The Milk Carton Kids Share Two Singles Ahead of a Long-Awaited New Album

2023 is already shaping up to be a great year, with the Milk Carton Kids releasing their first album since 2019. Ahead of the newly announced project, they released a new single, “Running on Sweet Smile,” in late October. It’s direct in its lyrics, yet winding and exploratory in arrangement, highlighting the many strengths of the folk duo. After recently completing a tour with Katie Pruitt and reviving their acclaimed variety show Sad Songs Comedy Hour in Los Angeles, the Milk Carton Kids have only to put the finishing touches on the new album, planned for release in the spring.

“Running on Sweet Smile” hits all the right buttons in setting up a new Milk Carton Kids album, as does a follow-up single, “When You’re Gone,” which appeared this month. “‘Running on Sweet Smile’ is a sad song about perseverance and maintaining hope when it seems impossible,” explains singer/guitarist Joey Ryan. “‘When You’re Gone’ is a reminder that the people we lose are never really gone. They live forever in the lives they changed while they were here.”

With poignant harmony, melancholy lyrics, and the subtle banjo that weaves through “When You’re Gone,” what more could we want from a new Milk Carton Kids release? As NPR Music once stated, “The band’s core ingredients — not to mention a gift for warm, intricate songcraft — render the Milk Carton Kids’ records practically irresistible.”


Photo Credit: David McClister

BGS Wraps: Aaron Bibelhauser, “Christmas for Cowboys”

Artist: Aaron Bibelhauser
Hometown: Louisville, Kentucky
Song: “Christmas for Cowboys”

In Their Words: “‘Christmas for Cowboys’ was penned by Steve Weisberg, long time sideman with John Denver. In much the same way art derived from feeling lonesome and blue can provide comfort and warmth, this song has always given me a sense of peace through the holidays. For so many, the Christmas season is highlighted by family gatherings, celebrations, and togetherness. The past few holiday seasons have taught me to appreciate all of the gifts surrounding me, including those that aren’t so obvious. The sight and sound of falling snow, the stillness and solitude of winter, the simplicity of Mother Nature, and how sacred it feels, just to be alive. Merry Christmas!” — Aaron Bibelhauser

Curl Up With New Books by Bob Dylan, Willie Nelson, Margo Price, and More

It’s that time of year when the world falls in love, when we dust off “Pretty Paper” for its annual spin, and of course … recollect the best work of the past year. In that spirit, here is a round-up of 16 music-related books from 2022, with topics ranging from the banjo to The Byrds.

The Birth of Rock ‘n’ Roll: The Illustrated Story of Sun Records and the 70 Recordings That Changed the World, Peter Guralnick, Colin Escott

Some would contend that Chuck Berry, not Elvis Presley, should be considered the “King of Rock and Roll.” That aside, Sun Records certainly put a stamp on the budding industry, and this book offers a look into its history with 70 iconic recordings by Elvis, Howlin’ Wolf, B.B. King, Jerry Lee Lewis, and more. Jerry Lee Lewis himself wrote the foreword.


Build a House, Rhiannon Giddens

This illustrated book celebrates the determination and triumph of Black people in the face of oppression. It follows an enslaved family that “will not be moved.” The book contains lyrics from the song Rhiannon Giddens wrote, by the same name, to commemorate the 155th anniversary of Juneteenth. Illustrations are by Monica Mikai.


The Byrds: 1964-1967, Roger McGuinn, Chris Hillman, and David Crosby

The Byrds members Roger McGuinn, Chris Hillman, and David Crosby came together to curate this hefty 400-page art book that gives a visual and oral history of (and from) the original era of the band. The book comes in three editions: a standard edition with no signatures, a deluxe edition with signatures from McGuinn and Hillman, and a super deluxe version for which Crosby even provided his John Hancock.


