Last week, Austin City Limits released an excellent bluegrass performance from their Austin City Limits Celebrates 50 Years broadcast, which debuted on April 4 on PBS. Mandolinist Sierra Hull and guitar phenom Billy Strings appeared on the special ACL show, performing a classic bluegrass number, “Midnight on the Stormy Deep,” a traditional song that entered the bluegrass canon via Bill Monroe himself. (Watch above.) It’s a popular duet, whether at jam sessions or on stage, and in this iteration finds the forward-thinking pair of Hull and Strings employing more retro sounds. Both are adept at these tones and textures, but tend to opt for more envelope-pushing picking on their own songs and creations. It’s lovely to hear both players in a bit more reserved a setting, with moments of star power shining through their tasteful playing and careful listening.
It’s striking how crisp, clean, and precise Hull and Strings render the song, but the grit and gristle that we tend to associate with bluegrass – and that “high lonesome sound” – are evident, certainly not in short supply. Hull’s solos are playful with zany touches and bluesy licks. Strings holds down the resonant lead vocal part while Hull adds the high harmony, both singing the lyric entirely in duet, because that’s how it goes! Strings pulls hard through his own solo with his signature confidence and boldness, while reminding his listeners how pivotal an influence Doc Watson has been across his career.
Hull and Strings are no strangers to collaborating, and in many contexts. Remember that time they covered Post Malone together? And well before Postie’s country foray and Strings’ track features on it. Hull has been known to guest on Strings’ shows, and vice versa. Their backstage cover of “What Does the Deep Sea Say” taped at the Ryman Auditorium has hundreds of thousands of views; “Midnight on the Stormy Deep,” meanwhile, has amassed nearly 200,000 views since it landed on YouTube late last week. Plus, Strings fans will recognize the track, not only from the bluegrass songbook, as it were, but from Strings’ own discography as well. He dueted with bluegrass legend and Hall of Famer Del McCoury on a version of the number a few years back. We never tire of it.
Whatever the many factors that led to Hull and Strings picking “Midnight on the Stormy Deep” together on ACL, they all add up to a live performance that’s easy, confident, and fun, and ultimately speaks to the deep and wide roster of young and younger bluegrass professionals who are keeping this music alive and in the limelight. For the coming generations and as-yet uninitiated new bluegrass fans, too.
Artist:Emily Rose & the Rounders Hometown: Los Angeles, California Latest Release: “Too Much Too” (single) Personal Nicknames (or rejected band names): Steve from Pink Mountaintops/Black Mountain calls me E.R., which I like. He’s the only person who calls me that.
Which artist has influenced you the most and how?
I think probably Gram Parsons has been my biggest influence. When I was first learning to sing and play guitar, I would pretty much just play his songs. The earliest incarnation of what would sort of morph into the Rounders was actually a Gram Parsons cover band called the Kickers, where I sang and played drums. Then I started to sort of want to try to write my own material.
[Gram was] an LA guy, his voice is so sweet and sad and his songs are just heartbreaking. I also used to have these wild dreams when I was like 18 or so, where he and I would be driving around in a car, talking. They were recurring and it was very sweet. I’ve just always adored him.
What’s your favorite memory from being on stage?
Definitely playing and singing with Willie Nelson at Austin City Limits. Can’t really top that.
What’s the most difficult creative transformation you’ve ever undertaken?
When I left Ty [Segall’s] band, I really didn’t know what I was doing. I had been playing drums with him since I was 20 years old and I found myself at 27 with a repetitive injury that was making it so that I couldn’t really play drums anymore like I used to. It really messed with me psychologically on the last few Ty and Mikal Cronin tours and I started having stage fright, too, which I had never had before.
Since the crowds were getting bigger than ever, the judgment on my abilities was getting more fierce and I was taking it to heart in a very serious way. I don’t pay much attention to reviews or trolls online anymore, but at the time I really would and all of this was compounding in this really difficult way. I was sort of unsure if I would ever make music again or want to be in the public eye in any way.
Eventually, I sort of just committed to trying to do what I had wanted to do all along, but never had the guts to – which was writing and singing and making country music. Thankfully, I had some encouraging friends and a friend in particular who sat with me many nights a week, teaching me guitar. We’d harmonize together and stuff, and play almost-secret shows out of town and around LA until we had a fully realized thing going on. It was one of the scariest pivots I’ve ever made, but it really changed my life to sort of take the reins and figure out how to express myself musically again and to have fun doing it again. Country music is so cathartic, too, so it was really freeing to share a lot of the growing pains and to turn it into something really positive and productive.
If you didn’t work in music, what would you do instead?
I think I’d want to do something with dogs – maybe I’d be a vet or something or work for a dog rescue? I’m a big dog fan.
I also got certified as a domestic violence and sexual assault advocate over lockdown and volunteer for a non-profit that helps try to arrange housing, healthcare, legal services, etc., for those who need it. That’s something I’d like to be more involved with as well.
If you were a color, what shade would you be – and why?
I think black would be a natural answer, since I basically almost exclusively wear black. But actually, I’ve always thought and been told that my aura was blue!
