We find ourselves at a proverbial crossroads in Southern Appalachia. Our land battered by the devastation of a hurricane, scorched by scores of wildfires; ancient rivers, swelled by floodwaters, carving new courses through the landscape. Yet the land and its peoples persist. As artists, we are the guardians of the stories of the people in our communities – stories of hope and love, of loss and desperation, of a community rising above tragic circumstance. Stories of Resilience.
On our new album, we reflect in song about what it means to meet the moment with music that both binds our wounds and demonstrates our healing. In bearing witness to this time and place, we recognize that the path forward is not just survival – it is the conscious choice to innovate, to adapt in the face of adversity. It is in that choice that we find meaning, and renewal.
The songs on this playlist refer to the theme of resilience or have a connection to specific songs on our album of the same name. We wanted to share the work of some of the other artists that wrote the material and/or inspired the songs we recorded. Check out and follow these folks – especially if they are new names. Their catalogs are terrific discoveries and their work is excellent! – Unspoken Tradition
“Linemen” – Zoe & Cloyd
John Cloyd Miller is the author of the song “Weary Town” from our album. Zoe & Cloyd are longtime friends and Western North Carolina natives who experienced the ravages of hurricane Helene in their neighborhood. “Linemen” is a tribute to the heroes of the rescue and recovery effort as they were on the front lines of restoring power to the region. God bless these Linemen!
“Katie and Burl” – Acoustic Syndicate
We wanted to share the original version of this song that we re-recorded for our album Resilience. Acoustic Syndicate is a seminal North Carolina fusion-grass band and writer-guitarist Steve McMurray is a dear friend.
“Dust Bowl Children” – Alison Krauss & Union Station
One of our favorite songs and artists! A story of trials, tribulations, and resilience from another point in history.
“Papertown” – Balsam Range
Western North Carolina native Milan Miller wrote this song as well as one from our album called “Weeds Don’t Wither.” This is the true story of the North Carolina mountain town of Canton and its paper mill that was the heart of the town’s industry. The mill has since been closed, adding an extra layer of disparity to the story.
“Alleghenies” – Saravanan Sankaran
From our bass player’s solo album Back To Bassics. It’s one Sav wrote about his Western Pennsylvania mountain home! This is a mainstay of our live set.
“Weary Town” – Unspoken Tradition
This song’s theme is at the center of our new album. It holds new meaning for us in the wake of the great flood disaster that came to our Western North Carolina home. When we play it live, we dedicate it to the city of Asheville and the resilient people of WNC.
“Back in Yonder’s World” – Norman Blake & Tony Rice
This song! And the album it’s from, Norman Blake & Tony Rice 2, is a “desert island” album for us.
“Margie” – Danny Paisley & The Southern Grass
This artist is one of our biggest influences, especially for Sav. We were thrilled and honored to have Danny join us on “I’ll Break Out Again Tonight” as a featured vocalist!
“Moments” – Unspoken Tradition
One of the first singles we released from the new album. Written by the album’s producer, Jon Weisberger, it embodies the sincerity of appreciating the subtle moments in life.
“I’m In a Hurry (And Don’t Know Why)” – Alabama
This country-rock hit was a radio staple in its time. We thought it would make a great bluegrass song. To hear our version, listen to our Mixtape below or, better yet, check it out on the new album!
Bidding farewell to May already? It seems impossible, but somehow we’ve quickly reached our final collection of premieres and new music for the month. You Gotta Hear This!
We’ve got bluegrass to get you moving this week, with North Carolina’s Balsam Range kicking us off with a dark and gritty story song of a shipwreck and the sea, “The Pacific,” their latest single dropping today. Then, prodigious young mandolinist Wyatt Ellis takes us from ocean to land with a classic, “Choo Choo Coming.” We’re sharing the brand new video for Ellis’ hit track.
There’s plenty more bluegrass to be enjoyed, too. Caroline Owens has just dropped a new music video for her March-released single, “You’ve Still Got It,” a song about the tight hold love can have on one’s heart and soul that highlights Owens’ bright, sparkling vocals. Plus, Kansas-based group MoonShroom take us into raucous, lovable jamgrass territory with “Somewhere On A Mountain” set to a fun and trippy lyric video. Exile – whether externally or self-imposed – sure can be enjoyable with the right soundtrack and a gorgeous view.
Don’t miss Maygen & the Birdwatcher included below, as well. Their brand new single, “Feel Good,” was released yesterday and will remind you of well executed country-string band-grass from artists like the Chicks, Darrell Scott, or Hailey Whitters. You’ll be feelin’ good, for sure.
For an alt-folk, indie-Americana counterpoint, singer-songwriter Jade Jackson shares “Pretending” in recognition of the conclusion of Mental Health Awareness Month. Brooding, vibey, and ravishing, Jackson’s beautiful voice cuts through the dark and stirring bed of sounds and synths before being joined by a broad, pocketed country-tinged back beat.
