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Sam Amidon, born Samuel Tear Amidon (born June 3, 1981 in Brattleboro, Vermont) is an American folk artist. His parents are folk artists Peter Amidon and Mary Alice Amidon.^[1] His younger brother, Stefan Amidon, is a professional drummer who performs with The Sweetback Sisters^[2] among other groups. Amidon attended The Putney School in Putney, Vermont for one year.

Musical career[edit]

In 2001, Amidon self-released Solo Fiddle, an album of traditional Irish fiddle instrumentals.^[3]

Amidon's first album of songs, But This Chicken Proved False Hearted (2007), was made with longtime collaborator Thomas Bartlett and was initially released on the Los Angeles-based electronic label Plug Research.^[4] It was reissued on CD and LP in 2015 by Omnivore Recordings.^[5]

His second album, All Is Well (2008), was produced, recorded and mixed by Valgeir Sigurðsson at Greenhouse Studios in Iceland and featured orchestral arrangements by Nico Muhly. His third album, I See the Sign (2010), was also produced by Sigurðsson and featured multi-instrumentalist Shahzad Ismaily and orchestral arrangements by Muhly, with guest vocals by Beth Orton. Both albums were released on the Icelandic label/collective Bedroom Community^[6] and met with critical acclaim^[7] from sources such as Pitchfork, Stylus Magazine and the New York Times, which chose I See the Sign as a top-ten album of 2010.^[8]

Amidon's fourth album, Bright Sunny South, produced by Bartlett and Jerry Boys, was released 14 May 2013, his first on Nonesuch Records. His next album, Lily-O, recorded with a band consisting of Ismaily, Bill Frisell, and Chris Vatalaro, was released on the same label on 30 September 2014. 'A hauntingly beautiful new album' according to the New York Times, PopMatters called it 'a thing of beauty and wonder, bold and strong'.

Amidon's next album, The Following Mountain, will be released in May 2017, again on Nonesuch Records. It will be his first album of original compositions, contrary to his previous work, which mostly reworked existing music.

Amidon has appeared as a guest artist on albums by Tune-Yards, Glen Hansard, Mx Justin Vivian Bond, Olof Arnalds, The Blind Boys of Alabama, The National’s Grateful Dead Tribute Day Of The Dead, and others.^[9] He has also self-published a book, Notes On The Twitterographer.^[10]

Live performances[edit]

Amidon tours extensively throughout the US & Canada, Europe, Australia and Japan, and has appeared at festivals such as End of the Road, Green Man, Roskilde, Lowlands, Pickathon, Solid Sound, Big Ears, Celebrate Brooklyn, The Sydney Festival, the Jaipur Literature Festival, and others. He has become known for freewheeling concert performances,^[11] often with Vatalaro and Ismaily.

In 2007 he premiered Muhly's The Only Tune at Carnegie Hall as part of John Adams's In Your Ear festival.^[12] He has performed the piece at London’s Roundhouse and Barbican, as well as at Cork’s Safe Harbour festival in collaboration with the Crash Ensemble. Writing about the recorded version of The Only Tune, which appeared on Muhly’s 2008 album Mothertongue, Greil Marcus said, 'It’s incalculably spooky, the way the action comes out of nowhere, the way Amidon has prepared you to expect nothing.'

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Between 2002 and 2006, Amidon devised a multimedia program called 'Home Alone Inside My Head,' consisting of 'self-inflicted field recordings,' drawn comics, short videos, storytelling and improvisation. He excerpted the project online and performed it in full at experimental music and art spaces around New York City and Brooklyn and beyond, including NYC’s The Kitchen and MAD Museum, Monkeytown in Brooklyn, the AVA gallery on NYC’s Lower East Side, Cincinnati’s CAC, the Kuhturm Gallery in Leipzig, and MASS MoCA in North Adams, MA.^[13][14]

Amidon has performed as part of the Bedroom Community Whale Watching Tour^[15] at The Barbican and Reykjavik’s Harpa concert hall. He has also appeared in 2015 and 2016 at the Bon Iver-curated Eaux Claires festival in Wisconsin,^[16] performing his own music and appearing onstage as guest vocalist with Bon Iver, Richard Reed Parry, and parading the grounds of the festival leading a pop-up 'Guitarkestra.' In September 2016, Amidon hosted a multi-artist tribute to Pete Seeger at Ireland’s National Concert Hall in Dublin,^[17] featuring Irish and American artists such as Tommy Sands, Mairead Ni Mhaonaigh, The Voice Squad, Bell X1 and others. Amidon has done collaborative concerts and mini-tours with artists such as Bill Frisell, Nels Cline, Jason Moran, and Marc Ribot.^[18] In February 2017 he toured as soloist with the Australian Chamber Orchestra^[19] under the direction of Pekka Kuusisto, including performances at the Sydney Opera House, Sydney Recital Hall, and concerts throughout the country.