Deep In the South: A Music Maker Songbook, Tim Duffy, Chuck Reece, and Earle Pughe

This songbook and CD compilation from the Music Maker Foundation, a non-profit founded in 1994 to “preserve and support” roots music of the South, brings together songs, stories, photographs and sheet music/guitar tabs from the likes of Etta Baker, Little Freddie King, Alabama Slim, Beverly “Guitar” Watkins, and more. It promises to take you on “a musical road trip through the South.”


How to Write a Song That Matters, Dar Williams

Dar Williams has led songwriting retreats for both beginners and professionals for many years. Now, How to Write a Song That Matters gives songwriters access to these lessons in book format. Songwriters looking for a “formula” for writing “hit songs” can skip. Williams instead focuses on tapping into the writer’s own creativity and unique experiences to make meaningful songs.


Live Forever: The Songwriting Legacy of Billy Joe Shaver, Courtney S. Lennon

Courtney S. Lennon describes Billy Joe Shaver as “country’s music unsung hero.” Shaver wrote all but one song on Waylon Jennings’ 1973 album Honky Tonk Heroes, considered a foundational work in the genesis of the “outlaw country” subgenre. If that credential on its own isn’t enough, the author dedicates the entirety of Live Forever to shed light on Shaver’s accomplishments, giving him the credit he’s due.


Maybe We’ll Make It: A Memoir, Margo Price

Parts of Margo Price’s memoir may be relatable for aspiring singer-songwriters: long tours with little to no payoff, busking, open-mic nights, and struggling to make ends meet. But much like her music, her memoir is written with an authentic, singular voice. She opens up more about loss, motherhood, drinking, her songs, and much more.


Me and Paul: Untold Stories of a Fabled Friendship, Willie Nelson and David Ritz

Me and Paul: Untold Stories of a Fabled Friendship chronicles the relationship between Willie Nelson and his longtime drummer, Paul English. Willie’s classic song “Me and Paul,” (released on the 1971 album, Yesterday’s Wine) gave us a primer on the misadventures of these pals, but the conversational book promises to go deeper and reveal the … well… “untold stories” of their time together.


The Music Never Stops: What Putting on 10,000 Shows Has Taught Me About Life, Liberty, and the Pursuit of Magic, Peter Shapiro with Dean Budnick

Have you ever wondered what goes into putting on shows for the most celebrated acts in the music industry and what really goes on behind the scenes? Well, Peter Shapiro has been there, and in this book he shares the story of how he became one of the most successful concert promoters in the business. Looking back on 50 of his iconic concerts, Shapiro shares backstage stories, photographs, and insights to what it’s like working with big names such as Bob Dylan, The Grateful Dead, U2, Lauryn Hill, Al Green, The Roots, Jason Isbell, Robert Plant, Leonard Cohen, and more.


The Philosophy of Modern Song, Bob Dylan

So… Dylan may have not “personally” hand-signed the copies that customers of the $600 edition expected. Nonetheless, it seems he put a lot of work and thought into writing the actual book. According to publisher Simon & Schuster, Dylan began penning it back in 2010. The book contains over 60 essays that dissect songs by other artists, including Nina Simone, Elvis Costello, and Hank Williams. The music Dylan explores spans many genres. He even finds common ground with bluegrass and heavy metal.


Rock’s In My Head: Encounters With Phil Spector, John & Yoko, Brian Wilson, and a Host of Other People Who Should Be Just as Famous, Art Fein

Art Fein has held many roles in the music industry. He’s been a music journalist, album producer, worked for labels, hosted a music-themed public access TV show (Art Fein’s Poker Party), and more. In this book, Art shares some of the wild experiences he’s had in his career including spending a week with John Lennon and Yoko Ono, coaching Lennon on “old rock and roll” that he wasn’t exposed to in Liverpool.


Rudy Lyle: The Unsung Hero of the Five-String Banjo, Max Wareham

Max Wareham shares the legacy of a lesser-known banjo player, Rudy Lyle, through interviews with other prominent banjo players and members of Lyle’s family. The book analyzes 19 instrumental breaks Lyle played with the legendary Bill Monroe. BGS wrote about, and previewed a chapter of Rudy Lyle: The Unsung Hero of the Five-String Banjo ahead of its August release.