On today’s episode of Only Vans, we have one of my all-time favorite Texas country singers, Bleu Edmondson! We talk about Robert Earl Keen, self-worth, getting Stoney’d, and making a record with Wade Bowen.
After passing away on September 28 at the age of 88, Kris Kristofferson has rightly been eulogized as a renaissance man without compare. It makes sense, since the colorful character’s legendary resume includes time as a Rhodes scholar, Golden Gloves boxer, U.S. Army Ranger, Golden Globe-winning actor, janitor at Columbia Studios, and helicopter pilot who once brought Johnny Cash a demo by landing on the superstar’s front lawn.
In fact, it was only after all of these accomplishments that Kristofferson became the icon we remember – a songwriter’s songwriter, and one of the most authentic and impactful artists to hit country and roots music since its development. Yet his longest-lasting gift to all of us may prove to be his humanity.
Emerging onto an American landscape just beginning to feel the pangs of decay – the “Sunday Morning Coming Down” of its post-war glory – Kristofferson’s work found beauty in even the ugliest moments life had to offer. He broke every mold of what a country star “should” be, choosing substance over style, embracing the unwanted, and cutting a trail for generations of artists to follow. Stunning empathy seemed to be his primary tool and as a man of many lives, he was well suited to put himself in the shoes of whatever characters he conjured up.
That deep well of human empathy might be the source of his gravity on camera and on stage. Maybe that’s why his songs came alive for the 450 other artists who covered them. But whatever it was, Kris Kristofferson accessed emotion and compassion without pretension. His humanity will live on now like a beacon, guiding others away from the shallow posturing of country songcraft and toward the authentic depths of the art.
In honor of his life, legacy, and impact, here are eight moments where Kris Kristofferson’s humanity shined bright.
“Help Me Make It Through the Night” on The Old Grey Whistle
After his debut album in 1970, Kristofferson made frequent TV appearances with duet partner and soon-to-be-wife Rita Coolidge – with one capturing his tender side especially well. Singing “Help Me Make It Through the Night” on the UK variety show The Old Grey Whistle in ‘72, Kristofferson and Coolidge were just a few months away from their marriage and seem enchanted with each other. Sharing a microphone and never more than a few inches apart, you can almost feel the sensual spark.
“Help Me Make It Through the Night” on The Muppet Show
Same song, different duet partner – and a totally different view of Kristofferson as an artist. Fast forwarding to 1978 and Season 3 of The Muppet Show, the respected singer-songwriter showed he was good sport by doing “Help Me Make It Through the Night” with none other than Miss Piggy. Clean shaven and re-creating the close proximity of the first clip, Kristofferson could barely hold back the laughs as he serenaded a swooning swine – then lost it completely as Miss Piggy broke into the chorus. Hopefully he and Kermit patched things up later.
“Sunday Morning Coming Down” on The Johnny Cash Christmas Special
Later in 1978, Kristofferson had the chance to perform alongside an idol and show his respect for the artist who had done more to popularize his work than any other. Joining Johnny Cash for the Man in Black’s yearly Christmas special, Kristofferson was left almost speechless as Cash introduced the vivid “Sunday Morning Coming Down,” which they then took turns singing. After Cash noted he’d been making the song his own for years, Kristofferson responds, “Up until now that was the proudest moment of my life. Now this may be the proudest.”
“Me and Bobby McGee” on Austin City Limits
Kristofferson appeared on Austin City Limits a few times, but in 1981 he had a hot band behind him and that led to a rollicking delivery of his biggest rock hit, “Me and Bobby McGee.” Made famous by the late Janis Joplin 10 years before, the freewheeling anthem put Kristofferson’s range – and a sense nostalgic joy – front and center. Although, there’s still a tinge of sadness embedded in the tone. From our perspective now, the iconic line “Freedom’s just another word for nothing left to lose,” is matched only by “I’d trade all my tomorrows for one single yesterday.”
“For the Good Times” with Tanya Tucker
Kristofferson always looked more comfortable in a flannel shirt than a black tie, but in the long run, that only made him more endearing. Joined by Tanya Tucker on a 1982 awards show, Kristofferson climbed into a tux and delivered the one-last-time anthem “For the Good Times” in classic pop style. Backed by an orchestral score and with Tucker taking the lead, it was a rare ballroom-country presentation of a song also recorded by Ray Price, Al Green, and more, which proved the Hollywood heartthrob would truly rather be hanging out with friends at the local dive.
“The Hot Dog Tree” with Pee Wee Herman
By 1988 Kristofferson had built up decades of acclaim as an actor, artist, songwriter – and as an international sex symbol. But he was never too big to have fun. Playing opposite Pee Wee Herman in the kid’s comedy Big Top Pee Wee, Kristofferson slipped into silliness with an easy charm. The iconic scene sees Pee Wee unveiling his top-secret Hot Dog Tree to Kristofferson, and the star’s initial skepticism – and then child-like awe – will brighten any day. Despite being held up as a talent of rare caliber, he never took himself too seriously.