We hope you enjoy this week’s assemblage of excellent new music. You Gotta Hear This:
Balsam Range, “The Pacific”
Artist:Balsam Range Hometown: Haywood County, North Carolina Song: “The Pacific” Release Date: May 30, 2025
In Their Words: “This song has everything I like. A great story, great melody and chord progressions, and a great delivery by Caleb and Don. Just a great song. It’s kind of a bluegrass version of ‘The Wreck of the Edmund Fitzgerald.’ This was a song that just seemed to musically fit everybody in the band all at once. Caleb especially has a real gift for a delivery on a song like this. The depth of story was really appealing, too – you could almost make a movie out of it.” – Tim Surrett
Track Credits: Caleb Smith – Acoustic guitar, lead vocal Tim Surrett – Bass, harmony vocal Marc Pruett – Banjo Don Rigsby – Fiddle, harmony vocal Alan Bibey – Mandolin
Wyatt Ellis, “Choo Choo Coming”
Artist:Wyatt Ellis Hometown: Maryville, Tennessee Song: “Choo Choo Coming” Release Date: May 16, 2025 Label: Knee High Records
In Their Words: “‘Choo Choo Coming’ was one of the first songs my band and I started playing together and it’s always had a certain kind of electricity to it – it just moves. We’ve played it live so many times, including during our first Grand Ole Opry band performance, and it never fails to light up the stage. It’s one of those songs Keith Whitley and Ralph Stanley used to tear into and I’ve always loved how raw and driving their versions was. That sound – gritty, tight, and right in the pocket – is what we’ve worked hard to capture as a band. When we sing together, I like to think we land somewhere between a freight train and a church choir barreling through the mountains. This single really shows who we are: young, rooted in tradition, but not afraid to push the tempo and let it roar. I’m proud of how far we’ve come and excited for folks to finally hear my band’s first recording. It’s the sound of where we started – and where we’re headed.” – Wyatt Ellis
Video Credits: Directed, filmed, and edited by Joseph Cash. Styled by Bonny Mary Green. Shot at the Tennessee Valley Railway, Hiwassee, Tennessee.
Jade Jackson, “Pretending”
Artist:Jade Jackson Hometown: Santa Margarita, California Song: “Pretending” Release Date: May 30, 2025 Label: Jackson Star Records (Independent)
In Their Words: “‘Pretending’ was written during a season when I was going through the motions, but felt completely lost inside. It was meant for a record that never came out and, for a long time, I thought it might never be heard. I’m sharing it now, for Mental Health Awareness Month, in hopes it reaches someone who needs to feel less alone in what they’re carrying. Releasing it now feels like closing a chapter, so I can fully step into the new music I’ve been creating.” – Jade Jackson
Maygen & the Birdwatcher, “Feel Good”
Artist:Maygen & The Birdwatcher Hometown: Minneapolis, Minnesota Song: “Feel Good” Release Date: May 29, 2025 Label: Yellow House Music Collective/Missing Piece Records
In Their Words: “Although we’re just now coming out with the studio recording of the song, ‘Feel Good’ is one that we’ve played live for a while now. It’s definitely one of my very favorite parts of our set, because it gets me right into the moment on the stage where it always ‘feels good’ to be.” – Maygen Lacey, vocals, acoustic guitar
“I’m really satisfied with how both Jesse’s mandolin and my banjo part line up/dance around Maygen’s vocal delivery throughout the song, especially on the line ‘mama’s cookin’ in the kitchen.’ Also props to Noah for the tasteful major 2 chord in the chorus. Chef’s kiss.” – Nik Pellinen, banjo
“I’d agree with what Nik said on ‘Feel Good.’ It’s really impressive how each instrument has a unique part yet still all feel like they’re pulling in the same direction! Also love that we got to include a little of our drummer Peter’s infectious laugh in the intro.” – Noah Neumann, acoustic guitar, background vocals
“To me, the song ‘Feel Good’ represents a lot in a Maygen & The Birdwatcher set, because it truly highlights the optimistic and empowering nature of the band in one single moment. It was an honor to be a part of capturing that feeling for the studio recording with such a stellar cast and crew.” – Joe Barron, bass
“I love the bluegrass feel in the chorus. I grew up listening to and playing bluegrass, so this makes the music along with the lyrics feel like home for me.” – Jesse Moravec, mandolin
MoonShroom, “Somewhere On A Mountain”
Artist:MoonShroom Hometown: Kansas City, Kansas Song: “Somewhere On a Mountain” Album: Take a Trip Release Date: May 30, 2025 (single); June 27, 2025 (album)
In Their Words: “No matter what walk of life you are in, everybody is on a journey of their own. The path to success is not always linear and, for most people, the road to where you want to be is riddled with hurdles, adversity, and setbacks. Sometimes you pour your heart and your soul into something, only to watch it crumble in an instant.
“I wrote ‘Somewhere On A Mountain’ amidst a past musical project of mine falling apart during the COVID pandemic. We had hit the road hard for five years building, only for it to end abruptly due to several factors out of our control. I felt like I had been climbing for years trying to reach an unknown peak, only to have the whole mountain give out from under me. Although it was unfortunate that the project had to come to an end, I realized that it was just a stepping stone leading to where I was headed. I learned a lot touring with my past band, but it was a lesson that sometimes your expectations are subverted and you have to rebuild.
“Ultimately, the universe had a weird way of shaking up my life in order to make way for the new. Now, I couldn’t be happier with the music we are creating with MoonShroom, and the progress we are making. I’m still somewhere on a mountain, just in it for the view.” – Jake Keegan
Track Credits: Jake Keegan – Vocals, Dobro, songwriting Lily B Moonflower – Harmony vocals, acoustic guitar Colby Allen Walter – Harmony vocals, mandolin Zach Bozeman – Upright bass Staś Heaney – Fiddle Nate Deel – Drums
Caroline Owens, “You’ve Still Got It”
Artist:Caroline Owens Hometown: Denton, North Carolina Song: “You’ve Still Got It” Release Date: March 7, 2025 Label: Billy Blue Records
In Their Words: “‘You’ve Still Got It!’ This song, this video, this moment – what a true labor of love.
“I’m completely overjoyed and filled with gratitude for the support this song has received from the bluegrass community, and I’m so incredibly thankful for the help from our team at Billy Blue Records.
“From sunrise to sunset, every single detail of this video just fell right into place, and we can’t wait to share it with the world.” – Caroline Owens
Photo Credit: Jade Jackson by Lauren Farrah; Wyatt Ellis by Joseph Cash.
The last Friday of March brings a weekly new music roundup that includes bluegrass, folk, Americana, and more!
