This duo saved our souls last year with their gorgeous songwriting, banjos, guitars, harmony - don't miss this one! Wally Neal opens the night!

Thurs 11/19 7pm - $10/$15 all ages

Minnesota songwriter Kelley Smith is a wallflower who fancies old poetry and grandpa sweaters. All at once whimsical and haunting, Smith delivers deeply affecting lyrics with wry charm and a time traveler's voice. Prone to melancholy and daydreaming, Kelley spent her childhood roaming the woods of the north country. To this day, her longing for that landscape runs deep and seems to find its way into her songs in one way or another.

Raised by musicians, Smith always had music in her bones, but it wasn't until she was 40 and a mother of four that her first record, Moon Child (2022), came to be. “These organic and unvarnished songs reflect life experiences that could as easily come from past lives as they could from Kelley’s soul.” - Rieder Homestead Concerts.

”Her rustic sound, combined with relatable gut-punchy lyrics has been resonating with audiences up north and beyond.”

- Southern Minn Scene

Since 2022, Kelley has had the honor of sharing stages with artists such as Charlie Parr, Kelly Hunt, Wild Horses, Dave Simonett, and Alan Sparhawk. Every once in awhile she tucks into old dive bars with her banjo to play folk songs.

Memphis native, Kelly Hunt, sings with what Rolling Stone Country describes as “the lilting cadence of a folksinger born somewhere far away, sometime long ago.” Indeed there is a patina to her sound, especially when she opts for her Depression-era tenor banjo—a calf-skinned instrument whose origins supposedly date back to a man named Ira Tamm and his dog-and-pony show in the 20s and 30s. That mysterious banjo, with its warm, soulful sound, plays the starring role in her 2019 debut album, Even the Sparrow, which was a finalist for the International Folk Music Awards “Album of the Year.”

But while rooted deeply in traditional forms, Hunt crosses into markedly modern territory, hovering beyond the constraints of genre and navigating the tension between past and present, old world and new. As Popmatters puts it, “uncanny is Hunt’s innate ability to summon the same vigorous energy of classic folk players, all while pushing forward to modernize the instrument’s role in contemporary songwriting.” Self-taught on banjo and guitar, her style is highly original, a study in nuance—drones, inflections, pulsing rhythms, finger-picking patterns mixed with percussive strumming and drumming. And she approaches her voice with the same subtlety, singing with a dynamic intricacy that evokes both her Irish ancestry and her upbringing in the soul-infused realm of the Mississippi river delta. “Hunt lets the instrument shape her syllables,” Rolling Stone’s Greil Marcus writes. “From the first instant you know you’re in a place where there is no sense of time, where anything can happen and no one will ever have to admit to a thing.” And perhaps it is this timeless spark of imagination which serves as the golden thread uniting Hunt’s diverse body of work.

Following her critically acclaimed debut, Hunt joined forces with renowned musician and producer, Dirk Powell, on her sophomore album, Ozark Symphony, in which “she transports listeners from the craggy solitude and shadowy hollers of the Ozarks to the swinging streets of Memphis” [Folk Alley]. Recorded at Powell’s Cypress House studio on the banks of Bayou Teche and released on Compass Records, this work features a world-class cast of musicians spanning from the US to the UK, adding a savory dash of Cajun and Celtic flavors to Hunt’s trademark blend of Americana. “Once in a while, a musical project comes along that truly captures the spirit of America […] Hunt’s Ozark Symphony does exactly this,” Grateful Web writes. “If you’ve ever been enchanted by the lyrical power of Lucinda Williams or felt the emotional tug of Nanci Griffith, then you’re about to meet your next obsession.”

On her upcoming third release, Requiem for a Sleepless Night (2026), Hunt and Powell team up again, this time featuring a taut trio of Hunt, Powell, and Powell’s daughter, Amelia. Her most contemporary work to date, this album marks a shift into a more guitar-centric sound for Hunt, with banjo featured on a few key tracks, but overall taking a supportive role to open-tuned acoustic guitar. Inhabiting the rarefied space between waking and dreaming, this new collection of songs delves deeply into themes of love, fear, and a spiritual quest for meaning, landing on the listener like a lover’s prayer and no doubt affirming Hunt’s place amongst the most compelling voices to emerge in Americana/Roots music today. Regardless of where she charts her course next, “we strongly suggest you [...] keep your eye on this sparrow.” [FOLK RADIO UK]

Wally Neal is a green jeaned lover of the supreme daydream. His songs are silver tongued autumn thickets, warm whirlpools of emotion accompanied by fingerstyle 6 + 12 string guitar.

He is currently huddled over a 4 track tape machine, dislodging songs from dusty shelves and vistas of memory. His latest release is "Death is my Country" featuring Evander Ellsbury and Satchel Bruna.

Alluvial is a listening room, please keep conversation low during the performance so everyone can enjoy, thanks!

Contact the host of Kelley Smith & Kelly Hunt w/ Wally Neal @ Alluvial

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