This feature ought to start with a laundry list of our subject’s accomplishments, but rootsy country hitmaker Dierks Bentley’s resumé and inventory of accolades, awards, and trophies would be far too long to include. After 30+ years in Nashville, Bentley has more than made it and his particular brand of country – down-to-earth approachability, bro-y (while remarkably non-toxic) goodtime vibes, honeyed crackling vocals, an unwavering sense of humor, and fierce love for bluegrass virtuosity – has now gained such a strong gravitational pull, it continues to shift Music Row. (For the better, of course.)

In June, Bentley released his eleventh studio album, Broken Branches, and launched an eponymous continent-spanning tour with everybody’s favorite, fellow trad country lover Zach Top, and swampgrass North Georgia duo the Band Loula in tow. Broken Branches features guests like Miranda Lambert, Riley Green, John Anderson, and more and – like all of the albums in his expansive Dierkscography – quite a few string band and bluegrass inspired moments, as well.

The Broken Branches Tour, which has been clipped and shared thousands and thousands of times on social media over the past several weeks, includes many hits, striking sets and theatrical tech, cameos from the infamous Hot Country Knights, and, yes, plenty of bluegrass. On the set list, Bentley and Top duet on an incredible “Freeborn Man” – we’re leaving out spoilers here so you can catch the tour’s scant remaining dates yourself and still be delighted – Bentley performs the title track from his hit bluegrass album, 2010’s Up On The Ridge, and Logan Simmons and Malachi Mills of The Band Loula join him elsewhere in the set for a delicious bit of church.

@thebandloula the broken branches tour is in fulll effectttt 🥹🤧 y’all come see us with @dierksbentley and @Zach Top ♬ original sound – The Band Loula

Singing a Bill Monroe bluegrass gospel number in tight, intricate three-part harmony may seem like an odd choice for a big mainstream country arena show, but longtime fans and listeners of Bentley will know this is no aberration. This is the norm. Whatever the sonics of his music, from the most poppy and radio-ready country to the more Americana-coded to straight ahead bluegrass, classic rock, and New Orleans grooves (and back again), Bentley brings bluegrass with him everywhere he goes. He brings its pickers, legends, and unsung heroes, too, uplifting them for all to enjoy.

When Mills, Simmons, and Bentley step to the center stage of an enormous auditorium or amphitheater to sing “Get Down On Your Knees and Pray” behind them, on towering LED screens, is depicted a little log cabin dive bar with a neon cross steeple and a flickering “open” sign. As they lead the audience in the stark, convicting, hair-raising number – with grit and heart and endless spirit – you realize, yes, this is church. This is gospel. This is country and bluegrass, front porch music and arena music. This is Saturday night and this is Sunday morning.

It’s hard to imagine all of these intricate roots music details not only being palpable in a show of this scale, but they’re also measured, vulnerable, and intimate – traits not known as hallmarks of either country or bluegrass. It’s here that we find exactly the conglomeration of reasons why Bentley retains such widespread appeal and adoration from fans of all entry points. While neither he nor any other artist is universally loved, Dierks Bentley accomplishes being the modern country “everyman” not by diluting himself and his personality beyond recognition, but by purposefully, creatively, hilariously – and spiritually! – putting all of himself on the line in his music.

Before the Broken Branches tour launched earlier this summer, Good Country sat down backstage with Dierks Bentley and the Band Loula during a break from tour rehearsals, after the trio had just run through “Get Down On Your Knees and Pray.” We spoke about what bluegrass means in a country context, the appeal of gospel to folks of any (or no) faith, tent revivals and camp meetings, the joys and vulnerabilities of singing harmony, and much more.

Obviously, Dierks, across your entire career you’ve had a relationship with bluegrass. And not just Up On The Ridge, which we just heard you rehearse a bit of for the Broken Branches Tour. You’ve got records and posters on the wall at the Station Inn here in Nashville, you name check Keith Whitley on the new album. You’ve worked with the McCourys over and over, Charlie Worsham, an excellent bluegrass picker, is in your band. There are so many more bluegrass touchpoints. Your bluegrassy CMA Awards show appearance last year was very popular with our audience.