Encouraging Sinéad O’Connor at Madison Square Garden
If you want to know about Kris Kristofferson’s character, look no further than what he did for Sinéad O’Connor at New York’s Madison Square Garden in October 1992. A few nights earlier, O’Connor had shocked the nation by protesting the Catholic Church’s still-under-wraps sex abuse scandal on Saturday Night Live, ripping up a photo of Pope John Paul II as cameras rolled.
When she then took the stage for Bob Dylan’s 30th anniversary concert, the crowd erupted in boos. As O’Connor stood there, unable to begin her performance through the rain of jeers, Kristofferson stepped beside her and spoke the famous words of encouragement, “Don’t let the bastards get you down.” He didn’t try to save her or get her off stage, or diminish her in any way – he just let her know she wasn’t alone. For her part, O’Connor went on to scream sing an a-capella rendition of “War” over the crowd, before staring them down as she left the stage. She said the moment created a lifelong appreciation for Kristofferson.
“Loving Her Was Easier (Than Anything I’ll Ever Do Again)” with Rosanne Cash at Willie Nelson’s 90th Birthday
Kris Kristofferson made his final public performance in 2023, appearing at the Hollywood Bowl in honor of his longtime friend Willie Nelson’s 90th birthday. The moment was filmed for a special airing on CBS and gave us one last moment with an icon.
After a shaky walk to the microphone, Kristofferson joined Rosanne Cash for an arm-in-arm rendition of “Loving Her Was Easier (Than Anything I’ll Ever Do Again),” a devastating ballad first released at the start of his career. Following Cash’s lead with a wide smile and a twinkle in his eye – one armed raised in triumph – Kristofferson soaked up the moment, while the rapt attention of the audience evolved into a thunderous applause. As Cash adapted the song’s hook to address Kristofferson himself, the whole world seemed to send him out on a high note:
Loving you was easier than anything I’ll ever do again…
Photo Credit: Scott Newton, courtesy of New West Records.
Just last week on October 28, PBS and Austin City Limits aired Molly Tuttle & Golden Highway’s debut performance on the prestigious, long-running series. Now, fans can watch the full episode – which also features country singer, songwriter, and activist Margo Price – for the next four weeks via this link.
Our friends at ACL were kind enough to bring to BGS and our readers these two exclusive performance videos from Tuttle’s fiery and energetic performance. Fresh off their packed and buzz-y Road to El Dorado tour, Tuttle and band – featuring Shelby Means (bass), Kyle Tuttle (banjo), Dominick Leslie (mandolin), and Bronwyn Keith-Hynes (fiddle) – showcase the blistering and effortlessly tight ensemble they’ve crafted together after nearly two-and-a-half years of performing together. Their set on ACL (full set list below) will be certain to introduce countless new fans to what’s one of the fastest rising groups in all of roots music, let alone bluegrass.
“El Dorado” begins with Tuttle’s gritty guitar and powerful right hand, telling a story from her Bay Area homeland, which features heavily on her most recent album, City of Gold. “San Joaquin” is a careening, forward-leaning train tune that’s always perfectly under control, even while it feels as though, at any moment, the locomotive may be launched from her rails. But what is perhaps most impressive about Tuttle & Golden Highway is the combination of their loose, in the moment vibe and their absolute, minute control.
Tuttle’s vocals are at some times soaring and crisp at others fierce and on the verge of breaking, demonstrating the passion and power she’s always infused into her nuanced and striking lyrics – and her fine-tuned cudgel of a right hand. Before closing her appearance with “San Joaquin,” Tuttle doffs her wig – she’s been continually open and honest about her life experiences with alopecia – backing up the devil-may-care nature of her music and band with an attitude to match. It’s part of what makes her particular brand of bluegrass so engaging.
Whether you’ve been following the Bluegrass Situation for 10 years or 10 days, you’ve likely noticed that we cover more than bluegrass. That’s especially evident in our BGS Class of 2022, a retrospective written by our contributors that includes numerous familiar faces, a couple of superstars, and even a few surprises. (And you can probably tell that we’re fans of live music.) Here are our favorite moments of 2022, listed alphabetically and enthusiastically.
