With four lead vocalists, seven studio albums, one GRAMMY Award to their name, and countless fans won over, The SteelDrivers have been one of this century’s most consistent and trailblazing bluegrass bands. That longevity can be credited to three things – the strength of their catalog of all-original songs, their collective precision picking, and the family atmosphere the band has cultivated together since forming in 2005.

Despite not joining forces until then, banjoist Richard Bailey says he’s known bandmates Tammy Rogers (fiddle) and Brent Truitt (mandolin from 2012 to present) since they were teenagers. His first run in with Mike Fleming (bass) and Mike Henderson (mandolin 2007 to 2011) came not long after during a college ski trip, with the group remaining close ever since. In the early 2000s Bailey relocated to Nashville from Memphis and reconnected with Henderson, regularly joining him at the Station Inn during Sunday night bluegrass jams and setting the foundation for what would eventually become The SteelDrivers. Then one day Henderson rang him up and was glowing about a young kid he’d just started writing with named Chris Stapleton who was wanting to play a little bluegrass.

“We eventually got together at his house and nobody knew Chris except for Henderson,” Bailey tells BGS. “We rehearsed a few bluegrass standards and then Chris began singing and Tammy, Mike, and I all looked at each other and went, ‘damn!’ I remember asking if the song he sang was an old Stanley Brothers tune and he said that it was actually one that he wrote.”

By that point, Henderson and Stapleton had already been penning songs together for a few years, with one of their most notable co-writes to that point being “Higher Than The Wall” from Patty Loveless on 2003’s On Your Way Home – a full seven years before The SteelDrivers eventually cut it on 2010’s Reckless. With their songwriting prowess already well established, the band opted to lean all the way in, keeping to the pattern of only recording songs crafted by them. Early on that mostly consisted of songs from Stapleton and Henderson, but has extended to all of the band in the years that followed, with Rogers writing the entirety of 2020’s Bad For You and the band’s newest member, Matt Dame, contributing songs for the first time ever on the group’s latest effort, Outrun.

“Starting with our very first record we determined that we were only going to play original music and we’ve never wavered from that,” explains Rogers. “It’s always been when you come to see The SteelDrivers that you’re not going to hear an updated version of ‘Little Cabin Home On The Hill’ or a modern country song done bluegrass style. There’s nothing wrong with any of that, but the whole point of the band originally was two songwriters coming together – Chris Stapleton and Mike Henderson – and everything else grew around that.”

That persistence of sticking with original material doesn’t only extend to The SteelDrivers recorded catalog, though. As Rogers points out, you’ll also be hard-pressed to hear any covers during the band’s live show. Per Bailey, the only such instance came during their televised Grand Ole Opry debut in 2008 when Charlie Daniels joined them on stage for a sing along to Flatt & Scruggs’ “I’m Gonna Sleep With One Eye Open.”

However, the band has regularly employed and worked with writers outside the group to craft songs centered around what Fleming describes as “uneasy listening music where bad things happen to good people.” This includes the likes of the venerable Verlon Thompson (“Booze And Cigarettes”), George Strait, Martina McBride, and Pam Tillis collaborator Leslie Satcher (“Outrun,” “Bad For You”); and German-born Thomm Jutz (“I Choose You,” “Cut You Down”), with whom Rogers has written over 140 songs (and counting).

“We’re fortunate to have always had wonderful songwriters in the band no matter who the membership was,” clarifies Fleming. “As it’s morphed through different CDs and personnel the strength of the songwriting has never wavered. Our goal has always been to serve the song, no matter who is singing it.”

Regardless of who’s been writing – or singing the songs for that matter – the band’s impeccable storytelling and bluesy grit has never faltered, even when lineup changes shook the band to its core. The first of those came in 2010 when Stapleton left to begin pursuing his solo career – a move that has resulted in him becoming not just one of the most well known country singers, but one of the most renowned vocalists of any genre globally. Henderson followed a year later, with Gary Nichols and Truitt stepping in to fill each of their shoes, respectively.

“I would’ve loved it had Stapleton never left the band – I mean who doesn’t want to be in a band with Chris Stapleton?” Rogers continues, “But when he left we had to make the decision of do we keep going or do we stop, because it wasn’t going to continue the same way that it had before. It wasn’t even a choice to me, though – I wanted to keep playing. To me that was better than no SteelDrivers at all.”

With two of their founding members gone, the band set out to prove they could still create bluegrass bangers and it didn’t take long for their efforts to pay off. Five years into their new look lineup The SteelDrivers won their first GRAMMY Award, taking home the honor for Best Bluegrass Album with The Muscle Shoals Recordings at the Academy’s 58th annual gathering in 2015. According to Rogers, the GRAMMY completely changed the band’s trajectory and continues to have a positive impact over a decade later.

“There’s been a lot of discussion in recent years about the validity of the GRAMMYs, but for us the recognition from the Academy has been a game changer,” states Rogers. “There’s a huge difference between being GRAMMY-nominated and a GRAMMY winner. For us, we were suddenly validated and were able to play bigger shows and venues that wouldn’t have considered or booked us prior to winning.”

In addition to validating their decision to keep pushing on, the band’s success post-Stapleton has also proven that they excel at finding new vocalists with their own distinct styles and vibrant storytelling to fill the void. First it was the funky, bluesy, and soulful sensibilities of Nichols. After him came the rock ‘n’ roll energy and piercing holler of Kelvin Damrell – who Rogers described as “the highest pitched singer of anyone we’ve had in the band.” He’s the only Kentuckian other than Stapleton to ever be in the band and sang lead for over three years – including on 2020’s Bad For You – prior to stepping aside in the summer of 2021.