Kicking us off, Boston-based Autumn Hollow have a new single, “After All of This Is Gone,” a jangly, deep-pocketed rocker that reflects on the new reality we all find ourselves living in – or perhaps coping with through abject denial – after the COVID pandemic. Bold Forbes also unveil the first half of an A Side/B Side single release, “Make Away,” a song that’s string band and folk revival combined, but in a twangy, modern sonic package.
Blue Cactus call on their friends Brit Taylor and Russ Pahl for “Bite My Tongue,” a track and accompanying music video that takes on inequalities, patriarchy, and injustice (with a danceable groove!). Susto Stringband also bring us a video on their album release day, “Double Crown.” It’s got an old-timey line up of instruments, but a decidedly pop sensibility, and it celebrates community – that is, their favorite neighborhood honky-tonk haunt in Asheville, the eponymous Double Crown.
We’ve got plenty of bluegrass herein, as well. Jaelee Roberts has a brand new single, which was co-written by two of her mentors, Tim Stafford and the late Steve Gulley. “Heavy As A Stone In Her Heart” floored Roberts with its lyrics and raw emotion and she just knew she had to cut it. Kristy Cox has a brand new music video for her new single, too, which features John Meador – who recently announced his departure from Authentic Unlimited to perform in Vince Gill’s touring band. Cox and Meador team up to great success on “In My Dreams,” which of course includes plenty of dreamy harmonies. Don’t miss North Carolina powerhouses Balsam Range with a new track, as well. “When It Comes to Loving You” was written by Daniel Salyer and Jeff McClellan, features Don Rigsby, and is built around Balsam’s classic, driving sound.
There’s plenty of excellent roots music to enjoy. You Gotta Hear This!
Autumn Hollow, “After All of This Is Gone”
Artist:Autumn Hollow Hometown: Boston, Massachusetts Song: “After All of This Is Gone” Album:Say No More Release Date: March 28, 2025 (single); May 2, 2025 (album)
In Their Words: “‘After All of This Is Gone’ reflects on the lingering impact of the pandemic and the rush to return to normal. As a teacher who returned to in-person work early, I saw how quickly the conversation shifted away from what we had all been through. There was little acknowledgment of the lasting changes – only an expectation to move forward. This song serves as a reminder that the effects of that time didn’t simply disappear and that it’s important to recognize how they continue to shape us.” – Brendan Murphy
Balsam Range, “When It Comes To Loving You”
Artist:Balsam Range Hometown: Haywood County, North Carolina Song: “When It Comes to Loving You” Release Date: March 28, 2025
In Their Words: “The wait is over! From the first time I heard Daniel Salyer’s demo of ‘When It Comes to Loving You,’ I knew it would make a great Balsam Range song and I believe it has! It’s our first new single since the release of our last album, Kinetic Tone, in December 2023, and I couldn’t be more excited for music fans to hear it. With a cool groove and lyrics that are so well put together, I truly hope you all enjoy it as much as we do creating it. Me, Tim, Marc, and Alan are so excited to be joined by the great Don Rigsby on tenor vocal and fiddle. There will be no mistaking when you hear his powerful voice. Thanks to Daniel Salyer and Jeff McClellan for a great song!” – Caleb Smith
Track Credits: Caleb Smith – Acoustic guitar, lead vocal Tim Surrett – Bass, harmony vocal Marc Pruett – Banjo Don Rigsby – Fiddle, harmony vocal Alan Bibey – Mandolin
Bold Forbes, “Make Away”
Artist:Bold Forbes Hometown: New York City, New York Song: “Make Away” Release Date: March 27, 2025
In Their Words: “I wrote ‘Make Away’ after a dinner party I attended in Austin, Texas, some years back. I left the party feeling like ‘this is why one stays alive,’ but also I somehow mistrusted this feeling. What kinds of lives and labor went into producing the food we ate that night, how fragile was the peace that allowed us to meet so joyously and cavalierly, and how long would it last?
“I traveled to the central valley of California on a road trip the summer before – where so much of that night’s food came from – and the rows and rows of crops seem to stretch forever in all directions away from you on that flat, hot road. Billboards line the highway with propaganda advertisements from the farm owners lobbying for more water from the state, with photographs of ‘family farmers’ – inevitably blond, white, crisp-collared people. Of course, very few of the thousands of workers working the rows of crops fit that description: people being criminally underpaid for doing the hardest work in the country and then being rhetorically savaged every day by this country’s citizens who profit and benefit from this work.
