mountain”, on February 7th, 2020. For the track, Dorothy and Ben pulled inspiration from New Orleans’s traditional second-line rhythm and blues. Their lyrics reflect a message of destruction becoming a catalyst in creating new strength and wisdom. “The Mountain” drew attention from Americana Highways who praised the new single, saying, “The groovy rhythmic layers are truly innovative and the lyrics ring with potent gratitude.”

Be sure to check out The Danberrys on social media to get first-hand updates on their upcoming music.

The husband and wife duo, Dorothy Daniel and Ben DeBerry, were high school sweethearts. After splitting for 5 years, each took their time honing in on their musical craft. Dorothy began writing original music and Ben became a known performer, playing in local bands and cover gigs. In July 2006, the pair crossed paths at a bar in Cookeville, TN, and married four months later.

With undeniable chemistry, Dorothy and Ben began performing together and made the move to Nashville in 2008. In 2011, they officially became The Danberrys with the release of their EP, Company Store.

The EP was a success, landing them an Independent Music Awards nomination and a spot opening for Robert Earl Keen at the Ryman Auditorium. In 2013, The Danberrys released their first full-length album, which furthered their reputation as solid roots artists and continued to earn them more IMA nominations, including a nod for Best Americana Album. Their second full-length record, Give and Receive, was released in 2016, and brought The Danberrys international attention. They quickly headed on to 3 international tours (UK 2017, NZ 2017, UK 2018) as well as more nominations with the IMA, with another nod for Best Americana Album and a win for Best Bluegrass Song for their single “Long Song”.

https://lightning100.com/newmusic/the-danberrys-the-mountain/

BY LANI FORD

Lani here with my DJ pick of the week from Nashville’s The Danberrys. “The Mountain” is lead single from the Americana outfit’s forthcoming album Shine, due later this year.

“Like a lot of the songs on this album, the lyrics of this song were inspired by some truly dark and character-building life experiences,” singer Dorothy Daniel says.

The song was inspired by New Orleans traditional second-line rhythm and blues. Listen to “The Mountain” below and let us know what you think!

https://americanahighways.org/2019/07/16/song-premiere-the-danberrys-the-mountain-from-forthcoming-album-shine/

BY MELISSA CLARKE

Americana Highways brings you this premiere of “The Mountain” from the Danberrys’ forthcoming album Shine. Shine was produced by Marco Giovino and Brian Brinkerhoff, recorded at Dagotown Recorders in Boston, MA, engineered by Sam Margolis and mixed by Gus Berry. “The Mountain” was written by Dorothy Daniel and Ben DeBerry and is Ben DeBerry on guitar and vocals; Dorothy Daniel on vocals and tambourine; Marco Giovino on drums, and percussion, Darrell Scott on guest vocals; Neal Pawley on guitar and background vocals; Duke Levine on guitar; Marty Ballou on electric bass and Sam Margolis on background vocals.

With a powerhouse vocals, and New Orleans’ rhythms, this sultry, smokey new one by the Danberrys is an instant classic. Shine is going to light up your record collection, with its deep grooves and vocals soaring to the skies, achieving atmospheric levels of hope. The groovy rhythmic layers are truly innovative and the lyrics ring with potent gratitude.

"Like a lot of the songs on this album, the lyrics of this song were inspired by some truly dark and character-building life experiences. I’ve really found my spiritual center over the past few years, and this song is an echo of the prayer or meditation that grew within me during that time. Ben and I love that New Orleans second-line feel, and we intentionally wrote this song with that vibe in mind. Serendipity ensured that we had Marco Giovino, a true funk master, producing and playing drums, and we were beyond stoked to get Darrell Scott’s super soulful voice on the track. With the exception of Darrell’s vocals, this song was recorded in one live take, vocals and all, because that’s the way Marco likes to roll. It was a challenging experience to record that way, but we couldn’t be happier with the outcome." — Dorothy Daniel

http://www.threechordsandthetruthuk.co.uk/2018/07/gig-review-maverick-festival-in-twenty.html

BY DAVID HUGHES

"A promise that this will be the last weather mention, but the pull of including ‘Rain in the Rock’ by The Danberrys was too good to resist for irony alone. On the back of missing their Birmingham gig the night before, every effort was made to catch Dorothy and Ben’s set. You had to be a festival early arrival to see them as they were the second band in the Barn on Friday teatime, but the half hour of smashing roots music the pair delivered made it a worthwhile time investment. The Danberrys have played Maverick before and a growing association with the UK from this Nashville based duo will probably see them return again in the future. The song is taken from their 2013 self-titled album and they are definitely worth seeking out when they tour our shores again."

Link to Publication

http://www.nzherald.co.nz/wanganui-chronicle/midweek/news/article.cfm?c_id=1503658&objectid=11959460

BY PAUL BROOKS

Kiwi-born Vanessa McGowan of Tattletale Saints, now resident and working as a musician in Nashville, Tennessee, is doing New Zealand a favour by bringing and accompanying US bands on a tour around the country — and she intends to keep Whanganui as part of the itinerary.

Last Friday she and her upright travelling bass added a third part to the duo called the Danberry's, Ben DeBerry and Dorothy Daniel in a gig at the Whanganui Musicians' Club.
Presented by the Sarjeant Gallery, the concert attracted a full house and everyone enjoyed the fare.

Ben introduced the band in a typical Nashville-accented voice, saying it was "mighty fine to be here tonight". He and his wife of 11 years, Dorothy, are both song-writers, individually and together, so were able to give the audience a wide range of original tunes and well-known covers.

From a Celtic folk sound through blues, country, bluegrass and the tight, bass-driven rhythms of country rock, they played it all in the December heat. All the doors were open but standing under lights on stage would have been hard work.

Both Dorothy and Ben play guitar and Vanessa drove the rhythm on bass, keeping the whole sound incredibly tight. Even her father, John McGowan, a drummer himself, said that this was one band that did not need drums.

When Dorothy wasn't playing guitar she sang, a rich, strong, folky voice with feeling and clear diction, adding harmonies or laying down a melody. She was also the best tambourine player I've ever seen, making it an instrument in its own right.

Ben's voice lends itself to many styles, but he sure sounded at home in the country / country rock vein.

Often the three voices combined — always in multi-part harmony — and they sounded beautiful. Smooth vocal arrangements had everyone coming in on time, on pitch, giving a vocal dimension to the music rarely seen outside of a studio.

Ben's guitar playing was a feature of the evening: his clever, fast flat-picking in perfect time, reflected in his facial expressions and often with humour. He could make a picking sequence sound quirky, even funny, despite the fact it was beautifully done, and his patter was often a stand-up routine. "This is the portion of the show where we play another tune … that's a terrible joke. It was a test to see what I can get away with."

Their songs were often stories, many with a humorous origin, such as their original Get Down. "It's story of a trip we made to the Mississippi delta, home of the blues, to the World Catfish Festival. They crowned the beauty queen, Miss Catfish," says Ben. "We ate catfish with fries, listened to blues music, went to Tommy Turner's Turtle Farm … we got back to Nashville and wrote this song."

A song called Big Rig was composed entirely of trucker jargon found on the sleeve of an album of truck driving favourites. The premise also led to a pretty funny comedy routine during the introduction to the song.

A feature was the interplay between Ben's guitar and Vanessa's bass, with each taking turns to solo, provoking appreciative applause from a discerning audience.

Every song was masterfully played and sung by all three on stage, making it a night to remember. At half time they mixed with the crowd and made their CDs available to buy. Many took advantage of the opportunity.

I am now a fan of the Danberrys and look forward to the next band Vanessa brings to Whanganui.

http://www.radionz.co.nz/national/programmes/nzlive/audio/2018623850/nz-live-the-danberrys-ft-vanessa-mcgowan

Tennessee band The Danberrys play indie-folk influenced by bluegrass, country and blues.

They're joined by New Zealander Vanessa McGowan on upright bass.

Ben DeBerry and Dorothy Daniel (aka The Danberrys) play four songs and talk to Jesse about their off-the-beaten-track tour which includes gigs in Tokomaru Bay and Barrytown.

Listen to the full session duration 32′ :44″

http://www.nzherald.co.nz/wanganui-chronicle/midweek/news/article.cfm?c_id=1503658&objectid=11947063

BY PAUL BROOKS

Whanganui people will be familiar with bassist / singer Vanessa McGowan, who has performed here in Her Make Believe Band and, latterly, and more regularly, with Tattletale Saints. In both bands she is teamed with singer / songwriter / guitarist Cy Winstanley.

Next month she returns to Whanganui, this time as the third member of Nashville Band The Danberrys.

The Danberrys are led by the Tennessee-born couple of Ben DeBerry and Dorothy Daniel who hail from East Nashville, Tennessee. They've built a special indie-folk vibe around Dorothy's luxuriously smoky voice and Ben's intricate acoustic guitar flatpicking, with a sound drawing influences from Bluegrass, Country, Blues, and Funk/Soul traditions.

Performing as a trio with Vanessa on upright bass, The Danberrys' show takes the listener through the near limitless nature of the Americana genre.

All three of the band's albums have been nominated for a number of Independent Music Awards, including Best EP, two nominations for Best Americana Album, and a recent 2016 win in the Best Bluegrass Song category.

"Cy and I are still performing as Tattletale Saints, absolutely," says Vanessa. "We had a few shows over the US summer and we're working on a tour for early next year. We definitely have some plans brewing for getting back to New Zealand as soon as possible too! "I met Ben and Dorothy through the music scene in Nashville a few years back and started out just filling in with them on local gigs. We gelled musically very quickly and have done quite a bit of touring throughout the States since. Ben is a truly wonderful guitarist and on top of being an amazing vocalist, Dorothy is the best tambourine player I've ever heard. She plays the tambourine with such an awesome groove, which is truly high praise coming from a bass player! I sing backing vocals with them and we have a lot of fun layering up the three part harmonies. They're one of the most fun bands I play with and I'm super excited to bring them to New Zealand. It's going to be such a fun tour!"