Banjos, Banjos, and More Banjos
For banjo lovers, 2022 offered an array of styles and inspirations. Jake Blount explored Afrofuturism on The New Faith, while Caamp’s Evan Westfall channeled his Ralph Stanley influences into the Americana-leaning album Lavender Days. Pharis & Jason Romero embraced a folk sound in “Cannot Change It All,” Tray Wellington indulged his interest in jazz on Black Banjo, and Leyla McCalla related her Haitian heritage in songs like “Fort Dimanche.” Could banjos be the great unifier? — Craig Shelburne
Big Thief, “Spud Infinity”
With its bounding cartoon mouth harp and Adrienne Lenker’s hound dog howl, this standout on Big Thief’s double album, is a goof on Americana tropes, a funny embrace of the kookier sides of early Dylan or maybe Country Joe & the Fish. The song’s odd climax is the bemused realization that you can’t kiss your own elbows: “They’re on their own!” Lenker declares. How the band manages to pivot from such silliness to a genuinely moving existential query is a cosmic bit of choreography. — Stephen Deusner
Black Artists in Country Music
Forty years ago I wrote a review of Big Al Downing’s LP on the Team label for the Bridgeport Post-Telegram (today the Connecticut Post). I got two letters — one from (I presume) a white man saying, “N-words don’t sing country music. Why did they print your crap?” The other came from a Black guy saying, “You’re a great writer. Write about OUR MUSIC.” I know he’d be thrilled at the presence of so many Blacks in country today, and at videos like Jimmie Allen’s poignant ‘Down Home.’ It’s about life, love, country things and every bit as much about Black life as any ghetto saga or rap chronicle. Seeing it always makes me happy and seeing him and other Black stars excel in country reaffirms it is AMERICAN music, period. — Ron Wynn
Kate Bush’s Second Run and Sam Bush’s Radio John
If this year gave us one thing to be especially grateful for, it was the return of Kate Bush, whose 1986 earworm “Running Up That Hill” was inescapable following its prominent inclusion in Season 4 of Stranger Things. Suddenly Kate was almost everywhere (though to some of us she never really went anywhere but I digress…). Even my 16-year-old niece suddenly knew about “Cloudbusting” and “Wuthering Heights,” to my great joy. But Kate wasn’t the only Bush to make an impact in 2022. A more familiar face to BGS fans, the Sam variety of Bush released a beautifully personal tribute, titled Radio John, for his friend and musical icon John Hartford. While the Bushes’ music couldn’t be more diametrically opposed, the “Bushaissance” was a welcome reminder that some of our most legendary artists continue to be as prolific and relevant as ever. — Amy Reitnouer Jacobs
Mike Campbell & The Dirty Knobs at Brooklyn Bowl Nashville
This March 15 show began as a statement of where Mike Campbell is going and ended with a celebration of where he’s been. It was a cathartic night of mourning Tom Petty’s death and celebrating that his brand of literate rock lives on through Campbell’s music vision. It was exhilaratingly joyful. Bonus: Margo Price bashing away on drums behind husband and opening act, melodic songwriter Jeremy Ivey. — Jim Patterson
Cimafunk at Austin City Limits
When Cimafunk taped his Austin City Limits debut in May, it was like watching the spirits of James Brown and Prince explode into an Afro-Cuban soul-funk supernova. The moves, the grooves, the seductive way rhythms rippled through his body … the language barrier simply melted away, replaced by pure, infectious energy. From gorgeous balladry to syncopated deliciousness, Cimafunk & the Tribe, his eight-piece, jazz-influenced band, left me crushing hard — and dancing out the door. — Lynne Margolis
JazzFest Returns
The first second line parade… the first blaring brass band … the first Cajun waltz… the first bite of a cochon de lait po’ boy… New Orleans’ JazzFest was back after three looooong years! The “headliners”? Who cares? The stuff you can’t get anywhere else was what we missed. DahkaBrakha from war-torn Ukraine, their traditional towering hats against a backdrop of the words “Won’t Bow Down,” the defiant credo of New Orleans’ Black Masking Indians? Yeah you right. — Steve Hochman
Kentucky Rising Raises $3 Million
After flash flooding decimated Eastern Kentucky in early August, Chris Stapleton organized a relief concert at Lexington’s Rupp Arena on Oct. 11 that included Kentucky all-stars Tyler Childers and Dwight Yoakam. The show’s highlight came during a star-studded finale that saw Eastern Kentucky musical paragons Ricky Skaggs and Patty Loveless join others for a rendition of John Prine’s “Paradise.” The surprise moment was a powerful reminder of how, even in the darkest of times, music has the power to lift spirits. — Matt Wickstrom
After a 2015 aneurysm left Joni Mitchell having to relearn how to walk and sing, her performing days seemed over. But she had a comeback for the ages at this past July’s Newport Folk Festival, with help from Brandi Carlile and friends. Mitchell’s first full set in 23 years was an unequivocal triumph, especially the penultimate “Both Sides Now” – which had everyone there openly weeping. The moment of redemptive healing we didn’t know we needed. — David Menconi
Plains, I Walked With You a Ways
Waxahatchee’s Katie Crutchfield and Jess Williamson teamed up to form Plains this year, and Williamson may have written the perfect millennial country song for the project (though, as country music tends to do, it’ll resonate with any generation.) “Abilene” reluctantly talks of dreams that once were — now abandoned, for one reason or another. With white picket fences being harder than ever to reach these days, “Abilene” might leave my fellow millennials crying into their avocado toast, but immediately swept back up by this wholly incredible and refreshing album. — Shelby Williamson
Caitlin Rose, CAZIMI