“What does it mean to take pleasure in the daily indulgences of life in a society organized in this way? Could the daily sweetness of life ever merge with the struggle for a better, more just world? ‘Make Away’ is a song that prays for an answer to these questions.” – Nick Bloom
Track Credits: Nick Bloom – Rhythm guitar, lead vocals, songwriter Reid Jenkins – Fiddle, vocals David Halpern – Bass, vocals, guitar
Blue Cactus, “Bite My Tongue”
Artist:Blue Cactus Hometown: Chapel Hill, North Carolina Song: “Bite My Tongue” Album:Believer Release Date: April 25, 2025 Label: Sleepy Cat Records
In Their Words: “‘Bite My Tongue’ is a call to continue raising our voices and speaking out against injustice until we are finally heard. While we’ve certainly made progress, the fight for equality is far from over. What I will say, and what this song is ultimately saying, is that the power has always been and will always be with the people; if it didn’t, they wouldn’t be trying to ban protests. Special thanks to Brit Taylor for singing with us on this song and to Russ Pahl for the guitar duet Mario’s always dreamed of.” – Steph Stewart
Track Credits: Steph Stewart – Vocals, acoustic guitar, songwriter Mario Arnez – Vocals, electric guitar Brit Taylor – Vocals Whit Wright – Pedal steel, producer Russ Pahl – Electric guitar Jonathan Beam – Bass Ryan Connors – Keys Taylor Floreth – Drums, percussion
Kristy Cox, “In My Dreams” (Featuring John Meador)
Artist:Kristy Cox Hometown: Nashville, Tennessee, by way of Adelaide, Australia Song: “In My Dreams” (feat. John Meador) Album: Let It Burn Release Date: May 31, 2024 Label: Billy Blue Records
In Their Words: “I’m excited to release this new song and video with my friend John Meador for our song, ‘In My Dreams.’ I had a lot of fun writing and recording this track and love where Steve Kinney took the concept for the video.” – Kristy Cox
Jaelee Roberts, “Heavy As A Stone In Her Heart”
Artist:Jaelee Roberts Hometown: Nashville, Tennessee Song: “Heavy As A Stone In Her Heart” Release Date: March 28, 2025
In Their Words: “The first time I heard the demo of ‘Heavy As A Stone in Her Heart’ I was absolutely floored by the lyrics, melody, and raw emotion and knew without a doubt that I had to record it. Slow, sad songs that tell a story always speak to me most and this one absolutely stole my heart and broke it, too. ‘Heavy As A Stone in Her Heart’ is extra special to me because it was written by two of my favorite songwriters and singers that are also my mentors – Tim Stafford and Steve Gulley. I have looked up to Tim and Steve my entire life and I feel so grateful that this song made its way to me! ‘Heavy As A Stone In Her Heart’ came together so beautifully in the studio with a very stripped-down arrangement and without harmony vocals with the intention of focusing on the depth and feeling of the lyrics and I hope that it resonates with all of you the way it does with me. I so wish that Steve was still here with us but I know he’s listening from Heaven and this song is dedicated to him and his musical legacy.” – Jaelee Roberts
“I’m so glad that Jaelee Roberts is releasing ‘Heavy As A Stone In Her Heart’! Steve Gulley and I wrote this song back in 2007 and I know Steve would be absolutely thrilled at the news and to hear the song done so beautifully. Jaelee is a special talent and I can’t think of anyone who could have done a better job with this song.” – Tim Stafford
Track Credits: Jaelee Roberts – Vocals Byron House – Bass Cody Kilby – Acoustic guitar Andy Leftwich – Mandolin John Gardner – Drums Ron Block – Acoustic guitar
Susto Stringband, “Double Crown”
Artist:Susto Stringband Hometown: Asheville, North Carolina Song: “Double Crown” Album:Susto Stringband: Volume 1 Release Date: March 28, 2025 Label: New West Records
In Their Words: “This song is a tribute to one of our favorite dive bars in Asheville called The Double Crown. When we were living in Asheville, my wife Caroline and I would often go to The Double Crown for Western Wednesdays, where they feature lots of honky-tonk and adjacent genres of music. She’s from Texas, so it was fun for her to get a little slice of home when we’d go there on Wednesday nights to listen to the music, drink Lonestar, and two step a bit.
“One night in particular we were crossing the street to get to Double Crown and we just started making up a song about it. We finished it later on, but to this day the opening lines of this song remind me of crossing the street with her in the moonlight with the music coming from the bar and a bunch of folks (and dogs) crowded outside waiting to get in, or waiting at the window for drinks. The place had such a magical vibe for us that night, and I’m so glad we captured it in a song.
“When we started working on the Susto Stringband album, I showed the tune to Clint (of Holler Choir) and Ryan (our producer) and they figured it would be very fitting to include it on the record, given that the whole project was born in Asheville and the song is not only a tribute to the double crown, but the whole scene Caroline and I found ourselves in when we lived there.” – Justin Osborne, Susto Stringband
“Justin really captures the essence of our local favorite bar, The Double Crown, in its truest form with this song, in my opinion. Western Wednesday is hosted there each week and has become an Asheville cultural staple. The images referenced in the lyrics –two-stepping and romances, both fleeting and permanent – are vivid and very real. The sweetness of the melody pairs perfectly with the sentiments I feel about this bar. I’m very proud to be a part of this representation of a time and place that holds so much personal relevance for me.” – Clint Roberts, Holler Choir
Photo Credit: Balsam Range courtesy of the artist; Bold Forbes by Julia Discenza.
Ask any fan of bluegrass, and part of what inspires their love is the experience of feeling the music.
The reverberations of wood and string. Thick harmony hanging in the air. That magic interplay of creative spirits trading instrumental breaks back and forth without speaking a word. Until now, you could really only get that in a live setting. But with Dolby Atmos, we’re getting closer than ever to capturing it.
This new spatial audio format is slowly changing the listening experience – and for once, bluegrass music is at the forefront. Labels like Crossroads Music Group – which includes Mountain Home Music Company and Organic Records – are recording and mastering their music with Dolby Atmos, and platforms like TIDAL are fully onboard, adopting it for their “Bluegrass: Dolby Atmos” playlist.
It’s a win-win, really. Fans get that full-bodied, textured-listening experience – and artists love it, too. According to them, bluegrass is particularly well suited to the spatial-audio revolution.
“It’s perfect because of the organic nature of the music,” says Darren Nicholson (formerly of Balsam Range), who is featured on the TIDAL playlist. “It feels like you are standing in the middle of a jam session in the living room.”
“As a listener of bluegrass music, it feels groundbreaking to listen to the genre in Dolby Atmos,” adds Jesse Iaquinto of Fireside Collective, praising how the Bluegrass: Dolby Atmos playlist highlights bluegrass’s “depth” – with all its tone and timbre included.
In fact, artists like Jeremy Garrett of The Infamous Stringdusters say bluegrass is “prime candidate” for new tech like Dolby audio.
“Bluegrass music in particular is very dynamic and has great sonic separation built in by nature of the instruments usually involved,” he explains. “The extra space gives it the breathing room the music needs to really ‘pop’ for a recorded music listening experience.”
That was the idea for TIDAL’s Editor-in-Chief, Tony Gervino, too. He calls bluegrass “one the most dynamic and vital branches within today’s country music,” and notes that “as the Bluegrass sound itself expands, so do the listening possibilities for its fans.”