"My plan is to send lots of great Nashville bands your way over the next few years — feels like I'm in a unique position to be able to make this happen and it would be great for the bands and also great for the New Zealand audiences!"

The Danberrys are playing at the Musicians' Club (formerly the Savage Club) on Friday, December 8 at 7.30pm. Non-Members: $20, Members: $18. The show is presented by the Sarjeant Gallery.

http://www.heraldscotland.com/arts_ents/15358724.Music_review__The_Danberrys__Traverse_Theatre__Edinburgh/

BY ROB ADAMS

BEN DeBerry has altogether too much fun at work. Between feeding the audience mischievous misinformation about song derivations and Southern States life, threatening to teach his wife, Dorothy Daniel, to read (she’s a fully qualified accountant, turned professional singer), and getting round the fretboard of his guitar with conspicuous musicality, the staff side of the Danberrys partnership makes it easy to settle down with the group in person.

It’s the musicality aspect that matters most, and the Danberrys in this configuration, with double bassist Geoff Henderson completing a very compact trio with DeBerry and Daniel, project it in no small quantity. Their songs have a smart, up-to-the-minute quality, even when reworking an aged nursery rhyme on Rain, and yet a large part of their attraction and strength lies in the traditions they draw on in varying degrees.

Jug bands, bluegrass, gospel and country music’s love affair with Fender Telecasters, here realised through DeBerry’s sure, expressive acoustic flatpicking, all feed into song arrangements that find Henderson and DeBerry creating a momentous groove under strong and close two- and sometimes three-part harmonies.

The groove got swampy behind Daniel’s beautifully clear singing of The Mountain and the combination of hard-edged guitar and bass riffing and committed singing gave the gospel-bluegrass-styled Working on a Building soulful power.

If Daniel, whose tambourine playing adds clearly defined percussive detail to the string-driven locomotion, never actually got round to explaining, as promised, the story behind Don’t Drink the Water, it mattered little. The message came through and there were tales, observations and leg-pulls enough over two thoroughly satisfying sets that deserved a bigger audience on an unusually quiet night for these Traverse Music Mondays.

http://www.heraldscotland.com/arts_ents/15345583.Duo_in_the_arms_of_destiny/

BY ROB ADAMS

IT IS the kind of break that some of the characters on TV series Nashville might actually kill for: a gig at the Ryman Auditorium supporting top singer-songwriter Robert Earl Keen to promote your first EP.

This was the scenario Ben DeBerry and Dorothy Daniel – aka the Danberrys – found themselves in after being heard by a producer at 650 AM, the radio station that has hosted legendary country music programme the Grand Ole Opry at the Ryman in Nashville for some ninety years.

And to add to the romance of the storyline, DeBerry and Daniel, unlike many musicians who are trying to make it in Music City, Tennessee, grew up in the Nashville area. In fact, DeBerry had appeared on the Ryman stage before, as a teenager, playing school guitar recitals, which takes a little bit of the gloss off the story. There is, however, some of the required bad luck and trouble in the Danberrys’ history too.

“Back in the early 1990s, the Ryman was going through a major renovation and wasn’t operating as a regular venue but my guitar teacher was good friends with the manager and he made it possible for me to play there,” says DeBerry. “It wasn’t quite the same as appearing on the Grand Ole Opry, but it was a thrill at the time and it was an even bigger thrill to appear at the Ryman as professionals, because it’s a sacred place for country music.”

DeBerry and Daniel met at college and dated for a while before going their separate ways. They’d sung in the same choirs before they met properly and DeBerry taught Daniel to play the guitar, but neither had ideas of taking up music as a career at the time.

Five years down the line they ran into each other again in a Nashville bar at around two in the morning. By then Daniel was working as an accountant in New York and DeBerry was doing contract work in a variety of jobs by day and playing gigs by night. Both had recently gone through relationship break-ups and when Deberry told Daniel she was the only one he wanted to be with, the spark was rekindled and they decided to get married.

During the time they were apart they’d both been writing songs and they started writing together. Just after Daniel moved back to Nashville from New York, however, she developed a problem with a nerve in her arm.

“I’d quit my job and I got quite bitter, to be honest,” says Daniel. “I couldn’t play the guitar and I went through a dark time when Ben literally had to haul me out of bed every morning. We’d moved to East Nashville, which is a really thriving musical community with a lot of energy, and this nerve problem was making me feel excluded. So eventually I went back to accounting. I didn’t even want to listen to music.”

Micol Davis, of the Nashville-based husband and wife team Blue Mother Tupelo, helped Daniel regain her appetite for music and suggested an alternative to playing the guitar that has become one of the Danberrys’ calling cards.

“Micol comes from Indianola, Mississippi and she has this funky, gospel feel in her music that I just fell in love with,” says Daniel. “She also plays tambourine and this turned out to be just what I needed. It was great therapy, both physically and mentally, and we started following Blue Mother Tupelo around so that I could learn what Micol was doing.”

While Daniel was making a study of the tambourine (she’s also looked into Brazilian percussionist Airto Moreira’s technique), DeBerry hit a particularly strong seam of composition. He played these new songs to a sound engineer friend who offered to produce a professional recording for nothing, with the proviso that DeBerry and Daniel released it.

The aforementioned EP, Company Store, and the gig at the Ryman with Robert Earl Keen followed in 2010. Since then, the Danberrys have released two full-length albums and toured the US extensively, using Daniel’s accountancy qualifications and DeBerry’s various skills to organise tours and record releases entirely independently.

For their first trip outside of the US, which brings them to Scotland this weekend, they’ll be joined by Geoff Henderson, a bassist whose background in jazz and improvised music gives them the freedom to sing and play whatever they choose.

“There are some songs we’ve recorded that we can’t perform as a duo but Geoff brings this adaptability and strength in his playing that means we can just concentrate on what we’re doing and know that he’ll be right there with us,” says Daniel. “That gig at the Ryman and everything else that’s followed has shown us that the problems I had with my arm have turned out to be a good thing in a way.”

The Danberrys play Catstrand, New Galloway on Saturday, and go on to Irvine (Sunday), Edinburgh (June 19), Kilbarchan (20), Glasgow (21), Kirkcaldy (22), Findhorn (23), Strathdon (24), and Aberdeen (25).

Long Song from The Danberrys album Give and Receive has been named Best Bluegrass Song at the 15th Annual Independent Music Awards.

http://musiccityroots.com/blog/acoustic-travelers-mcr-10-26-16/

BY CRAIG HAVIGHURST

Ben DeBerry, the guitar-slinging dude half of The Danberrys, brought his old and loved copy of String Wizards to the show so that John McEuen, the man who made it in 1991, could sign it. Not only did Ben get that autograph backstage at this week’s MCR, he got a spontaneous invitation to join John on stage for a blues jam during his set. That’s how it goes in Roots world, where as I mentioned in my preview for this week, acolytes become teachers and pass it on, whether by way of stories from the road, instrumental tips or performance opportunities. It’s the Americana way.

There were plenty of string wizards on hand on Wednesday night, but John also has an album called Acoustic Traveller and that felt like an appropriate take on the show as well, as it featured no drums or electric instruments at all. But travelers for sure. Opening band the Forlorn Strangers have done, they said, about 18 months of touring with their fiddle, banjo, guitar, bass and mandolin. And it showed, with tight musicianship and songs that caught me on first listen. The rustic opener “Sugar Cane” took long draughts on the fiddle and dobro against a bluesy stomp. Abigail Dempsey took a striking lead vocal on the ballad “The Light.” In fact I think we may have heard five lead vocals by five different songwriters from a five-piece band here, and that’s impressive. Closer “Bottom Of The Barrel” is super-fun and breezy on the surface with a deep message that creeps in as you sway along. Hats off to this sparkling young band for getting so much so right in such a short amount of time.

Free The Honey visited us from far-away Gunnison, Colorado where the elevation (7,700 feet) is higher than the population (5,800) and where the air is right for acoustic folk experimentation. The trio (plus bass player) has found a sweet spot between old time and classical that’s rich with nuance and subtlety. Opener “Something About Fall” was like mountain chamber music with bowed bass and moving twin fiddle parts. The vocals started up with Katherine Taylor singing in a minor key about “Goin’ To New Orleans.” “No Longer Bound” was a pure a cappella number with finger snaps and shakers, showing loads of sweet soul. Even stronger was the closer “In This World” where each musician took a lead verse over spare acoustic bass, joining on the lush choruses. Lovely stuff.

The Danberrys are a reliable acoustic groove experience and they were especially tight and on top of things this week, with stunningly funky Vanessa McGowan on upright bass and lanky Kyle Tuttle on banjo. The support was just right for the voices of Ben and Dorothy, not to mention Ben’s impeccable flatpicking riffs. “Let Me Ride” was one of their smoother numbers, with a cool rhythmic catch in it. The solos and the quiet instrumental breakdown in “Working On A Building” were riveting. I generally praise Dorothy for her vocals and she was indeed moody and soulful as ever, but I think my favorite tune of the night was “Rain” with Ben singing lead. It had a really cool droning quality with a rhythmic sparkle and shake. They closed with Dorothy’s lead on their classic “Come Give It,” which this evening had a Grateful Dead vibe.

Mr. McEuen took the stage with his banjo and his long time musical companion Matt Cartsonis, who played guitar and mandolin and who sang old standards like “Blue Ridge Cabin Home” and less trad numbers like the set opener, Warren Zevon’s very country “Dirty Life And Times.” McEuen told a gut busting story about being invited to perform at the funeral of the man who voiced Mickey Mouse. Then Matt got some help on the crooning and lovely “Travelin’ Moon” as the night’s female performers came up to sing harmony vocals behind him. Ben DeBerry made his guest appearance with his guitar on “Fingerbuster.” No fingers were harmed.

I don’t know if it was planned or not, but Jim Lauderdale’s Nashville Jam segued from “I Saw The Light” to a swinging version of “Swing Low Sweet Chariot” as the night came to an end. And our tireless an intrepid acoustic travelers all packed their stringed instruments up and headed out toward their next show.