Before November, Caitlin Rose hadn’t released an album since 2013 — and still managed to be a “top-played” artist for me every year. CAZIMI perfectly encapsulates why: Her hummable melodies, expertly balanced instrumental twang, and smart lyrical candor make every song feel like a confessional with your wittiest friend. From the forward-looking harmonies of “Getting It Right” to the vulnerable, clear-voiced “Blameless,” CAZIMI is yet another Rose stunner I’ll be spinning for decades to come. — Dacey Orr Sivewright
Sam Shackleton on Gems on VHS
A top musical moment for me this year was watching Scottish musician and folklorist Sam Shackleton on GemsOnVHS’ YouTube channel, performing the classic song “House Carpenter” from Arthur’s Seat which overlooks his hometown of Edinburgh. I love how Shackleton’s spirited busker style puts him at ease anywhere, solo or in a crowded pub jam. His richly accented singing voice and his unpretentious banjo style shine through in this video. — Lindsey Terrell
Sister Sadie, “Diane”
So, how’s this for a storyline? The singer finds out not only that her boyfriend is a two-timing creep, but also that he’s married to her friend Diane. And in this female take on the cheating story, knowing she has betrayed a friend is what hurts most. After a sweet acapella intro, a banjo backup tells you to strap in — the bluegrass is about to take off. Great story, great vocals, great drive. – Claire Levine
Chris Stapleton & Patty Loveless at the CMA Awards
For my musical moment of 2022, I didn’t have to go too far back. At this year’s CMA Awards, Chris Stapleton and Patty Loveless joined forces on a Darrell Scott classic, a gut-wrenching song about the hardship of living in the coal country of Eastern Kentucky. I performed this song a few times in my day and it still makes me shiver when I hear the hook: “You’ll Never Leave Harlan Alive.” — Jonny Therrien
https://www.youtube.com/watch?v=pZ2ZgQ1AP2c
Town Mountain, “Lines in the Levee”
With its first album on New West Records, Lines in the Levee, Town Mountain has broken into a new, exciting level. Based in Asheville, North Carolina, this Americana/bluegrass act is a high-octane, live-wire presence on stage. And, with this latest record, the group dug deep into its lyrical wellspring, commenting on the state of affairs in America — a melodic voice of reason amid uncertain times. In truth, after 17 years together, the band is only getting more raucous and riled up. “Lines in the Levee” has already become a staple in the concert realm. — Garret K. Woodward
Molly Tuttle & Golden Highway, “Crooked Tree”
Molly Tuttle’s “Crooked Tree” is a testament to finding strength in otherness. It’s a track that leans into traditional aesthetics while oozing Tuttle’s personality, worldview, and musical ethos — which remind of second-generation bluegrass trail blazers like Laurie Lewis and Lynn Morris. The confidence, vigor, and panache Tuttle has built with Golden Highway and on Crooked Tree are striking and widely resonant; in November, she received two Grammy nominations: Best New Artist and Best Bluegrass Album. — Justin Hiltner
Watkins Family Hour, Vol. II
I cheered about everything that went into Watkins Family Hour’s Vol. II. Not to downplay the 20-year milestone of Sean and Sara Watkins’ collaborative project but their third LP being devoted to just that, collaboration, felt like a burst of sunshine against lockdown’s darkness. Each song sounds so full of human individuality — of life. Rather than listening to a recording, I feel like I’ve walked into Largo for Watkins Family Hour’s next live show. — Kira Grunenberg
Photo Credit: NPR (Leyla McCalla); Newport Folk Festival (Joni Mitchell); Nonesuch Records (Molly Tuttle)
The term eclectic hardly seems broad enough to accurately describe either the approach of the marvelous band Asleep at the Wheel, or the energetic and fluid style of its lead vocalist and guitarist Ray Benson. The band he formed along with Lucky Oceans and Leroy Preston while farm-sitting in Paw Paw, West Virginia, 50 years ago is now an American cultural institution, although things didn’t really explode for them until they relocated to Austin.
Their latest release, Half a Hundred Years, pays homage to Asleep at the Wheel’s diverse and impressive legacy, although it’s one Benson freely admits he never seriously thought would continue for 50 years.
“Well, when you’re a 19-year-old kid, you don’t even know if the band will be around for 10 years,” he tells BGS with a laugh. “It really wasn’t something at the time that I had any notions about, things about legacy or impact. We were a band that wanted to play a lot of different types of music and enjoyed being around each other. That’s kind of been the trademark ever since.”
Country and Western swing are the foundational genres of their music, but the ensemble is hardly restricted or limited by them. Over their tenure Asleep at the Wheel’s repertoire has also included R&B, blues, jazz, rock and pop, while their albums and live shows feature a constantly evolving blend of originals and inspired covers. In addition, the band seamlessly maintained its trademark sound through numerous personnel changes, while navigating shifts in audience tastes and music industry practices.
“I’ve always been a real music lover, and that’s what’s driven the band all these years,” Benson continues. “Of course, the music business today is so different from the way it was when we started out. Hell, when we started they didn’t even have fax machines. You really thought in terms of radio and marketing a song, and you were trying to get your album played and then that would be the springboard for having it sold in the stores. Today, there’s such a focus on streaming. Vinyl’s made a bit of a comeback, but that’s because CDs are doing so poorly. Then the technology changed so dramatically, with the ability to sonically do things in the studio that we didn’t even dream about back in the ’70s.”
