blue ridge mountains Archives - The Bluegrass Situation

Posts Tagged ‘blue ridge mountains’

Mason Via Returned to Virginia’s Blue Ridge Mountains to Record His New Self-Titled Album

After a three-year run with revered bluegrass troupe Old Crow Medicine Show, Mason Via is breaking off on his own and returning to his roots on his new self-titled, 10-song album.

Out April 25 via Mountain Fever Records, the record finds Via toeing the line between the worlds of old-time and progressive bluegrass with hints of jamgrass mixed in, no doubt an homage to his father, revered picker David Via. Via initially presented nearly 100 songs for consideration to producer Aaron Ramsey – among them a bevy of solo cuts, along with co-writes from the likes of Boy Named Banjo’s Barton Davies, and Christian Ward, the newly minted fiddler for the Del McCoury Band and the Travelin’ McCourys – before whittling the material down to a fraction of that to actually record.

The resulting songs serve as a continuation of what fans heard from Via with Old Crow, particularly the band’s 2023 album Jubilee, where he wrote or co-wrote seven of the 12 tracks – including “Allegheny Lullaby,” “I Want It Now,” and “Belle Meade Cockfight.” According to Via, many of these new songs were even written with Old Crow in mind before he made the decision to step away and release them under his own name.

“This is an album full of stuff that, for the most part, I wanted to do while I was in Old Crow but never got around to,” Via tells BGS. “That being said, I was excited to get to put them on my album because these tunes are a deep dive into who I am as a songwriter from my time spent living in Nashville.”

Ahead of the album’s release and amid a run of shows through the Midwest and Southeast with Logan Ledger, Via spoke with BGS by phone about his path to Old Crow Medicine show, how a Virginia festival changed his entire career trajectory, how he came to love co-writing after moving to Nashville, and more.

You were joined by a trio of bluegrass royalty – Rhonda Vincent, Junior Sisk, and Ronnie Bowman – on the songs “Oh Lordy Me” and “Mountain Lullaby.” What did it mean to you having them join you on those songs?

Mason Via: It was very validating, because I’ve always felt that I circled around bluegrass and navigated on the outskirts or fringe of it, so to have those torchbearers of the genre sign off on this meant a lot. I didn’t know Rhonda as well, but Junior and Ronnie are old family friends. I hate when artists have other people as features, but they’re not really featured – it defeats the purpose of it all. Because of that I really wanted to go out of the way to showcase everyone. For instance, on “Oh Lordy Me” we all take turns singing lead on verses before coming together for the chorus [with Bowman and Sisk], whereas “Mountain Lullaby” is trio harmonies the whole way through [with Bowman and Vincent].

You mentioned Junior and Ronnie being old family friends. Is that a connection through your father, who was a bluegrass picker himself?

It is, they all go way back. They used to have big pickin’ parties every Tuesday at dad’s house in Dry Pond, Virginia, that they called The Blue Room. They’d pick all day and night, with the last person left awake taking home the coveted Bluegrass Buddy Belt, a WWE-style belt, for bragging rights.

In addition to growing up around them, Ronnie also cut a couple of my dad’s songs and Junior was often around Galax and the fiddlers conventions I grew up going to, which the song “Oh Lordy Me” is sort of an homage to.

Speaking of home, you returned to Floyd, Virginia, to record this new album. After spending time in Nashville in recent years, what made you want to go back there?

Floyd is about an hour from where I grew up. I remember going to the Floyd Country Store when I was younger and playing up there and it being like a little mountain getaway, which is exactly what going back to the area to record felt like. It was a bit more secluded than when I recorded in Nashville and elsewhere previously, which forced all of us – myself, producer Aaron Ramsey and all the players – to be in it all the way from start to finish.

However, people will soon be able to hear those different approaches when I release alternate versions of a few of the songs on this album that I recorded in Nashville before this bluegrass record deal happened. Two of them, “Falling” and “Melting the Sun,” are psychedelic indie rock ‘n’ roll – think War On Drugs meets the Foo Fighters – whereas “Hey Don’t Go” is one I released alongside my departure from Old Crow with pedal steel, drums, keys, and electric guitar. We also recorded a version of “Wide Open” with similar arrangements in the same session that we’ll be releasing soon as well.

Sounds like we have a lot to look forward to!

Sticking on the topic of Floyd, I remember seeing you for the first time at FloydFest in 2019 with your band, Hot Trail Mix, which finished runner-up at the gathering’s On-The-Rise band competition that year. What has that moment – and the festival in general – meant to your music career and trajectory?

I’d just gotten out of college and was working as a substitute teacher at a military academy when the opportunity to perform in the FloydFest competition came about. I grew up going to the festival, so finishing runner-up and getting invited back to play the main stage was a moment where I started to realize I should take this more seriously. Since the next year was 2020 that show never happened, so my next time back at FloydFest was actually in 2021 when I played the main stage on Saturday night with Old Crow.

So the festival played a role in you linking up with Old Crow then. How did that opportunity come about?

Ashby Frank, a great bluegrass musician, suggested me to Donica Elliott, who worked with the band at the time, who then passed my information onto Ketch [Secor]. Eventually I got a call from him asking to come audition, so a couple weeks later I drove out there for a casual jam session where we played a bunch of old-time pickin’ tunes from fiddlers conventions with a couple of Old Crow’s songs sprinkled in. I came back and did the same thing the next day followed by [going to] Ketch’s house the day after to help move some furniture, which led to us writing the song “I Want It Now” [from Old Crow’s 2023 album, Jubilee]. I wound up getting the gig and next thing I know we’re recording an album. Even my first gig with them was the Grand Ole Opry – I was thrown into the fire, but loved every minute of it!

I had a great run with Old Crow, but the big reason for leaving the band was to pursue this album, because unfortunately you can’t do both. It feels a little like starting over, but I couldn’t be happier with where I am now. And who knows, 10 years from now I could be back in the band – the world is very cyclical like that. I saw Chance McCoy is back with them and they’ve been touring with Willie [Watson] again, which got me thinking about how the band is an ever-changing cast. We left on pretty amicable terms, so I think there’s definitely room for potential collaboration or a reunion in the future.

During your three-year run with Old Crow, what’s the biggest piece of music-related advice you learned from them?

I like to tell people that I think of my time with Old Crow as getting a Master’s degree in music. They taught me that you don’t need to play the craziest solo in the world or sing the wildest riff, you just need to be distinctly, uniquely you. I’ve been trying to lean into that more in my new material including this new album, which I think is some of my most personal material yet.

I know one thing you started doing a lot more with Old Crow that’s a regular part of your repertoire now is co-writing. What’s it been like opening yourself up to more of those opportunities lately?

When I first moved to Nashville, I’d never really co-written before, but when you get here you realize really quickly that that’s a huge part of the community there, similar to jamming with your buddies. It’s a great way to connect with friends and something I really enjoy because you don’t always get to do something like that on such a deep level. I’m also a very ADD type of person so I love the aspect of being intentional with your time and what you hope to create within it like that.

One of the people you co-wrote for this record with was Zach John King, who you first met in 2021 during your stint on American Idol. Tell me a little about your partnership with him that led to your songs “Wide Open” and “Fireball.”

We were set up to have a conversation together on camera for the show. That’s how we were first introduced and we’ve since gone on to become buddies long after Idol. When I got the Old Crow gig he reached out and said he was thinking of moving to Nashville and if he could stop by to ask me some questions about my journey and the process of going from American Idol to what I’m doing now. I was a mentor there for a second, but now it’s the other way around since he just signed a deal with Sony Music Nashville [in January]. He’s already got some songs doing well in the pop country world and is really about to take off. Connections like the one with Zach are reminders of just how small the music industry really is.

What do you hope people take away from listening to this collection of songs?