BY JULIAN PIPER

It would be easy to dismiss the Danberrys as yet another duo from the vast wellspring of talent that is East Nashville. But it doesn't take much listening to understand why, in 2013, their last album won them a nomination for Best Americana album. Ben DeBerry and Dorothy Daniel come up with some truly great songs, transcending their quicksilver influences – country, pop and country – into a wonderfully fresh-sounding roots stew. Ben gets to throw in a country stomp, Dorothy sings her folky 'Lady Belle', and the pair share vocals on the soulful 'We'll Be Done'. It's all familiar stuff, but you'll never see the join.

The Danberrys have been nominated in THREE categories in The 15th Annual Independent Music Awards:

• AMERICANA ALBUM: Give and Receive by The Danberrys
• BLUEGRASS SONG: Long Song by The Danberrys
• COUNTRY SONG: Let Me Ride by The Danberrys

Winners of the music industry judged awards are to be named in November 2016.

http://local.nashvillescene.com/event/exitin/americanafest-americana-nashville-feat-jennilyn-lindsay-lou-the-danberrys-caroline-spence-robby-hecht-and-sally-and-george

BY JON WEISBERGER

AmericanaFest is kicking off in Nashville — but even before the festivities really get going, folks can get a diverse taste of Americana at Exit/In. Presented by The Danberrys, whose album Give and Receive hit the streets just weeks ago, the show nods mostly at the acoustic side of the format. Jenni Lyn of Della Mae is the most likely candidate to wave the bluegrass flag, and Robby Hecht’s the most likely standard-bearer for the more electrified among Americana’s singer-songwriters, but all of the artists involved share an interest in — and knowledge of — the stew of durable influences that underpin the bluegrass format. From Lindsay Lou’s languid invocation of great jazz singers to Caroline Spence’s sharp take on folk-country forms, this is a bill that pays attention to not only the superficial elements of those influences, but to their deepest attributes. It’s a great way to start off the week.

http://www.elmoremagazine.com/2016/08/reviews/albums/the-danberrys

BY LEE ZIMMERMAN

There is something to be said for the tighter bonds that marriage often brings. Likewise, there’s something to be said for the talent that seems inherent within the bounds of Tennessee. The Danberrys bring both. Nashville residents and husband and wife Ben DeBerry and Dorothy Daniel have known each other since they were teenagers, and their musical symmetry reflects the results of a long-term relationship. Drawing from a broad palette that incorporates bluegrass, balladry, contemporary country and the broad sweep of engaging Americana, their third album Give & Receive is rich in tone and texture, not to mention soothing, supple and effortlessly accessible. The songs themselves attest to that conclusion, as bookended by the soft, subdued harmonies of album opener “Receive” and the slow, solemn closer “We’ll Be Done,” and further enhanced by the haunting “Lady Belle,” the sultry “Don’t Drink the Water” and the riveting hoedown “Long Song,” all of which fall in-between. Granted, the Danberrys rarely opt for flash or frenzy, but their honest intentions deliver far more satisfaction than any pomp or pretense possibly could. They give. We receive. It’s an ideal combination.

What inspires my songwriting? Moods, feelings, interpersonal interactions, nature...I never seem to know what will inspire the next one. I'm a guitar player from Nashville and happen to be in a band with my wife Dorothy. We got our start when we both decided to begin recording our songs. It was quite a happy accident. Our songs draw from a multitude of American roots music from the past and present. There's no real rhyme or reason to the focus of the songs, with some beng serious and some being more light-hearted. Our new album 'Give and Receive' was recorded at Southern Ground in Nashville, where the vibe is perfect and the instrument selection is divine. I got to play an old Martin owned by Townes Van Zandt on my song 'Get Back Home'. Currently my favorite track is 'Lady Belle', written by Dorothy. It really draws me into its lush sounds and darkish mood. The meaning is probably different to every listener, but a Lady Belle is a beautiful weed that is mistakenly planted in gardens only to take them over. I write all of my songs on acoustic guitars. A lot of them seem to spring out of thin air. Other times they come from riffs or chord progressions that have been lingering about for extended periods of time. I currently play a Larrivee OM-03 with a LR Baggs iMix pickup - I love the smaller size, and it sounds fantastic plugged in. I've been playing it for about two years now, and it's my favourite performing guitar. I pick about 90 percent of songs and fingerpick the rest. I run through a Fishman acoustic delay pedal with a tap tempo, and straight into a Fishman Performer acoustic amplifier. I send my signal to front of house via the post output, which gives me more control over my sound. Future plans? Touring in support of our new album and writing and recording for the next one.

www.thedanberrys.com

http://www.northernskymag.com/reviews/cd-reviews/danberrys-give-and-receive-self-release

BY ALLAN WILKINSON

The new offering by The Danberrys is one of those Americana albums that brings instant gratification; great songs, great arrangements, great musicianship, great performances. The ten songs are immediately accessible and cover a deep well of influence from the worlds of rock and blues to bluegrass and country. The East Nashville-based duo at the core of the band are Ben Deberry and Dorothy Daniel, whose relationship goes back to high school where the two met as teenagers. Now married for ten years, the duo's musical bond is just as close, evident in every note on this album. Drawing from Dorothy's grounding in soul and blues together with Ben's love of bluegrass, rock and country, the magical sparks that began to fly on the duo's previous releases, the COMPANY STORE EP (2011), their self-titled debut full-length release in 2013 and now on GIVE AND RECEIVE, are in no hurry to burn out or fade. Produced by Ethan Ballinger, the album's notable songs include the bluesy, gospel-tinged Don't Drink the Water, which sees the duo emote deliciously throughout, Dorothy's assured performance on her own Lady Belle and the all-out bluegrass romp of Long Song, complete with possibly the longest count-off in the history of bluegrass.

BY ANDREW DARLINGTON

Is the word 'biopic' pronounced as myopic, or as biographical picture? Whatever - the travelling Danberrys' story is a gift. The Tennessee high-school childhood sweethearts who go their separate ways, but are drawn back together by musical gravity waves. And the power is undeniable. Now married, like siblings, their harmonies are tightasthis. Ben writes, Dorothy writes, or they write together - the sweetest harmonies you ever heard this side of The Everly Brothers or Gram and Emmylou, over the smoothest unobtrusive bluegrass instrumentation.

Her voice soars like the cover-art white bird, achingly old-timey traditional yet contemporary Americana in the way that purity always shines. Her 'Don't Drink the Water' is so dry-earth honest its roots-rawness stings, while 'Life Worth Living' is stark, pared-back to just the sincerity of her voice, and thumping percussion. His voice is more playful on the hoedowny 'Long Song' - the love song he wants to write for her if only he had a pencil, or a phone.

Following a 2011 EP and self-titled debut LP, these ten songs, at a deliciously concise thirty-seven minutes, never overstay their welcome, and leave you wanting more. The biopic may or may not follow.

(Other Music for Urban Gourmandizers)

THE DANBERRYS ALBUM RELEASE

FEAT. KYLE TUTTLE & THE CARMONAS

BY: STEPHEN TRAGESER

You see it time and time again: Eager up-and-coming artists with chops to spare put everything they have into paying homage to their influences, and fail to develop their own voice in the process. The Danberrys' Dorothy Daniel and Ben DeBerry have steered well clear of that trap. Their new album Give and Receive sees them and a band of ringers - group members rotate in and out, but they're always top-shelf - pulling apart bluegrass, blues and other related traditions and putting them back together in ways that feel fresh and unique, but still totally familiar. They recorded with Brandon Bell at Zac Brown's Southern Ground studio, and the resulting tracks are gentle, rich and touched with some of the finest singing you'll hear anywhere. Hear it in person at Friday's release gig, with support from Kyle Tuttle and The Carmonas. 9 p.m. at The Basement

http://www.americanrootsuk.com/the-danberrys---give-and-receive.html

BY MIKE MORRISON

I must admit that whilst listening to the first couple of tracks for the first time, the lovely harmonies and mellow sound didn't appeal to me all that much although I thought it was beautifully recorded and performed but felt it would not prove particularly memorable, at least to me. It just proves yet again that you need to give an album a chance because as things progressed I became more and more impressed and realized that beautiful soft vocals and a mellow sound is only a small, but significant, part of this recording that has far more depth and all round 'edginess' than I first thought. Certainly there is much that is mellow, but the songwriting is excellent and the arrangements are incredibly diverse and varied, to such a degree that the listener can't really pick out what could be a Danberrys signature sound.

They are the duo of Dorothy Daniel on lead and harmony vocals, Ben DeBerry, lead and harmony vocals and guitar, with multi instrumentalist and producer Ethan Ballinger playing mandolin, mandola, 12 string guitar, acoustic guitar, background vocals, rhodes, organ and much else besides! Christian Sedelmyer played fiddle on many of the tracks, with contributions from several other talented musicians who all helped to add colour to this excellent recording of ten beautifully written songs. All were penned by the Danberrys, with two being co-writes, six solely by Dorothy and two by Ben. It was recorded and mixed at Southern Ground Studio, Nashville by Brandon Bell with production duties handled by band member Ethan Ballinger.

Dorothy has a beautiful voice that is as capable of producing a haunting fieriness as it is beautiful mellow tones and with the ability to not only emote the sounds but also to engender an emotional depth that must be the envy of many singers, on this, their second full length recording following on from an early e.p. Ben also has an excellent voice that in most bands would take the lead but when put up against Dorothys quite exquisite haunting vocals most vocalists would be put in the shade.