Indeed, Benson’s entire career — inside and outside the band — has been one of variety and experimentation. He taught himself to play the guitar as a 9-year-old. The first song he ever played completely came from a beer commercial he heard during broadcasts of his hometown Philadelphia Phillies. Benson teamed with his sister in a folk group The Four G’s at 11, then while in college he encountered a group whose concept he utilized (with variations) upon forming Asleep at the Wheel. It was that Commander Cody & His Lost Planet Airmen concert in Washington, D.C., where Benson saw and heard a band brilliantly mixing multiple genres in a free-flowing performance mode.
Following their time in West Virginia, Asleep at the Wheel relocated out west in the early ‘70s, playing in various East Bay clubs in California. A show where they shared the stage with Van Morrison, followed by his raving about them in Rolling Stone, began to open some doors. They toured with Black country vocalist Stoney Edwards in 1971, cut a debut LP that did well in the Southwest, then moved to Austin in 1973 after being encouraged by Doug Sahm and Willie Nelson. Upon their arrival in Texas, their second LP was issued by Epic.
However it was after their third LP, with the Top 10 country hit “The Letter That Johnny Walker Read,” that Asleep at the Wheel emerged as a top attraction. By 1978 they were winning the first of their 10 Grammys. They survived a lean period in the ’80s, then bounced back in the ’90s. Benson made another savvy decision that helped sustain the band’s success, recruiting several top country artists to cut two Bob Wills tribute LPs. Then came another hit in 2000, “Roly Poly,” with the [Dixie] Chicks. As a result, Asleep at the Wheel became one of the few country acts that’s managed to have chart records across four consecutive decades.
Their journey is duly reflected in Half a Hundred Years. “I looked at this album as a way to kind of look back and ahead at the same time,” Benson continues. “It covers everything that we’ve done and are doing.” Besides including such heavyweight guest stars as Lyle Lovett, George Strait, Lee Ann Womack, Willie Nelson and Emmylou Harris, the CD is sequenced in an intriguing fashion. The first 11 songs are new tracks featuring original band members. Songs 12-16 (with the exception of 14) feature the current band teaming with various band alumni. Cuts 17-19 are previously unreleased material, while track 14 combines the current band with two of Asleep at the Wheel’s former female singers. “We’re putting this out pretty much every way (configuration) that you can,” Benson adds.
Despite the pandemic, Asleep at the Wheel’s already done several shows and plans more in the near future. Benson has also branched out over the years to do things outside the band arena, among them being on the board of Austin City Limits, a role that led to his hosting the regional TV series Texas Music Scene for several years. He’s also been a prolific producer on LPs by Dale Watson, Suzy Bogguss, Aaron Watson, James Hand and Carolyn Wonderland, plus singles for Willie Nelson, Aaron Neville, Brad Paisley, Pam Tillis, Trace Adkins, Merle Haggard, and Vince Gill. Benson even cut a solo LP, Beyond Time, in 2003 and his autobiography Comin’ Right at Ya was published in 2015. In addition, he’s a founding member of the Rhythm & Blues Foundation, and the owner of a recording studio and label (Bismeaux Studios/Bismeaux Records).
Though it doesn’t seem possible that there are things in the music world Benson hasn’t done yet, he’s quick to list a few people he’d love to work with. “Well, I always wanted to record with Tony Bennett, but he’s retired now,” Benson says. “I’ve sung with Boz Scaggs, but have never done a whole album with him. I’d really enjoy doing that. Also, Billy Gibbons of ZZ Top. He’s someone else I’ve sung with, but really would like to do a complete project.”
He concludes, “At this point I really don’t even think about how much longer Asleep at the Wheel will go on because who would ever have given us 50 years? But I can say that I’m still really enjoying it, and this latest project and going out and playing to support it, and the reaction of the people even with everything that’s going on now… well, that tells me we’ve still got a lot of folks out there who enjoy what we do.”
Artist:Lyle Lovett Hometown: Klein, Texas Song: “Teach Me About Love” Album:Mighty Fine: An Austin City Limits Tribute to Walter Hyatt Release Date: October 1, 2021 Label: Omnivore Recordings
Editor’s Note: This Lyle Lovett performance of Walter Hyatt’s “Teach Me About Love” was filmed in 1997 for Austin City Limits as part of a tribute to Hyatt, who was killed in a 1996 plane crash. Cut from the episode due to time constraints, the performance has been unseen until now, coinciding with the release of the full concert on CD and digital, titled Mighty Fine: An Austin City Limits Tribute to Walter Hyatt. Four unheard Hyatt recordings also appear on the album.