This Is What It Sounds Like: What the Music You Love Says About You, Susan Rogers and Ogi Ogas

Susan Rogers has a fascinating résumé. She was the lead engineer on Prince’s Purple Rain and worked on records by The Barenaked Ladies and David Byrne (to name a few). She’s also an award-winning professor of cognitive neuroscience. It’s this unique set of experiences that gives her the ability to, as she says, determine one’s “listener profile,” and scientifically dissect why certain songs move certain people.


Unspeakable: Surviving My Childhood and Finding My Voice, Jessica Willis Fisher

Jessica Willis Fisher fronted a band made up of her parents and her 11 siblings. The Willis Clan found fame on America’s Got Talent in 2014. During that performance, the children charmed America while their fundamentalist Christian father lurked backstage, hiding an ugly truth. In this memoir, Fisher discusses finding her voice after years of being silenced by her abusive father, Toby Willis.


Well of Souls: Uncovering the Banjo’s Hidden History, Kristina R. Gaddy

Kristina Gaddy traces the banjo’s roots back to the 17th century when enslaved people with African descent created them from gourds, calabashes or wood. As future generations were sold to slave owners in other countries, the banjo became prevalent around the world, even though its origins are often overlooked and misunderstood today. Through archival research and seeking out letters and diaries, Gaddy describes the banjo’s journey over the last 200 years and educates the reader of the instrument’s place in American slave gatherings and Blackface routines. Rhiannon Giddens offers a foreword.


Word for Word, Rodney Crowell

After publishing a memoir in 2012, Rodney Crowell now gives readers a peek into a legendary songwriter’s process and history. The book documents his handwritten lyrics, the notes he made while writing the songs, and numerous personal photos. It also features commentary from Rosanne Cash, whom he worked with both before and after their 13-year marriage. Crowell shares, in his own words, his memories of collaborations with Guy Clark, Emmylou Harris, and others throughout his illustrious career.

The Local Honeys Show How Handmade Guitars Are Helping Eastern Kentucky

“In Eastern Kentucky, coal rules the world,” says The Local Honeys‘ Linda Jean Stockley. For this brilliant short film, Stokley and bandmate Montana Hobbs have partnered with the apparel company Patagonia to raise awareness about the actions of the area’s coal industry, while also telling the story of a non-profit designed to assist the community.

Based in Hindman, Kentucky, Troublesome Creek Stringed Instrument Co. is a manufacturing company that builds guitars, mandolins, and dulcimers, drawing on rich musical traditions to propel an otherwise suffering economy. It works to provide “refugees of the coal industry” a path forward and an opportunity to reintegrate into society post-addiction. In fact, learning to build a string instrument at Troublesome Creek is offered as a class through the local drug court.

Through that partnership, Troublesome Creek has helped effect change in the lives of many citizens of Knott County, Kentucky, and strengthened its noble mission in the face of incredible hardship. However, in July 2022, a torrential downpour led to flooding in the area, causing the banks of the Troublesome Creek to overflow and destroy equipment at the stringed instrument factory. Narrated by the Local Honeys, the 15-minute film tells the story of the luthiers in Knott County and addresses the activism in response to the region’s coal industry. To learn more about Troublesome Creek Stringed Instrument Co., and to hear the Local Honeys perform “Dying to Make a Living,” don’t miss the video below.