And for y’all, the Band Loula, you call yourself “swampgrass.” The harmonies clearly have the grit and the gospel of bluegrass and the timbre of how your voices blend together reminds me of bluegrass.

It might be an obvious question to ask, but I figured we could go around the circle here and get each of your takes on what does the genre mean to you? What’s your relationship with bluegrass? What does bluegrass mean to you in the constellation of country music that you make now?

Dierks Bentley: When I think about bluegrass, obviously it’s the music and all that, but really it’s just people with acoustic instruments gathering to play and sing together. I never really did a lot of stints on my own, solo. Probably I’m not good enough, but bar gigs where I was just doing cover songs never really interested me. I always liked being in a band. I love the way this instrument talks to that instrument, this voice talks to that voice, and this voice gets added and– “Whoa!”

Like the Osborne Brothers, they’re switching harmonies. Sonny is singing the high tenor, then the next thing you know, he is on like a low baritone part. The voices, the way they move around. That’s the main thing, that’s what drew me in when I walked into the Station. And there were guys my age. I always thought bluegrass was kinda like Hee Haw stuff. I walked in and I was like, “Oh my God, there’s guys my age.”

It was about just playing songs together. And they were doing a lot of Merle Haggard songs, George Jones songs mixed in. Johnny Cash songs mixed in with Stanley Brothers, the Osborne Brothers, and all that too. So it was just, “Wow.”

It’s more about the community of people congregating through and with their instruments. And using those to have fun – and drinks as well. [Laughs] Lotsa drinks, a lot of moonshine back then. The real stuff! No label on it.

Not 30 proof. [Laughs]

DB: That’s what it means to me and that’s what I hear in [The Band Loula’s] music, a lot of, if you want to call it, “front porch” picking music. Picking their roots – you know deep, Southern gospel-y kind of roots, the mixing of that, and those voices together.

That’s what bluegrass has always been to me. It’s about the community as much as it is about the instrumentation and the bands. It’s the great community of people.

Logan Simmons: I’ll say something that comes top of mind for me. I spent my whole life going to tent revivals. It’s not just, “I go and it’s summer camp, ’cause somebody made me.” It’s like the pinnacle of who I am.

I really believe that it’s the pillar of my family. We go for about 10 to 15 days every year. It’s beside my nanny’s house, and all it is red-back hymns and bluegrass. The service happens every night and you go for about an hour and a half before service starts, before preaching starts, to hear bluegrass, gospel bands.

That’s how I learned harmonies, hearing all my godmothers and aunts sing the wrong ones around me. [Laughs] And you’ll hear somebody over there, Linda’s like [sings operatically and offtune] and she’s not on it at all. But I was at least learning something and I feel like with my roots in general, it already infused that bluegrass sound into my life.

Then when Malachi and I became friends and started making music together, he has a lot of Motown roots. I think, blended together, the blues and bluegrass just made something beautiful. And, on top of that, the family harmony we have together. We’ve been friends forever, half our lives.

Malachi Mills: It all comes back to blues, yeah. And just like you said, that cross pollination of the different genres. North Georgia is like the southern point of Appalachia. Like she said, it really influences the music we make by our harmonies. That’s the biggest thing we take from it. I love bluegrass music, but I’m not like a bluegrass buff. I would lose at bluegrass trivia. [Laughs] But it’s just in our bones and in the harmonies that she was talking about.Growing up in church and everything influences the way that we sing together and the notes that we pick whenever we’re singing harmonies. One of the biggest things that I love about bluegrass is the rhythm and pocket. And the intonation of the instruments. Bluegrass players choose to be intentional about [all of] it, the pocket, the timing, the tuning. It’s all so dead on. The details matter when you’re making records.

I think that’s one of the reasons why it’s striking that y’all have this bluegrass song as part of this big, arena-sized stage show. Because for me, translating those details in such a big space and in such a broad format could be really hard.

Then I hear and see y’all singing in three parts with a neon cross behind you and suddenly yes, this is church. This is what it is. Any close-singing harmony vocals are great, but when it really sounds like bluegrass to me is when you can hear the reeds of your voices match up when you’re harmonizing. That was a really beautiful moment.