There is a beautiful manipulative vocal from Dorothy on Lady Belle, a gentle folksy song that has a jazzy leaning and flows serenely along with a cleverly thought out instrumentation on a song that the more I hear it the more I'm reminded of 'Clannad.' Long song is a much more driven song, with Ben on lead vocal with banjo, bass, percussion and fiddle on a composition that has a strong 'old timey' feel that veers towards bluegrass but thankfully avoids the histrionics often associated with the genre. There are some lovely harmonies from Dorothy on a beautifully arranged and performed song that has more depth than many in the same stylistic field. There is a nice slow chugging guitar sound that builds an excellent atmosphere on Don't drink the water, eventually joined by Dorothy's haunting vocal on a powerful tale that has a little darkness in its makeup. It is a lyrically repetitious song, but that is what enables the power and variety of the flowing instrumentation free rein as it evolves and gently changes the depth of the atmosphere. Life worth living kicks off with a strong percussive beat soon joined by Dorothy's soulful gospel influenced vocal on a powerful haunting song, with just the percussion and haunting male harmonies for support. That is immediately followed by another beautiful vocal performance from Dorothy on All the way up, with excellent harmonies from Ben and Ethan on a tale that has great depth and an instrumentation that not only adds to the depth but creates a dark flowing atmosphere as it builds and falls.

If I had to criticize this excellent recording it would be to say that the first two or three songs could have been spread across the album because certainly my first impression of them holds fast and doesn't give a true picture of what is to follow. On the other hand; and there always has to be one; perhaps the idea was to lull the listener and create a surprise element as the album progresses. If so, they have succeeded in that. I'm still amazed at the variety of textures and the emotional depth of many of the songs on this tremendous album. I've already voiced my early concerns but this album gradually builds more and more appeal with its variety of sounds, textures and emotions pretty much making those concerns superfluous, in fact they serve to emphasize the fluidity and diversity contained on this excellent recording.

http://lonesomehighway.com/

BY PAUL MCGEE

Ben DeBerry and Dorothy Daniel are from East Nashville, Tennessee and have been influenced by the traditions of bluegrass, old-time country, blues, and soul music. They have very distinct vocal harmonies and their first recording Company Store, was released in April 2011, followed in 2013 by The Danberrys.

Their latest album Give & Receive was produced by Ethan Ballinger (Lee Ann Womack, Tim O’Brien) at Southern Ground Studios in Nashville and these ten songs provide a musical landscape that reveals a broad range of moods and sounds, reflecting the continued growth of these two artists who wrote all the music & words included here.

Receive has fine vocal harmonies with mandolin and fiddle interplay giving the song arrangement a gentle laid-back feel. Indeed this sense of timeless music is repeated across the ten tracks with a strong presence from producer/musician Ethan Ballinger on mandolin, a variety of guitars, bazouki, banjo,organ, piano, wurlitzer & percussion. With subtle fiddle on most of the tracks supplied by Christian Sedelmyer and the steady bass playing of Sam Grisman, the project delivers an overall sense of real quality and restrained mood.

The bluegrass sound of Long Song is followed by the slow moody groove of Don’t Drink the Water. Let Me Go visits the subject of escaping a suffocating relationship and Life Worth Living visits the urge to seek real meaning in our lives. We’ll Be Done highlights the superb vocal talent of Dorothy Daniel and brings proceedings to a very satisfactory conclusion on a sea of sweet melody. Recommended.

http://www.elmoremagazine.com/2016/06/music-news/the-danberrys-share-all-the-way-up-live-at-paradox-productions

BY BRENDA HILLEGAS

If you have listened to the Danberrys’ recent release, Give and Receive, then you already know that Dorothy Daniel has quite the voice. But for anyone who may not have heard this East Nashville duo yet, the video for “All the Way Up” below will further prove that Daniel is one of the best vocalists in that town. She could sing just about anything with ease, but the bluegrass, classic country, blues, and Southern soul that make up the Danberrys is clearly what she was meant to do.

Daniel and musical partner/husband Ben DeBerry have known one another since they were teenagers. This comes through in their music. By watching this no-frills, studio version of “All the Way Up”, you can clearly see what makes the duo so special. Their vocals and instrumentals are familiar and comfortable in all the right ways; they shine via their beautiful souls and honest, lovely lyrics. Daniel says of the song:

“‘All the Way Up’ is a song about the magical qualities of life…the beautiful, playful, loving, unconditionally inclusive potential that resides in every living heart. It’s a moment in time captured by the eyes of an innocent child.” – Dorothy Daniel

Link to video: https://www.youtube.com/watch?v=XmL77Myb19s

http://www.folkradio.co.uk/2016/06/danberrys-give-receive/

BY MIKE DAVIES

The Danberrys are a Tennessee-born husband and wife duo, Ben DeBerry and Dorothy Daniel were a teenage item, went their separate ways, and then reconnected to start making music together, a meeting of their individual interests in bluegrass, country, soul and blues. Give & Receive is their third release, the debut EP and previous album both picking up an assortment of nominations and prizes. I see no reason why this shouldn’t add to the trophy shelf.

One of two co-written numbers, the almost hymnal Receive sets the ball rolling in early Gillian Welch and Dave Rawlings mode, their voiced duetting over acoustic guitar, mandolin, fiddle and bass, the second of the collaborations coming with Let Me Ride’s slightly rockier roots rhythm as its heads for grace and glory. Of the other tracks, Daniels takes the lion’s share of the credits, her first being the trad folk influenced Lady Belle, DeBerry’s guitar interleaving with that of producer Ethan Ballinger, while her other half makes his bow and takes lead with the fiddle and banjo bluegrass stomping Long Song.

Daniels dominates for the following four numbers, the first being Don’t Drink The Water’s scratchy guitar-based five minute dry, bluesy percussive prowl with its slow march handclaps and religious imagery, immediately contrasted with the folksier Let Me Go; search for salvation with just acoustic guitars backdropping her soaring, pure vocals.

This, in turn, gives way to another shift in tone with Life Worth Living, the only instrumentation being dry shaker percussion and a minimal drum beat giving its working man’s lamentation a tribal rhythm while Ballinger and DeBerry’s voices hover around Daniel’s plantation-style delivery.

Introducing organ to proceedings, All The Way Up is a dreamy ebb and flow affair that conjures thoughts of Stevie Nicks in her soulful cosmic desert haze, while there’s also Wurltizer to be found, along with mandola and piano, on DeBerry’s remaining writing and lead vocal credit, Get Back Home, a laid back, banjo-burbling mountain cabin number. All of which leaves Daniels to close up shop with the aptly titled We’ll Be Done, a low key, five minute reflective song about rebirth and revival that sets consuming fire against cleansing water, Daniels singing how “nothing ever touched by soul is lost to flame” as the track builds to a lengthy choral outro. They say it’s better to give than receive, but this is their gift and you should accept it with open ears.

Give & Receive is out now

http://thealternateroot.com/index.php?option=com_content&view=article&id=5201:otr-06-22-16&catid=208:what-s-trending&Itemid=268

BY DANNY MCCLOSKEY

The Danberrys (from the album Give and Receive) - The Give and Receive on the recent album release from The Danberrys can trace a line from the band couple to their musical influences. The musical memories of Dorothy Daniel and Ben DeBerry spin Old Time music with funk, Country and Bluegrass traditions with Soul in songs as The Danberrys. The Tennessee-born, East Nashville[based musical couple take a pull from a scratchy beat as they solemnly trudge through “Life Worth Living”. Give and Receive climbs “All the Way Up” on gentle notes for the tiny hands reaching out in the story line as “Long Song” reels out onto the dance floor and “Let Me Ride” floats to the west on a highway prayer. The Danberrys meet in harmony, backing their songs with an Americana melting pot of sound that desperately begs (“Let Me Go”), tries to keep from sinking (“Don’t Drink the Water”), and closes the door on Give and Receive with the goodbyes of “We’ll Be Done”.

http://www.thatmusicmag.com/index.php/2016/06/the-danberrys-give-and-receive/

BY GENO THACKARA

Dorothy Daniel and Ben DeBerry sure sound like they have a good life. Sharing an almost lifelong history, happily married for a decade, able to travel and explore the music they love, they’re willing to put their whole lives into what they do and the music shows it. It’s a mix of classic Americana full of laughter and moonshine, taking the back roads from the heartland prairie to the delta swamps.

That background lends a little extra depth to lines like “I want to spend all my days singing with you,” but you don’t have to read their bio to hear the chemistry at work. In the rootsiest folk tradition, these are simple and sometimes eloquent offerings that celebrate the good things in life while recognizing and accepting the sadness too. A couple pieces could have used more fleshing out (the quick low-country chant of “Life Worth Living” sounds like a loose sketch that never got developed), but most are already lived-in enough to have you feeling road dust in your shoes and catching a whiff of fresh cornbread.

Daniel’s clear singing voice is a selling point by itself, though it’s the whole mix that gives Give & Receive some real staying power – soothing harmonies, guitar or mandolin strums, banjo picking and down-home fiddle all make for a rustic soulful tone somewhere between old-fashioned and timeless. Even so, it wouldn’t go down nearly so well if the performances weren’t so clearly heartfelt. From lively bluegrass to barn-dance country or simple soul, it’s all familiar, comforting and most of all, real.

Rating: Sweet

http://www.wideopencountry.com/song-premiere-danberrys-recieve/

BY MATT ALPERT

Vocal partners who are romantic partners tend to make unforgettable harmonies, especially within country music. There’s just something about a shared, intimate connection that lends itself to this style.

You’ll hear that intimate quality in the music of The Danberrys, a rising Americana band from East Nashville. The core of the band, singers Ben DeBerry and Dorothy Daniel, have been married for 10 years. Each singer brings different influences from bluegrass, folk, and country to their music, which creates a blend that’s reminiscent of Americana luminaries Gillian Welch and David Rawlings.

Today we’re premiering a video for “Receive,” a track featured on their upcoming album Give & Recieve, out June 17. Filmed in a recording studio, the video showcases the harmonies of Danberry and Daniel and captures the masterful dynamics of the band.

“Receive is a song about the process of change and creating new patterns in our lives,” said DeBerry. “It’s about realizing when old beliefs aren’t working anymore & making the necessary internal adjustments to change our perception of our relationships with others and with life.”

Link to video: https://www.youtube.com/watch?v=8aP7vsri94Q

https://paulkerr.wordpress.com/2016/06/07/the-danberrys-give-receive/

BY PAUL KERR

Seems a long time since we heard from The Danberrys, almost three years to the day actually when Blabber’n’Smoke reviewed their second self titled album which was nominated in the Best Americana Album category in 2013’s Independent Music Awards. On this follow-up, married couple Ben DeBerry and Dorothy Daniel add another ten songs that run the gamut from bluegrassy hoedowns and crystal clear folk songs to rhythmic recollections of the past with some dark undertones.