It was then that the band recruited Matt Dame, solidifying the lineup they still have today. While each of the four singers have their own sounds, Rogers says there’s also plenty of characteristics that tie each of their eras together. “We figured out early on that it’s not about finding someone who sounds like Chris, but finding someone with a soulful, gravely, raspy and bluesy quality and letting them put their own spin on things,” says Rogers. “Aside from looking for those attributes we’ve never asked anyone to sing a certain way. Even though they sound similar, within two seconds of listening to a song I can tell whether it’s Kelvin, Chris, Gary, or Matt singing. They’re all distinct in my mind.”

Arguably even more impressive than the band’s success and consistency in sound through its different chapters has been their knack for continuing to make cutting edge bluegrass music with singers not steeped in bluegrass history with voices that generally “don’t fit” the traditional blueprint. From Stapleton on, the band has gravitated toward gritty blues and southern rock more than anything else. They’re comfortable at the confluence of electric and acoustic sounds, with one foot firmly planted in the past and the other stirring up dust and turning heads as it propels string band music into a completely new dimension.

“Chris Stapleton was not a bluegrass singer,” insists Fleming. “He was more of a blues singer, but the arrangements were always with bluegrass instruments. As a result, our propensity was to go toward playing bluegrass, but we never shied away from a song we thought we might not be able to play. For instance, ‘Midnight Train To Memphis’ from our first album was a bluesy rock ‘n’ roll number that Richard Bailey messed around on with on banjo one day. We have these bluegrass instruments, but we’re not confined to exclusively playing that way as long as we’re serving the song.”

Much like they’ve always served the song, The SteelDrivers’ fans have served them well in return, sticking by their side and continuing to buy tickets and albums through the years as the group has weathered changes in their lineup and sound. It’s led to an unprecedented run of success that Rogers jokingly compared to another bluegrass great.

“It’s almost the Ralph Stanley model,” she jokes. “After Carter [Stanley] passed away he had Larry Sparks, Roy Lee Centers, and Keith Whitley join him. It was a great line of singers that followed, all of whom embodied that Carter Stanley sound. We’ve also had several incredible vocalists with their own styles come through the band that we’ve been able to have success with by honing in on a singular sound together.”

The latest person the band brought in to hone in on that sound, Matt Dame, is a longtime Nashville songwriter and session player who joined in 2021 after a referral by friend and esteemed writer Gary Baker (John Michael Montgomery, Alabama, Lonestar). A couple rehearsals followed and by the end of July he was out on the road playing his first shows with the group. Having worked behind the scenes in the music industry for nearly as long as The SteelDrivers had been around, the move to performing in front of large crowds night in and night out was a big adjustment for Dame, but one he quickly found himself falling in love with.

“You do anything for 15 or 20 years and it becomes your comfort zone,” admits Dame. “I really enjoyed the session world, but it’s a lot different. Now I get a realtime reaction to what I do – there’s no stopping to go live again because you were flat. What I’ve loved most from our shows is the crowd singing the songs back to us, which can really carry you along.”

“There’s never a spot where you lose the audience or feel the need to kick into ‘Wagon Wheel’ to get everyone singing again, because the body of original work is so strong. It stands tall on its own,” he continues. “That speaks more to the power of the song than of any one vocalist, which says a lot because the band has had some incredible singers through the years. I’m just hanging on and trying to put my own spin on things.

“We’re all different, but one way we’re all the same is we all can deliver the songs in our own way that’s very believable. It sounds like somebody’s really living what they’re singing, not just going through the motions.” Even having been on the outside looking in for so long, Dame says that it’s hard to ignore the formidable nature of The SteelDrivers’ songwriting catalog, one that he’s thrilled to finally be a part of on Outrun – the band’s first project on the famed Sun Records (and also the label’s first bluegrass album). The record is his second with the band following 2023’s gospel project, Tougher Than Nails, that saw him only singing and playing guitar. Now, on his second go-round, he integrates himself even further, helping to write the songs “On My Way,” “Emma Lee,” and “Rosanna.”

“It was a really cool feather in my hat to be able to write some songs for this album and getting to do it on Sun Records is like the icing on the cake,” he exclaims. “I’m a huge Elvis fan and growing up in Arkansas listened to Johnny Cash all the time, so my eyes lit up when I heard we’d be their first bluegrass album ever.”

In addition to featuring the co-writes from Dame, Outrun also sees the band paying tribute to Henderson, who died unexpectedly from a pulmonary embolism in September 2023 – mere weeks after the release of Tougher Than Nails – with cuts of his songs “Prisoner’s Tears” and “Painted And Poison.” Although he hadn’t played with The SteelDrivers since 2011, his loss shook the band, which Rogers calls him the architect of, along with the entire bluegrass and country worlds.

“We knew we wanted to honor him in some way, which is what kickstarted talks for this new record and led to our shortest cycle between records yet,” confides Rogers. “In addition to recording two of his songs on it we’re also planning to have a slideshow commemorating him and 20 years of the band on some of our tour dates later this year.”

It’s tough enough to survive as a band for two decades when everything is going right, so it speaks volumes for The SteelDrivers making it as long as they have with all the obstacles that have gotten in their way. At the same time, the group’s unrivaled level of talent – both on their respective instruments and with their insatiable songwriting – have more than cemented their place in the bluegrass and American roots music zeitgeist for generations to come. For Dame, it’s a legacy that’s equally intimidating and exciting to be a part of.

“Professionally I’ve grown, because I’m doing something that’s new to me, but also because I’m doing it surrounded by a band where everybody does their parts with excellence,” he reflects. “If you don’t carry your weight it’s really going to be noticeable, which has pushed me to be better with everything that I bring to the group.”

Photo Credit: Glenn Rose