Every song is its own kaleidoscopic spectrum of emotions that I’ve felt in one way or another. I hope you can laugh and cry and dance and feel every emotion the whole way through, which I think is a trademark of a good album or show. Pairing those emotions with the feeling of what it was like for me growing up in the Blue Ridge Mountains with all my influences, from rock and roll to country or the string band music that was always present during my raising, was a special experience and something I hope folks enjoy listening to over and over again.

What has music, specifically the process of bringing this new album to life, taught you about yourself?

I love how [music] takes you places, it makes you feel like an astronaut or something. You get to travel to different worlds, get outside yourself and figure out who you are. Each song is like its own barn quilt that showcases the different patchwork that holds a place in my heart.

Photo Credit: Ashli Linkous

Hurricane Helene: How to Help Roots Musicians and Appalachia

Hurricane Helene tore through Florida, Georgia, the Carolinas, Tennessee, Virginia, and beyond in late September, 2024, leaving a wide wake of devastation and destruction from her high winds, record rainfall, and historic flooding. Central and Southern Appalachia and the Blue Ridge Mountains of Western North Carolina, Southwest Virginia, and East Tennessee were hit especially hard, experiencing what some experts have called a 1,000-year weather event. Due to the particular nature of the geography and topography in the mountains, communities of all sizes – from Boone and Asheville, NC to tiny Chimney Rock and Lansing, NC to Erwin, TN and Damascus, VA – were hit especially hard by flash floods, downed trees, landslides and mudslides, impassable roads, and utility outages.

Slowly but surely over the last ten days, as cell service, power, and communication are restored in a slow trickle to the hard-hit and hard-to-access area, more stories, photos and videos, and first-hand accounts have been disseminated from survivors of Helene’s fury. Their accounts are truly harrowing. The damage nearly unparalleled in recent memory.

Central and Southern Appalachia are a region rich in musical and cultural heritage, with so many of America’s quintessential roots music forms being hugely influenced by these mountains and their neighboring locales. Asheville and Boone are two gems in the American roots music scene and so many smaller towns in the tri-state area have their own bustling arts economies, as well. Musicians, songwriters, and creators from all corners of the BGS family reside in this part of the country; watching from afar as they recover their destroyed lives and livelihoods, build community, support each other, clean up the mud and debris, and act in pure solidarity has been both encouraging and heart-wrenching.

For those of us who adore the Blue Ridge, Appalachia, North Carolina, Tennessee, and Virginia but live elsewhere, it’s been a nearly constant questioning of, “What can we do to help?” since the storm hit. Especially, what can we do to aid our fellow roots musicians in Helene’s track as they rebuild their lives? Gratefully, resources, tips, donation links, volunteer oppportunities, and more have been pouring in as the mountains and neighboring areas come back online.

Below, we gather a few events, donation links, GoFundMes, resources, and more – for folks in and outside of the region – to lend their support to our friends and neighbors whose lives have been forever altered. While we hasten to rebuild and recover, we also hold immense love, care, and grief for all of those who are still missing, unaccounted for, and presumed deceased in the aftermath of Hurricane Helene.

The road to a “new normal” across the southeast, from Florida’s Big Bend to Virginia’s Crooked Trail, will span months and years, if not decades. The only way we’ll get there is by supporting and caring for each other – and that support starts now.

Sturgill Simpson’s North Carolina Benefit Show

Mainstream country outlaw Sturgill Simpson has just announced his Why Not? tour – featuring his new project and persona, Johnny Blue Skies – will hold a special North Carolina Benefit Show on October 21 in Cary, North Carolina at the Booth Amphitheatre with all proceeds benefitting the North Carolina Disaster Relief Fund. Tickets go on sale this Friday, October 11 at this link. As explained in a press release announcing the event, Simpson was originally scheduled to perform at Asheville’s ExploreAsheville.com Arena on the same date, but due to the devastating impact of the storm, that show has been canceled. This quick-pivot rescheduled benefit show is just another indicator of how important North Carolina is to country and roots musicians.

Help Musicians Hasee Ciaccio and Abby Huggins Rebuild

View this post on Instagram

A post shared by Hasee Ciaccio ✨🌈 (@hayseed___)

Hasee Ciaccio is a bluegrass bassist who has toured and performed with Molly Tuttle, Sister Sadie, Laurie Lewis, Alice Gerrard, AJ Lee & Blue Summit, and many, many more bands and acts in bluegrass, old-time, and string band music. She and her spouse Abby Huggins, a community builder, dancer, and artist, lost their home to Hurricane Helene-caused tree falls and mudslides.

The California Bluegrass Association has begun a fundraiser to help Hasee and Abby rebuild, as they must continue paying a mortgage on a home that became unlivable in an instant. The outpouring of generosity has been overwhelming, with 60% of their goal already being reached in the short time since the hurricane struck on September 27. Visit the CBA here in order to read more and donate to support Hasee & Abby.

Mandolinist Darren Nicholson and Band Pitch In

Darren Nicholson is a mandolinist, songwriter, and Western North Carolina native who knows first hand how floods of this nature can uproot entire lives and communities. In 2021, his home turf, Haywood County, was devastated by flooding from a tropical depression. He led recovery efforts then, and he’s pitching in again now – with his entire band pulling their weight to bring GoFundMe donations, supplies, and resources to their own communities in Western NC and East TN.

“The entire band is out serving their communities at this time,” Nicholson shares in the GoFundMe description. “Avery is a first responder doing search and rescue; Aynsley is distributing supplies in Unicoi, TN; Kevin is distributing water and fuel; Darren is cutting trees and distributing supplies in Haywood County, NC.”

If you’re able, you can give directly via GoFundMe to support Darren Nicholson and his band bringing glimmers of hope to their impacted communities. They’ve already exceeded their fundraising “goal” – and the dollars raised back in 2021 – but there is still much work to be done, so consider donating if you can.

BGS Contributor and Music Journalist Garrett Woodward Reports From on the Ground

Frequent BGS contributor and freelance music journalist extraordinaire Garrett Woodward has been reporting – for RollingStone and others – from on the ground in the region about the impact on Asheville, North Carolina’s musicians and beyond. Despite dealing with power and internet outages himself, Woodward has been shining a light on the experiences of those dealing with the immense fall out of this storm.

Here, he describes the impact on venues and music presenters in what has become a hotbed for indie and DIY music of all genres and styles, but especially roots.

Here, he details how musicians and artists have been pitching in – whether from nearby or far away – to help this incredible area of the world recover and rebuild.

You can also find his reporting for Smoky Mountain News on Hurricane Helene efforts and impacts here.

We so appreciate Garrett keeping all of us in the loop with what’s happening on the ground, while spreading the word about relief efforts, resources, and donation pages. All of his stories above include many ways to give and to show up for North Carolina, so dig in and get involved.

Donate to the IBMA Trust Fund

View this post on Instagram

A post shared by International Bluegrass Music Association (IBMA) (@intlbluegrass)

Hurricane Helene hit during IBMA’s World of Bluegrass business conference and IBMA Bluegrass Live! festival held in Raleigh, North Carolina. While the disruption to the event was not insignificant, the organization immediately began messaging more broadly about the impacts to the region and the destruction just down I-40, in the western parts of the state, in Tennessee, and Virginia.

Before the festival had even concluded, IBMA began fundraising through their Trust Fund, which supports bluegrass musicians and professionals facing hardships – whether financial, medical, disasters, etc. Members of the IBMA and its staff and board even already held a benefit livestream show. You can watch that performance here, and donate to the Trust Fund at any time as it supports bluegrass community members in need.

Help Ola Belle Reed’s Hometown Rebuild

Ola Belle Reed’s hometown of Lansing, North Carolina is nestled in the mountains of Ashe County alongside Big Horse Creek. As you drive into the tiny village from the south, you’ll encounter a brightly colored mural of Reed on a local store’s brick wall, a bright barn quilt accenting a gorgeous portrait of this iconic old-time and bluegrass legend. Unfortunately, Helene took its toll on Lansing’s adorable little downtown too, flooding nearly every business and destroying homes, bridges, and livelihoods.

