You Gotta Hear This: New Music From Ashleigh Flynn, Carter & Cleveland, and More

Happy Friday! We’ve got another excellent premiere round-up for you to finish out your week with a roots music high note.

Check out brand new tracks like “Heartless” from singer-songwriter Dustin Brown. It’s a song about finding redemption in self-doubt in an alt-country meets Americana package. Plus, North Carolina bluegrass outfit Unspoken Tradition pay tribute to Acoustic Syndicate and Steve McMurry with their new cover of “Katie and Burl.”

Just in time for Valentine’s Day next week, Nick Taylor debuts his video for “Lover’s Dream,” a lovely number built around tender fingerpicking that came to Taylor in the middle of the pitch-dark night. We’ve also got a honky-tonkin’ music video from Portland, Oregon’s Ashleigh Flynn & the Riveters. Their new track, “Drunk in Ojai,” retells a story of too much tequila and an unlikely guardian angel named Dutch.

You won’t want to miss “With a Vamp In the Middle,” a brand new single from Jason Carter & Michael Cleveland from their just announced debut duo album (due in March) that premiered on BGS earlier this week.

It’s all right here on BGS. Scroll now to find all these songs and more, because You Gotta Hear This!

Dustin Brown, “Heartless”

Artist: Dustin Brown
Hometown: Moody, Texas
Song: “Heartless”
Album: Dustin Brown
Release Date: March 28, 2025 (album)

In Their Words: “Everyone comes into this life clean, unmarked, and full of love. Unfortunately, on the other end, some come out dirty, marred, and heartless. This song comes from a place of resolve, in accepting that at times you must be a little crazy especially when dealing with folks that suffer from a heartless nature. I suppose it’s a redemption song about self-doubt and how powerful of a driving force that can be in life and love.” – Dustin Brown

Track Credits:
Dustin Brown – Lead vocal, songwriting, guitar
Rachel Cole – Backing vocals
Joel Allan – Lead guitar
Christopher Smith – Drums
James Bartosh – Bass


Carter & Cleveland, “With a Vamp In the Middle” (Live at the Grand Ole Opry)

Artist: Jason Carter & Michael Cleveland
Hometown: Nashville, Tennessee and Charlestown, Indiana
Song: “With A Vamp In The Middle”
Album: Carter & Cleveland
Release Date: February 5, 2025 (single); March 14, 2025 (album)
Label: Fiddle Man Records

In Their Words: “This song has always felt like a national anthem for fiddle players and it’s our tribute to the legendary John Hartford and Vassar Clements. It’s long been a favorite for Michael and me to jam on – perfect for twin fiddles and a blast to improvise and trade licks on. Having Darrell Scott’s harmony vocals on [the studio version of] this track was an absolute honor, and his contribution took it to another level. I hope y’all enjoy it!” – Jason Carter

More here.


Ashleigh Flynn & the Riveters, “Drunk in Ojai”

Artist: Ashleigh Flynn & The Riveters
Hometown: Portland, Oregon
Song: “Drunk in Ojai”
Album: Good Morning Sunshine
Release Date: April 4, 2025 (album)
Label: Blackbird Record Label

In Their Words: “This song wrote itself – it’s a true story! Nearly a decade ago, I crashed Nancy’s (record producer) wedding with our mutual friend who had introduced me to her. I had played a solo gig the night before at the Deer Lodge in Ojai. After the show, the owner at the time was losing his mind (in a good way) because the entire cast of Mad Men had just shown up for dinner – likely to celebrate the show wrap. He came up to my friend and me, and invited us to the bar, as we all marveled at ‘Don Draper and Co.’ filing into the back banquet room.

“The owner proceeded to offer us a taste of nearly every tequila at the bar after which he pointed us toward the late-night hang, ‘The Cantina,’ where, for better or worse, we continued to imbibe tequila. As the night wound down, we opted not to drive ourselves back to the hotel, because we were clearly too tipsy. We asked the Cantina bartender for taxi suggestions and she handed us a card that simply said ‘Dutch’ and included a number… We called the number, and minutes later an off-white Bronco with ‘Ojai Fire and Rescue’ painted in red across the doors pulled up. ‘You gals called for a ride?’