Could you talk a little bit about capturing those details for a big audience in big rooms like this – or even outside, in amphitheaters. How do you take a Bill Monroe gospel song and translate it to that space?

DB: Well, there’s “Bluegrass” Ben Helson out there walking the hallways. Ben and a couple other guys in the band have played with Ricky Skaggs. Ben played with Ricky and Tim [Sergent] still plays with Ricky. I always say, if you can graduate from the Ricky Skaggs school of bluegrass and country music, you’re probably a pretty good musician. He also played Rhonda Vincent.

I’m a big Del McCoury fan. They did [“Get Down on Your Knees and Pray”] and Del has such a cool version of it. We were just kinda thinking of songs to do with these guys that would be great using their voices. Like [they] said, they’re the blues and bluegrass. I’m still trying to figure out their sound. It’s such a unique mixture; it’s so Americana in the way that in this country we have this melting pot of stuff. We thought it would be cool to do a little three-part thing, so that one came up.

Marty Stuart also did a really cool version of that song. But Ben [Helson], our guitar player really came up with that [arrangement], leaning into the swampy stuff they do. Gave it that feel, a little southern – I don’t know what the vibe is there, but that telecaster is playing and it just has a cool kind of dirty, bluesy vibe to it. Then working up the harmonies, there’s just something about hearing a capella bands.

I remember seeing Billy Strings at a bluegrass festival years ago and the band all stopped – no one knew who he was back then. Bryan Sutton had told me who he was, so I was where he was. He played like a Thursday set in the middle of the day. They had just done three songs and then they stopped and did a four-part harmony thing. There’s just something about it that’s so powerful. It goes straight to your soul.

The oldest version of entertainment there was was probably harmonizing. Finding people, seeing how your voices sound together, it’s a weird, cool thing. Singers talk about it all the time, in any genre of music about how seeing how we sound together is an intimate thing.

It’s vulnerable and it’s immediately establishing that community that you’re talking about. “We may not be a band, but now we’re a thing.”

DB: I feel like I blend well with anybody, because I’m like the condition. I sing it pretty straight here and allow the people around me to really do their stuff. I’m just gonna hold the line. There’s like nothing special about my voice, but it’s good to blend with ’cause other people have these amazing voices. They can do a lot of movement and a lot of great vibrato. I’m like the dumbest Del McCoury School of Bluegrass [student], just find that note and put everything into it. [Laughs]

Not to mention, introducing people to bluegrass as well – I love that. You have a chance to be a bridge to like your heroes and that is always fun. People have been that to me, Marty Stuart probably the biggest. You get into Marty Stuart’s music and you find out who he likes and then, whoa! He brings you back there. So [I hope] this turns somebody onto Bill Monroe. That’s pretty cool.

Country – a lot like blues, R&B, and the early days of rock and roll – it has this often tempestuous and inspiring relationship between the fun of Saturday night and the conviction of Sunday morning. So seeing y’all sing that song in front of the depiction of a church as a dive bar, complete with a neon cross and a flickering “open” sign – to me that’s, “a little bit holy water, a little bit burning man” epitomized. You guys are embodying that relationship between the sacred and the secular here. And that duality is all over your new album, too, Dierks.

MM: I’ll say, I think that one of the biggest things that contributes to that is the goosebump, hair standing up on your arm feeling. It’s knowing that you have a part in something and whenever you sing and play bluegrass music together, you have to give way to one another on stage. So it’s the whole stage saying we’re doing this very intentionally in unity, in harmony.

And everybody in the crowd, whether they know that or not, they feel it. That’s what I think people feel. Even if you’re not a believer and maybe the message that’s being said [doesn’t apply], but you still resonate with serving each other. With being present, which is a strong energy. I think that’s what makes me excited about playing this song. I don’t know what’s gonna happen emotionally for me whenever that moment happens, ’cause it’s gonna be so much of that unified energy.

DB: Unified energy is a good way of putting it. It’s unified and it really is energy.

We’re pretty involved with the church. I have an older daughter who’s involved in the church and another middle daughter who doesn’t believe it like I did. But there’s something divine that you just can’t ignore, whether you believe it or not – just look at a sunset, look at a flower, look at a fish, look at so much unnecessary beauty in the world. There’s just some energy that exists and you can’t deny it when you sing a song like this. It just taps [something] on anybody. Recognizing how small you are in this world and the power of whatever version of prayer you do.