The Old Orchard Creek General Store, a newer business that had become an important community keystone and gathering place in its few short years of business, was almost entirely destroyed. The store is known for hosting nearby and regional musicians – like Cathy Fink & Marcy Marxer, Martha Spencer, Trevor McKenzie & Jackson Cunningham, and many more – on their porch and in their cute cafe, supporting dozens of area artists with a quality local gig. You can donate to support the general store’s rebuild here.

In addition, Lansing and the Ashe County area surrounding it are criss-crossed with mountain creeks and streams, many of which burst their banks and washed out bridges, driveways, and crossings that were critical for folks’ daily lives and safety. As a result, the citizens are banding together to rebuild this critical infrastructure for their neighbors. Give to help rebuild their roads, bridges, and driveways here.

Woody Platt’s Album Release Becomes Rescue Carolina

View this post on Instagram

A post shared by 185 King Street (@185kingstreet)

Many folks are synonymous with the Western North Carolina music scene, but perhaps no single person epitomizes what it means to be a musical community member in Western NC like Woody Platt does. With a new album, Far Away with You, dropping this Friday, October 11, Platt has re-tooled his album release show to be a benefit for Rescue Carolina, raising money for local relief efforts in Brevard, NC and nearby. A bastion venue in the area, 185 King Street, will host the show – and they’ve been pitching in quite a bit with recovery themselves, too. Everyone is pitching in!

Not in the region? You can purchase a livestream ticket and still show up for Woody Platt and for Rescue North Carolina. Give directly to their GoFundMe here.

Star-Studded Concert for Carolina

Announced yesterday, October 7, with tickets going on sale Thursday, October 10, Charlotte, NC’s Bank of America Stadium will be taken over on October 26 by Luke Combs, Eric Church, Billy Strings, James Taylor, Keith Urban, Sheryl Crow, and more for a star-studded benefit show. Proceeds will support relief efforts in the Carolinas. The event will be hosted by ESPN’s Marty Smith and Barstool Sports’ Caleb Pressley and will feature additional artists still to be announced. It’s sure to be a sell out – and for good reason!

Get more information and purchase tickets here.

Hiss Golden Messenger Dedicates Sanctuary Songs: Live in Omaha, NE to Western North Carolina

North Carolina-based indie, folk, and Americana artist Hiss Golden Messenger (AKA M.C. Taylor) has announced his upcoming live album, Sanctuary Songs: Live in Omaha, NE, will benefit BeLoved Asheville, a local organization raising funds for relief efforts. The 18-song project is available for purchase now exclusively via Bandcamp.

“Western North Carolina is really, really hurting, y’all,” Taylor noted on Instagram. “We don’t even know the half yet, and I’m glad to be able to help.”

Safe Water for Hurricane Helene Survivors Via LifeStraw

LifeStraw is a brand all about safe, clean water for all. Their products are popular with hikers, campers, outdoors people, and folks with limited access to clean water around the world. After Helene, the company activated their Safe Water Fund and their disaster response teams to bring their filtration products to those who’ve lost access to clean water. Donating directly to the fund helps bring their large purifier systems like the LifeStraw Community and LifeStraw 8L to the region as well as their LifeStraw Home pitchers and dispensers for use in homes and personal bottle and straw filters for individual use. Get more info and donate here.

Appalachian Aid Music Festival

On October 19 in Wilkesboro, North Carolina, the Appalachian Aid Music Festival will feature performances by host Alex Key, John PayCheck (son of Johnny PayCheck), local great Wayne Henderson, and many more. The event will benefit Musicians Mission of Mercy, a non-profit embedded in rural Western North Carolina, specifically in Ashe County. Tickets are available now via Eventbrite, but first responders – nurses, doctors, firefighters, linemen, EMS, etc. – should know they’ll be admitted for free with their work IDs.

Cardinals At The Window Compilation Album

Released on October 9, Cardinals At the Window is a gargantuan compilation album of 136 tracks – yes, you read that right, 136 – submitted from various artists from across the roots music landscape. The project will benefit three non-profits based in Western North Carolina administering hurricane relief, Community Foundation of Western North Carolina, Rural Organizing and Resilience, and BeLoved Asheville. Compiled by Libby Rodenbough, David Walker, and Grayson Haver Currin, the album is available exclusively via Bandcamp and features tracks from amazing artists like Gillian Welch & David Rawlings, Hiss Golden Messenger, Watchhouse, Calexico, the Decemberists, Iron & Wine, MJ Lenderman, Mipso, Jason Isbell, Tyler Childer, Waxahatchee, Yasmin Williams, and many, many more.

Purchase the project and support the cause here.

Appalachian Allies

On October 27 at the Bijou Theatre in Knoxville, Tennessee an impeccable lineup of roots musicians will gather to raise funds for the East Tennessee Foundation, a non-profit committed to supporting flood victims and flood relief programs in the mountains of East Tennessee. Hosted by bassist Daniel Kimbro and singer-songwriter Sam Lewis, the event will feature performances by Adeem the Artist, Darrell Scott, Jerry Douglas, Larkin Poe, Sarah Jarosz, and more. Tickets are on sale now. Make plans to support Tennesseans by showing up and showing out for Appalachian Allies on October 27.

“Hell in High Water” – Mike Thomas

Singer-songwriter Mike Thomas grew up in East Tennessee. After Helene tore through his home state, the Carolinas, and Virginia, he began writing “Hell in High Water” in early October.

“For generations, my family has called East Tennessee home, and although I have lived in Nashville for 20 years, I will always be an East Tennessean. Watching the aftermath of Helene unfold affected me deeply…” Thomas said via press release. “I couldn’t get those heartbreaking stories and images out of my mind.”

So, he wrote “Hell in High Water,” recorded it in record time, and released the track with all proceeds going to Mountain Ways, a non-profit committed to providing ongoing hurricane relief and assistance in the region. “I started writing ‘Hell in High Water’ on October 4th and finished it on October 6th,” Thomas continues. “I played it for some close friends and family who urged me to record and release it as soon as possible. I sent it to my producer, Tres Sasser, and my bandmates. Everyone dropped what they had planned to record the track on October 17th. There was a sense of urgency and purpose to get the song done and to get it done right.”

The song is now available to stream via Spotify, Apple, and more. Listen to the track below. All proceeds will go to hurricane relief. Listeners and fans can also donate to Mountain Ways directly here.

Our Co-Founder, Ed Helms, Agrees

View this post on Instagram

A post shared by Ed Helms (@edhelms)

Even our co-founder himself, Ed Helms, took to social media to point out how special and important this region of the country is to all of us – BGS and beyond. Like many of us, Ed has had a lifelong relationship with the mountains of Western North Carolina and he understands personally how difficult this recovery process will be. You can find all of the links he mentions in this clip and more below.

Whatever you have to give and contribute to rebuilding after this storm, nothing is too small or insignificant. It will take all of us to rebuild Central and Southern Appalachia and the entire Southeast post-Helene.

Give to the Appalachian Funder’s Network here.

Give to World Central Kitchen here.

Support Operation Airdrop, Concord, NC

Give to BeLoved Asheville

Arts Organizations: Get plugged in with Hurricane Helene resources via the National Coalition for Arts Preparedness and Emergency Response.

For more donations to local, vetted organizations, Blue Ridge Public Radio has compiled this list.

(Editor’s Note: Have a fundraiser, link, benefit concert, or similar hurricane recovery resource you’d like us to share here? Email us at [email protected].)

Photo Credit: Courtesy of NASA Image and Video Library. Sept. 25, 2024 – Hurricane Helene is pictured from the International Space Station as it orbited 257 [miles] above the Gulf of Mexico off the coast of Mississippi.