“When I got to the wedding the next day, a friend there asked, ‘So what did you do last night?’ I said, ‘I got drunk in Ojai. I didn’t know where I was. Caught a ride from the fire and rescue; the driver’s name was Dutch.’ That friend literally sang that line back to me and that was that – took five minutes to finish it as soon as I got my hands on a guitar. The band adds, ‘We are grateful to Dutch for getting us home safely.'” – Ashleigh Flynn

Track Credits:
Ashleigh Flynn – Lead vocal, acoustic guitar
Nancy Luca – Electric guitar
Carmen Paradise – Bass
Leila Chieko – Drums
Kat Fountain – Harmonica
Kathryn Claire – Harmony vocals, violin
Jenny Conlee – Piano, organ

Video Credits: Art direction, animation by Lupo Studio.
Videography, editing by Polly Lisicak, Cai Indermaur.
Special thanks to the staff of Laurelthirst Pub and Music Portland/EchoFund.


Nick Taylor, “Lover’s Dream”

Artist: Nick Taylor
Hometown: Austin, Texas
Song: “Lover’s Dream”
Release Date: February 14, 2025

In Their Words: “I wrote ‘Lover’s Dream’ in the early days of a relationship. I was living in a first-floor apartment that was basically a cave and came home one night with a song in my head. I sat down in the dark and played the song all the way through without stopping. When I woke up in the morning I realized I hadn’t written any of it down, so I got to work trying to reconstruct what I could remember. I still have no idea what how similar this version is to what I played that night, but I have been waiting a long time to release it out into the world as a single.

“We recorded this one in Nashville, just me and my guitar in the studio with Bryce, the recording engineer. We set up in the middle of the biggest room and it felt just like the first time I played it, quiet and still. The song is mostly stream of consciousness, reflecting on my own faults while declaring a true and lasting love – which is any lover’s dream I think, to be accepted and loved with all their imperfections.” – Nick Taylor 

Video Credits: Produced by Charlotte Avenue Entertainment.
Shot by Dominick Sotis and Hayden Westberry.
Color Grading by Color Sync Visuals.


Unspoken Tradition, “Katie and Burl”

Artist: Unspoken Tradition
Hometown: Cherryville, North Carolina
Song: “Katie and Burl”
Release Date: February 7, 2025
Label: Mountain Home Music Company

In Their Words: “When I was a kid, probably 11 or 12 years old, there was a local music venue called Leatherwoods in Shelby, North Carolina. It was in the back of this old comic book store and there was a door in the back that opened into a listening room. Acoustic Syndicate used to play there all the time. My dad knew the McMurry boys and fished with Steve some when I was a kid, so we went to Leatherwoods every time they played there. Steve wrote ‘Katie and Burl’ for their first album and this was about the time I got my first guitar. I learned several songs on that album and ‘Katie and Burl’ was one of them. I was so honored that Steve was willing to come sing a verse on our version of his own song!

“I’ve always been drawn to songs that have a sweet but sorrowful sense of loss. It’s a song about two young people against the world, experiencing joy and sadness along the way. Symbolically, Burl the farmer returns ‘to the earth where he came from’ and today he wouldn’t understand the farm he once owned as it’s been repurposed for modern men. In fact, when I wrote ‘Land‘ back in 2016, the themes of ‘Katie and Burl’ served as inspiration: that our existence here is both meaningful and insignificant in the grand scheme of things.” – Audie McGinnis

Track Credits:
Audie McGinnis – Acoustic, lead vocals;
Steve McMurry – Guest vocals
Sav Sankaran – Bass, vocals
Tim Gardner – Fiddle
Zane McGinnis – Banjo
Ty Gilpin – Mandolin


Photo Credit: Ashleigh Flynn by Christine Lupo; Jason Carter & Michael Cleveland by Sam Wiseman.