He and his team created the Bluegrass: Dolby Atmos playlist to celebrate that very expansion. They ended up with an expert-curated lineup which includes artists from across the bluegrass spectrum, from Lonesome River Band and Balsam Range, to Unspoken Tradition, Benson, The Grascals, The Cleverlys and more. Many of them are also part of Crossroads Music Group.
To them, the magic is in the way Atmos recording makes each listener feel surrounded – even through tiny computer speakers. You don’t just hear the notes, you hear the way each musician and their instrument play off one another, and how it all blends together.
Before now, that has never really been captured in recorded music – not even bluegrass, with its intricately woven textures and overlapping parts. So for Iaquinto, this new playlist is especially gratifying.
“With no drums or percussion, bluegrass musicians are always playing subtle but intricate parts,” he explains. “These can go unheard on other forms of audio, but with spatial audio, they are brought to the forefront.
“The vocals are brightened up and colored in a way that finally gives the recorded songs the respect and focus they deserve,” he goes on. “As someone who loves acoustic music, I am extremely happy with the level of quality provided by Dolby audio.”
For artists like Nicholson, the appreciation is perhaps more simple. Calling Dolby Atmos the “ultimate experience,” he praises the way fans can finally sense the attention to detail bluegrass musicians put into their work – a labor of love he likens to crafting “an amazing bouillabaisse.”
You might not know what’s in it, but you know it’s delicious.
“I’m proud of it. I’m proud for listeners to hear it,” Nicholson says, speaking of his music being recorded in Dolby Atmos, and placed on playlists like TIDAL’s Bluegrass: Dolby Atmos. “It is the way to enjoy the music with the utmost clarity. It’s a completely unique listening experience. Whether the average listener knows why, they do know that something is different. And in a good way.”
Editor’s Note: This post is sponsored by Crossroads Label Group.
Artist:Balsam Range Hometown: Haywood County, North Carolina Song: “What the Years Do” Release Date: March 24, 2023 Label: Mountain Home Music Company
In Their Words: “I have been a fan of this Adam and Shannon Wright song for many years. I have been waiting for the right time to record and release it, and that time feels like now! It is exciting to be back in the studio recording and releasing new Balsam Range music. Starting our 16th year with such an extremely talented and incredible group of guys, I am so excited to continue growing our musical legacy and setting new goals for our musical journey. ‘What the Years Do’ is such a meaningful, lyrical song and it fits into where we are as a band, as friends and individuals. It reminds us that life has a way of changing our focus, our needs, our desires and with each year, we grow as individuals. We will all experience different chapters of life and each of those will mold us and shape us to become our best. It’s pretty amazing how the heart grows!” — Buddy Melton, Balsam Range
September can’t come soon enough, as we’re eagerly anticipating the long-awaited inaugural Earl Scruggs Music Festival in Mill Spring, North Carolina, to be held September 2-4, 2022!
BGS is thrilled to be partnering with the festival to present a tribute to one of the most iconic Earl Scruggs Revue albums, Live at Kansas State. The host band, bluegrass quintet Fireside Collective, will lead an all-star outfit in a revival of the 1972 recording with special guests Jerry Douglas, Darin & Brooke Aldridge, Balsam Range, Acoustic Syndicate, Bella White, and more to be announced – plus a slew of surprise cameos. This will all go down on Saturday afternoon (September 3) on the Foggy Mountain Stage. We can’t wait to join with these incredible artists to pay tribute to this landmark album!
In addition to the folks on this special tribute (who will be performing sets of their own throughout the weekend) the festival will feature the likes of the Earls of Leicester, Nitty Gritty Dirt Band, Béla Fleck’s My Bluegrass Heart, Molly Tuttle & Golden Highway, and so many more. Take a look at the full lineup below.
For nearly 15 years, Balsam Range have distinguished themselves in the bluegrass community as powerful performers and musicians, even winning an IBMA Award for Entertainer of the Year in 2018. While it is notable for a bluegrass band to have maintained its original members for so long, it is perhaps more remarkable that its five members all grew up within the same region of Western North Carolina.
With a diverse array of influences held together by the common thread of their geography and formative musical years, Buddy Melton (fiddle), Darren Nicholson (mandolin), Dr. Marc Pruett (banjo), Caleb Smith (guitar) and Tim Surrett (bass, dobro) create music that is rooted in the traditions of their youth but not confined to typical genre norms. Their newest album, Moxie and Mettle, explores themes of uncertainty and a sense of powerlessness that will likely resonate with listeners’ own experiences during the pandemic. Similarly, the theme of trying to feel content with one’s life can be felt on tracks such as “Richest Man,” named the 2021 IBMA Song of the Year.
The Bluegrass Situation spoke with Buddy Melton and Tim Surrett over Zoom.
BGS: What was the timeline of making this record around the pandemic? Was it something you were working on and then had to slow down, or were you working on while things were shut down?
Melton: We were in that stage where we needed to move forward with a new project, but we had been so busy it was getting difficult to find time to work up new material and get in the studio. We took advantage of the shutdown. It gave us something to focus on and keep the positive efforts and creative side of us together. We’d worked up a lot of the songs prior to that, but that time off allowed us to get busy and find the remaining songs and round out a good record.
I’ve heard lots of artists say the same thing. The shutdown gave them more time than usual to listen to and refine the recordings they made during it.
Surrett: Yeah, we just did it a little bit at a time. We’d get together and work up two or three songs and go record them. Then a couple of months later, we’d do the same thing again. It’s always a fun process for us to get together and just listen to songs and then tear into them.
Melton: Sometimes we work better with a deadline. So, it was bad for us to have that time in a way, because we didn’t push it too hard. It was fun and relaxing. I will say it was a different dynamic, not feeling rushed, and we just decided when we’ve got enough completed, we’ll worry about the record, but let’s use this as an opportunity to stay together and be creative as we can together.