WATCH: Sully Bright, “She Left Nashville” (Live in Appalachia Video Series)

Artist: Sully Bright
Hometown: Forest City, North Carolina; currently lives in Nashville, Tennessee
Song: “She Left Nashville”
Album: Darling, Wake Up
Release Date: October 13, 2023

In Their Words: “I wrote the song ‘She Left Nashville’ over two years ago, late one cold Valentine‘s night. It was actually freezing outside; it was my first snow in Nashville. Someone I love had to leave town early and head back home to North Carolina because of the snow. This is my favorite video we captured. We recorded while driving through the Blue Ridge Mountains. It felt right to sit in the back of the car while driving through the mountains and singing my song, not to mention the beautiful green peeking through the fog as we drove further along the road. I hope you enjoy the video and check back for the next one in two weeks.” – Sully Bright

Photo Credit: Wonderfilmco
Video Credit: Seth and Jenna Herlich, Wonderfilmco

The Latest Album From Steep Canyon Rangers Showcases Fresh Sounds, New Lineup

It’s a rather warm evening in the mountains of Western North Carolina. With a sweltering sun slowly fading behind the ancient Blue Ridge peaks, Graham Sharp takes a seat at a picnic table underneath the welcoming shade of an old tree.

He takes a sip of a craft ale and gazes out upon the festive meadows of live music and fellowship behind Highland Brewing on the outskirts of Asheville. For Sharp, it’s a rarity these days for him to be able to sit back and enjoy the city he’s called home for the last 22 years.

Co-founder and de facto leader of the Steep Canyon Rangers, Sharp is at the center of one of the most enduring and cherished acts in the realms of Americana, bluegrass, and indie-folk — whether on its own merit or backing Steve Martin and Martin Short.

The Steep Canyon Rangers at the Western North Carolina retreat where they recorded ‘Morning Shift’ with Darrell Scott producing. Photo by Joey Seawell

At 46, Sharp has spent the majority of his adult life either on the road, onstage, or in the studio. And yet, like any endlessly restless and creatively curious musician worth one’s salt, Sharp feels like he’s just getting started.

“I’m the luckiest man on earth to be able to wake up in the morning and think, ‘I want to play banjo and write songs today,’” Sharp says. “Or am I going to get on a bus and go play some shows? That’s a good feeling to be excited about what you do — 25 years from now, I’ll probably be feeling the same way.”

What started as a rag-tag bunch of green horns jamming traditional bluegrass numbers in the dorms at the University of North Carolina at Chapel Hill, has evolved into a bonafide group selling out venues coast-to-coast.

Throughout the Rangers’ history there’ve been awards and accolades, including three Grammy nominations and one win. There’s also been big stages (Red Rocks Amphitheatre, the Ryman Auditorium, Hollywood Bowl) and even bigger crowds (Bonnaroo, MerleFest, Hardly Strictly Bluegrass).

But, the core of the group resides in its unrelenting quest to dig deeper within itself to uncover another layer of sound and sonic possibility. Most recently, the band has gone through its biggest test to date, with the departure last year of founding member and arguably the gravitational center of the act, singer/guitarist Woody Platt, who decided to take a step back from the spotlight and focus on family.

“There’s a lot of things you can’t control and Woody leaving is a pretty good lesson in that fact that there’s only so much that you have influence over,” Sharp says. “And I’ve seen that with everybody [in the Rangers]. Everybody had worked hard, stepped up and defined their roles better in the band — just buckle down and push ahead.”

Fellow Western North Carolina singer-songwriter Aaron Burdett stepped into the fold to not necessarily replace Platt, but give the Rangers a new avenue to stride down, in terms of songwriting approaches and musical interpretations.

“We really tried to bring Aaron in to have another voice in there. I love having him as another writer,” Sharp says. “We both generate our own stuff and bounce ideas off of each other, where some of it feels like going back to the beginning [of the band] in the feeling.”

And with the Rangers’ latest album, Morning Shift, the sextet now finds itself at the dawn of a new, unwritten chapter of its continued trajectory as a group as sonically elusive as it is bountiful in its melodic pursuits.

“I don’t think you’d call it a chip on the shoulder,” Sharp says. “But, it feels like there’s just a drive we all have to just get better, to have more people hear what we’re doing — and we know what it takes to get there at this point.”

Hunkering down for a week in the off-the-beaten-path, unincorporated community of Bat Cave, North Carolina, the Rangers transformed a small mountain getaway into a makeshift studio. They also enlisted the help of Darrell Scott, the musical legend being tapped to produce the record.

“Darrell isn’t going to mince words — he’s pretty decisive,” Sharp says. “And Darrell spans all these [musical] worlds. He’s a monster picker and singer, and a great writer. We felt like he also comes from that bluegrass [scene], but also is outside of it, [like we are].”

What resulted is an album of genuine depth and stoic intent, renewal amid a reinvigorated sense of self. It’s a full-circle kind of thing, with the Steep Canyon Rangers not only reflecting on the past, but, more importantly, still chasing after that unknown horizon of artistic discovery. Our BGS interview with Sharp at Highland Brewing in Asheville continued with a conversation about the group’s changing lineup and dynamic.

It’s been a big year for you guys in a lot of ways — physically, sonically. What’s the dynamic right now? What’s kind of changed?

Graham Sharp: Well, what I’ve noticed is my default method [is] when things go weird, to just work harder.

There’s more of a round-robin feel in the band than before.

GS: Yeah. I get that. That’s what people say, that the dynamic reminds them of The Band, where there’s three or four different singers. And that was part of the deal, part of the thought process of, “Let’s take this role that’s the prototypical lead singer/guitar role and de-emphasize that.” Not totally strip it of everything, but the guitar player’s going to sing 40 or 50 percent of the songs. He’s not going to sing 80 percent of the songs. And part of that plays like a little bit of a safeguard, where if something happens with Aaron two years from now, we don’t want to be back in the same boat, where it’s like we’re losing a big hole out of the middle of the band.

Mandolinist Mike Guggino, in the studio recording the Steep Canyon Rangers’ ‘Morning Shift.’ Shot by Joey Seawell.

Like equally distributed weight now.

GS: Yeah. That’s kind of how we want it. And I think that’s what it needs to be. There’s a lot of talent in [the band] and maybe this is a chance to uncover some of it.

Not to take anything away from Woody and his contributions, but it feels more of a cohesive unit than I’ve ever seen it before.

GS: Isn’t that crazy? And that’s what people have been saying. I don’t know what that is except to say everybody’s stepping up and also making sure everybody else shines a little bit more.

I also wonder if that plays into more camaraderie in the band.

GS: Maybe. I mean, the band is a brotherhood. You couldn’t have more camaraderie than we have. But, that said, if people are feeling like their talents aren’t being put into full use – there’s one thing about being great friends and being brothers, but also on some kind of subconscious level, if you feel like there’s stuff that’s not being utilized, then maybe there’s something else you should be doing, you know?

And there’s maybe a reaffirming of gratitude for how far you guys have come.

GS: No doubt, man. That’s definitely one of the overwhelming things that has come out of this [latest chapter], is just gratitude to still be doing it — just keep going and keep doing it. [With Morning Shift], this record feels like a jumping off point.

The album also reinforces that elusive nature that’s always resided in the Rangers, where the last thing you ever want to be is pigeonholed, musically.

GS: Yeah. But, I love to play the banjo, so I don’t want to grow away from that. And [sometimes] I feel like my writing doesn’t always lend itself to the banjo. So, a lot of my stuff on the banjo ends up being able to figure out how you play to this weird song that doesn’t really call for banjo like a bluegrass song would — that’s part of the fun of [songwriting].

Aaron has now been in the band for a year. What’s surprised you the most about what he’s brought to the Rangers?