ANNOUNCING: The Full Lineup for Bourbon & Beyond 2025 is Here

Today, Bourbon & Beyond, the world’s largest music and bourbon festival, announced its lineup for their 2025 event, occurring September 11 through 14, 2025 in Louisville, Kentucky once again held at the Kentucky Expo Center. Last year, the festival attracted more than 200,000 attendees over its four days, setting a record as the largest music festival in the state’s history with its singular and wildly attractive roots-meets-mainstream lineup.

This year, main stage headliners include The Lumineers, Alabama Shakes, Phish, Sturgill Simpson (as Johnny Blue Skies), Jack White, Noah Kahan, Megan Moroney, and more. Plus, BGS returns to Bourbon & Beyond for our seventh consecutive year, programming The Bluegrass Situation stage in the Kroger Big Bourbon Bar. Attendees can enjoy delicious Kentucky Straight Bourbon Whiskey from dozens of distilleries while hearing the best bluegrass, country, and Americana from across the country. Don’t miss line dancing between sets while you enjoy the sounds of BGS – from new discoveries to living legends – and one of the shadiest spots on the festival grounds.

Our headliners gracing the BGS stage will be some of our biggest gets yet for the event, including AJ Lee & Blue Summit, Rhonda Vincent, Steep Canyon Rangers, and Leftover Salmon. Plus, you can catch Jason Carter & Michael Cleveland – who just announced their upcoming debut duo album – young mandolin phenom Wyatt Ellis, the impressively big-voiced Jett Holden, GRAMMY nominee Bronwyn Keith-Hynes, and many more. (Find our full BGS stage lineup below.)

While there’s always plenty of bluegrass and old-time, folk and Americana to be found on our own stage, B&B boasts an incredibly diverse array of artists, bands, and musicians each year across all of its stages. Elsewhere during the event we’ll be running around, too catching sets by Bonny Light Horseman, Kelsey Waldon, Flatland Cavalry, Jade Bird, Julien Baker & TORRES, Mary Chapin Carpenter, Lake Street Dive, Trampled by Turtles, and so many more.

“Bourbon & Beyond is the best lineup of the year – bringing together the biggest names in rock, Americana, and alt, alongside country icons and breakout artists,” says Danny Wimmer of Danny Wimmer Productions, who produces the event. “It’s a festival that doesn’t just celebrate one sound, but the best of all of them, paired with world-class bourbon, incredible food, and that unmistakable Kentucky vibe.”

We couldn’t agree more. Bourbon & Beyond remains one of the highest quality events we’ve ever partnered with, bringing together world class food and beverage, unique experiences and activities, so many genres and sounds, and the buzziest talents alongside sparkling fresh discoveries and legacy acts with household names. All set in the heart of roots music country in beautiful Kentucky.

Tickets for Bourbon & Beyond are on sale now. We hope you’ll join us for yet another year in Louisville – you won’t want to miss our BGS stage lineup or any of the limitless fun B&B has on offer.

BGS Stage Lineup:

AJ Lee & Blue Summit
Rhonda Vincent
Steep Canyon Rangers
Leftover Salmon
Caleb Caudle & the Sweet Critters
Jason Carter & Michael Cleveland
Chatham Rabbits
Wyatt Ellis
Fruition
Jett Holden
Bronwyn Keith-Hynes
Danny Paisley & Southern Grass
Steep Canyon Rangers
Thunder & Rain
TopHouse
Wonder Women of Country


Graphics courtesy of DWP.

Rhiannon Giddens & Justin Robinson Announce Duo Album with “Hook and Line” Video

Two of the world’s preeminent experts on folk, old-time, and string band traditions (and on Black folks’ seminal contributions to these art forms), Rhiannon Giddens and Justin Robinson have announced they are reuniting on a brand new album, What Did the Blackbird Say to the Crow (set for release April 18 on Nonesuch Records). The project will feature 18 traditional North Carolina fiddle and banjo tunes tracked live and in remarkably simple settings, captured entirely outdoors and accompanied only by the wind, the rustle of the foliage, and the singing of nearby birds.