What’s important to you when you’re picking songs? Is there something that speaks to you? Are there themes that you usually gravitate towards when choosing material?
Surrett: Well, for years, we kept getting the train songs. We had some good ones like “Trains I Missed” and what not. But no, I don’t think we look for a certain theme. The first thing I look for is if something is interesting musically. And then a song that tells the story is a great thing. And we’re blessed with songwriters like Milan Miller and Adam Wright who can write a little three-minute movie in a song, and it’s got interesting chords, or something that we feel like we can arrange. That gets us fired up.
Melton: I don’t know why it is, but by the time the albums are over with, for some reason, they sometimes have a common theme. I don’t know if subconsciously we are connecting with that message. And this particular one, Moxie and Mettle, has a lot of “traveling through life” sort of vibes about the songs with “Richest Man,” and “Grit and Grace,” and “Rivers, Rains and Runaway Trains,” and “Traveling Blues.” I don’t know if we’re missing that element in our lives and that’s why migrated to that. We also like to incorporate original artwork if we can. All of our album covers have been paintings for the most part. As we got to the end of it and start looking at the graphics and start talking about the pictures, we ended up using this Adam Wright painting of an old car sitting at an intersection. You’re wondering which way is it going to go but it’s just traveling, trying to get through life, and it seemed to fit the vibe of this record to me.
I was wondering about that, because after I listened to the record a couple of times, I had my own interpretation of the theme, and I was wondering if you went in with a theme, or came out on the back end with one.
Melton: We didn’t intend to have anything. But again, I think a lot of those songs have some similar storylines and meanings to them.
There are a lot of references to taking stock of life and trying to figure out what’s important, which everybody had to do, even if they weren’t consciously thinking about that kind of thing.
Melton: You could probably pull that out of just about every song on that record. It’s about being content with where you are in life, etc. So, they all have some similar thoughts, I think.
I know you guys are very involved in the Western North Carolina music scene. Could you tell me a little bit about the work you guys do in that community?
Surrett: We all grew up in this area. Haywood County is where we all live now but Buddy and Darren are from Jackson County. Music was so much a part of life growing up here in the mountains. Square dancing, clogging, mountain dancing, and old-time music were a huge thing, and you get indoctrinated with it. And there are so many great musicians that still come out of this region. We joke with people all the time that we’re not even sure we’re the best band in Haywood County. There are so many great players that come from this region, and you cannot help being exposed to it, especially growing up when most of us did. It was an enormous part of life here in the mountains. And it’s fun to see that go on as some of us have become elder statesmen of that scene now.
You seem like you are stewards of music in that region, and you run a festival, don’t you?
Melton: Yeah, The Art of Music Festival. It’s coming up in the first week of December. We took that on as a project for our area. We chose the lowest-occupancy weekend of the entire year to see if we could stimulate the economy in our county, just to try to help out. Most people will pick early fall or spring to have an event, so we chose a terrible weekend to try to put on a bluegrass festival. And it’s a really great thing. A lot of work and effort went into it, but it’s not just a bluegrass festival. Our primary desire was to bring some of our favorite artists and music to Haywood County to help to expose the local folks to music they wouldn’t necessarily hear otherwise. We have an orchestra that comes in, we bring some of our favorite studio musicians, we have full-scale bands with piano, drum, steel guitars, the whole bit, but then we’ll have bluegrass bands like Blue Highway and The Cleverlys. It’s been fun to create something. The opportunity to have a music festival that is open to anything we want to do with it. I think that’s important. It helps our music grow and it exposes people to our music that come for other reasons.
You draw from a wide range of influences and bring it into your sound. Is that something you actively try to do, or does it come naturally because you all listen to a lot of different music?
Surrett: All of us come from different musical backgrounds. Darren loves country music. Caleb and myself both come from a gospel music background with a giant love for jazz music. And for me, personally, I like the rock ‘n’ roll that I grew up on. So we’ve got a Beatles tune, we’ve got Allman Brothers. Marc, of course, thinks there’s two kinds of music: Flatt & Scruggs music and not Flatt & Scruggs music. Buddy’s got the gift of finding great songs and listening to songwriters. That’s where the majority of our songs come from. But nothing has ever really been off-limits. Everybody’s got a voice and if they bring it in we’ll give it a whirl. By the time we play it and sing it, it’s going to sound like us. We’ll give anything a try. But we haven’t tried Pink Floyd or anything like that yet.
Sounds like that’s what’s next.
Surrett: It’s not off the table.
Melton: We all grew up around this area where we were influenced by this common thread of Southern Appalachian culture and music. We all understand those timings and those concepts. We’ve all been around it our whole life. So, you go away and you learn different things, and when you come back, that history is the glue that puts it all together. Just like all our accents are the same. We don’t have family harmony. We got country harmony. That’s part of it. We don’t put t’s in “mountains.” It definitely helps to have some similar dialogue and accents and phrasing and stuff like that.
Surrett: It’s a rare thing for, as you well know, a bluegrass band to have five guys from the same ten-mile radius. It’s not a family relations-type thing, as far as we know. But it definitely brings a thread of commonness.
Melton: January will be 15 years, basically. That’s a long time for a bluegrass band of the same five guys to stay around.
Yeah, that’s amazing for a band when you can anticipate other people’s next move.
Surrett: We have several points in our program that are not really scripted. They just kind of organically happen. We know where it’s going, and you can feed off that and let songs change and morph. And it’s a lot of fun like that.
Melton: We’re just grateful to still be together after 15 years and for the many great people we’ve met along the road that we’ve missed seeing over the last year and a half. We’re so happy to see the music scene coming back around. Hopefully, we can all do a part to keep that alive. Like many things when you don’t have it is when you realize you need it. And music is so important to people’s lives. As it’s building back, it almost seems like there’s even more excitement prior to the shutdown. So, we’re just grateful for that and excited to be a part of it.