GS: We knew he was a great singer when we hired him, so that didn’t come as a surprise. When he sent us his demos, we knew this was our guy. But, the biggest surprise has been just how far apart our musical worlds are. He’s a very different musician than anybody we’ve had in the band. There’s things that he does in his own rhythm. He just has a different touch on the rhythm guitar.

Graham Sharp of the Steep Canyon Rangers recording ‘Morning Shift’ in studio. Photo by Joey Seawell.

There’s definitely a feeling of reinvigoration within the band. Almost 25 years into the Rangers, the band is still at the top of its game. But, playing devil’s advocate, I think there’s now other mountains you can see that you may want to climb?

GS: I think you’re right. I mean, as a band, you only have one introduction to the world. Maybe we were lucky because we got two, the other with Steve Martin. But, right now, it feels more like a collective up onstage. And I think that’s invaluable. Everybody is putting in the work. For example, I’ve always played banjo for a couple hours a day. But, maybe now, I play it for three hours a day. You’re just stepping things up, bringing things up a notch.

What really sticks out when you look back at the early years of the band, this handful of college kids learning to play bluegrass music?

GS: It was 1999. Somewhere in my junior or senior in college. It was myself, [former bassist] Charles [Humphrey] and Woody. Then, [mandolinist] Mike [Guggino] showed up later because he was Woody’s friend from Brevard, [North Carolina]. There was no ambition at the time. The ambition was really, “Let’s learn to play [bluegrass] so it sounds like it does on these records.”

New Grass Revival. [Russell Moore and] IIIrd Tyme Out. We never got to where we sounded like any of those bands. We could never sound like Lonesome River Band. But, take a little bit of this, take a little bit of that and go play onstage at bluegrass festivals. Go to Sears and get some clothes that match. And [a lot of the bluegrass] legends were still around and playing those festivals. Earl [Scruggs] was still around. John Hartford. Jimmy Martin. You know, when you’re young and rising, you’ve got all the momentum, all the buzz. And when you’re established and older, it’s different. Right now, we’re in this in-between period where it’s not newer and it’s not legacy. But, we’re not Billy Strings or Molly Tuttle, either. I still just love going out [there onstage] and proving it every single time — that feeling of doing what it takes to be our best each night.

All photos: Joey Seawell

WATCH: Sully Bright, “Appalachia” (Live in Appalachia Video Series)

Artist: Sully Bright
Hometown: Forest City, North Carolina; currently lives in Nashville, Tennessee
Song: “Appalachia”
Album: Darling, Wake Up
Release Date: October 13, 2023

(Editor’s Note: Over six weeks, singer-songwriter Sully Bright will premiere a series of four live performance videos shot in the mountains of North Carolina. Watch each installment every other week right here on BGS.)

In Their Words: “I got the idea for the song ‘Appalachia’ on my drive back home to North Carolina from Nashville. Driving the Blue Ridge Mountains is one of my favorite things to do, especially in the fall. The North Carolina mountains are my favorite place in the world; they are home to me. That’s what I wrote this song about: ‘Home is what you make of it, and darling you’re mine.’

“This is one of my favorite videos we captured in North Carolina. We recorded it on a river near Roan Mountain. There couldn’t be a better place to sing the song than in a cold mountain river in Appalachia. I hope you enjoy the video and check back for the next one in two weeks.” – Sully Bright

Photo & Video Credit: Seth and Jenna Herlich, Wonderfilmco

On a New Box Set Spanning Doc Watson’s Career, These 10 Songs Stand Out

I first heard Doc Watson’s music when I was a child, as Doc was a featured artist on the first album I ever listened to from beginning to end, the 1964 Elektra/Folkways 4-LP compilation set The Folk Box. From that initial exposure to Doc’s fluid acoustic guitar playing and resonant singing I acquired a few of his 1960s albums on the Vanguard label. I became a fan, and like many others I witnessed Doc’s legend expand in the wake of his participation in the Nitty Gritty Dirt Band’s popular 1972 album Will the Circle Be Unbroken. Throughout the 1970s Doc toured constantly, and he recorded frequently, but his music didn’t significantly change, as he continued to explore his distinctive “Traditional Plus” repertoire into the 1980s and beyond. On several occasions I heard him perform in concert alongside his son Merle, a formidable guitar player in his own right, and bassist T. Michael Coleman.

In 1984 my work for the National Park Service brought me to the same mountainous North Carolina county in which Doc lived, in the high Blue Ridge not far from the Tennessee-North Carolina boundary. My landlord, who learned of my interest in Doc’s music and who knew the Watson family, offered to arrange for me to meet Doc. While I never pursued such a meeting, I continued to seek out every opportunity to hear Doc’s music. Some years later I moved to Johnson City, a valley community in East Tennessee, and learned that Doc had been a key member of a Johnson City-based country band during the 1950s, long before he achieved national recognition. It was comforting to still be living in “Doc country.”

In my position at East Tennessee State University I researched Appalachia’s music history and taught Appalachian Studies, and everyone I met (young and old, local and from elsewhere) always agreed that Doc was special—that he was one of America’s greatest folk artists yet in his everyday demeanor “just one of the people.” For much of his long career through his death in 2012 Doc was Appalachia’s unofficial cultural ambassador who brought people together in rapt attention to his singular musical gifts, of course, but also in shared appreciation of the roots music heritage that Doc simultaneously preserved and transformed. And his gifts and his impact will live on in the recordings he made and in individual and collective memories of this humble and inspiring master musician.

For me, then, it has been the honor of a lifetime to co-produce (with Scott Billington and Mason Williams) and to contribute liner notes for Craft Recordings’ new box set Doc Watson: Life’s Work, A Retrospective. Containing 101 key recordings by Doc over 4 CDs and featuring an 88-page book with extensive notes and rare photographs, Life’s Work celebrates the legacy of this master musician. The first comprehensive overview of Doc’s life and recording career, the set is intended equally for longtime fans of his music and for those unfamiliar with him. The following ten recordings from Life’s Work are examples of Doc’s “Traditional Plus” repertoire, and it is hoped that these examples will help illustrate why he is widely considered as among the most important figures in the history of American roots music.

“Storms Are on the Ocean” (Jean Ritchie & Doc Watson)

In 1963 Ralph Rinzler coordinated a double-bill at Gerde’s Folk City in Greenwich Village featuring established folk star Jean Ritchie and newcomer to the urban folk music revival circuit Doc Watson, who performed a set together. Fortunately for posterity, Ritchie’s husband George Pickow recorded the proceedings, and that same year Folkways Records released the album Jean Ritchie and Doc Watson at Folk City. One performance recorded during the Folk City set–of The Carter Family’s early country classic “Storms Are on the Ocean,” originally recorded at the 1927 Bristol Sessions and based on a traditional Scottish ballad–captured the wistful sweetness in A.P. Carter’s lyrics and also demonstrated Doc’s gifts at duet singing.

“And Am I Born to Die”

This Methodist hymn, composed by 18^th Century English minister Charles Wesley, was included in The Sacred Harp (1844) converted into a shape-note arrangement entitled “Idumea.” (The soundtrack for the 2003 film Cold Mountain featured the angular minor-key harmonies from a shape-note performance of “Idumea” to set the mood for a key scene.) Acknowledging that he first heard “And Am I Born to Die” when he was a 2-year-old sitting on his mother’s lap at Mount Paran Baptist Church near his home in Deep Gap, North Carolina, Doc related that his a cappella hymn-singing style was strongly influenced by that of his grandfather Smith Watson. This recording, among some 1964 field recordings made of Doc and his family in Deep Gap by Rinzler and Daniel Seeger, was finally released (with other recorded performances from various members of the Watson family) on the 1977 album Tradition.

