With the high As the desert sun disappeared behind Utah’s Wasatch Mountains, My Morning Jacket sang “I’m Amazed” during their performance at the Park City Song Summit.

“I’m amazed at what people say,” sang Jim James of the Jackets. “I’m amazed at a nation divided.”

At a time when America is at another existential crossroads, James’ lyrics summed up what many at PCSS were thinking about both the country and themselves: Where to from here?

Singer-songwriter Anders Osborne had his own answer. “I know that I’m OK the way I am, and that I don’t have to look for things—they’re all inside me,” he says, walking along a dirt path high above the amphitheater at Park City Mountain Resort.

Osborne recently celebrated his 15th birthday without drugs and alcohol, a period of his life that left him temporarily homeless in New Orleans. He is dedicated to bringing light and awareness to the dark side of human existence.

“It means a lot to me that we can now talk openly about depression: ‘I’m bipolar,’ ‘I’m schizophrenic,’ ‘I’m anxious,'” Osborne says. “It’s a shift in consciousness and I’m just blessed to be part of something that’s changing.”

Osborne’s views are at the heart of the Park City Song Summit, launched in 2019 to stimulate dialogue and initiative within the music industry by raising awareness about mental and physical health.

“We are helping to change the way we think about artists and our audiences, and we are committed to destigmatizing mental illness,” says Ben Anderson, founder of PCSS. “And bringing clarity to issues like addiction, social justice, opportunity and inclusivity. Each of these words is extremely important because they all relate to the topic of wellbeing.”

The annual meeting is a beacon of unwavering hope and positive change in a professional environment where mutual support in dealing with trauma and addiction often leaves much to be desired.

“If we want to talk about ourselves as a music industry, that’s a very different thing than talking about ourselves as a music community,” says Anderson. “We fall into the latter category. And if we can be part of that larger community and make a difference, then I feel like what we’re doing here is really important in some way.”

In addition to My Morning Jacket, the third edition of PCSS featured headlining sets from Mavis Staples and Nathaniel Rateliff & the Night Sweats. Larkin Poe, Eric Krasno & Friends, Ivan Neville, Nikki Glaspie, Cimafunk, Jennifer Hartswick, Jason Hann, Steve Poltz, Jobi Riccio and Duane Betts were also on the bill.

“A lot of times we (artists) sacrifice everything for the show, including our mental health and our sanity,” Poltz says. “And we rely on stimulants, depressants, alcohol and everything else. So it’s great to come to a place where people’s health is the focus.”

In addition to the outstanding program and focus on on-site wellness activities, the essence of PCSS lies in the ongoing conversations from both sides of the microphone. At the numerous “labs” that took place throughout the weekend, topics ranged from “Dignity in Dialogue: Embracing Artistic Freedom and Rethinking ‘Cancel Culture’” to “Beats & Bytes: Navigating Creativity in the Age of AI.”

Music photographer Danny Clinch conducted a live interview with James ahead of MMJ’s Friday night extravaganza. The conversation, titled “Regions of Light,” revolved around “the stresses of long tours” and featured a candid conversation about the life of an artist in a chaotic work environment.

“I recently saw a Dave Matthews (band) show and took some photos backstage,” says Clinch Rolling Stone afterwards. “And do you know what they do before they go on stage? They drink a shot – a green (wellness) shot.”

Clinch gets serious, however, when asked about a photo he recently posted on social media, a picture he snapped of Shannon Hoon backstage at Woodstock 1994. The lead singer of ’90s alt-rock favorites Blind Melon tragically died of a cocaine overdose in 1995 at the age of 28.

“It’s painful and it’s not getting any less painful for me,” Clinch said of his late friend. “My wife and I are both friends with his daughter Nico and Nico’s mother. They’re coming to Asbury Park for a long weekend (with us). And it makes me sad because Shannon would have really appreciated that.”

The next building across from Clinch is the lobby of the Pendry Hotel. Rebecca and Megan Lovell, the sibling duo behind the rock band Larkin Poe, take a seat next to the fireplace and lean forward when asked a question about the pompous nature and embarrassing attitude of “Sex, Drugs and Rock & Roll.”

“Rock & roll is making a comeback, but I also think rock & roll needs a bit of a makeover,” Rebecca notes. “It’s not about ‘sex, drugs and rock & roll’ anymore. You can be rock & roll and still want to have a healthy relationship with your family. Good communication and genuine concern for each other’s well-being has kept us from imploding like many sibling bands have.”

Before heading to the Canyon Villages Amphitheater for soundcheck, Rebecca has one final thought on her mind as the band heads headlong into the mainstream.

“Rock & roll can be dangerous, but suffering is optional. It’s tempting to think that hard-hitting, swaggering rock is born out of fear,” she says. “And I clearly disagree. We can be more creative and imaginative in the lyrical landscape. Let’s dig deeper. Let’s find something that’s truer than just the surface of what looks hard-hitting.”

A few hours later, Rebecca’s Fender Stratocaster and Megan’s lap steel squeak on the amphitheater stage like a muscle car with a full tank of gas. “Truck stop highway USA, I’m counting down the 50 states,” Rebecca howls during “Blue Ridge Mountains,” an ode to her home state of North Georgia from the 2018 album. Poison and Faith“I can’t get rid of this sad everyday life, roll me to the gates of heaven.”

During his performance at PCSS on Saturday night, Nathaniel Rateliff not only gave a musical farewell, but also took a moment to talk about his late friend and collaborator Richard Swift, who died in 2018 at the age of 41 from complications of alcohol addiction.

Rateliff spoke about their respective paths in life and how much he missed his friend before dedicating “Get Used to the Night” from his current album to Swift. South of here. As the Night Sweats streamed off the stage, the heaviness in the air transformed into a state of gratitude.

“I used to know everything/Now I can’t remember nothing, man,” Rateliff shouted in his soulful, Springsteen-like growl. “I used to be a damn proud fool/You run ahead and I’ll catch you, man.”

“One trap for me is the common misconception: ‘Can you create art and be happy at the same time?'” says Rateliff. Rolling Stonein regards to his own problems with alcohol abuse and finding a healthy balance in his life and career. “Now I’m looking for reasons to keep a clear head, whether it’s my emotional stability or my responsibility to my audience, my crew, my band. I’m currently trying to figure out how best to do that.”