Photo Credit: Lila Callie

BGS Wraps: Daryl Mosley, “An Old Fashioned Christmas”

Artist: Daryl Mosley
Hometown: Waverly, Tennessee
Song: “An Old Fashioned Christmas”
Label: Pinecastle Records

In Their Words: “I’ve always had a love affair with the past. I love history, antiques, old music, old movies, old instruments, etc. As I’ve gotten older, things from my own past come into play. Rick Lang and I wrote the song from around a conversation of our personal Christmas experiences. It’s those special memories and those mental snapshots of our childhood that are most precious to us this time of year. Being able to record the song with my longtime friend Danny Roberts producing, and his amazingly talented daughter Jaelee singing harmony, was extra special and it truly captured the feelings of family. It is my hope when people hear the song that it mentally takes them back to happy Christmas memories of their own.” — Daryl Mosley

Top 10 Sitch Sessions of the Past 10 Years

Since the beginning, BGS has sought to showcase roots music at every level and to preserve the moments throughout its ever-developing history that make this music so special. One of the simplest ways we’ve been able to do just that has been through our Sitch Sessions — working with new and old friends, up-and-coming artists, and legendary performers, filming musical moments in small, intimate spaces, among expansive, breathtaking landscapes, and just about everywhere in between. But always aiming to capture the communion of these shared moments.

In honor of our 10th year, we’ve gathered 10 of our best sessions — viral videos and fan favorites — from the past decade. We hope you’ll enjoy this trip down memory lane!

Greensky Bluegrass – “Burn Them”

Our most popular video of all time, this Telluride, Colorado session with Greensky Bluegrass is an undeniable favorite, and we just had to include it first.


Rodney Crowell and Emmylou Harris – “The Traveling Kind”

What more could you ask for than two old friends and legends of country music reminiscing on travels and songs passed and yet to come, in an intimate space like this? “We’re members of an elite group because we’re still around, we’re still traveling,” Emmylou Harris jokes. To which Rodney Crowell adds with a laugh, “We traveled so far, it became a song.” The flowers were even specifically chosen and arranged “to represent a celestial great-beyond and provide a welcoming otherworldly quality … a resting place for the traveling kind.” Another heartwarming touch for an unforgettable moment.


Sarah Jarosz and Aoife O’Donovan – “Some Tyrant” 

In the summer of 2014, during the Telluride Bluegrass Festival we had the distinct pleasure of capturing Sarah Jarosz and Aoife O’Donovan’s perfectly bucolic version of “Some Tyrant” among the aspens. While out on this jaunt into the woods, we also caught a performance of the loveliest ode to summertime from Kristin Andreassen, joined by Aoife and Sarah.


Rhiannon Giddens – “Mal Hombre”

Rhiannon Giddens once again proves that she can sing just about anything she wants to — and really well — with this gorgeously painful and moving version of “Mal Hombre.”


Tim O’Brien – “You Were on My Mind”

Is this our favorite Sitch Session of all time? Probably. Do we dream of having the good fortune of running into Tim O’Brien playing the banjo on a dusty road outside of Telluride like the truck driver in this video? Definitely.

Enjoy one of our most popular Sitch Sessions of all time, featuring O’Brien’s pure, unfiltered magic in a solo performance of an original, modern classic.


Gregory Alan Isakov – “Saint Valentine”

Being lucky in love is great work, if you can find it. But, for the rest of us, it’s a hard row to hoe. For this 2017 Sitch Session at the York Manor in our home base of Los Angeles, Gregory Alan Isakov teamed up with the Ghost Orchestra to perform “Saint Valentine.”


The Earls of Leicester – “The Train That Carried My Girl From Town”

In this rollicking session, the Earls of Leicester gather round some Ear Trumpet Labs mics to bring their traditional flair to a modern audience, and they all seem to be having a helluva time!


Sara and Sean Watkins – “You and Me”

For this Telluride session, Sara and Sean Watkins toted their fiddle and guitar up the mountain to give us a performance of “You and Me” from a gondola flying high above the canyon.


Punch Brothers – “My Oh My / Boll Weevil”

The Punch Brothers — along with Dawes, The Lone Bellow, and Gregory Alan Isakov — headlined the 2015 LA Bluegrass Situation festival at the Greek Theatre (a party all on its own), and in anticipation, the group shared a performance of “My Oh My” into “Boll Weevil” from on top of the Fonda Theatre in Hollywood.


