Jenna Nicholls is a New York-based singer-songwriter whose music bridges the golden era of the American Songbook with the raw storytelling of country legends like Hank Williams and Patsy Cline. With a voice both haunting and honeyed, Jenna breathes new life into classic Americana. Her latest album, produced by Grammy-winning multi-instrumentalist Larry Campbell, captures her signature blend of vintage charm and heartfelt authenticity—offering listeners a lush, nostalgic ride through the American musical landscape.

Over the past 20 years, Mulvey has pursued a restless, eclectic path as a writer and musician – immersing himself in Tin PanAlley jazz, modern acoustic, poetry, narrative, and Americana stylings. Relentlessly touring as a headliner – his attitude is, “When you love what you do, you can work all the time,” – he has also shared the stage with luminaries such as Emmylou Harris, Richard Thompson, Ani diFranco, Indigo Girls, and Greg Brown, and has attracted an audience that stretches from Anchorage to Amsterdam. Peter Mulvey began as a self-described “city kid” from Milwaukee, Wisconsin. He played, wrote, and sang in bands while studying theatre there, and then traveled to Dublin, Ireland, in 1989, where he learned the trade of the street singer. Returning to the States, he relocated to Boston and began making a living as a subway and street busker, as well as releasing the first few of many CDs. Within a couple years he took to the road full time. The road years further seasoned his abilities as a performer. Whether playing solo or with a band in tow, Mulvey has a rare ability to hold an audience’s attention and transport them, using wit, humor, and a subtle but sophisticated melodic and harmonic sensibility to gracefully introduce complex and provocative concepts and characters. Highlight recordings over the years include 1995's "Rapture", "The Trouble With Poets" \(produced by David Goodrich in 2000\), 2004's "Kitchen Radio", the fan favorite "Notes from Elsewhere" \(entirely solo versions of his songs\) and recently, his collaborations with Chuck Prophet \("Silver Ladder"\), Ani DiFranco \("Are You Listening?"\), and Todd Sickafoose \("There Is Another World"\). Collaboration is another source for Peter’s continued growth. In 2003, he released the trio album, Redbird, with fellow songwriters Kris Delmhorst and Jeffrey Foucault. The album’s 17 songs range from jazz standards to old country tunes to contemporary covers, all recorded in three days around one microphone. Peter’s annual hometown holiday in-the-round gigs have become an institution over nearly a decade. He can sit in with nearly any musician or ensemble and improvise in the common language of music. As a complement to his touring and recording, Peter has also kept a hand in education; teaching guitar and songwriting workshops across the country. His songs and deep baritone voice have been heard in documentary films, major television shows, and by dance and theater companies. His longstanding gig at the National Youth Science Camp gave rise to an illustrated book, "Vlad the Astrophysicist". For over ten years Peter has done an annual Fall tour entirely by bicycle, partly for environmental reasons and partly for the sheer fun of continuing his creative, unorthodox approach to a long and fruitful career as an artist. In every aspect of his career, Mulvey draws on an extremely broad swath of influence; he is always reading, listening, and eager to hear new poetry, modern minimalist composers, old-time fiddle tunes, Argentinean trip-hop, or top-shelf bar bands. Said The Irish Times: “Peter Mulvey is consistently the most original and dynamic of the US singer-songwriters to tour these shores. A phenomenal performer with huge energy, a quick fire, quirky take on life, and an extraordinary guitar style. A joy to see.” Still, it is the live performance that defines that work. Night after night, whether performing solo, duo \(with David “Goody” Goodrich\), or sometimes even with a band, Mulvey attempts to be the sum of his parts, to draw on all the musical legacies he has studied, to make a fresh, vital moment out of everything he and the audience have brought to the table that night. “People need this. I need this. To come together in a room, to try to make music come alive, for real, for right now, and then to let it go…that is the whole deal for me."

In April 2025, Peter Mulvey and Jenna Nicholls, along with guitarist Ross Bellenoit, traveled to Floyd, a small mountain town located in the Blue Ridge Highlands of Southwest Virginia, for five uninterrupted days of recording. What emerged is Floyd Mercantile — a record that feels both intimate and timeless. The makeshift studio was a decommissioned general store called \(you guessed it!\) Floyd Mercantile — a weathered wooden building standing across the road from an open pasture where cows wandered and grazed in the gentle early spring. \(One cow even volunteered to be on the album cover.\) Inside those old walls, the trio recorded the album live — no isolation booths, no heavy overdubbing — just three musicians in a room, listening closely and letting the songs unfold in real time. The sessions were recorded by Jeff Oehler and filmed in their entirety by partner Sue Bibeau and their associate Skylar Locke. Together, Sue and Jeff comprise Beehive Pro, an audio, visual, and design collective famed for their intimate recordings and thoughtfully considered visuals. They captured not just the sound, but the atmosphere — the wood floors, the daylight through the dusty windows, and the creak of the porch boards could all be considered session players on this album. The repertoire bridges eras. Mostly comprised of songs Peter and Jenna wrote separately, there are a few gems from the Great American Songbook: “Skylark" \(Hoagy Carmichael/Johnny Mercer\), “Them There Eyes" \(Maceo Pinkard/Doris Tauber/William Tracey\), and “I'll Be Seeing You" \(Sammy Fain/Irving Kahal\). The visual and sonic tones of the project reflect the periods these songs evoke — even the newly composed tracks feel in conversation with another time. The goal was not nostalgia, but continuity: to stand inside the lineage of American song and add something honest and present to it. Floyd Mercantile is not just an album. It’s a document of place. Of three musicians in a room. Of songs — old and new — allowed to breathe in the quiet of a Virginia afternoon.