“That Was the Last Thing on My Mind”

Throughout his long career, Doc performed and recorded a repertoire he himself referred to as “Traditional Plus.” This repertoire incorporated material from many genres and sources: traditional music, of course, but also songs composed by early country recording artists as well as by contemporary songwriters. One of the latter songs recorded by Doc, “The Last Thing on My Mind,” was written and first recorded in 1964 by Tom Paxton. The next year, Peter, Paul and Mary and The Kingston Trio covered the song, but those versions pale in comparison to Doc’s 1966 rendition, featured on his Vanguard album Southbound. Doc would record the song again and frequently perform it live, including at Merlefest (where in 2001 he performed the song in a duet with another fan of Paxton’s song, Dolly Parton). Doc remained a fan of Tom Paxton, recording several Paxton songs over the years.

“Alberta”

Frequently recording affectionate interpretations of blues compositions, Doc was a fan of several genres of Black music. Originally a steamboat work song sung by Black roustabouts, “Alberta” was performed over the years by many musicians associated with the urban folk music revival, from Lead Belly and Burl Ives to Odetta and Bob Gibson. Doc developed his rendition of “Alberta” not from those examples but from a version on the 1963 RCA Victor LP Come All Ye Fair and Tender Ladies, which featured folk revival-era songs crooned by Bonanza actor Pernell Roberts.

“Matty Groves”

“Matty Groves”—from Doc’s 1967 album for Vanguard Home Again!—was the musician’s rendition of a 17th century ballad chronicling an adulterous relationship between an aristocratic woman and a commoner man; the woman’s husband, who was a Lord, discovers the tryst and kills both his wife and her lover. Doc performs this grisly ballad with an expressive yet restrained voice, revealing his familiarity with traditional balladry. This performance, clocking in at 6:07, underscores his keen memory (so many verses!) and his flawless sense of timing (his guitar accompaniment was understated and delicate yet propulsive).

“Nothing to It” (Lester Flatt and Earl Scruggs with Doc Watson)

Doc first recorded this instrumental (credited to him but probably influenced by the old-time song “I Don’t Love Nobody”) as a solo piece for his 1966 Southbound album. Impressed by Doc’s dexterity on the guitar, the sound engineer asked the guitarist “What the heck was that?” Doc answered, “Aw, nothing to it.” The title was ironic because the tune was indeed quite challenging. The next year Doc brought the tune to sessions for Flatt & Scruggs’ next album, invited to participate by Earl Scruggs, who was in awe of Doc’s virtuosity on the guitar. This bluegrass-band version of the tune was released by the Columbia label on the 1967 Strictly Instrumental album. Doc, in turn, was fascinated by Scruggs’ banjo style, and the two North Carolinians would perform together on stages and for records throughout their long careers.

“Deep River Blues”

First recorded by The Delmore Brothers in 1933 with its original title “I’ve Got the Big River Blues,” “Deep River Blues” was one of Doc’s most requested songs, and he clearly enjoyed performing it. Yearning to play this song on his guitar occasioned one of Doc’s most important stylistic breakthroughs on the instrument: he learned how to incorporate aspects of Merle Travis’s finger-style technique (known as “Travis picking”) into his own style. As Doc himself said of “Deep River Blues” in notes included in the 1971 book The Songs of Doc Watson: “This blues was introduced to me in the late thirties by a Delmore Brothers recording. … I never could figure a way to get even a resemblance of the sound that they got until I began to hear Merle Travis pick the guitar. When Merle plays the guitar, he gets a rhythmic beat going by bouncing his thumb back and forth on the bass strings, which he mutes with the edge of the palm of his hand. I worked out that little back-up part first, but it took me about ten years before I got the whole thing sounding the way I wanted it.” Doc recorded this song on several occasions, with a particularly fine rendition captured during a 1970 concert and issued on his live album for Vanguard, On Stage.

“Tennessee Stud” (with Nitty Gritty Dirt Band)

As Doc says in the spoken introduction to this legendary recording, “Jimmy Driftwood wrote this thing.” “This thing” is the song that would inspire one of Doc’s definitive performances—one that reached the broadest imaginable audience by becoming a favorite among roots music DJs and also among an ever-expanding circle of music fans who discovered The Nitty Gritty Dirt Band’s influential 1972 album for the United Artists label, Will the Circle Be Unbroken. “Jimmy Driftwood” was the pen name for James Corbett Morris, an Arkansas native who composed such hit “historical” songs as “The Battle of New Orleans.” Driftwood’s song “Tennessee Stud,” lyrically inspired by his wife’s grandfather’s horse, was composed in 1958 and was recorded the next year by Eddy Arnold, one of Doc’s favorite country singers. Other country artists would record the song—Chet Atkins, Jerry Reed, Johnny Cash, and Hank Williams Jr.—and Doc himself first recorded it for his 1966 album Southbound. But Doc’s version backed by The Nitty Gritty Dirt Band, recorded in August 1971, quickly took the reins as the definitive version of the song.

“Summertime”

Many musicians might shy away from covering “Summertime,” among the most frequently recorded songs since it was composed by George and Ira Gershwin/DuBose Heyward for the opera Porgy and Bess (1935). But not Doc. No song or tune was too familiar for him, as he could make any piece he performed his own. Other musicians had bigger hits with “Summertime”—Billie Holiday’s version rose to #12 hit in 1936, while Billy Stewart’s peaked at #10 in the Billboard Hot 100 in 1966—but surely Doc’s version of “Summertime,” appearing on his album Elementary Doctor Watson (released in 1972 on the Poppy label), is among the greatest recorded performances of this classic from the American songbook.

“Corrina Corrina” (Doc & Merle Watson)

First documented in a 1918 sheet music arrangement entitled “Has Anyone Seen My Corrine?” and recorded later that same year by Vernon Dalhart for the Edison label, this traditional blues chestnut (sometimes called “Corrine, Corrina”) has been championed over the years by countless musicians—by blues musicians like Blind Lemon Jefferson (1930), by “Hillbilly” musicians like Clayton McMichen (1929), by pop and rock covers by Bill Haley & His Comets (1955), Ray Peterson (a #9 pop hit in 1960), and Bob Dylan (1962). Similarly, musicians working in such niche genres as Western swing and Cajun have included “Corrina, Corrina” in their repertoires. Doc and his son Merle Watson recorded their version for their 1973 Grammy Award-winning album Then and Now.

About Ted Olson

Ted Olson, Professor of Appalachian Studies at East Tennessee State University, is the author of many articles, essays, encyclopedia entries, poems, and reviews published in a range of books and periodicals. He has produced many documentary albums of Appalachian music, and for his work as a music historian he has received an International Bluegrass Music Association Award; three Independent Music Awards; the Ramsey Award for Lifetime Achievement from the East Tennessee Historical Society; and seven Grammy Award nominations. Olson is presently serving as co-host (with Dr. William Turner) of the podcast Sepia Tones: Exploring Black Appalachian Music.

Photo Credit: Hugh Morton Collection (black and white image); Charles Frizzell (color image)

BGS & Come Hear NC Explore the Musical History of North Carolina in New Podcast ‘Carolina Calling’

The Bluegrass Situation is excited to announce a partnership with Come Hear North Carolina, and the latest addition to the BGS Podcast Network, in Carolina Calling: a podcast exploring the history of North Carolina through its music and the musicians who made it. The state’s rich musical history has influenced the musical styles of the U.S. and beyond, and Carolina Calling aims to connect the roots of these progressions and uncover the spark in these artistic communities. From Asheville to Wilmington, we’ll be diving into the cities and regions that have cultivated decades of talent as diverse as Blind Boy Fuller to the Steep Canyon Rangers, from Robert Moog to James Taylor and Rhiannon Giddens.

The series’ first episode, focusing on the creative spirit of retreat in Asheville, premieres Monday, January 31 and features the likes of Pokey LaFarge, Woody Platt of the Steep Canyon Rangers, Gar Ragland of Citizen Vinyl, and more. Subscribe to the show wherever you listen to podcasts, and be on the lookout for brand new episodes coming soon.

