Bon Iver asked him to cover his new material and he’s teaching Mescal and Josh O’Connor to sing. But the interpreter is more interested in songs than stardom

Sam Amidon grew up in the 1980s, but his Vermont childhood was “almost like a refuge” from the gaudiest decade. His hippy parents were folk-singer educators who frequently travelled south to work with Sacred Harp shape-note singers. “We were still eating granola and tofu stir fry, growing veggies and having potlucks,” he says. “Nobody had a television. I remember seeing a picture of Michael Jackson on somebody’s notebook, but I had no idea what he sounded like.” The family had one Talking Heads cassette, one Cyndi Lauper cassette and one Bob Dylan cassette, albeit of traditional songs. “The idea of the singer-songwriter model just wasn’t in my life.”

Amidon followed his parents into music, becoming a fiddle prodigy and noted folk singer, releasing acclaimed albums for Nonesuch, and collaborating with jazz guitarist Bill Frisell, multi-instrumentalist Shahzad Ismaily, and folk-pop songwriter Beth Orton, whom he married in 2011. The couple live near the London cafe (incidentally, where Fleabag was filmed) where I meet Amidon in December to discuss his beautiful new album, Salt River, his first for Rough Trade imprint River Lea.

Innovative organist with the Band, the rock group who changed the way their contemporaries thought about music

His high forehead and long, bushy beard, suggestive of a country preacher or a backwoods boffin, offered an early sign that Garth Hudson, who has died aged 87, was bringing something different to the world of rock music in the 1960s. As the organist with the Hawks, who backed Bob Dylan on a famous series of concerts before turning into the Band, he looked and sounded like a figure from a different age, or perhaps one in whom many ages and cultures were being magically combined.

Music from Big Pink, the Band’s widely influential first album, released in 1968, bore witness to a process to which each of the five musicians – four Canadians and an American – made a distinctive and equal contribution. Levon Helm, the drummer, awakened memories of the old South. Robbie Robertson played guitar with a rare and pointed economy. Rick Danko, the bassist, evoked the intimacy of backporch music-making. Richard Manuel, the pianist, sang with an aching fragility. And Hudson, an enigmatic figure half-hidden behind his organ console, brought the sound of mystery.

Are the guitars right? Is Joan Baez sidelined? Who is this Sylvie Russo? And why is it an American shouting ‘Judas’? A Dylan tribute singer, two biographers, a superfan and more weigh in

Richard Williams, biographer