As on the last album they’re ably assisted by Ethan Ballinger (mandolin, guitar, keyboards and cigar box) and Christian Sedelmayer (fiddle) while bass is provided by Sam Grisman and Kyle Tuttle offers occasional banjo. An impressive combo they play wonderfully with a gossamer like touch on some of the songs but they’re also able to dig in and plough a fertile rootsy loam.

The album starts well with the combined vocals of DeBerry and Daniel over a solitary guitar on Receive, their voices recalling country duets from the past with a slight devotional touch. Gentle backing from fiddle and mandolin then adds to the sense of voices from the past. Lady Belle allows full rein to Daniel’s voice on a song which ripples with a shivering delight as the band expertly deliver a subtle Celtic folk sound that nods to artists such as Sandy Denny and Shelagh McDonald. Let Me Ride is in a similar vein although there’s more of a skip in its step here along with a fine chorus, the ensemble playing quite superb. DeBerry steps up to the mic for the rousing bluegrass knockabout of Long Song which allows Ballinger, Tuttle and Sedelmeyer space to solo and spar with each other but thereafter the album grows somewhat darker and deeper.

Don’t Drink The Water is a menacing percussive piece with a chain gang drive, sinewy guitar and hand claps recalling slave memories. Sedelmayer’s fierce fiddle interludes add to the menace here while Daniel’s voice is powerful and emotive. Similarly Life Worth Living harks to the past with only a percussive beat backing the vocals on a song which brings to mind Rhiannon Giddens’ excavation of plantation songs, the reek of the old South strong here. The album ends with a powerful trio of songs. All The Way Up is a magnificently dynamic song, the band ebbing and flowing wonderfully behind Daniel’s impassioned vocal. Get Back Home offers DeBerry the opportunity to show that can create a mood as well as his other half, his vocals here as comfortable as a back porch settee on a song that rings as clear as a mountain stream with heavenly harmonies and some gorgeous playing from the band. We’ll Be Done closes the album on a strong note as Daniel is reflective, singing of rebirth over a gently tinkling backdrop which slowly swells into an ethereal chorus as the band play a lengthy outro. Wonderful stuff.

http://www.folkradio.co.uk/2016/06/video-premiere-danberrys-lady-belle/

BY ALEX GALLACHER

The Danberrys full band shows in Nashville created such a buzz that other musicians began to appear at the back of the room to check out what all the fuss was about. In that town, it’s always a sign that there’s something real good happening.

Of course, at the heart of The Danberrys is the Tennessee-born couple of Ben DeBerry and Dorothy Daniel – a meant-to-be-together pairing from East Nashville. Since teaming up, they had already caused pulses to race and hearts to flutter with their rock-solid duo performances. Drawing deep from the traditions of bluegrass, old-time country, blues, and funk/soul, the song-writing and delivery is powered by raw emotion, great vocal harmonies, and dynamic musicianship.

The couple’s musical magic springs from a relationship that started when they were just teenagers. They dated in high school, and eventually went their separate ways – until fate played its hand one day in Cookeville, Tenn. In their years apart, Dorothy had created a sound for herself that inspired Ben, and soon, they re-connected and began gaining attention for all the right reasons. Dorothy, a devotee of soul and blues music offered an interesting pairing for Ben’s love of bluegrass, rock and country and they found middle ground – their common interest in folk music.

Now, after nearly ten years of marriage, they bring to their artistry a humble sense of wonder and emotional sincerity rooted in a relationship that has always been strong even when they’ve been apart.

Their first record, Company Store, was released in April 2011 and won the People’s Choice Independent Music Award for Best EP, securing them a prized slot at Nashville’s Ryman Auditorium. Spurred on by the success of that release, in 2013, their follow-up album, The Danberrys, won them two additional Independent Music Award nominations for Best Americana Album and Best Alt. Country Song.

This new album, Give & Receive, was produced by Ethan Ballinger (Lee Ann Womack, Tim O’Brien) at Nashville’s Southern Ground Studios (Zac Brown, The Wood Brothers, Foo Fighters). The ten original songs on this offering provide a passageway and safe haven for the engaged listener to explore emotions that are universally felt.

The musical landscape of this album reveals a broader palette of moods and sounds than existed on previous recordings, reflecting the natural growth and development of two souls on a truly courageous and honest journey.

Give & Receive is released in the UK on June 17th.

Link to video: https://www.youtube.com/watch?v=xLiWjDixM0w

http://popdose.com/album-review-the-danberrys-give-receive/

BY ROB ROSS

Something to sink my teeth into, rich with acoustic guitars, mandolins, violins and shiver-inducing harmonies. Although The Danberrys, who hail from East Nashville, are a band, the two main drivers are Ben Deberry on guitar and vocals and Dorothy Daniel on vocals. The two have one of the sweetest blendings of voices and these songs are ripe with melody, emotion and pure, American soul. This album, their fourth release, is one fine slice of Americana.

Starting with “Receive”, the slow, mournful nature of the song actually turns into one of hope and uplift; the use of fiddle and subtle mandolin gives a greater dramatic feel along with the simply gorgeous harmony; “Lady Belle” is an acoustic tour-de-force with Ms. Daniel’s vocals gripping and fluid and “Long Song” is a deep country piece, raging with banjo, fiddle, mandolin and a galloping rhythm that walks straight out of the Bill Monroe school of bluegrass. “Let Me Go” is stripped down to just two guitars and Dorothy Daniel’s echo-y and mesmerizing vocals; “Get Back Home” is possibly the album’s highlight (there are several standouts) but this one builds slowly with tension and then grows into a full canvas of sound with the layering of the instruments and “We’ll Be Done” is quiet, thoughtful and closes the album in a low-key and apt manner.

This is one of those albums that will be a regular re-visit; it’s not hard to understand why. The quality of the performances; the vocals and the subdued nature of the collection is appealing regardless of what frame of mind you may be in. Give & Receive will either make you think or soothe your mind.

Give & Receive will be released on Friday, June 17th, 2016

http://www.bluesandmoreagain.com/review.php?rid=92

BY DAVID INNES

From Tennessee, husband and wife Ben DeBerry and Dorothy Daniel have hit an impressive stride on Give & Receive. Their range of stated influences are a sure sign that almost every area of contemporary western music gets a look in over the ten tracks of this, their third release.

Ben’s passion for bluegrass and country is obvious. ‘Receive’ is mellow country, all finely-pitched harmonies and mini-crescendos, and ‘Long Song’ is a rollicking country blues with prominent banjo and a delightful dexterity to the solos on mandolin and fiddle. The skipping rhythm, percussive mandolin, booming bass and fiddle of ‘Let Me Ride’, however, sees Dorothy pitch an aching vocal on top, climaxing with a determined, but resigned, "Gonna pack my bags and head for grace and glory".

Dorothy is “a devotee of soul and blues” and it’s no coincidence that her input to Give & Receive coincide with songs of power and - often melancholy - huge emotion. Whilst ‘Lady Belle’ has a traditional ballad feel, the in-song surges driven by bass and Ben’s harmony might have come from Muscle Shoals.

‘Life Worth Living’ is pretty stark with only John Radford’s percussion almost a click track to guide the harmony voices of Ben, Dorothy and Ethan Ballinger, but it’s the rhythmic companion piece to the high point of Give & Receive, ‘Don't Drink The Water’. This was a 2012 single, brooding and shuffling, full of funk and foreboding, like an unplugged Little Feat, whilst its nagging melodic hook almost conversely defies its Delta chain gang feel.

With excellent support throughout from multi-instrumentalist Ballinger, Sam Grisman, Kyle Tuttle and Christian Sedelmyer, it’s no wonder that The Danberrys are regarded highly by fans and fellow musicians in Nashville.

http://www.folkwords.com/folkwordsreviews_98749.html

BY TOM FRANKS

Listening to The Danberrys is always a cathartic experience. The rich warmth of the vocals and harmonies, intricate weave of instrumentation coupled with a blend of tradition and innovation founded on a mix of the danberrys album coverblues, touches of gospel, an edge of old time, country folk and bluegrass simply ease your mind and take away your cares. Their new release ‘Give & Receive’ hits the streets on June 17 and is chock full of emotive, expressive and meaningful songs. The feeling of well-being listening to this album is so profound it should be offered as medication to counteract the pressure of this world.

The Danberrys are Ben DeBerry and Dorothy Daniel, who together deliver ten originals on this album that engage easily and absorb wholly. The lead track ‘Receive’ immeidately seizes your attention and thereafter songs such as ‘Lady Belle’, ‘Long Song’, ‘Don't Drink the Water’ and ‘Life Worth Living’ slide in with a luscious smoothness that is simply engrossing. ‘Give & Receive’ is an album you really ought to own – it will do you good.

http://thebluegrasssituation.com/read/listen-danberrys-life-worth-living

Artist: The Danberrys

Hometown: Nashville, TN

Song: "Life Worth Living"

Album: Give & Receive

Release Date: June 17

In Their Words: "'Life Worth Living' was written during a time when I was making the long and difficult journey out of darkness. I was trying to connect with the strength and courage of all the souls who have ever endured the unbearable, and found beauty and love and joy in the midst of experiencing truly devastating heartbreak. This voice in my head kept saying, 'Turn your face toward the sun.'" -- Dorothy Daniel

http://nodepression.com/album-review/danberrys-give-receive

BY FRANK GUTCH JR.

This album is way too short, but I don't mind. I just found out they have two more albums I can peruse and you can bet I will. What I want to know is how bands like this can slip past me. I am diligent if nothing else and if I had had the hint of The Danberrys lurking in the shadows I would have made the jump. Happily. But I didn't. I am not complaining. I'm just saying.