LISTEN: APPLE • SPOTIFY • STITCHER • AMAZON • POCKET CASTS • YOUTUBE • MP3

Mary Chapin Carpenter Walks Us Through ‘The Dirt and the Stars’

Mary Chapin Carpenter’s fans have got to know her kitchen well since the start of lockdown. It is a beautiful space, often ornamented with bright, round peonies from her garden. It makes you long to be as tidy, and as tasteful, as Mary Chapin Carpenter.

It’s in this kitchen that she records her Songs from Home series. She greets us with the tender familiarity of a family member on a weekly Zoom call. Guitar slung around her neck, she’ll share some snippet of news or wisdom before singing to us from a back catalogue so deep that there’s always something appropriate to the mood of the day. Often there’s an unscripted appearance, even an added harmony, from Angus, her golden retriever, or her cat, White Kitty. It’s less a house concert than a singalong with an old friend.

She’s in her kitchen again as we talk, this time making chicken stock. “I’ve got two enormous pots of chicken bones and carrots and celery boiling on the stove,” she says, and for a moment, it’s like an audience with Julia Child. “I get it started just before noon and then it simmers for about five hours. Just before dinner time I take it off and put it in jars. Then it’s there for whenever I need it.”

I tell her that I’d been wondering, from seeing the immaculate state of her kitchen on her lockdown videos, if she ever cooked at all. “Well, I make sure I clean the dishes out of the sink!” she laughs. “I love to cook. This kitchen is a place where I’m so happy. I wish everybody could come over and hang out!”

She pauses, as the thought strikes her. “These are things that you didn’t even think about, when this all started, about half the things you’d miss. It’s one of the pleasures of my life, feeding people around a table. I miss it so much.”

Carpenter was supposed to have continued her nationwide tour alongside Shawn Colvin this spring, playing songs from her new album, The Dirt and the Stars. With all gigs cancelled, and the travel that usually “balances” her introvert tendencies curtailed, lockdown has been challenging for Carpenter, who lives alone in the Blue Ridge Mountains.

“I’ve been very, very isolated for many months now,” she admits. “It’s a remote rural area, and I don’t need to leave the farm very often except to pick up groceries curbside and use the drive-through drug store. And just like everyone it can be tremendously lonesome and at times very hard, but my reality check at that moment is to remember that so many people are struggling so much more than I am. The minute I start feeling sorry for myself, that’s all I have to think about and I stand up a little straighter.”

After all, Carpenter quickly reminds herself, she is not completely alone — there’s Angus and White Kitty. “And here I am in this beautiful part of the world and I walk every morning for miles, I’m out in nature as much as possible and I really do try to use those elements of my life as meditation and medicine and inspiration.”

Her songwriting walks are a long-established part of her process, although she’s trying not to put pressure on herself to be creative during these extraordinary times. A friend recently phoned her and told her how the various things she’d hoped to accomplish while stuck at home were coming to nought, and how bad it made her feel.

“I said to her, and I think I was saying it to myself at the same time, who among us is going to be accomplished during this time? It’s asking too much. The best you can do in that moment of frustration is to be still and inhale and be kind to yourself.” She catches herself. “I know, it sounds very woo-woo and Oprah-like.”

Carpenter’s new album, recorded in January and February of this year, is arguably the most intimate and autobiographical of her career. But what’s particularly noticeable is the powerful thread of empathy that runs through it, along with a repeated message of tolerance for our fellow humans, all of us carrying our private burdens and flaws.

It’s there in the titles: “It’s OK to Be Sad,” “Secret Keepers,” “Everybody’s Got Something.” In “Where the Beauty Is,” she takes the image of kintsugi pottery — “the shattered pieces of a bowl/ Filled and fused with dust and gold” — to illustrate that our brokenness is what makes us beautiful.

The final song of the album, “Farther Along and Further In,” suggests that these discoveries are ones that Carpenter has been making herself: “There’s a crack in the armor, an opening/ My heart seeing out and my eyes see in/ Where they’ve never seen before.” She agrees with the analysis. “It’s like I’m writing about my own experience, but talking to myself at the same moment. And that new reckoning with self has everything to do with growing older, it’s directly connected to that. The wisdom that comes to you with growing older is the sense that you don’t care as much anymore about little things that used to nag at you. You’re able to let them go. You’re able to realise you can find sustenance and comfort and meaning in things you never did before.”

So much of life, she says, is struggling with oneself — wanting to be better, smarter, more accomplished. “It’s as if as you grow older you’re able to shed that somehow and not care as much. That’s the gift of growing older.” Even still, there are things that are hard to share, even in song. In her excellent three-part podcast, recorded with poet Sarah Kay, Carpenter shared the inspiration behind the song, “Secret Keepers” — born of a #MeToo experience in her past — and admitted to Kay that she found it difficult to reveal too much of herself in her work.

There are other difficult, poignant subjects, not least the death of her friend John Jennings, to whom she pays moving tribute in “Old D 35.” Her fellow songwriter and longtime producer passed away five years ago from cancer, aged 61. “We weren’t just musical partners — he was my best friend,” says Carpenter. “He had been my boyfriend years ago and we’d evolved into being oldest friends. I miss him every day — there’s a hole in my life that’s always going to be there.”

The talk of loss brings us to John Prine, who died of Covid-19 in April. “People are experiencing these losses and have been unable in many instances to even be there with their loved one when they pass away. There’s probably nothing crueller. I may be wrong, I’m just guessing, but I think this terrible disease and catastrophe became a lot more real when someone like John died of it. Sometimes things don’t seem quite real until they touch you directly.”

The scale of the pandemic was only just becoming apparent as Carpenter finished mixing the album. She had chosen to return to England, in order to work once again with Ethan Johns, who produced her last album, Sometimes Just the Sky. The West Country, where Johns’ studio is based, is one of the parts of the world Carpenter loves most, and she finds a beautiful symmetry with her own Virginia countryside. “I live in the northern part of the Blue Ridge, where the mountains aren’t so dramatic as North Carolina. It’s gentler hills and pastures and valleys and whenever I’ve spent time in that area in England near Bath, it’s real similar.”

She performed in a show in London before heading home to the growing crisis. “Someone said to me since, ‘You’ll be one of the few people who can say you had a gig in London in 2020!’” Even now, she can’t bear to ponder when her next live gig might be. “If I think about it too much I get really sad.”

It is no surprise to hear her vent her fury with the Trump White House. “This country is burning up because of the absolute abdication of responsibility of the current administration,” she says. “It’s a debacle, and I feel equal parts rage and sadness.” Her political outspokenness has often caused a backlash among parts of her audience — what she calls the “shut up and sing brigade” — and she says she’s still “incredulous” to hear it. “They’re saying that by deciding to be a songwriter or a singer you’re not permitted to have a conscience. I would direct them to Nina Simone, who said it’s an artist’s duty to reflect the times in which we live.”

Her passion for justice, both in her songs and through her support of organizations like the Women’s Refugee Commission, stems partly from the unusually global worldview she received during her childhood. Her father, an executive for the Asian edition of Life magazine, took his family to live in Japan for a couple of years when Carpenter was 11 years old. Her parents, prescient enough to know that they might never have the chance again, brought the children back to the US the long way, travelling through India, Hong Kong, Greece, Italy, and France.

It was, she says, a magical and eye-opening experience, and gave her “an understanding of what is necessary to be a contributing citizen of the world.” She notes, “My parents raised us to always speak out on behalf of people who have less than we do. That’s why it’s such an insult when people condemn artists for speaking out. I always think it’s a great loss when people feel they’re not able to speak their conscience.”

Still, a seam of hope for the future runs through this record, whatever present trials we face. “It’s disappointing to me when people think it’s a sad record – it’s almost as if they hear it and say, ‘There’s a lot of slow songs on here.’ Inherently it’s a record of looking toward the unknown future and believing that’s the best part.”