In Their Words: “Walter Hyatt is one of the most creative souls to come out of the Austin music scene in the past two decades. Although raised in Spartanburg, S.C., and spent his last years in Nashville, he represented the spirit of Austin. An artist of personal vision, original style and artistic integrity. During the late ‘70s and ‘80s, Uncle Walt’s Band developed a strong loyal following in Austin thanks to their expressive blend of music styles, songs that were street smart, energetic, honest, and inspirational to a lot of younger singer-songwriters like me. Walter Hyatt explored many styles – New Orleans jazz, country honky-tonk, with a bit of Elvis and course Bob Wills. His dry sense of humor made him very special in the eyes of fans and critics. His death was a personal loss for those of us who knew him, and for anyone who ever heard his music. This program is a celebration of extraordinary music by an extraordinary man with a gift for reaching hearts and minds of so many people.” — Lyle Lovett
The year was 1990, and after more than a decade with the celebrated Hot Band, Emmylou Harris hit the road with a group of bluegrass all-stars — Sam Bush, Roy Huskey Jr., Larry Atamanuik, Al Perkins, and Jon Randall Stewart — and called them the Nash Ramblers. Although the group represents only a small portion of Harris’s decorated career, the music they made was exciting and powerful. After the band’s first year together, they recorded At the Ryman, a 1992 project that not only won a Grammy but also helped bring about a second life for the Ryman Auditorium as a premier concert venue.
It was in the band’s earliest days, at the conclusion of their first tour in 1990, that the Nash Ramblers made their Nashville debut. The performance was recorded at the Tennessee Performing Arts Center on September 28, 1990, and until now, has never been released to the public. In September, Nonesuch Records issued it after its discovery by Rhino Records’ James Austin. The live album, titled Ramble in Music City: The Lost Concert features a slew of songs that were not performed on At the Ryman.
Harris says, “When James Austin, in my humble opinion, the world’s best and certainly most devoted music archeologist, unearthed the tapes of this ‘lost’ concert, I was taken aback by their very existence, like finding some cherished photograph misplaced so long ago the captured moment had been forgotten. Then the memories came flooding in, of the Nash Ramblers, hot off the road from our first tour, ready to rock and bringing their usual A-game to the hometown turf.”
She continues, “It only took one listen to realize not a single note was out of place or in need of repair, a truly extraordinary performance by these gifted musicians. What a joy it was to share the stage with them.”
In promotion of the album release, Austin City Limits shared its own video of the ensemble performing “Roses in the Snow” on the celebrated Texas stage in 1993. (The title track from Harris’ 1980 beloved bluegrass album leads the live record, too.) Enjoy this vintage video from Emmylou Harris & the Nash Ramblers and their timeless musicianship.
Photo credit: Paul Natkin/Getty Images, circa 1997
The roots music community, like the rest of the world, faced an uncertain future as the pandemic essentially wrecked everybody’s plans in 2020. However, a number of musicians and industry leaders figured out a way to navigate the uncharted waters with grace and bravery. The Bluegrass Situation invited five members of the roots community to share their thoughts on how they harnessed their creativity and embraced innovation over the last 12 months.
Billy Strings, Winner of “Breakthrough Artist of the Pandemic” at the 2021 Pollstar Awards:
It was almost kind of a welcomed break, you know? I was tired, man. We had toured our asses off and I was like, I don’t know if I can do this anymore. Then all of a sudden, this stuff happened and we got a big break. And now I realize how lucky I was. Now there’s nothing I’d like more than to be stuck in some hotel room somewhere after a gig with some random folks at 3 o’clock in the morning, just hanging out and having a good-ass time.
For one thing I wanted to get the quality [of livestreaming] better than what I could do at my house. It started with just me on my couch playing, and the next thing you know we’re doing that tour where we’re playing the Exit/In and gigs around Nashville. It was kind of cool and eerie and weird. I’m just thinking, I know there are people out there watching us, but they’re not here and I can’t see them. When you’re used to playing for crowds, it’s like, man, this sucks! [Laughs]
We did debut a lot of songs at the Capitol Theater when we did our gigs there in February. We played like 16 brand new songs when we were over there. … People will go on fan pages and say, “Holy shit, did you hear that song?!” I don’t want to pay attention too much to that, because it just feels like you’re playing for the internet, but then it is good to get a good little gauge on what songs they’re digging.
I think a fallow season is really important for everyone, or we’re producing from an empty well. Not of creativity, I think creativity is always there, but contrary to popular opinion of the tortured and manic creator, even artists need to sleep and drink eight glasses of water a day. Like all of us, I spent 2020 trying to survive. I had a nervous breakdown. I lost my job. I had a heartbreak. I turned to art, pop culture, movement, exercise, my cats, meditation, to keep me going. …
There was a period of time I didn’t know if I’d make it. I was in a pretty dark place before I got some new treatment for my mental health. I was obsessively walking 14 miles a day, really scared, really not wanting to be alive, in quarantine far from my family, unemployment wasn’t coming through. Scheduling livestreams gave me something to look forward to. Playing music to my supporters, all over the world, it made me feel less alone. I don’t know how any performance will ever beat that. We really needed each other. Singing to people gave me a reason to keep going in the most literal sense. And my supporters also kept me fed! All those $5 tips kept groceries in my fridge. And then Netflix and podcasts, Cardi B’s “WAP,” and my cat kind of saved me. It gave me something to look forward to. That’s the power of art and pop culture, and pets. It cuts through to places we can’t get to. It got me through each day, one day at a time.