Welcome to the BGS Radio Hour! For the past five years, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. And this week, we say a bittersweet goodbye to the airwaves with our final episode. We want to give a special thank you to our partner station, WMOT Roots Radio 89.5 FM in Murfreesboro / Nashville, and all the stations that have aired our show over the years! And of course, a huge thank you to our readers and listeners for following along as well.
For this final week of the BGS Radio Hour, we have a recap of last week’s IBMA Awards, brand new music from our Artist of the Month — and newly crowned IBMA Entertainer and Guitar Player of the Year — Billy Strings, and much more.
With a brand new album, Renewal, and his win this past week of IBMA’s highest honor, Entertainer of the Year, there’s no one else we’d rather have as our October Artist of the Month than Billy Strings. Check out our Essential Billy Strings playlist and stay tuned for more Billy content all month long.
Oklahoma-based RC & the Ambers spoke on their biggest musical influence, watching The Golden Girls as a pre-show ritual, kayaking on the Illinois River, and more in a recent edition of 5+5.
On the latest episode of The Show on the Road, we bring you a conversation with Ray Benson: ringleader of the Grammy-winning, half-century-spanning group, and one of American roots music’s most durable and iconic bands, Asleep at the Wheel.
This song from traditional bluegrass group High Fidelity was nominated for Song of the Year at last week’s IBMA Awards. Hard to have the “Banjo Player’s Blues” when you have news like that to share!
Americana duo Haunted Like Human wrote “Ohio” inspired by a true story, and the end result is a tale told through letters of a man wanting to do right by his family while also wanting to get back home to them.
Single Girl, Married Girl has always loved torch songs and big weepy ballads — especially country ones! “Wreck Cut Loose” is placed in a more modern aesthetic and setting, but the lineage — and ties to the likes of Patsy Cline — should be obvious.
The title track for Patrick Dethlefs’ brand new album explores the idea of still feeling connected to loved ones who have passed on. Patrick tells us, “[It’s] maybe even asking the question, ‘Is this person with me now more than they have ever been?'”
Balsam Range, hailing from Haywood County, North Carolina, are no strangers to the IBMA Awards, having won the 2014 and 2018 award for Entertainer of the Year, among other accolades and awards over the years. And now in 2021, they’ve won Song of the Year for “Richest Man.”
Asheville bluegrass band Fireside Collective wrote “And the Rain Came Down” inspired by the many “storms” of COVID and the Great Flood tale from the Old Testament. But, despite the song’s somber overtones and the uncertainty of the story, there is still a message of hope.
Alt-folk singer-songwriter Kris Gruen wrote “Pictures Of” about his daughter, as a tribute to her maturation and readiness for the world. In different words “Pictures Of” says, “Be excited for and in love with the world! Regardless of our collective fear in the unknown…”
Holding a conversation with James McMurtry is similar to experiencing his music. He is frank, eloquent, and gets to the heart of the matter with few words. On The Horses and the Hounds, his first album of new material in nearly seven years, he tells sometimes complicated emotional stories through his fictional characters, crafted within the limits of rhyme and meter. His deft chronicling of human nature woven with descriptions of place and scene give the listener context beyond the experience, almost like each song is the essence of a short story or novel. Listen to “Canola Fields” and read our conversation with McMurtry.
At this year’s IBMA Awards, Appalachian Road Show was the second most nominated group, and they were awarded the honors of Instrumental Group of the Year and New Artist of the Year. On top of those wins, this tune, “The Appalachian Road,” was nominated for Instrumental Recording of the Year.
Old-time musician Clinton Davis has recorded his own version of “Curly Headed Woman,” a rare rendition of one of the most common American folk songs: “The Hesitation Blues” or “If the River Was Whisky” as most people call it.
Sideline reminisces on how they became a band, the importance of teamwork, prioritizing having fun every time they step out on stage, and more in a recent 5+5.
Photos: (L to R) Billy Strings by Jesse Faatz; Ray Benson by Mike Shore; James McMurtry by Mary Keating-Bruton
Artist:Balsam Range Hometown: Haywood County, North Carolina Song: “Highway Side” Album:Moxie and Mettle Release Date: September 17, 2021 Label: Mountain Home Music Company
In Their Words: “‘Highway Side’ is one of my favorite songs on the new project both musically and lyrically. I think the video helps bring this great song to life. It also helps to fill a void we have all had in recent times with the lack of traveling and connecting with folks through live music. So jump on board with Balsam Range for a quick road trip!” — Buddy Melton, Balsam Range vocalist and fiddler
For years, you could always count on a Paul Thorn record for songs about insatiable lust and desire. That’s still true on his newest release, It’s Never Too Late to Call, although that carnal urgency has been overtaken by… yes, actual love. The long-awaited album isn’t exactly sentimental, as “What I Could Do” details the ways his life would be more productive without still being in love with somebody. There’s also “Goodbye Is the Last Word,” an aching slow song that basically offers advice on how to leave a relationship that’s turned toxic. Even the duet with his wife, Heather, is titled “Breaking Up for Good Again.”
Still, on the boisterous “Here We Go,” he sings, “I feel good about what the future holds.” As he should.
“I like to think I’ve just matured a little bit,” Thorn tells BGS. “I’m 57 years old and the way I looked at things 10 years ago ain’t the way I look at them now. If you’re still the same person you were 10 years ago, you wasted 10 years.”
On It’s Never Too Late to Call, there’s not a minute wasted. Thorn can still crank up that R&B groove that’s made him a must-see artist for decades. Meanwhile, “Sapphire Dream” – a duet with his daughter Kitty Jones — stands among his most evocative performances on any of his records. Here, the Mississippi musician tells BGS about how the acoustic guitar shaped these sessions, the bluegrass bands he admires, and what “Sapalo” really means.