Caitlin Canty feat. Noam Pikelny – “I Want To Be With You Always”

We’ll send you off with this delicate moment. Released on Valentine’s Day, Caitlin Canty and Noam Pikelny offered their tender acoustic rendition of Lefty Frizzell’s 1951 country classic love song, “I Want to Be With You Always.”


Dive into 8 of our favorite underrated Sitch Sessions here.

WATCH: Larry Sparks, “Mama’s Apron Strings”

Artist: Larry Sparks
Hometown: Lebanon, Ohio
Song: “Mama’s Apron Strings”
Album: It’s Just Me
Release Date: March 31, 2023
Label: Rebel Records

In Their Words: “‘Mama’s Apron Strings’ was a way of life back in the day. Women used them for working in the home and yet sometimes they would also offer up something sweet in their pockets for the children. This generation of folks were great people. Their first love was caring for their family and providing for their needs. It reminds me of my own mom and the ways she cared for our family. When it came time to make a video for ‘Mama’s Apron Strings’ it seemed right to film it at my house. I guess I am a ‘kinda back in the day’ person: my home is 145 years old and I have a few old cars including the 1950 Dodge used in the video. God has been good to me through the years and I hope everyone will enjoy this video for my current single ‘Mama’s Apron Strings.’” — Larry Sparks


Photo Credit: Michael Wilson

BGS Wraps: Jessye DeSilva, “Solstice Hymn”

Artist: Jessye DeSilva
Hometown: Boston, Massachusetts
Song: “Solstice Hymn”

In Their Words: “I wrote ‘Solstice Hymn’ in December 2020, during the first COVID-era holiday season. Produced by Alex Calabrese of Old Tom & The Lookouts, I wanted the track to be sparse, but warm — a sort of lullaby to those of us who struggle during this season with loss, loneliness, and mental health challenges. In addition to lyrical nods to Christina Rossetti’s ‘In the Bleak Midwinter’ and Judy Garland’s ‘Have Yourself a Merry Little Christmas,’ I included a few words and images I’d crowdsourced on my social media. In production, Alex and I knew we wanted our friend Cecilia Vacanti to lend her eclectic influences to the track — particularly, references to Scottish and New England folk styles. Coupled with thick, dissonant harmonies, my hope is that the resulting track feels sort of timeless and almost like an ancient pagan hymn to the passing of seasons. Although the song may feel melancholy, my overarching message is one of hope: the light IS coming back and we CAN make it through this.” — Jessye DeSilva

‘Can I Eat This?’ Food, Foraging, and Music with Sean Rowe and Guest Alisa Amador (Episode 2)

BGS is thrilled to present the second episode of Can I Eat This?, a new series from singer-songwriter and avid forager Sean Rowe. In each episode, Rowe is joined by a musical guest with whom he ventures out into woods surrounding the artfully designed grounds of AutoCamp’s Catskills resort where wild food abounds. In addition to finding, harvesting, and preparing their haul, Rowe and his guest record a song together. In this second episode, he performs Tom Waits’ “Hold On” with Alisa Amador.

“You really never know what kind of chemistry you’re going to have with another artist on set,” Rowe says. “I’d never performed with Alisa before and in fact, hadn’t even met her before she showed up for the shoot! I love the risky element of improvisation where you just don’t know what to expect, but Alisa’s positive energy on the set was palpable and infectious.”

The developing interest in foraging can be attributed to a number of factors including a flood of popular books and documentaries detailing the alarmingly negative health and environmental impacts of America’s fast-food/factory-farmed-based diets. Also, after more than two years spent in an emotionally-charged state of isolation, many are seeking out the space and quiet serenity of nature. Taken in combination, the series is a gentle and inviting respite from modern life and provides viewers with relatively simple methods of making positive changes in their lives.

Among other wild foods-based programs, which tend to be serious in tone with an emphasis on survivalist themes, Can I Eat This? stands out. Rowe’s enthusiasm is infectious and welcoming to anyone who wants to learn more about this increasingly popular pursuit.