With the announcement, the pair have released a live performance video of “Hook and Line” (watch above) that was recorded at the home of Joe Thompson, their late mentor and a vital roots music forebear in the Black string band tradition’s modern iteration. What Did the Blackbird Say to the Crow was tracked in meaningful locations such as this, tying this body of music directly back to the land, the locales, and the people that birthed it.

Giddens, a MacArthur “Genius” and two-time GRAMMY Award winner and 11-time nominee, and Robinson, a fellow GRAMMY winner, thought leader, botanist, and ethnomusicologist, were both founding members of the incredibly important supergroup the Carolina Chocolate Drops. The string band would end up defining the early 2000s era of old-time music, making a huge mark in Americana circles and spawning multiple generations of Black roots-and-folk musicians after them.

What Did the Blackbird Say to the Crow, even from just this first glimpse, promises to be a natural extension of the many ways Giddens & Robinson continue to expand our roots music discourses, broaden our understandings of the people and places that birthed these sounds, and will do so in a format that’s charming, passionate, warm, and ultimately endlessly danceable.

Catch Giddens & Robinson on tour with Dirk Powell and more beginning in April 2025 and continuing through the summer. And, don’t miss Giddens’ inaugural Biscuits & Banjos festival to be held in Durham, North Carolina, at the end of April.


Photo Credit: Courtesy of the artists.

WATCH: Carter & Cleveland, “With A Vamp In The Middle”

(Editor’s Note: Today, award winning fiddlers Jason Carter and Michael Cleveland announce their upcoming debut duo album, Carter & Cleveland, out March 14. To celebrate the announcement and the project’s lead single, we’re premiering a special live performance of the track, “With A Vamp In The Middle,” from the fabled stage of the Grand Ole Opry.)

Artist: Jason Carter & Michael Cleveland
Hometown: Nashville, Tennessee and Charlestown, Indiana
Song: “With A Vamp In The Middle”
Album: Carter & Cleveland
Release Date: February 5, 2025 (single); March 14, 2025 (album)
Label: Fiddle Man Records

In Their Words: “This song has always felt like a national anthem for fiddle players and it’s our tribute to the legendary John Hartford and Vassar Clements. It’s long been a favorite for Michael and me to jam on – perfect for twin fiddles and a blast to improvise and trade licks on. Having Darrell Scott’s harmony vocals on [the studio version of] this track was an absolute honor, and his contribution took it to another level. I hope y’all enjoy it!” – Jason Carter

Credits:
Jason Carter – Fiddle, vocals
Michael Cleveland – Fiddle
Alan Bartram – Bass, harmony vocals
Cory Walker – Banjo
Bryan Sutton – Guitar
Harry Clark – Mandolin


Photo Credit: Sam Wiseman

Sierra Ferrell, Beyoncé, Many More Roots Musicians Win at 67th GRAMMY Awards

Yesterday, the 67th Annual GRAMMY Awards show was held in Los Angeles, handing out dozens of awards across the primetime broadcast and premiere ceremony while highlighting the city’s ongoing response to last month’s extreme wildfires, which displaced hundreds of musicians, artists, industry professionals, and creatives. The marquee event was kicked off by Dawes – whose sibling frontmen, Taylor and Griffin Goldsmith, had homes, their studio, and countless instruments and equipment destroyed in the blazes. They performed a moving rendition of “I Love L.A.” with a host of special guests.

Throughout the show, audience members were encouraged to support MusiCares Fire Relief, a collaborative fundraiser launched by the Recording Academy and MusiCares in partnership with Direct Relief, the California Community Foundation, and the Pasadena Community Foundation to help expand wildfire relief efforts across the broader Los Angeles community. Despite the somber shadow cast by the disaster over LA and its creative community, the show was convivial, joyous, and restorative – and included more than a few show-stopping and jaw-dropping moments.

