Rachel Baiman

• Americana
• Singer/Songwriter

Originally from Chicago, Rachel Baiman moved to Nashville at eighteen, and has spent the last decade working as a musician in a wide variety of roles, from session musician (Molly Tuttle, Kelsey Waldon, Caroline Spence), to live sidewoman (Kacey Musgraves, Amy Ray), to bandmate and producer. Fiddle music was her first love, and she is known in the bluegrass and old time world for her work with progressive acoustic duo 10 String Symphony with fiddle player Christian Sedelmyer. Her first solo album Shame, was produced by Andrew Marlin of Mandolin Orange, and established her role as part of a new generation of political songwriters. Since 2017, Baiman has toured her solo project internationally with appearances at the Kilkenny Roots Festival in Ireland, the Mullum Music Festival in Australia, and the Kennedy Center Millennium Stage in Washington, DC. She has also released a variety of small scale projects; her 2018 Free Dirt EP Thanksgiving, which read as a sort of epilogue to Shame, a duet project with singer Mike Wheeler, which is a more stripped down nod to her acoustic roots. Her follow up, Cycles, further pushed her musical spirit, finding a grittier musical medium for her signature unabashed and defiant songwriting, employing a majority-female team.

Her most recent release is the critically acclaimed Common Nation of Sorrow. On this record, she tells stories of American capitalism, and the individual and communal devastation it manifests. “The reality is that the vast majority of us are being taken advantage of by the same brutal economic and political systems. Maybe that shared oppression is a place in which we can meet and fightback”, she explains. In contrast with her previous work, Baiman is the sole producer of Common Nation of Sorrow, which she recorded in her hometown of Nashville. She leans heavily into her bluegrass and old-time sensibilities on this new record. “In some ways, this is a homecoming project for me”, she says. “I wanted to explore these songs based on who and where I am right now, with the town and the people who have raised me musically using the music from the place I’m singing about.” On Common Nation of Sorrow, she has found a production style to match her straightforward writing. Baiman displays a certain self-awareness and comfort with the inability to be all things, while simultaneously pushing to new heights with her message, and delivering a heartbreaking, albeit beautiful, assessment of her country.