It’s the first Monday of July as I write this on, what would have always been, the first day of our children’s school holidays. As I thought over this towards the end of the last week of June I experienced a strange nostalgia for summers past. There was a frisson of excitement as the last weeks of summer term passed. Children would return with drawings and folders of a year’s work, plays and sports days would be attended by an excited family and as the calendar clicked through those final days of June an anticipation of the holidays began.

Tasks like packing, boarding cats and dogs and leaving instructions for neighbours to water a flower basket or two all seemed hugely worthwhile in lieu of the approaching summer vacation. The roof box would be secured onto our big old shooting brake and we’d wind our way south to warmer weather and the lure of the Mediterranean sea. Two of my daughters still have lingering resentments about how often I played the new Rufus Wainwright album over their S Club 7 CD on the long stretch from Calais to Lyon, before we made our overnight stop. On the best days we all fell in love with the same songs and I still have a lingering fondness for Reach by the S Club as it reminds me of happy times. Our youngest, the boy, was only pacified on one Spanish break by repeated plays of Coldplay’s The Scientist which (aged 3) he liked to call ‘Going Back to The Stars.’ I’m not sure that isn’t a title worth exploring in another song.

So it was these memories drifted through my head as our train wound its way back to Glasgow this weekend after a visit to see the same son, now 21 years old, in his London base. This weekend found none of our offspring near home at all and I found myself feeling glad that the first week of school holiday weather wasn’t going to affect any of their immediate plans.

The upside of all of this is I get to spend the early part of summer each Tuesday in the AC studios. As life moves forward we have managed to record some significant sessions and conversations which we will be broadcasting over the next few weeks. First up is the round we recorded with three of the recent OH BOY Records artist. On this week’s show you can hear songs from Emily Scott Robinson, Kelsey Waldon and Arlo McKinley as they showcase songs from their current albums in the round in our very own Studio One. It’s a magical space in which we’ve recorded some great sessions over the many years we’ve been on air and for the first time in a long while we welcomed four musicians to play, sing and talk. You’ll hear their songs and stories, why John Prine signed them to his label and their own tribute to the man himself. It’s a fascinating hour which will fill the second part of this week’s show. In the first hour we’ll share some great new records by Hannah Read and Michael Starkey, Angel Olsen and Joe Pug. We do this in two hours on BBC Radio Scotland from five past eight this Tuesday evening . Join me if you can.

Like one in thirty of my fellow Scots I succumbed to the old Covids last week. I was lucky enough to test negative in time for the big Deacon Blue show we had at the weekend at Blenheim Palace (thanks if you were there), but wasn’t able to be on-air last week for the AC. I’m fine now and feel slightly relieved that I managed to catch the virus without having to cancel any more live gigs.

So it’s meant we have lots and lots of new music to play you this week as well as welcoming back an old friend. Darden Smith returns for the first time since he last visited us in 2013. Darden comes to play songs and talk about his new album Western Skies, which is really a fascinating listen. It’s accessible but has such great layers and wise insights from a song writer who has always been a vital listen. Having spent a tour with Darden I know how great his company can be, but I also enjoy his company when I hear his songs. There’s a deep truth in this record celebrating his own home state of Texas as well as throwing a light on the business of getting older. I love songwriters who grow old with you and reflect that narrative in their output. If you do then the second hour of this week’s AC is for you.

We have lots to play you before then including new tracks from future guest Arlo McKinley, old friend Courtney Marie Andrews and the ever green Carrie Underwood. We’ll celebrate Steve Earle’s tribute to Jerry Jeff Walker by playing a track from the new album, a great Jerry Jeff cover and a song from the man himself. We do all of this in a two hour show and you can hear it all on BBC Radio Scotland from five past eight this Tuesday evening or at a time and place of your choosing on BBC Sounds. Live or later, join me if you can.

Elsewhere on the show we have the wonderful new title track to Mary Gauthier’s equally fine new album, ‘Dark Enough To See The Stars,’ new things from Anais Mitchell as well as someone fabulous new recordings from Josh Rouse and Midland. We do it all in two hours of Another Country from five past eight on BBC Radio Scotland or on BBC Sounds whenever or wherever you choose. Join me if you can.