If there was to be an introduction to the band I am glad it was on a drive. Seems like I listen best when driving. I discovered Zoe Muth on a drive, and Craig Elkins (of Huffamoose fame), and The Beige (bet I got most everyone on that one--- you have to trust me, finding The Beige was well worth the drive). For a short time, in fact, I took drives just to listen to music and this in spite of the price of gas. I promised myself, in fact, to listen to whichever album to grace the CD player all the way through. Zoe Muth lasted an entire drive to the Oregon Coast and back--- four and a half listens.

The Danberrys did not last four listens only because the drive was short. The drive to town to pick up a few items and the short drive home. One time through, the last track of Give & Receive fading as I entered the driveway. It was a felicitous ending to the music experience, as I headed into the house to plug it into the stereo system and give it the proper christening--- three more listens.

One wasn't enough. Although I had listened all the way through, it wasn't enough. I felt cheated. I did. And there was no reason for it. They gave me 35+ minutes of music--- outstanding music, in fact--- yet it wasn't enough. Not hardly enough. For instance, “Don't Drink the Water.” Five minutes and twenty-four seconds of rhythmic excellence and I wanted at least that much again. The song flowed, the handclaps and rhythm section laid bedrock smooth, the instruments almost undulant, Dorothy Daniel's voice in perfect pitch, and the bridge a dream. “Lady Belle,” almost trad folk, the sound reminiscent of the Sandy Denny era and a true gem of instrumentation, thanks to the interplay of guitars (Ben DeBerry plays immaculate lead on the acoustic) and the superb bass (and I mean superb!) of Sam Grisman, which I realize is totally unfair to the rest of the musicians on the album. They are absolutely topnotch--- Ethan Ballinger (who also produced) on mandolin and a string of other instruments, Christian Sedelmeyer on fiddle. “Receive” folk with the ghost of gospel. “Let Me Go” a perfect example of modern folk and a vehicle for Dorothy Daniel's resplendent voice, at its best when it is soaring.

What makes The Danberrys a step above--- well, besides their first-rate songwriting, musicianship and cohesiveness--- is their diversity. With all of the excellent bands out there, and there are more than a few if you would take the time to do a little research, few drag in as many influences without allowing those influences to dominate. While most artists play rock 'n' roll when it is time for rock 'n' roll and bluegrass when it's time to grass out, The Danberrys slide the influence in almost without notice. You find yourself halfway through a song before noticing the gospel riff or the light plucking of the banjo (it is used on only two tracks and then with the best of taste), the song the core and the instruments and influences bolstering that core.

Of course, hearing the music itself never hurts. In the spirit of a video being worth a thousand words, I spare you the time and effort of reading. Keep in mind that these videos are live and not the $100,000 efforts of a Hollywood studio and a $10,000 producer/engineer. Which is not to say that these aren't watch and listen worthy. Just that the nuances of the studio add so much.

https://www.youtube.com/watch?v=tklmN2sS8BQ

And one from a few years ago.

https://www.youtube.com/watch?v=HyQoADNDcnA

The Danberrys are a find. Easily one of the best so far this year.

http://www.thebluegrasssituation.com/conversations-with-the-danberrys

BY MICHAEL VERITY

THE DANBERRYS are the Tennessee-born couple of Dorothy Daniel and Ben DeBerry. A truly independent pair of artists -- who do everything from booking to recording to tour management -- The Danberrys recently released a self-titled album that beautifully blends thoughtful ballads with jubilant foot-stompers. Contributing writer Michael Verity spoke with Ben and Dorothy about how they came to be The Danberrys, what it's like to build a record from the ground up and the secret to writing a great trucker song.

You began playing together when you were in high school. What sort of stuff were you playing back then?

Ben: Well, we were in the same school musical groups -- choirs and stuff -- before we ever played together. Then, toward the end of high school, I learned a couple of songs for Dorothy to sing. One of them was a Jewel song or something like that.

Your connection was more than musical, though. You dated in high school and college, broke up, then got back together and now you're married. Can you describe that moment when you knew you had to be together?

Dorothy: It was about five years after we had gone our separate ways. I had dated someone else and we had just broken up. I decided I needed a big change so I was interviewing for a job in New York City. Ben had just broken up with his girlfriend, whom he'd dated for a long time, when we randomly ran into each other at a bar in Cookeville (Tennessee) at two or three in the morning.

I don't think we'd exchanged more than one or two words over the past five years. The next time we were together, Ben suddenly looked at me and said 'I don't want to be with anybody else, ever.' (Laughs.) And I said,'I don't want to either!' The next day I was driving down the road thinking 'Oh my gosh, I'm going to get in a wreck, I'm so happy.' I was on cloud nine.

How does that story -- your path together and apart and back together again -- inform the music you're making today?

Dorothy: That’s a great question. No one has asked us that before, actually.

Hey, I don't ask the easy questions. Easy questions make for boring interviews.

Ben: Well, a few months before we broke up, I gave Dorothy one of my guitars and taught her a very few things to play. She had been playing the whole time we were apart. And she had written a whole lot of great songs. A lot of them were kind of sad songs, written for acoustic guitar, which was a lot different from the few electric rock type of songs I'd written.

Dorothy: Yeah, a lot of them were about Ben and how much I missed him. (Laughs).

Ben: Well, I really didn't know that at first. (Laughs). Anyway, we started out playing her songs. Then I decided to start writing again, which is a lot of what you hear on our first EP. When The Danberrys got started, Dorothy had a whole hatful of great songs she wanted to play so that's a lot of what you hear on the new album.

Within six months of releasing your first EP, you ended up onstage with Robert Earl Keen at the Ryman. That's not a bad way to get things rolling, is it?

Ben: Yeah, well we put the EP out as a total experiment. It was like: we have these songs, we're here in Nashville, there's 300,000 studios available and players who want to play the stuff so let's see what happens. Then WSM (Radio) found it and liked it and thought we were perfect for that bill. It was quite the honor.

He's not a bad songwriter himself.

Ben: No kidding! And when you see him in a show it really hammers home how great the songs are and how rabid his fans can be.

You recently released your first full length album called, appropriately, The Danberrys. Tell me about the adventure of recording it entirely as a self-produced project.

Dorothy: We called some friends back in our hometown (Dickson, TN) and hooked up a recording room at the Renaissance Center, which is a state of the art facility that hadn't been used in like 10 years. They let us use it in exchange for doing a free concert there. We brought our own engineers, begged and borrowed some equipment we needed and recorded a lot of it live.

When I saw Lyle Lovett play live the first time, I expected him to come out big and brassy. He opened by singing 'Just The Morning' with a string quartet. The quietude of the album's opener, 'Here We Go Round,' reminds me of that experience.

Ben: That was a slight chance we took, especially in this day and age, when everyone wants to grab your attention with louder and faster. Our mandolin player Ethan encouraged us to lead off with that. We tried to arrange the record in different ways but what it came down to was making it more than just a bunch of songs. We wanted to make it a ride you could listen to from beginning to end.

'Blow On Wind' reminds me of 'You Ain't Goin' Nowhere.' Do you consider The Band a strong influence on you?

Ben: Most of what I listen to was done before I was born. All the classic folks: Neil Young, The Band, Bob Dylan.

The Godfathers of Americana, as it were.

Ben: Yeah, that's a great way to put it.

My favorite song on the record is 'Come Give It.' It reminds me of my peace, love and hippy days of listening to Stephen Stills during his Manassas period. Can you hear the resemblance?

Ben: Yeah, there's a kind of quirkiness to the Manassas record. Like, are they recording a record or having a party?

Dorothy: That's what we were going for. I wanted it to sound like we were having a party, like everybody was just hanging out. That's the feeling of the sound. It's the feeling of what the lyrics are about that, too. Living in love with everybody.

Ben: That was only the second take of the song. We did it live: guitar, mandolin, fiddle, bass and lead vocals. It was kind of magical right from the start.

I tend to favor upbeat songs. I have a 12-year old son who's a pretty impressive musician for his age. He set me straight about 'Big Rig': he said it sounds like Dave Dudley mixed with 70's Top 40.

Ben: That's the first thing he said? That's gnarly. That one was written in the studio. The record needed one more up-tempo song and the clock was ticking. I'd been messing with that riff and remember a record of trucker songs Wilton Wall, our recording engineer, had given me about six months earlier. On the back it had a list of all these trucker terms. I figured since we had a song about a train I'd write a trucker song. I thought I'd make it nonsensical, except that it's not nonsense if you have the key to the terms. I hear from the truckers that the lingo is kosher. (Laughs) So it's not too fraudulent.

If this thing doesn't work out, you can always write trucker songs.

Ben: Exactly.

What's your favorite tune on the record?

Dorothy: Well, that's really hard to say. You know, they're all my babies.

It's like when someone asks me who's my favorite child, right? It depends on which one is in the room at the time.

Dorothy: Yeah, that’s funny. I guess the ones that turned out, surprisingly, exactly as or better than I hoped were 'Come Give It' and 'Golden Wings.' I really love 'Big Rig,' too. But, when all is said and done, I love them all.

Well, that's good news! What's next?

Ben: Another record, man. We got three demos in the can last week. We may be crazy but we're going to try this again.

http://www.musicnewsnashville.com/the-danberrys-self-titled/

BY CHUCK DAUPHIN

How would one categorize the music of the Danberrys? There are so many layers to the sound of Ben DeBerry and Dorothy Daniel that one thing is for certain – you can’t place them in a 4 + 4 box. They are much too complex and smart for that.

At times, there is a definite old-school sound to the music of the couple. “Rain In The Rock” features a mountain-style intro, which serves the song very well. “Meet Me There,” the lone outside tune the duo recorded, also has an undeniable Appalachian feel, with a very haunting sound. I was particularly impressed with the lyrics and instrumentation of “Over & Over,” which sounds like something Loretta Lynn might have been inspired by growing up in Eastern Kentucky.

But, it’s not all a retro-ish tip back to the past for the Danberrys. “Here We Go ‘Round” has a very contemporary edge to it, and Daniel’s vocal soars into the heavens on each note. “Come Give It” skates on the other side of the spectrum with an infectious groove that slowly simmers until it’s a raging fire. “Blow On Wind” puts Ben in the spotlight, a place where he excels – with some outstanding harmony from his wife.