Personal life[edit]

Amidon's parents were members of Bread and Puppet Theater in the 1970s, touring with the group in Europe and living on the Bread and Puppet Farm in Glover, Vermont. They appeared on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus, a classic recording of shape-note / Sacred Harp folk hymns by early Americancomposers.^[20]

Amidon grew up in Brattleboro, Vermont, where he sang in the family band with his parents and played fiddle from the age of 3. By 13 he was playing professionally with pianist Thomas Bartlett, a childhood friend, and with his brother Stefan, in the contradance band Popcorn Behavior. Inspired by groups such as Wild Asparagus and Nightingale, as well as the traditional Irish fiddlers Martin Hayes and Tommy Peoples, Popcorn Behavior released their first album in 1994 when Amidon and Bartlett were 14 and 13, respectively, and Stefan was 10. Keith Murphy joined the group for their third album and the band toured throughout the country, released five albums, and were interviewed on NPR's 'All Things Considered', all while the band members were still in high school.^[21][22]

As a teenager, Amidon discovered artists such as Tony Conrad, Albert Ayler, Yo La Tengo, Miles Davis and Don Cherry, as well as reissues of field recordings of the Old Weird Americ such as the Harry Smith Anthology, the Alan Lomax Southern Journey series, and the songs of Dock Boggs.^[23] In the early 2000s, he lived in New York City and played in the experimental indie rock bands Doveman and Stars Like Fleas.^[24]

Amidon is married to musician Beth Orton. They have a son, Arthur, born in 2011.^[25] Based in London,^[25] the musicians lived in Los Angeles for several years before returning to the UK.^[26]

Solo discography[edit]

• Solo Fiddle (2001)
• Home Alone Inside My Head (live multimedia performance, 2003)
• But This Chicken Proved Falsehearted (as Samamidon) (2007 out-of-print; 2015 re-release)
• All Is Well (as Samamidon) (2008)
• I See the Sign (2010)
• Bright Sunny South (2013)
• Lily-O (2014)
• The Following Mountain (2017)

References[edit]

1. ^'The Amidons - Home'. Amidonmusic.com. Retrieved 2015-05-12.
2. ^[1]Archived January 28, 2011, at the Wayback Machine
3. ^'Solo Fiddle at Bandcamp'. Bandcamp.com. Retrieved 2013-11-07.^{[permanent dead link]}
4. ^'but this chicken proved falsehearted - Plug Research'. www.plugresearch.com. Retrieved 9 July 2017.
5. ^'But This Chicken Proved Falsehearted'. omnivorerecordings.com. Retrieved 9 July 2017.
6. ^'Bedroom Community'. bedroomcommunity.net.
7. ^'I See The Sign by Sam Amidon'. metacritic.com. Retrieved 9 July 2017.
8. ^'Redrawing Rhythmic Strategies'. 19 December 2010. Retrieved 9 July 2017 – via The New York Times.
9. ^'Sam Amidon - Credits - AllMusic'. AllMusic. Retrieved 9 July 2017.
10. ^'Notes on the Twitterographer (Book) - All Products'. samamidon.kungfustore.com. Retrieved 9 July 2017.
11. ^'Review: Sam Amidon at Pavilion Theatre - News'. goldenplec.com. 29 July 2012. Retrieved 9 July 2017.
12. ^'A Strange Brew of Ye Olde and Ye Very Freshly Minted'. The New York Times. 19 March 2007. Retrieved 9 July 2017.
13. ^MASS MoCA (2011-11-17), MASS MoCA announcement by Sam
14. ^Harvilla, Rob (2010-11-02). 'Sam Amidon, Slightly Cracked Folk-Singer Extraordinaire, Is Playing The Kitchen November 19–20'. The Village Voice.
15. ^'Bedroom Community > Whale Watching Tour'. www.bedroomcommunity.net.
16. ^'Bon Iver Debut New Album in Concert: Live Blog - Pitchfork'. pitchfork.com. Retrieved 9 July 2017.
17. ^'National Concert Hall pays Tribute to Pete Seeger in TRADITION NOW'. www.nch.ie. 2015-07-06.
18. ^'String Theory with Sam Amidon, Jason Moran and Alicia Hall Moran - www.billfrisell.com'. www.billfrisell.com. Retrieved 9 July 2017.
19. ^'Murder & Redemption'. www.aco.com.au. Retrieved 9 July 2017.
20. ^'Nonesuch Records Rivers of Delight: American Folk Hymns from the Sacred Harp Tradition'. Nonesuch Records Official Website. Retrieved 9 July 2017.
21. ^'Popcorn Behavior'. npr.org. Retrieved 10 July 2017.
22. ^'Sam Amidon – an old folk head on young shoulders'. irishtimes.com. Retrieved 10 July 2017.
23. ^'Album Stream: Cassette Release of Sam Amidon's Home Alone Inside My Head'. kithfolk.com. Retrieved 9 July 2017.
24. ^'Samamidon: All Is Well Album Review'. pitchfork.com. Retrieved 9 July 2017.
25. ^ ^abAdams, Tim (2012-09-23). 'Beth Orton: 'I started to believe I had run my course' Music The Observer'. Guardian. Retrieved 2013-04-13.
26. ^Parkin, Chris (2015-05-11). 'Listen to an exclusive mix from Sam Amidon'. Red Bull Music Academy.