Without giving too much away, The Sound of Us spotlights a variety of musicians and the incredible impact their work (or lack thereof because of COVID) has. Some of those highlighted include folks working to bring music to underprivileged neighborhoods, into prisons and hospitals, working on researching lost works of art from the Holocaust and other genocides, and of course, how musicians were affected by institutional racism and the pandemic. When I saw the screening, I cried all my eye makeup off. It’s an incredibly emotional and profound documentary. I am so proud to have been part of it.
Robert Meitus, Co-Founder and VP of Industry Development of Mandolin.com:
Roots music fans tend to have a strong connection with artists and a desire to connect frequently and deeply. Additionally, the nature of roots music itself is built around intimacy, vulnerability and honesty, so that desire for connection really runs both ways. Mandolin’s vision has always been to build a space in the digital world where the noise of the industry fades away; one where a musician and their fans can connect not only through a concert stream, but through other unique experiences like interactive/online VIP events, soundchecks and workshops with artists.
Specifically, Mandolin started with a name that is itself an acoustic instrument and a workforce full of people who had worked a lot with roots music, including among others: myself, representing as an attorney artists such as John Prine, I’m With Her, and Keb’ Mo’; Jason Wilber, longtime guitarist for John Prine; and Larry Murray, formerly of the Luck Reunion. The name and connections naturally led us to develop the roots music connections in our first year, although Mandolin’s technology and services are certainly applicable to all music genres.
I have been a bit surprised at the almost uniformly positive views about integrating streaming into the live festival experience. It helps that cameras have been in place on and around stages for many years already, largely for the IMAG projections on the sides of stages, so musicians are used to this. COVID introduced livestreaming technology and practices to the music world at a much faster rate than would have been the case otherwise, and we have all learned how technology can connect us around the world and accommodate those that may be challenged to attend an event in person. The result is that, coming out of the pandemic, I believe bluegrass and other festivals will be more interested in the hybrid livestream for all sorts of reasons. This may be a bold claim, but I would expect that almost every festival — roots or otherwise — will have a virtual experience component. Think about it: with a phone in hand, every single fan is a digital fan, whether they are streaming at home or on the festival grounds.
Jackie Venson, R&B/Soul Artist and Guitarist from Austin, Texas:
I was pretty well-versed in livestreaming pre-pandemic. I had a series called Jackie Venson Live on Thursdays, which was an effort to help sell tickets to my album release at the Paramount in Austin, Texas, in 2019. I saw the potential in it when it first came out in 2014. I attempted to livestream a concert from Berlin, Germany, but the technology just wasn’t there yet so it was a really bumpy experience. I remember feeling really grateful that the technology existed when the pandemic was ramping up so that I could keep performing once there was no option for in-person shows. There was literally nothing else to do, and when there’s nothing to do I lose my mind and default to the first thing I can think of, which in this case was filling the performance void with livestream performances.
I used my Austin City Limits TV performance as a platform for Black Lives Matter because that episode will be rerun and it’s important to me that this message doesn’t die. The response overall was positive; of course there were some naysayers but that’s why we need to keep repeating the message. During the pandemic I received overwhelming support and positive feedback from the Austin music community. Everyone was on the same page and it seems as though things are changing for the better. I will absolutely continue to stream from home when possible, and I plan to livestream some of my shows from the road for those who want or need to stay home. I think livestreaming will be a staple in the world of live music. It makes live shows accessible to those who are unable to come out due to economic, accessibility, or other issues. (Read the BGS interview.)
Everything was upside down last year, but the greatest challenge was envisioning and delivering an event we had never done, with half the staff, all new software, no roadmap, and little sense of whether anyone would want to gather online 11 months into a Zoomed-out pandemic. Being able to offer a sliding scale registration fee, including free, was absolutely necessary given how hard hit our community was, and despite that approach, we exceeded our modest revenue goals to cover the costs of the new online systems we used. The most rewarding element was definitely having new artists and industry join us for the first time, and to see a sharp increase in BIPOC and marginalized community representation across all panels. That happened because we were able to extend invitations to participate in more accessible ways. We were also thrilled to finally provide honorariums to all panelists this year, which we are committed to continuing.
Personally, it’s a joy to see FAI play a part in curating, commissioning, and compensating artists for meaningful new content and partnerships, which is the central aim of our Artist In Residence program — playfully renamed Artists in (Their) Residences this year for the pandemic. There were certainly some artists we approached who simply don’t do co-writes, some for whom the online process felt odd, and others who, while flattered, were simply too busy with other projects or recordings. But for the most part, there was instant interest, especially when they knew that one of their peers had selected or recommended them. The cross-border collaboration as part of a bigger collective project, reflecting on a traumatic year, with the added element of raising awareness for The Village Fund to support the community rang a lot of “count me in” bells.
We are already full steam ahead with a hybrid event this year, and we’re not looking back. Our focus will naturally be on ensuring that the in-person event is top-notch and delivers the experience we all know and love, but there are thousands of people who can’t attend each year, for myriad reasons, and providing online content, as well as live-streamed and interactive content enables more community engagement, participation, and inclusion, and builds bridges and connections that folks will use as an entry point leading to the growth of our genre and industry. While daunting, we’re excited about the opportunity to innovate what we do and offer, and who we can reach.
Photo of Billy Strings by Emma Delevante
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