As usual, the crème de la crème of roots musicians could be found across both the pre-telecast and primetime awards, scooping up golden gramophones in seemingly endless varieties of categories. The evening’s big winners in the Country & American Roots Music categories included superstar Beyoncé, who finally picked up her first Album of the Year win, as well as becoming the first Black woman to ever win Best Country Album. She also won the trophy for Best Country Duo Performance with Miley Cyrus for “II Most Wanted,” bringing her GRAMMY Awards totals to 99 nominations and 35 wins – the most wins of any recipient in the history of the awards.

Sierra Ferrell, a West Virginia native and firebrand bluegrass and country starlet quickly on the rise these past handful of years, was indisputably the day’s other big winner, scoring in each of the four categories in which she was nominated. She quickly followed her very first GRAMMY win with three more, landing awards for Best Americana Album, Best American Roots Performance, Best Americana Performance, and Best American Roots Song – an honor she shares with her co-writer, musician, songwriter, and vocalist Melody Walker (Front Country, BERTHA: Grateful Drag).

The award for Best Bluegrass Album was yet again snatched by the world’s premier flatpicker, Billy Strings, for Live Vol. 1, logging his second win at the GRAMMYs after seven nominations over the last five years.

Pop phenom Chappell Roan won Best New Artist, Kacey Musgraves took home Best Country Song for “The Architect,” Chris Stapleton racked up his 11th GRAMMY win for Best Country Solo Performance, and Woodland, the latest album by Gillian Welch & David Rawlings, was recognized as Best Folk Album. Chick Corea won a posthumous award – Best Jazz Instrumental Album – for Remembrance, a duo project helmed by banjoist Béla Fleck that was released in honor of his hero, friend, and collaborator.

The GRAMMYs yet again demonstrate that the impact of bluegrass, folk, Americana, and country on the mainstream music industry cannot be overstated. Congratulations to all of the winners and nominees for the 67th GRAMMY Awards!

Give now to support MusiCares Fire Relief here and find out many more ways to support LA as it recovers from the devastating wildfires here. Find the full list of Country & American Roots Music winners below, including several additional related categories boasting roots music nominees and winners.

(Winners denoted in BOLD)

Best Country Solo Performance

“16 CARRIAGES” – Beyoncé
“I Am Not Okay” – Jelly Roll
“The Architect” – Kacey Musgraves
“A Bar Song (Tipsy)” – Shaboozey
“It Takes A Woman” – Chris Stapleton

Best Country Duo/Group Performance

“Cowboys Cry Too” – Kelsea Ballerini with Noah Kahan
“II MOST WANTED” – Beyoncé featuring Miley Cyrus
“Break Mine” – Brothers Osborne
“Bigger Houses” – Dan + Shay
“I Had Some Help” – Post Malone featuring Morgan Wallen

Best Country Song

“The Architect” – Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“I Am Not Okay” – Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help” – Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
“TEXAS HOLD ‘EM”– Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best Country Album

COWBOY CARTER – Beyoncé
F-1 Trillion – Post Malone
Deeper Well – Kacey Musgraves
Higher – Chris Stapleton
Whirlwind – Lainey Wilson

Best American Roots Performance

“Blame It On Eve” – Shemekia Copeland
“Nothing In Rambling” – The Fabulous Thunderbirds featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal, & Mick Fleetwood
“Lighthouse” – Sierra Ferrell
“The Ballad Of Sally Anne” – Rhiannon Giddens

Best Americana Performance

“YA YA” – Beyoncé
“Subtitles” – Madison Cunningham
“Don’t Do Me Good” – Madi Diaz featuring Kacey Musgraves
“American Dreaming” – Sierra Ferrell
“Runaway Train” – Sarah Jarosz
“Empty Trainload Of Sky” – Gillian Welch & David Rawlings

Best American Roots Song

“Ahead Of The Game” – Mark Knopfler, songwriter (Mark Knopfler)
“All In Good Time” – Sam Beam, songwriter (Iron & Wine featuring Fiona Apple)
“All My Friends” – Aoife O’Donovan, songwriter (Aoife O’Donovan)
“American Dreaming” – Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
“Blame It On Eve” – John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