External links[edit]

• Times Online - Sam Amidon and the folk revival (paid content)

This thoroughly modern folk singer continues his stunning recreations of classic folk, with help from Ben Frost, Nico Muhly, and Beth Orton.

Sam Amidon's idea of recomposition-- of excavating Appalachian folksongs; rearranging, repurposing, and creating a dissociation that feels uniquely contemporary-- isn't exactly unprecedented. Musicians-- like A.P. Carter, who scrambled up and down Clinch Mountain in the late 1920s, collecting local songs for the Carter Family's repertoire-- have been reinventing folk songs since before we knew to call them folk songs. That's part of what folk music is, and does. What separates Amidon from the scrum of revivalists and archivists is how modern these renditions are. I See the Sign, Amidon's third folk LP, doesn't contain any original tracks, but his interpretations are so singular that it stops mattering how (or if) these songs existed before-- all that matters is how they exist now.

Amidon grew up singing folk music in Brattleboro, Vermont; his parents were members of the Word of Mouth chorus, a community choir which performed sacred harp hymns in the 1970s. Culturally, folk music is inextricably linked to the south (and Appalachia in particular), but rural Vermont has birthed its fair share of traditional strummers (pick up Margaret MacArthur's Folksongs of Vermont for an impeccable primer). Amidon inhabits these songs comfortably, with an ease that belies a childhood spent with a fiddle in one hand and a banjo in the other.

Much of I See the Sign's success can be chalked up to its arrangements, which are fractured and frequently off-kilter; Amidon and his cabal of collaborators-- Nico Muhly, Ben Frost, Shahzad Ismaily-- have been merging chamber music with indie rock for awhile now (see also: Sufjan Stevens, Thomas Bartlett, Owen Pallett, Bryce and Aaron Dessner of the National), and their touch is nuanced and, on occasion, delightfully odd. Bits of percussion, distorted bursts of Moog, and hits of celesta pop up and recede, snapping into place like puzzle pieces. The arrangements are never bombastic (unlike what happens when, say, a pop artist gets paired with a philharmonic)-- instead, they're violent (the stabbing bass and scuttling percussion of opener 'Here Come That Blood') or stiff and lonely (the restrained electric guitar and puffs of strings on 'I See the Sign'). On 'You Better Mind', Amidon, harmonizing with Beth Orton, gets backup from threatening squeals of strings: 'You've got to give an account of the judgment, you better mind,' they caution. Their voices are grave, concerned.

As a vocalist, Amidon is preternaturally calm, and his flat repetition of certain couplets ('Found my lost sheep,' 'Loose horse in the valley') feels mesmeric and mantra-like. He's poised, but never cold, and I See the Sign can play like a gospel record, with all the attendant modes and lessons. These are songs to live by (or in), and these iterations-- despite their sophistication, despite his stoicism-- never feel like museum pieces or anything less than functional.

The only non-traditional track here is a cover of R. Kelly's 'Relief'. On paper, the choice feels a little like a trap (R. Kelly fills an odd role for overeducated indie rockers), or at least a posture-- and while it could be didactic or a lame grasp at irony, Amidon's rendition is stunning. 'What a relief to know that/ The war is over,' he and Orton sing, their voices earnest and tough, rising over the album's thickest, most optimistic swells. When Amidon finds an affirmation of faith-- 'What a relief to know that/ There's an angel in the sky,' he sings, grateful-- it's hard not to feel that liberation deep down in your gut.