Over the last few weeks, in my live absence from the show, I’ve been on a long holiday on the west coast of the USA. We travelled quite a few miles starting off staying with my daughter in the Bay Area and taking in the California Coast, Nevada and Arizona. It’s only three states but even within that small sample it wasn’t difficult to conclude that there are many Americas.

As a kid I dreamed of visiting the US. I was too busy saving up for instruments during my college years to engage in long travel adventures so I never visited the US until I was thirty years old. Since my first visit I have gone back nearly thirty times and, am excited to meet my first grandchild who will be born in California this summer. It’s a country that always reveals new characteristics on each successive visit and these last few weeks proved no exception to the rule. As much as I love America the division of the last few years seems to loom larger (even to the casual tourist) than it has ever done on any previous visit.

That our holiday was bookended by two atrocious gun massacres cast a long shadow. I’ve been in America when mass shootings have taken place. Ironically I was on holiday there when the children of Dunblane were killed in the worst (non terrorist) mass killing to have ever occurred in the UK. That the name of that town still resonates with all those who remember that event illustrates the contrast in responses of our two countries. In the US however, there are simply too many towns to have suffered similar events for their names to become synonymous with gun violence. What has become more apparent to me in recent years is our outrage at gun ownership is also matched in many parts of the US. Equally there is a large percentage of the population there for whom the only answer to the growing violence is to encourage more people to get armed.

What has interested me is the righteous anger, sorrow and naked outrage by many of the regular artists we support on the AC. You may remember also that last week’s special guest, Eric Church, tried to suggest some gun law reform after the biggest mass shooting ever, which directly affected the country community. That Eric was quickly shut down and spent the next year or so refusing all interviews explains some of the problem reformers are facing. It’s not a great career move in country music to support gun ownership reform.

There are many good voices within the wider country community however. It’s noticeable too how the sense seems to come from women. In all the hand wringing and emotion I witnessed on TV press conferences it was overwhelmingly men who defended the status quo while women…and particularly mothers who wept and called for change. It’s been good to see so many of the women we play regularly on the AC show courage and leadership on gun reform. Let’s make sure we amplify their voices over all the noise that currently fills the airwaves.

We’ll play many of these voices this week as we catch up on the great stories and songs country music tells so well. Join me this Tuesday evening at five past eight on BBC Radio Scotland for two hours of great music. It’s country music…our way.

Let me take you to Oregon. It’s the autumn of 1989 and Lorraine and I have rented a car to take us out to the countryside. I can’t remember much other than enjoying the landscape and making a promise to ourselves that we’d come back and spend more time on the west coast. There were pines and far off hills and pulling away from the tour for a day felt like a small holiday in itself. We stopped at what our U.S. friends call a Mom and Pop store which was an extended log cabin in the woods. We were buying soft drinks and snacks when I noticed a tired looking shelf of less than current cassette albums. We’d tired of the radio and it seemed a good chance to get some new music. The trouble was there wasn’t a great choice of anything very new. It was then I spied The Judds compilation.

I’d heard of the Judds as they’d caught the ear of a few opinion formers back in the UK and had been featured on The Whistle Test. So it was we pushed the cassette into the car and set off to go deeper into the woods accompanied by the voices of Naomi and Wynonna. It turned out to be one of the best investments we ever made. The Judds and The Oregon landscape somehow went together like candyfloss and carnivals and the tape stayed in the car as long as the rental lasted.

Years later I saw Wynonna Judd appear at Marty Stuart’s Late Night Jam and I reflected that any artist who ditches their surname seems to lose a little of their soul. A Naomi-less Judds was not the beautiful sound I’d discovered all those years before.

So it was the other day while running my eyes over the CD collection I saw again a favourite album of the duo. Known as Heartland in the US and as Give A Little Love here, it’s a perfect showcase of what made The Judds so great. On this week’s AC I’ll give you some reasons for revisiting this lost classic.

Our main event this week is a session and conversation we recorded with Erin Kinsey during her fleeting visit to Glasgow for C2C last month. Erin’s music had caught my attention via my daughter flagging up Hate This Hometown a few months back. Erin told me the story about that one, how she became a TikTok star and how Dolly Parton covered her song at The Opry.

It’s a packed show this week and it all starts at five past eight on BBC Radio Scotland or any time you fancy on BBC Sounds. Join me if you can.