Best Americana Album

The Other Side – T Bone Burnett
$10 Cowboy – Charley Crockett
Trail Of Flowers – Sierra Ferrell
Polaroid Lovers – Sarah Jarosz
No One Gets Out Alive – Maggie Rose
Tigers Blood – Waxahatchee

Best Bluegrass Album

I Built A World – Bronwyn Keith-Hynes
Songs Of Love And Life – The Del McCoury Band
No Fear – Sister Sadie
Live Vol. 1 – Billy Strings
Earl Jam – Tony Trischka
Dan Tyminski: Live From The Ryman – Dan Tyminski

Best Traditional Blues Album

Hill Country Love – Cedric Burnside
Struck Down – The Fabulous Thunderbirds
One Guitar Woman – Sue Foley
Sam’s Place – Little Feat
Swingin’ Live At The Church In Tulsa – The Taj Mahal Sextet

Best Contemporary Blues Album

Blues Deluxe Vol. 2 – Joe Bonamassa
Blame It On Eve – Shemekia Copeland
Friendlytown – Steve Cropper & The Midnight Hour
Mileage – Ruthie Foster
The Fury – Antonio Vergara

Best Folk Album

American Patchwork Quartet – American Patchwork Quartet
Weird Faith – Madi Diaz
Bright Future – Adrianne Lenker
All My Friends – Aoife O’Donovan
Woodland – Gillian Welch & David Rawlings

Best Regional Roots Music Album

25 Back To My Roots – Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival – Big Chief Monk Boudreaux & The Golden Eagles featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival – New Breed Brass Band featuring Trombone Shorty
Kuini – Kalani Pe’a
Stories From The Battlefield – The Rumble Featuring Chief Joseph Boudreaux Jr.

Best Roots Gospel Album

The Gospel Sessions, Vol 2 – Authentic Unlimited
The Gospel According To Mark – Mark D. Conklin
Rhapsody – The Harlem Gospel Travelers
Church – Cory Henry
Loving You – The Nelons

Best Jazz Performance

“Walk With Me, Lord (SOUND | SPIRIT)” – The Baylor Project
“Phoenix Reimagined (Live)” – Lakecia Benjamin featuring Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno” – Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me” – Samara Joy featuring Sullivan Fortner
“Little Fears” – Dan Pugach Big Band featuring Nicole Zuraitis & Troy Roberts

Best Jazz Instrumental Album

Owl Song – Ambrose Akinmusire featuring Bill Frisell & Herlin Riley
Beyond This Place – Kenny Barron featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) – Lakecia Benjamin
Remembrance – Chick Corea & Béla Fleck
Solo Game – Sullivan Fortner

Best Traditional Pop Vocal Album

À Fleur De Peau – Cyrille Aimée
Visions – Norah Jones
Good Together – Lake Street Dive
Impossible Dream – Aaron Lazar
Christmas Wish – Gregory Porter

Best Contemporary Instrumental Album

Plot Armor – Taylor Eigsti
Rhapsody In Blue – Béla Fleck
Orchestras (Live) – Bill Frisell featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark – Mark Guiliana
Speak To Me – Julian Lage

Best Instrumental Composition

“At Last” – Shelton G. Berg, composer (Shelly Berg)
“Communion” – Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted To Make A “Rap” Album But
This Is Literally The Way The Wind Blew Me This Time” – André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance” – Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands” – Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

Best Arrangement, Instrumental or A Cappella

“Baby Elephant Walk” – Encore, Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water” – Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody In Blue(Grass)” – Béla Fleck & Ferde Grofé, arrangers (Béla Fleck featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without The Thorns” – Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying featuring säje & Tonality)
“Silent Night” – Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

Notable General Field Categories:

Record Of The Year

“Now And Then” – The Beatles
“TEXAS HOLD ‘EM” – Beyoncé
“Espresso” – Sabrina Carpenter
“360” – Charli XCX
“BIRDS OF A FEATHER” – Billie Eilish
“Not Like Us” – Kendrick Lamar
“Good Luck, Babe!” – Chappell Roan
“Fortnight” – Taylor Swift featuring Post Malone