Editor’s Note: Watch Episode 1 with musical guest Taylor Ashton.

What’s Del McCoury Really Like? We Asked Three People Who Know Him Best

There might not be a more universally beloved figure in the bluegrass world than Del McCoury. Offstage as well as on, he carries himself with a self-assured grace that is both regal and welcoming — bluegrass royalty in every sense. We talked to three of the people he’s closest to about the experience of really knowing Del McCoury up close.

Alan Bartram, bassist in The Del McCoury Band

“Joining the Del McCoury Band was one of those fortuitous right-place-right-time things, and they made it so easy. He’s as laid-back as you imagine. The same happy-go-lucky guy you see on stage is like that all day. There’s no ‘stage persona’ he changes into, and he’s not strict about anything so long as you’re taking care of business. Just do your thing and everything’s cool. I couldn’t think of a better boss.

“If he ever gets mad, it’s real subtle. Unless you’re around him a lot, you’d never even know it. There are days when he might not be in the best mood, but there’s never an outburst or a rampage. You’d have to know him to pick up signs he’s annoyed about something. Going on 84 years old, he can still get up at 4:30 a.m., fly somewhere, drive a rental van to the gig, soundcheck, go through the whole day and then get onstage at 9 p.m. and just kill it for two hours. I’ll be just whupped, but he’s still crushin’ it. And the longer he sings, the stronger he gets. God, I hope I have that stamina at his age. He hasn’t lost anything, even after we were shut down for most of 2020. Taking a lot of time off at his age, you can lose a step. I swear he didn’t.

“I’ll tell an embarrassing story on myself to show how cool he is. A few weeks ago, there was a Grand Ole Opry show on a weeknight – and I somehow forgot all about it. Had it on my calendar but just completely spaced it. So I get a call: ‘Hey, man, you playing with us tonight?’ And you know that feeling when your heart just drops? Oh my God. At that point, there was no way I could get there in time. I’m 40 minutes away, they’re on in 10. Mark Fain from the Opry house band had to fill in for me that night. I still can’t believe I did that.

“Now Del does not really use a cellphone, so I had to wait until he got home to call him. So I call, Jean answers: ‘Alan, is something wrong?’ ‘Nothing’s wrong,’ I said, ‘except I forgot I was supposed to be at the Opry tonight.’ And she giggles just as Del walks in. ‘You wanna talk to him?’ ‘Oh yeah, I need to.’ So he gets on the phone and I say, ‘Del, I am so sorry. There’s no excuse. I really blew it, just completely spaced on it.’ And he says, ‘Oh, that’s all right. If I didn’t have Jean telling me when to be down there, I’d have probably missed it, too.’ He could not have been sweeter, which was a relief. I was able to sleep that night. That’s a pretty good picture of who Del is.”


Rhonda McCoury, daughter of Del and Jean McCoury

“I don’t play music, no. Dad showed me a few things when I was a kid. But then I realized I didn’t want to get on stage and do that: ‘If I learn this, I’ll have to get on stage like Dad does! Uh uh, not for me.’

“Mom handled most of the discipline, while Dad was very easygoing. He was the one who’d help us with homework after dinner. If mom ever said, ‘Wait ’til your father gets home,’ we’d just get talked to. And we’d rather have taken a beating, we never wanted to disappoint Dad.

“He’s the epitome of greatest father in the world. Patient, working his tail off all the time. If someone’s car wasn’t running, he would fix it. If there was some math we didn’t understand, he would explain it. Back then we had to put covers on our school books, and he’d help do that.

“He had the logging day job for a long time but didn’t seem frustrated by that. He’d grown up on a farm, working from the time he was a kid. I never heard him complain. He worked for our uncle’s company and could take any time off he needed. But over time, he did realize, ‘This is a little dangerous and maybe I should not do it for the rest of my life.’ Then when the boys started playing, too, that’s when he really got focused on music more.