BGS: Why was it appealing for you to make this album in Memphis?
Thorn: Sam Phillips Recording Studio in Memphis has a lot of vintage equipment and recording technology that kinda doesn’t exist anymore. The way that Elvis Presley’s records sounded, and the way that Johnny Cash’s records sounded, and many other great artists sounded — in addition to their talent, it was the way they were recorded and the sound that they caught from that studio.
And it’s not Sun Studios. Let me clarify that – Sam Phillips didn’t own Sun. He rented it, but then when he got successful he built another studio two blocks down called Sam Phillips Recording Studio. That’s the studio I’m talking about. A lot of magic was created in there for a lot of reasons. It’s an hour from where I live, so why not?
Did you have an idea of how you wanted this record to sound before you went in?
I really did, yeah. The producer of this record is Matt Ross-Spang. He’s a Grammy Award winner. He’s very good. I was sending him iPhone demos of me just singing with my acoustic guitar on all these songs. We both decided, after talking a few times, that this record should be built around those acoustic demos. I play rhythm guitar on every song, which is something that I used to not do. I used to not play on my records at all. I would just sing it once with my acoustic guitar and the band would play it.
Although that sounds good and it has its place, I think what we captured on this record more defines what I actually sound like and what I do best. It’s a lot more stripped down and it’s not like a jammy record. There are very few solos on any instrument. This record is all about showcasing the songs. I haven’t put a record out of original material in six years and there are a lot of reasons for that, some good, some bad. But I feel like over those years, these songs that I did get are my best work ever. I really feel that way.
Are there any acoustic guitarists that you really look up to?
I know two people who, in my opinion, are the greatest acoustic guitar players. One is Mac McAnally and the other one is Tommy Emmanuel. They’re not only great guitar players but I’m friends with both of them and I know them personally. They’re the monsters! And I mean that as a compliment. I’m not really a great guitar player but I do a thing that’s unique to me. Tommy and Mac, they can sit down and play with anybody. I can play good with myself but I don’t know how to follow other people. These guys are on another planet, as far as guitar players.
Are you a bluegrass listener?
I grew up around two types of music as a child. My dad was a preacher so I grew up around black gospel music and white bluegrass gospel music. You know, there’s a group named Balsam Range who recorded a song I wrote called “Angel Too Soon.” They had a No. 1 on the bluegrass charts and it stayed there a long time. I’m clearly not a bluegrass artist, but I have had songs covered by a top bluegrass artist. So, I have that in me. And when it’s done right, I love it Another group that I’m a big fan of — and in my opinion they do it as good as anybody — is The Isaacs. They do bluegrass gospel and when I watch them, I’m looking at excellence.
On this record, you start out with a couple of mellow songs but then you hit that R&B groove on “Sapalo.” So, I have to ask, what does that title mean?
I was watching a video on YouTube of James Brown, and before I clicked on it, the description said “James Brown High on PCP.” The premise of the video is that he’d just gotten out of jail and he was being interviewed by a very straight-laced lady, a local news anchor. It was clear from the get-go that he was high on drugs while he was doing the interview. She said, “Mr. Brown, how are things now that you’re out of jail?” She said, “How do you feel now?” And he goes, “I feel good! I look good! I smell good! It’s all good! I make love good!” He was saying all this off-the-wall stuff. Then she said, “What are your upcoming plans?” And he said, “Well, I’m going to Brazil. I’m going to São Paulo!” He said, “We’re going to JAM!”
So I was just writing down all of this stuff he was saying, and the song wound up being a song about redemption. At least in that moment, he was claiming that he had put his life back together, which he was lying to himself because he was on TV high on PCP. But I tried to spin it as everyone needs a shot at redemption. It’s about being optimistic with whatever time you’ve got left.
Listening to “You Mess Around & Get a Buzz,” I caught that Clarksdale reference right off. I know that being from Mississippi is a big part of your story, and I’m curious if you ever feel like you’re an ambassador for the state.
Well, I would only say this because you brought it up but I guess I am in some way. When I use the word “ambassador,” to me that means somebody who goes abroad and tells other people about how good it is where he lives. So, in that way I guess I am. I was very flattered a few years ago when the state of Mississippi invited me down to the capitol and they declared March 27 as Paul Thorn Day. So, I got a day! You know, most times you gotta die before you get a day.
You’ve got the same hometown as Elvis. I’m wondering, if you could have pitched him any of the songs you’ve written, which one would you pick?
That’s a hard question, man. I tell you, I wrote a song called “That’s Life.” All the words in that song were words my mother has said throughout my life. I’ve played it a lot and people like the song. If I could get one song recorded by Elvis, it would probably be “That’s Life.”
Your fans often become characters in your songs, too. It happens on this album on “Sapalo” and “Holy Hottie Toddy.” You’ve cultivated one of the most loyal fan bases that I’ve seen. What are some of the things you’ve done right, to keep people invested in you and your career?
That’s a hard question but if I had to answer, I think to get down to the brass nuts of it, they know I love them. You can say that, but a lot of artists will do their show and they walk off the stage and they’re ready to get to the hotel room. I understand that. I feel that way sometimes myself, but at every show – prior to the pandemic – on the last song I always go out into the crowd. And while I’m singing I’m hugging people and shaking people’s hands. And when that’s done I go out in the front and sign CDs and take pictures. I’ll stand there until the last one’s gone.
I don’t do it as a career strategy. I do it because those people got off work, got a babysitter, took a shower, bought a ticket, and they’re going to spend their whole evening with me. And my job is to give them my whole evening. That’s what I try to do. I think that’s why they stay with me, and I think that’s why they’re loyal. They’re loyal to me because I’m loyal to them.
Photo credit: Steve Roberts
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