Album Of The Year

New Blue Sun – André 3000
COWBOY CARTER – Beyoncé
Short n’ Sweet – Sabrina Carpenter
BRAT – Charli XCX
Djesse Vol. 4 – Jacob Collier
HIT ME HARD AND SOFT – Billie Eilish
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
THE TORTURED POETS DEPARTMENT – Taylor Swift

Song Of The Year

“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“BIRDS OF A FEATHER” – Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)
“Die With A Smile” – Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” – Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” – Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” – Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“TEXAS HOLD ‘EM” – Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best New Artist

Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
RAYE
Chappell Roan
Shaboozey
Teddy Swims


Lead image: Screenshot from GRAMMYs pre-telecast.

You Gotta Hear This: New Music From Lonesome River Band, Lily Talmers, and More

Where did the first month of 2025 go!? Wherever it went, we’ve got an excellent batch of premieres for your final New Music Friday of January.

Below, check out brand new music and performance videos like Amanda Bjorn’s “Until We Become Earth,” a song about searching for yourself set to a gorgeously warm and retro video shot on film. Pitney Meyer (a duo of longtime country and bluegrass pals, John Meyer and Mo Pitney) bring a live performance of their new single, “Bear Creek Clay,” as well.

Bluegrass mainstays Lonesome River Band bring back a Jimmy Yeary song that Sammy Shelor turned into a classic, “I’m On To You,” with the full LRB on this new rendition. Plus, Dave Murphy calls on Mark Erelli for his new number, “Planet of Pain II,”  a sequel to the original “Planet of Pain” from his 1998 album, Under the Lights.

Elsewhere, don’t miss Joshua Finsel’s “Before the Snow,” about through hiking the Appalachian Trail and cresting Mount Katahdin in Maine before wintertime hits. And, Lily Talmers celebrates release day for her new album, It’s Cyclical, Missing You, by bringing us that project’s lush and deep folky title track.

It’s all right here on BGS – we’ve said it before, we’ll say it again: You Gotta Hear This!

Amanda Bjorn, “Until We Become Earth”

Artist: Amanda Bjorn
Hometown: Los Angeles, California and Spain
Song: “Until We Become Earth”
Album: That Kind of Woman
Release Date: January 24, 2025 (single)

In Their Words: “‘Until We Become Earth’ is the first single off my upcoming debut album, That Kind of Woman, which is set to release in April 2025. A blend of blues and folk with a bit of Americana, the new album reads like a diary touching on major changes in my life – balancing motherhood with artistry, finding and losing myself within relationships, postpartum mental health, and the transformation that happens from living abroad and returning home.

“The song was written in a School of Song workshop with one of my favorite songwriters, Adrianne Lenker, exactly one year ago. Without ruining it, the song is about that search for self-identity within a relationship, the vulnerability of building your own voice, and the risk it takes to keep expanding.

“With the help of my old friend, producer Aaron Stern, I recorded the album this past summer in Los Angeles at Verdugo Sound. With the help of some very talented musicians, we performed live together in the same room for most of the album, our aim was to capture the magic of improvisation and the authentic energy that arises from truly listening and connecting, free from a click track.” – Amanda Bjorn

Track Credits:
Phillip Krohnengold – Guitar, keys
Michael Villiers – Drums
Aaron Stern – Bass
Amanda Bjorn – Vocals
Adam Ayan – Mastering
Aaron Stern – Producer

Video Credits: Filmed by Giacomo Gex; color by Ruben Sogomonian; film processed by Kafard Films, Paris, France.
Starring Amanda Bjorn and Brando Wild.


Joshua Finsel, “Before the Snow”

Artist: Joshua Finsel
Hometown: Jim Thorpe, Pennsylvania
Song: “Before the Snow”
Album: No Honey
Release Date: February 6, 2024

In Their Words: “‘Before The Snow’ is a song about an Appalachian Trail through-hiker whose river meditation is interrupted by a daydream. Mount Katahdin in Baxter State Park in Maine is the northern end of the trail, and a hiker must get there ‘before the snow’ in order to be allowed to finish the journey.

