Biography

In a particularly poignant moment on his new album, Tomorrow's Child, Jonathan Edwards asks "Why is it that I love to sing / Glued to my guitar." Insights like these make Tomorrow’s Child arguably Edwards' most personal album to date--supported by a cast of award-winning musicians.
Produced by celebrated acoustic master Darrell Scott, Edwards’ performances are backed by such noted names as Vince Gill, Shawn Colvin, Alison Krauss, John Cowan, Jerry Douglas and Kenny Malone among others. But it is Edwards’ own heart-on-the-sleeve delivery that makes Tomorrow’s Child so compelling.
“Many of these songs are inspired by and centered around family dynamics,” the enduring troubadour says. “It’s about the ins and outs of separation and reuniting. There’s a certain psychology and spirit and soul within families and their various components in this ever-changing world of ours, and the music we created and selected reflects these many colors and feelings.”
Edwards, who endeared himself to a generation of music lovers with his Vietnam War-era crossover pop hit "Sunshine" in 1971, reveals on the haunting “Jonny Comes Home” that not only was he adopted as an infant, but before his music career took off, he was forced to put his own child up for adoption as well.
“I was adopted at the age of 9 months, and the cover photo of this album was taken by my adoptive mother on that very day,” Edwards said. “‘Jonny Comes Home’ was born out of my efforts to deal with the myriad of emotions that come with these separations and the instant comfort I felt after reuniting with both my mother and my daughter, Brenda.”
Producer Scott was the perfect choice for Edwards to delve deep, the singer says. “He pushed me to be very open and honest,” Edwards explains. “Even on songs I didn’t write, Darrell helped me find the kind of connection I needed to make them my own and it really opened my eyes to the genius he is.”
The Malcolm Holcombe-penned “Down In The Woods” describes Edwards’ desire to find “shelter, solace, succor and peace with the arms of nature.” Scott remembered “Mamaw” from the Broadway musical Pump Boys and Dinettes and that Edwards had performed the song in the traveling revue of the play in the 80s. Colvin herself was a member of a later traveling production of the play so it made sense to enlist her help with the reprise. The imagery and emotion of the title track, written by Marcus Hummon, are the perfect launching pad as Edwards proclaims “I will always have faith in tomorrow’s child.”
On his self-penned songs, Edwards’ “Gracie” is a celebration of his youngest daughter, a recording artist in her own right. The rollicking “Sandy Girl” is punctuated by Scotts’ stellar guitar work as Edwards’ joyfully sings about the love in his life. With Gill’s backing, he reprises “The Girl From The Canyon,” a song he recorded in the 70s with Emmylou Harris and her Hot Band, and has a blast taking vocal turns with Scott on the traditional “Mole In The Ground.” “This Old Guitar” connects more dots as he sings about his undying love for music and his near constant companion — his guitar.
“Edwards is still remarkably relevant,” wrote Nate Dow in The Boston Herald, while the London Republic echoed that Edwards’ work remains “constant, engaging and typically classy.”
“Bringing Tomorrow’s Child full circle was our intent,” Edwards says. “It was our hope and dream to put a lot of love in this album. Darrell totally got it. This one has that special sauce.”