Though it would have been nice to see Ben get a few more places to sing lead other than that track and the irreverent “Big Rig,” Daniel shines beautifully on each track. “Jordan” is an absolute highlight here, as is “Annie Wants To Go Home,” and the closing “Golden Wings” which defines the word dramatic.

If the Americana world doesn’t latch on tightly to the Danberrys, there is no justice. The vocals and the harmonies are outstanding, as is the instrumentation all over the disc. I don’t know if you can define it, but all the Danberrys need is to be heard!

For more information, log on to www.thedanberrys.com

http://musiccityroots.com/oh-mamma

“I was smitten with The Danberrys before their set and I’m more smitten now. There’s a flavor of bluegrass that’s always worked on me, characterized by old world tonalities, polished, modern drive and jazz-smart instrumental work..... I could tell from just a few songs online that the Danberrys are good at this. And their new music -– all from a 24-hour old self-titled album -- sealed the deal.”

http://www.independentmusicawards.com/ima/artist/the-danberrys/

Home Base: Nashville, TN

Genre: American Roots Fusion

Categories Entered: EP

Work Submitted: Company Store

Artists Featured: The Danberrys

Label: Self-Released

Who are your influences? We have many, many influences that shape our music. Some (and only some) of these would include: Kelly Joe Phelps, Neil Young, CSNY, Robert Johnson, Roberta Flack, The Grateful Dead, Bob Dylan, Jimi Hendrix, Van Morrison, Ryan Adams, Led Zeppelin, The Band, Emmylou Harris, Tony Rice, Doc Watson, John Lee Hooker, BB King, Beck, Radiohead, Tribe Called Quest, Outkast, James Brown, The Meters, Dr. John, Allen Toussaint, Black Dub, Band of Joy, Patty Griffin, Darrell Scott, Tim O’brien, Sara Siskind, Julie Lee, Blue Mother Tupelo, Vandaveer, Shovels and Rope, The Wood Brothers, Malcolm Holcomb, Blaze Foley, Donovan, Townes Van Zant, Justin Townes Earl, Kelsey Waldon, Cream, JJ Cale, The Allman Brothers, Derek Trucks, Paul Simon, The Beatles, Eric Clapton, The Average White Band, John McLaughlin, Johnny Cash, Willie Nelson, Tony Joe White, CCR, The Beach Boys, Etta James, Lester Flatt, Bill Withers, Michael Jackson

Describe your nominated work. The Company Store EP is our first recording project. The songs were, for the most part, written in 2010 and were recorded at a friend’s house in Nashville. Our friend offered to record our album pro bono as long as we promised to “do something with it”. The recording process was a learning experience for everyone involved and was very experimental for each of us on some level. We produced the album ourselves with plenty of input from everyone involved. The songs were derived from the passage of time and the life experiences we had during that time. The production of the album reflects the musical vibe of every musician and otherwise interested person on the project. The base tracks were recorded with two vocals and a guitar, and we built everything on top of that. We’re fortunate enough to be good friends with several people in the young and incredibly talented pool of musicians in Nashville, and these guys came in and played some memorable tracks. We didn’t give much guidance at all…just asked that they put themselves into it, so their tracks are all heavily improvisational and real.

Did you use any unusual effects or instruments in this recording? We definitely banged some pots/pans and other random objects together, but the most unusual instrument would have to be the use of a stumpfiddle on “Get Down” and “Company Store”. The stumpfiddle is basically like a drum/percussion set on a stick, and our good friend Jake Winebrenner plays a real mean stumpfiddle.

Were there any happy accidents while in the studio, or did everything go as planned? The recording process was very loose, and the songs were not especially planned out because we wanted each song to run its natural course. We were recording with older equipment that didn’t allow for a lot of overdubs, so each individual instrumental/vocal performance is pretty well intact throughout. We kept what many would call “mistakes” in our final mixes because every second of every song was a happy accident.

How did you raise the funds for this project? How long do you expect it will take to recoup your out-of-pocket recording expenses? This project cost about $800 to record and about $1200 dollars to print. We were able to pay all of this up front, so luckily we recouped the costs very quickly.

Why did you choose to submit this work to The 11th IMAs? Because we were hopeful that people would love it as much as we do.

What’s your definition of success and how will you know when you’ve achieved it? Success is when you bring inspiration to other people and these people thank you with inspiration. We’re already successful because we’re not settling for frustrated creativity.

How will you leverage your IMA honors to achieve your career goals? The recognition by the IMA and its members has certainly given us an increased sense of purpose, and we’re excited to see what lies ahead.

Who’s sitting in your audience and what makes your fans unique? We have unbelievable friends and family that show support every time they can. You might say that our “fans” are unique because they are all so different from one another. They’re brought together by more than just music…there’s a family/community thing going on…they know and love each other and they’re like an extended family to us.

What is your guilty pleasure on the road? Any close calls or mishaps while on tour? We haven’t actually been on any tours yet…which is unfortunate because we would probably enjoy plenty of excesses and encounter plenty of adventures with plenty of mishaps along the way.

Who are your musical heroes & influences? See the first question. We think heroes and influences are the same thing.

Are there any songs you wish you wrote and why? Not really. There are songs we adore (too many to name), but these are somebody else’s songs and that’s part of what makes them so wonderful. A song is personal and is not to be coveted.

What artists are you listening to that would surprise your fans? This is a really hard question. We don’t think about our “fans” having any expectations of our musical tastes…although they might be surprised if we listened to heavy metal…that might be the only thing…but maybe not.

How do you discover new music? Do you buy music or are you content with streaming? We mostly get referrals from friends and such. Pandora and Jango and internet stations like this are a great way to find new music. We also love Spotify. Our vehicles are not technologically savvy, so we buy music when we just have to have it in the car…which is often.

How will musicians make a living if fans continue to expect music to be free? People have gotten used to music being free, but we feel that true music lovers will eventually become aware that their favorite artists have to be paid in order for them to continue making their art. It’s not a matter of principle, it’s a matter of economics. Art is the most competitive industry in the world, and without record sales, the only money to be made is in t.v. and movie placements, and live performance. Musicians, on the whole, enjoy fewer financial comforts already, so it’s inevitable that some will get discouraged and stop making music altogether.

What don’t fans/audiences understand about the music industry today? One of the biggest misconceptions is that of a record deal. Record deals are not always what they’re cracked up to be. Musicians don’t make millions and millions of dollars anymore. Not every musician wants to be rich and famous. The large majority of us just want to spend our time doing something that we feel inspired to be doing and would rather not be bothered with the expectation of being glamorous.

Are digital singles/EPs vs. full albums the future? EP’s are very accessible for both the artist and consumer. However, we think there will always be at least some demand for full-length albums. Just like there will always be a demand for movies as well as t.v shows or novels as well as short stories. With a full-length album there is more to experience, so if the songs translate into one really awesome trip, the effect is more impactful.

Finish this sentence: The music industry is…playing twister.

What do you have in the works for the upcoming year? We’re currently doing pre-production for our first full length album that will be recorded in April 2012.

Where fans can find you and your music:
www.thedanberrys.com
www.reverbnation.com/thedanberrys
https://www.facebook.com/pages/The-DanBerrys/165741493457346

- See more at: http://www.independentmusicawards.com/ima/artist/the-danberrys/#sthash.m77f7ZJM.dpuf

http://www.billboard.com/articles/columns/the-615/502977/spotlight-the-danberrys-wont-be-pinned

BY CHUCK DAUPHIN

Since the name of this blog is the 615, this week we are shining the light on a duo that marches to somewhat of a different drum beat - the DanBerrys. Comprised of husband and wife Ben and Dorothy DeBerry, the two have been creating quite a buzz within Music City as of late.

Their debut EP has been getting a lot of response for the couple, who admit their musical stylings are a little hard to place neatly in a nice little box. "We've been describing it as an Americana-Folk thing with a World beat. To me, I think it's an acoustic American fusion, because we draw from so many different influences. Dorothy is influenced by soul and blues music. We both share a love of folk music, and I'm a little more influenced by bluegrass, rock, and country. Our players all have similar type influences. To us, it just seems like we are playing music. But, people say that we are doing something that is a little fresh. I think that's because we haven't pinned ourselves to a specific genre."

The two have known each other for years. Ben developed his love of music early, and Dorothy remembers when she noticed something a little different about him.

"When he was in eighth grade, and I was in seventh grade, he played 'Knockin' On Heaven's Door' at a talent show. He had this teal electric guitar, and I fell in love him. We didn't even start dating for a few years later, but I never forgot him. I was just infatuated with him because of that."

The two dated through high school, then went their separate ways. But, as fate would have it, a chance meeting at a club in Cookeville, TN reignited the fire between the two -- both personally and musically. Ben said he's much the better for it on both levels, but Dorothy's talent at writing really inspired him.

"When we split up a few years before, she only knew a few chords, but when we got back together, she had developed her own style, and she had some songs she had written. I hadn't really gone in the original direction, as I was still playing other people's songs. She led me in that direction. You can play other people's music all day long, but if you want to express yourself musically, and get other people's attention, you have to do your own thing."

And, that "thing" is a unique musical mix. There's some degree of country in the melting pot, a little bit of Americana, some jazz, and it is all punctuated with the tight harmonies that are quickly becoming known around Nashville as their trademark. You can hear that come to the surface on such cuts as "Hard Times Come And Go" and "Tennessee Central 509."

Ben says they definitely took a hands-on approach to their EP. "We were playing with this local band, and it was just really fun and loose. One of our friends approached us after the show, and he saw something between us. We had just started talking about recording something. With the Internet, it's really easy to put something out there, and get feedback. So, I thought, 'If we record it, we'll know quick if this is something we should pursue.' He said he would love to record us pro bono, and his only stipulation is that we would have to do something with it. We learned a lot, and got a product that we're proud of. We recorded it in a house on old equipment, and we just kind of threw it together. It wasn't what most people would say was the most legit way, but it worked for us."

