Steph Stewart and The Boyfriends

May 30, 2014 |  0 comments
Date: May 30, 2014 Time: 8:00 PM Price: $10 in advance, $12 day of show Type: Americana/Singer/Songwriter
Over The World Below may be the first full-length album from Steph Stewart and the Boyfriends, but the journey behind its Appalachian-tinged Americana is as engaging as the music itself. A native of tiny Catawba, N.C., Stewart tried out life in Sweden and Seattle after graduating from UNC Chapel Hill only to feel the pull of her home state. Returning to the Triangle, she emerged with a renewed sense of purpose and a passion for the roots music of her youth that had never truly left.In the fall of 2009, Stewart began playing acoustic sets with original Squirrel Nut Zippers bassist Don Raleigh and accomplished instrumentalist Tim Stambaugh. Dubbed “The Boyfriends” during a live interview with a Carrboro radio station, the pair’s collective experience proved crucial to Stewart’s formative years as a performer. “They really got me on my feet,” Stewart says. “They wanted me to go out and do my own thing.”

Raleigh and Stambaugh’s encouragement led her to current Boyfriends, guitarist Mario Arnez, fiddle and mandolin player Omar Ruiz-Lopez, and bassist Nick Vandenberg. Together with these classically trained musicians, Stewart has toured the Southeast and, with the help of a successful Kickstarter campaign, is pleased to share their compositions in peak audio form.


“Steph Stewart’s plaintive vocals conjure up country greats like Loretta Lynn and Emmylou Harris, but with a subtler, more modern touch.”

– Elizabeth Pandolfi, Charleston City Paper (Dec 19, 2012)

“Steph Stewart could follow Gillian Welch and Tift Merritt as the next great female voice in alt-country.”
– Ryan Snyder, Yes! Weekly (May 09, 2012)

“Sweet-sounding twang with a casual back-porch vibe…”
– Spencer Griffith, The Indy (Feb 14, 2012)

“Musically she dwells up round the Appalachian end of the country / folk genre. Her voice is clear and simple and calmly confident. There’s a little of the plaintive mountain-music timbre of an Emmylou Harris or a Kitty Wells; but richer, with a fullness cushioning those high-lonesome edges. She songwrites with the same quiet confidence as she sings: she not only works within the “Grand Ole Opry” tropes, she expands them, playfully nudging them out where she finds a flexible spot. “
– Martin Smith, The Blotter Magazine

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