“He’s not really different, offstage or on. What you see is what you get. He’s always been laid-back and funny, loves to tell stories. He doesn’t change much – except for his suit. There’s no grey area, this is him and it’s the way he’s always been. Like anybody else, you don’t want to make him mad. But 99 percent of the time he’s calm and mild-mannered. About all he does is think about music.

“About the only time he ever gets nervous before a show is when it’s the Opry – especially at the Ryman, where he played with Bill Monroe. But mostly, he never gets too nervous. Maybe a little frustrated if allergies kick up and affect him, not that anyone else would notice the way he does. ‘I’m not of right voice today.’ He just enjoys music so much, nerves never boil to the surface. It became even more enjoyable when the boys started playing, and they’ve just gotten better and better over the years. That’s the most fun for him, onstage with them.

“Mom and Dad have a pool, which Dad loves. He’ll be tinkering with the bus and jump in the pool to cool off. Deer and turkeys are always around the house; he’ll feed them, and he likes to deer-watch. You’ll wonder where he is and then see him standing in the pool watching the deer or turkey walk by, and all you see is his head.

“When we were kids, Dad was just our dad and music was what he did for a living, no different from anyone else’s dad’s job. Ours plays music and sings. But he’s always loved it so much. He had music on all the time, the band guys were over to rehearse inside and outside the house. School nights, we’d go to sleep hearing the band play downstairs.”


Dierks Bentley, Country Artist and Friend


Photo by Chris Hollo, Courtesy of the Grand Ole Opry

“I moved to Nashville in 1994 to be a country singer and was really disillusioned with the scene at the time. It just did not feel authentic and I didn’t know how it would fit for me. I was having a hard time until I randomly went to the Station Inn on a Tuesday night. Walked in and saw these guys wearing loose, baggy clothes and playing bluegrass. I just fell in love with it on the spot. Jason Carter, who was the fiddler for Del McCoury Band, became one of my best friends and turned me on to a lot of bluegrass. It quickly became my favorite genre.

“That’s how I got to know Del’s band. I drove with Jason out to the Telluride Bluegrass Festival in 1997, which is where I finally met Del himself. Nicest guy ever, always with a big smile. Del just is who he is. Driving back cross-country in my truck afterward, we got pulled over by the Arkansas State Police, who claimed they smelled marijuana as we drove by at 75 miles per hour. They had the dogs out sniffing the tires, doing the big search. ‘Man,’ I said, ‘we’re just going back from the Telluride Bluegrass Festival.’ To them that meant we were a bunch of hippies. But they finally let us go and I got Jason back in time for the Tuesday night gig at the Station Inn.

“They say Nashville’s a 10-year town, and it took me almost that long to get a record deal. That was 2002. My first record, I brought the Del McCoury Band in to cut a song for it. Second record, too. I also suggested to Del that he cut Sinatra’s ‘Learnin’ the Blues’ and got a credit in the liner notes, which was about the biggest moment of my fledgling career up to that point. I have yet to get my own Del McCoury Band cut, but it’s on my wish list. Some songwriters want a George Strait cut, but I want the Del McCoury Band – and I’ve made enough money that it’s actually true! As you know, there’s no money in bluegrass. I’d like to do a Del & Dierks album at some point, too.

“I tell people all the time that Del McCoury really is responsible for the success I’ve had in country music. His work ethic is something everybody can learn from, and also the way he doesn’t compete with anybody else. That’s why he and the band are always laughing, having fun, in a good mood. The only person you’re competing with is yourself from the day before, trying to get better. In a town where everybody else talks shit all the time, they all enjoy what they’re doing because they’re not looking at what others are doing. Sure, Del looks back to Bill Monroe. But as far as contemporaries go, I’ve never seen a group of guys more present and having more fun. That’s an approach I’ve taken with country music, just trying to compete with myself. Whatever success I’ve had, it’s because of that.”

Photo credit: Daniel Jackson