Dorothy is excited about the comments that they have received regarding their music, as well as their stage show. "There's a comfort level that has been fun. I feel like we're starting to make an impact, making a sound that people are hearing and enjoying it."

The two recently had a chance to open for Robert Earl Keen on the stage of the Ryman Auditorium. "People have been so excited," said Dorothy. "That's one of the things I noticed when we got the Ryman gig. Getting to watch family, friends, and teachers get so excited for us. But, they are having a great time watching us. The favorite thing about playing the Ryman was how much fun they were all having."

And, it seems that's just the beginning. Ben said, "We just feel like we are coming in to our own sound right now. We're getting more solid, a unified sound. I think we're both excited about the future."

http://blog.sonicbids.com/the-danberrys

BY TESS CYCHOSZ

WSM Nashville, 650 AM is the radio home for the Grand Ole Opry, which has been broadcast live over the airwaves since its inception in 1925. For their 86th birthday celebration, WSM teamed up with Sonicbids to find some great emerging talent for the festivities. Lucky for Nashville locals, The Danberrys: their music struck a chord with WSM and were chosen to participate in the big celebration. Lucky for me: I got to chat with Ben and Dorothy from The Danberrys and heard all about it.

WSM was celebrating their 86th birthday with promos that ran for 86 days – and you participated in that celebration with an on-air performance, a gig at Tootsie’s and then another The Ryman Auditorium in the same day! Was it exhausting or did the adrenaline kick in for you that day?

Ben: We were feeling great all day. Our day began with an 8:00 A.M. on air interview and performance on the legendary WSM radio station. We are typically not morning people but on this day we were fully awake and energetic for our morning engagement. We did take a nap that afternoon and when we awoke it was time to get to business. The rest of the night was great and I felt that our energy level was right where it needed to be.

Dorothy: My energy level was on eleven for most of the day, which was good because the day was pretty full with an 8:00 A.M. on air interview/performance on WSM and then two gigs later that night. I was so excited that I couldn’t sleep the night before. I just watched in total envy while Ben slept like a baby. Of course, we tried to take a nap after the WSM interview, but my adrenaline kept me awake while Ben just snoozed it up…again! I feel like the combination of no sleep and the adrenaline kept my energy right where it needed to be all day. Ben, of course, was totally cool: right where he needed to be mentally and energetically all day. I don’t know how he does it!

For your gig at the Ryman, you opened for the legendary Robert Earl Keen. What was it like share the stage with him? Did you get any personal interaction with him at all?

Ben: It was a great honor to perform on the same bill as REK. He has a great live show, and he has awesome fans, totally loyal and ready to feed the stage with their energy. Unfortunately, we didn’t get to talk to him. We spent most of our post-gig time at the merch booth meeting new people and hanging out with friends and family who had come to see us. We did try to intercept REK backstage, but we didn’t really want to bother him in his dressing room. We also went to an after-party hosted by his management group hoping to see him, but he wasn’t there. Major bummer on that front, but maybe it will happen one day!

Was there any special significance for you for either of the gigs you played that day?

Dorothy: The Ryman is one of the most historic American venues, and I would say that this is probably a well-known fact. We both were honored beyond words to play in such a historic room. The gravity of that honor had us both a little nervous beforehand, but a calming effect came over us as soon as we walked into the building. The house staff were amazing, generous, supportive, and genuinely kind. The building itself, and especially the stage, had a reassuring aura-- like a feeling of unity and comfort--like you were being watched over and championed by an unseen force. Now we totally understand what people mean when they talk about the “spirit” of the Ryman.

Ben: The night had extra special significance for me due to the fact that I had performed at the Ryman as a guitar student in the 90’s. My music instructor held our recitals there every December for a few years, and the concerts were always labeled “Future Stars”. It was surreal to once again enter from stage right and perform in that beloved building. This time, however, it was the real deal and it was an amazing 15 minutes of music. The building is really an instrument in itself. During the chorus of our last tune, you can hear what sounds like a third vocal part on the recording, yet there were only two of us. The night was also extremely special due to the fact that so many of our friends and family were there to cheer us on.

How have those gigs helped you in your career? Did you generate a lot of buzz or get any other special attention or gigs because of that day?

Ben: After playing the Ryman, we have gained the confidence that we can play anywhere. Once you play that stage, most other stages seem to pale in comparison. We have some things currently brewing in our camp, and this opportunity definitely helped solidify our place as professional musicians and songwriters.

If you had the chance to do the day all over again, would you change anything you did or what happened?

Dorothy: Honestly, I think the day went better than we could have ever imagined. There were no hitches of any sort, and both audiences were very receptive and responsive. The whole day was quite magical, and the coolness and professionalism of the people at WSM, Tootsie’s, and the Ryman really made everything flow so easily. You can always second guess decisions and nitpick performances, but there’s really no value in that. What’s done is done, and things are exactly as they should be.

What’s next for you guys? Any new music videos, records or tours coming up?

Ben: As of now, we have two new songs recorded that are currently being mixed for release in early 2012. We’re also planning a music video for one of these songs that will be shot in the near future. We have an album’s worth of songs ready to be recorded, and I’m sure that process will begin soon. Currently, we’re looking for someone to help us with booking and promotional stuff so we can spend more time working on the music rather than the business aspect of the project. Right now we’re doing our own booking for the 2012 festival season and we’re playing in and around the Nashville area pretty regularly. Of course, we’re always writing new material and getting ready for whatever else we’ll be meeting on the path.

http://musicfashionmagazine.com/read/thedanberrys/000277

BY ASHLEY HOOK

Ben and Dorothy DeBarry are difficult not to like. The two Tennessee natives are quickly making a name for themselves by combining skillfully crafted songs that invoke both old-school country and bluegrass and modern pop/jazz. But their talent alone is not what makes them so likeable. The former high-school sweethearts turned real-life romance couple, embody a tenacity and positivity that is not only catapulting their success, but also serving as an example to others who are interested in following their passions and realizing their dreams. The two delve deeper into the lessons that have served them well, what inspires their music and some of the challenges they have faced along the way.

What age did you start playing music? What was your first instrument?

Ben: Dorothy started singing in church around the age of 12 and I gave her a guitar and taught her how to play it when she was 18. I was always exposed to music through church and through my parents at home. I especially remember hearing ragtime piano tunes being played by my father at an early age. They always got my energy up and going for sure. I began playing the guitar when I was 10 and I just never stopped.

You two teamed up in 2006 as The Danberry's but how did that come about? Did you play together previously?

Dorothy: We are from the same hometown (Dickson, TN) and dated for about four years in high school and college. After five years apart, we ran back into each other on June 14, 2006, and were married exactly four months later. After we got married, we started playing various cover projects, writer’s nights, and bar gigs. We formed The Danberrys in 2010 when we started writing and recording original material.

At what point in your life do you say, "Ok, I'm going to take this leap. I'm going to give it my all and throw caution to the wind to pursue what I love"?

Dorothy: Ben has always been on the musician track. He’s always known that music is his purpose in life and all of his decisions have been based on this knowledge. Before we got married, he taught private music lessons for many years and also made a decent living playing cover gigs in Cookeville, TN. I made “the leap” about a month ago. I’ve been a CPA for about seven years, and I’ve known for a long time now that accounting work is not what I’m supposed to be doing. My worries about bills and retirement funds and all that jazz were holding me back from seeing my true purpose. I just had an epiphany one day. My corporate job was taking up all of my energy and, while I loved the people I was working with, I didn’t enjoy the work and didn’t have much energy left for music. So the next day I quit my job.

What has been your greatest obstacle thus far?

Ben: The greatest challenges are usually mental. However, in Dorothy’s case, it was a physical challenge for many years due to her diagnosis of Thoracic Outlet Syndrome. TOS is a problem very similar to carpal tunnel and other hand/arm/repetitive stress injuries. Some “top doctors” told Dorothy that she probably wouldn’t be able to continue her work or play her guitar again, basically leaving her disabled at the age of 26. Luckily she didn’t accept that answer and through massage therapy, acupuncture, meditation, and super good vibes she healed herself and is now ready to rock.

What or who has been the greatest source of inspiration to your sound?

Dorothy: There really isn’t a way to pin down THE most influential source. The music we’ve listened to, the act of living, sounds from our childhood (for me it was sounds from the country: tractors, katydids, etc.), and other musicians we have come into contact with have all equally contributed to our sound. Our sound is really just a big mesh of everything we have ever listened to and admired.

Who has been your greatest teacher?

Ben: Once again it is hard to just name one but we would have to say: Doc Stone (Ben’s guitar teacher from the age of 10-18), Cindy Freeman (Our high school choir teacher), and all of the wonderful musicians we’ve observed and learned from (too many to call out here). Not to mention life….life experience is the best teacher.

If you were not a musician, what would you be doing?

Ben: Going slowly insane…….Seriously!

If you could only pass on one piece of advice to future generations, what would it be and why?

Dorothy: Getting advice from a trusted source is usually good, but always listen to your intuition. That loving, guiding voice within you will always point you in the right direction. I ignored my inner voice for a long time and by the time I decided to listen, it was screaming at me.

You know that Faces lyric, “I wish that I knew what I know now, when I was younger”? What is that thing you wish you could have known?

Ben: That your dream is only a dream if you look at it that way. Dreams can be realized. It just takes a strong will and a big heart and a strong group of friends and family that love you for who you are and who you are trying to be.

What do you hope to accomplish in the future?

Dorothy: We really just want to bring happiness and musical inspiration to as many people as possible. The how’s, when’s, and where’s don’t really matter.

What does music mean to you?

Dorothy: Music is the universal language. It transcends cultures, time, and even species. If you pay attention, you’ll notice that everything in the universe and beyond has a rhythm or song to express and share. We just try to reach into “the abyss” and translate some of what is already there.

Where are your favorite places to play?

Ben: In our music room at home and at pickin’ parties or other small, intimate gatherings.

What is your greatest challenge currently?

Ben: Balancing the other demands from life (work, friends, family, etc.) to allow enough time for our creative energy to really have a chance to get flowing