It’s certainly something she believes, as she return to the “solace and serenity” of the quiet farmland — to Angus, to White Kitty, and to her bubbling chicken stock.

Photo credit: Aaron Farrington

BGS 5+5: The Dead Tongues

Artist: The Dead Tongues
Hometown: Asheville, North Carolina
Latest album: Transmigration Blues

Answers by Ryan Gustafson

What other art forms — literature, film, dance, painting, etc — inform your music?

All of the above. Seems like that’s really a conversation about inspiration. A big part of my writing process is about connecting to moments that have moved me and letting those feelings resurface and become a shape of some sort. For instance last year I went up to NYC to go to Hilma af Klint show and was standing in front of her painting “The Dove, No. 1.” I was teary-eyed and moved to the core. In that moment something about love and regeneration made emotional sense to me. I found myself saying out loud “the world doesn’t make sense, but this does.” I don’t think I’ve ever tried to directly write about that experience but it surely has worked its way into my music because it’s something that lives in me.

What was the first moment that you knew you wanted to be a musician?

Since I can remember I’ve wanted to be a musician. Some of my earliest memories are ones of making noise and gaining an awareness of how to play with sound. I remember making rhythms and resonant sounds on kitchenware probably before I could really talk. It’s always been fascinating and endless to me. At some point in my childhood I started daydreaming of music and sounds and tones and could hear it all in my head. I think that was the moment I started to become a songwriter.

What rituals do you have, either in the studio or before a show?

When I’m in the studio I have a pretty tight routine and ritual practice. I’m usually up around sunrise, do yoga right away, meditate, then go for a run. I like to spend some time alone in the studio, even if it’s just like 5 or 10 minutes to sit in the space while it’s silent. While in the studio I’m usually working 15 hour days deeply immersed in production, performance and emotion. Really it’s those intentional moments that make it possible for me to stay present and make decisions during the making of an album.

Which elements of nature do you spend the most time with and how do those impact your work?

Currently I live in a cabin pretty deep into the Blue Ridge Mountains. I’m more immersed in nature than I’ve ever been. It’s stunning and dynamic with big sunsets, old growth trees and wild storms, bears and coyote packs, but the more time I spend out here, the more apparent the subtle changes in environment become. It’s always in transition and conversation. I feel like my music and writing is entirely affected by the environment I’m in and trying to understand my experience within it. Sometimes that comes out in story, imagery or just a sound. Without a doubt there’s a magic and spirit out here I’m reaching out to.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Ohhh, I would love to eat an artichoke with Alabaster DePlume. Artichokes are such a transformative food; it’s primal but as you get closer to the heart it’s like opening a lotus flower and becomes surprising and complex. There’s so much room for conversation with an artichoke, so who knows what would come up. I’ve been playing the album To Cy & Lee a bunch through the quarantine times, just a truly beautiful record.

Photo credit: Hunter Savoy Jaffe

Traveler: Your Guide to Western North Carolina

Western North Carolina is a vast landscape of blue mountains, peppered with small and charismatic towns. From Boone to Wilkesboro to Asheville, most of western North Carolina is a blue bubble in a red state. The Blue Ridge Mountain communities defy Appalachian stereotypes in some towns and feed them in others. Doc Watson started MerleFest — a holy ground for traditional bluegrass — on the campus of Wilkesboro Community College 31 years ago. Wilkesboro is a small town which intermingles with Boone, so we’re covering Boone, too. (This guide is not comprehensive of all of western North Carolina, but is intended to help those making the pilgrimage to the east coast for the grandfather of bluegrass festivals.)

Getting There

Getting to the Boone/Wilkesboro area is a beautiful trek, especially in the spring. If you’re flying, Charlotte Douglas International Airport (CLT) is closest at one-and-a-half hours. Asheville’s regional airport (AVL) is two hours away and Raleigh’s airport (RDU) is two-and-a-half hours. Any drive you take will be scenic.

Where to Stay

Troutsong

There are a few hotels in Wilkesboro which get booked pretty quickly, so your best bet is to camp, bring your RV, or book accommodations in Boone. Wilkesboro is nearly bone dry for places to stay during MerleFest. Boone is a 40-minute drive from Wilkesboro (beware of cops along the way, as this area is notorious for doling out tickets). Airbnb and VRBO have options in both areas, plus Asheville is two hours away.

What to Do

Beacon Heights. Photo credit: Randy Johnson

Bluegrass abounds in the Appalachian high country. In fact, legend has it that Old Crow Medicine Show got discovered by Doc Watson while they were busking on King Street in downtown Boone. From festivals like MerleFest to buskers to impromptu jam sessions at local bars, bluegrass is abundant. Boone Saloon hosts everything from string to jazz to punk shows in the heart of downtown. Legends (an on-campus venue at Appalachian State in Boone) hosts musicians from Mipso to Dr. Dog and beyond, and musical greats like the Punch Brothers are known to have visited the Schaefer Performing Arts Center in Boone.

Besides it’s rich musical history, Boone and Wilkesboro’s vast, rolling landscapes make them a playground. The Blue Ridge Parkway intersects the highway between the two mountain towns, and getting lost on the parkway is encouraged. Along the BRP, we suggest hiking Rough Ridge, Beacon Heights, and the loop trail around Julian Price Lake — a beautiful mountain lake.

In Wilkes County, Stone Mountain State Park features a giant granite dome, trout fishing, and advanced level rock climbing. Some of the best mountain biking in the Southeast can be found along the shores of the W. Kerr Scott Reservoir, outside of Wilkesboro. This lake is home to more than 35 miles of single track trails.

Eat & Drink

Our Daily Bread

Rich with veggie options, Boone’s food scene leans toward healthy and fresh. Stroll down King Street and you’ll hit the best sandwich shop in town, Our Daily Bread. Try their chipotle turkey press washed down by one of their many local brews.

Hidden behind King Street in a back parking lot is Espresso News, simply known as “e-news” to locals. You can’t go wrong with their organic drip coffee or a dirty chai latte, and it’s a quirky, quiet hang. The star of the show in Boone’s food scene, according to us, is Wild Craft Eatery (formerly Hob Knob Café). Their flavorful Buddha-style bowls, unexpected flavor combinations and plantains with mango sauce are crave-worthy, and made us go back twice the first trip we visited.

Appalachian Mountain Brewery. Photo credit: Watauga TDA

Coyote Kitchen is in the same creative vein as Wild Craft, specializing in southwestern bowls featuring ingredients like sweet potatoes, black beans, sautéed tempeh, plantains, and chipotle sauce. To find local hops, head to Appalachian Mountain Brewery, Boone’s first brewery, and a locally loved spot for beer, music and trivia.

MerleFest Tips

Americana Stage. Photo credit: MerleFest

MerleFest, nestled at the base of the Blue Ridge Mountains, is one of the grandfathers of bluegrass festivals. This isn’t your hip, old weed-smoking alternative grandfather. (We’re looking at you, Telluride.) It’s your traditional, ball cap-wearing, newspaper-reading, fisherman grandfather who likes the music audible, but not blaring loud.

MerleFest is a microcosm of the bluegrass community, getting back to the roots and getting rid of distractions from the banjo pickin’. It’s a straight-edge festival with all of the raw, seasoned, and unseasoned bluegrass talent of your dreams. Not only is the music center stage, but classic Appalachian traditions like clogging and songwriting are also featured at the fest.

Midnight Jam. Photo credit: MerleFest

Parking is free and shuttles are provided to the front gates of the festival. April is a tricky month in the mountains, so bring layers and rain gear. MerleFest starts early and ends late, so pace yourself. One of the highlights of the festival is the MerleFest Midnight Jam on Saturday night, which the BGS just so happens to host. Stay tuned for artists we’ll be hosting for this late-night jam you don’t want to miss.

Lede photo credit: DJANDYW.COM on Foter.com / CC BY-SA