LS: I liked how you said it joins secular and holy together and that actually made me think of the tent revival, as well. I think growing up in Appalachia, like Malachi said – I wish I could just teleport you there so you could experience!

DB: That would be cool, a tent revival – I can’t even imagine.

I haven’t been to a camp meeting or revival in so long!

LS: Everybody’s invited to camp meeting. I don’t know if you’d love it. Our tent – I say tent, it’s like a shack on a square, it’s like a big square, four sides. So we’ll say, “Are you on the upper line or the lower line?” We’re on the upper line, which is not a good thing. It’s like you think upper line is like uppity people or something, but it’s not. Our shack is the oldest and [most] untouched of the whole campground. It was built in 1846.

DB: Wow!

LS: So there’s holes in the roof and like, my bunk bed, I get water drops on my head if it rains. There’s hay floors, there’s no air, and there’s a lot of us, so it’s all packed in there. But camp meeting is like where I learned my first Bible verses and where I smoked my first joint. [Laughs] So it all marries together how you said, like holy and secular at the same time. I think of that picture of going to the gospel tent revival, going to camp meeting, singing those red-back hymns, doing all those things – but then also learning the grit of growing up.

I just loved when you said joining those things together, because that was such a representation of my upbringing. Yeah, it’s a little bit holy water, a little bit burning man. It’s definitely Saturday nights and Sunday mornings – and the tent revival is where I feel like those two worlds are so evident.

Dierks, in all you’ve done across your career there are all these bluegrass moments. The country that you “grow,” it’s mainstream, it’s radio-ready, but it’s like there’s bluegrass in the “soil” you grow it in, so you can always taste bluegrass in everything you do. Like on the new record, “Never You” with Miranda Lambert feels that way and “For As Long As I Can Remember”–

DB: There’s a little “Circles Around Me” by Sam Bush [reference] there at the top of that song.

Oh my gosh, yeah! Exactly what I’m talking about.

You said a little bit earlier turning people onto your heroes always feels great, but for you, from your own perspective being that guy that used to just hang out at the Station Inn and now being the Dierks Bentley and going on tour in sheds and arenas and amphitheaters… Why do you keep bluegrass with you?

Dierks Bentley: It is selfish in a lot of ways. I have such a great band and I just take so much joy watching them do cool stuff that I can’t do. It’s like guitar player, Ben, he’s just an unbelievable flat picker. Charlie Worsham’s in our band and Charlie won the CMA Musician of the Year. He is a just an incredible musician. Dan [Hochhalter] is an incredible fiddle player. Tim is so underutilized. Our steel guitar player – who plays banjo and everything else – he’s one of the best singers to me. Hearing him is like hearing Merle Haggard. He sings like nobody else, but he’s also so underutilized. And Steve’s been playing with me since 1999.

It’s just a great group and we love bluegrass music, featuring that, and having the music part of the show. I like being in a band setting, so just getting to be around it and hear these instruments swirling around me playing, I think it’s just cool.

I got a chance to play ROMP Festival last year and I feel lucky to be friends with guys like Jerry Douglas and Sierra Hull and have them come up on stage and play with us. I still think bluegrass music is the punk rock of country. It’s just the coolest genre of music there is.

It’s gotta be centering or grounding to a certain degree just to have that as something you can go back to, to feed yourself and fill yourself back up even while you’re touring.

DB: Absolutely. In the show we go from playing Tony Rice to John Michael Montgomery. We play bluegrass with the Hot Country Knights with costumes on. It’s just it’s all very selfish! It’s like, “How can I have a lot of fun in the next 90 minutes?”

I wanna do our radio country. I want people singing songs back, because that’s a great feeling. I want to get a little bluegrass in there. Just see if we get away with that. Then, can we try to get canceled on the way out? [Laughs] I dunno. It’s really fun for me. And having these guys [out with us] and getting to harmonize with them, it’s gonna be really fun. Check back in a few months, see how it turned out.

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All photos by Zach Belcher.