I grew up with Gospel music. It was everywhere around me. Our church, a Brethren assembly, sang from two hymn books. The Sunday morning one was called The Believer’s Hymn Book and on Sunday evenings we all sang from Redemption Songs. It was the evening version I loved more. It was a treasure trove containing big, joyful choruses and catchy refrains all designed to affirm faith and/or drive the seeking soul towards salvation. There would be Hymns asking questions, “Will your anchor hold in the storms of life?,” hymns of encouragement ‘Trust and obey,” or the gory but affirmative, “fountain filled with blood drawn from Emmanuel’s veins.”

As we grew up and the modern ways set in the young people of the church rather turned their nose up at some of these old hymns which had found favour with the revival meetings of the early part of the century. Some of these had been brought over by American Evangelists who also wrote the lyrics and music. The most famous team had been Sankey and Moody whose combination of preaching and singing left a lasting repertoire which formed a good deal of the hymnal in mission halls and tent meetings for the best part of the next century.

It was in this context I first heard Willie Nelson’s ‘The Troublemaker,’ an album of hymns and sacred songs arranged by Willie and the family which brought a new energy to the old chestnuts I’d heard since I was knee high. Looking back now, Willie was only following a great country tradition of recording Christmas albums and sacred albums where the artists would put their own spin on a familiar repertoire. That the tradition still exists would be a mild understatement. Only in the last year there have been more Gospel albums added to the groaning pile already in the vaults. Brent Cobb and Carrie Underwood have recently cut their own sacred recordings and in recent years Alan Jackson has brought out two volumes of faith filled songs. All of which is a delight to me, as the repertoire rarely goes too far beyond the classic hymns I learned to sing as a lad.

As it’s Holy Week we thought we’d celebrate this great tradition once more. We’ve cast our net a little wider and we will bring you some fine interpretations from George Jones, Breland, Flatt & Scruggs and Dolly Parton. We’ll also disappear down a couple of interesting rabbit holes in our desire to update you with all that is good in current country music. It all starts at five past eight on BBC Radio Scotland this Tuesday evening or any time or place of your choosing from that time onwards on BBC Sounds. Do join me if you can.

They say, and Hailey Whitters sings, that Nashville is a ten year town. The reference is usually made to describe the long apprenticeship undertaken by young artists as they set out to become country stars. It can also prove to be true of some country careers too. There is a thirst in all commercial music to discover and break the next big thing and nurturing something beyond a ten-year-career often proves to be beyond Music Row.

In fairness, country music is a genre which is more accommodating of older artists than many other branches of popular entertainment. There’s many a breakthrough artist I’ve encountered who are getting wider recognition for the first time when they are somewhere north of thirty years old. That, I would suggest, is refreshing. The difficult trick, for any artist, is building a career which will last. How does any singer or group ensure that their audience will stick around as long as they have? I may be biased here, but I think it’s got a lot to do with the songs.

This week we’re going to mark the beginning of one of the most successful country careers ever. That this artist is still alive, making music that matters when so many of his contemporaries have passed on is a tribute to his voice, his energy and his repertoire. And what a repertoire there has been for Willie Nelson. He’s been a soldier, a disc jockey, a song writer, singer, actor and a country outlaw and, in the sixty five years since he first released a record, he has proved to be one of the world’s most popular entertainers, whose appeal and fame goes well beyond the boundaries of country music. It took Willie five years to have a hit single and on this week’s AC we’re going to remind you of the moment the world first fell in love with Willie. We’ll also play you something from the new album he’s about to release at the grand old age of eighty nine. I suspect this is a sentence I will repeat, with a slight edit to the numbers, over the next few years.

Elsewhere we have some Grammy news and a significant anniversary for the man who first gave us the Blue Suede Shoes, the great Carl Perkins. A regular traveller with the Johnny Cash live entourage we’ll play you some early Carl as well as a great Johnny and Carl duet.

It’s also a week we’ll play you plenty of new, young acts too. Listen out for AC debutantes The Whitmore Sisters,  Kaitlin Butts and John Craigie. It all starts at five past eight on BBC Radio Scotland this Tuesday evening or on BBC Sounds at a time and a place of your own choosing.