“The lyrics are autobiographical. I teamed up with the famed string trio Bizarre Star Strings (Brandi Carlile, Madison Cunningham, The Shins) for the lush, theatrical river-like passages. Award winning fiddle player Katelynn Casper and mandolinist Quentin Fisher of Serene Green added to the arrangements. Finally, David Bowie producer and bass player Mark Plati mixed the record and played fretless bass.” – Joshua Finsel


Lonesome River Band, “I’m On To You”

Artist: Lonesome River Band
Hometown: Floyd, Virginia
Song: “I’m On To You”
Release Date: January 31, 2025
Label: Mountain Home Music Company

In Their Words: “‘I’m On To You’ is a song written by my friend Jimmy Yeary, who has become one of the most in-demand writers in Nashville. I recorded this song back in 1997 and it was the first song Jimmy had featured on an album. The album is long out of print, but this song kept making its way into sound checks and the show every now and then. It has that ’80s country vibe that we felt would lend itself to the sound we are doing for this upcoming album. We hope you like this version!” – Sammy Shelor

Track Credits:
Sammy Shelor – Banjo, vocal
Jesse Smathers – Acoustic guitar, lead vocals
Mike Hartgrove – Fiddle
Adam Miller – Mandolin, vocals
Kameron Keller – Upright bass


Dave Murphy, “Planet of Pain II” (Featuring Mark Erelli)

Artist: Dave Murphy
Hometown: Madison, New Jersey
Song: “Planet of Pain II” featuring Mark Erelli
Album: A Heart So Rare
Release Date: January 31, 2025

In Their Words: “The song is a rumination on the fragility of life, disappointment, lessons learned, and carrying on. This theme is illustrated in my lyrics, ‘Ashes to ashes, dust to dust/ Sometimes it feels like it’s all just too much/ When something is lost (they say) something is gained/ Still finding my way on this planet of pain.’ The original ‘Planet of Pain‘ appeared on my first album, Under the Lights. It was just one voice, one acoustic, and a lap steel. Part II borrows some lyrics, but elevates the song to a different level with the support of Chris Tarrow’s mysterious pedal steel playing, Shawn Pelton’s percussion, and Mark Erelli’s haunting vocals.” – Dave Murphy

Track Credits:
Dave Murphy – Vocals, acoustic guitar
Shawn Pelton – Drums
Chris Tarrow – Electric guitar, pedal steel
Richard Hammond – Bass
Mark Erelli – Backing vocals


Pitney Meyer, “Bear Creek Clay”

Artist: Pitney Meyer
Hometown: Nashville, Tennessee
Song: “Bear Creek Clay”
Album: Cherokee Pioneer
Release Date: January 10, 2025 (single); April 18, 2025 (album)
Label: Curb Records

In Their Words: “‘Bear Creek Clay’ is a song brought to the group by Danielle Yother from North Carolina. It’s a snapshot of a pioneering Daniel Boone-type of character, blazing a trail to a home in the mountains. ‘Bear Creek Clay’ was the title we settled on, which in the moment I figured was something we would come back and edit later, but come to find out, there are creeks and rivers by that name all over Tennessee, Kentucky, and Missouri. Driving through Bon Aqua, Tennessee, I noticed on the map I was nearing a Bear Creek. This was just a few miles from the log cabin where we would be recording. When we cut the song to tape a few days later, I knew we had to drive down to the creek first. The water was brown and rushing fast, swollen from the rains the night before. We made it back to the cabin a bit soaked but ready to step in and sing this song that seemed to be coming to life in the landscape around us.” – John Meyer

Track Credits:
Mo Pitney – Guitar
John Meyer – Banjo
Nate Burie – Mandolin
Blake Pitney – Bass
Jenee Fleenor – Fiddle


Lily Talmers, “It’s Cyclical, Missing You”

Artist: Lily Talmers
Hometown: Birmingham, Michigan and Brooklyn, New York
Song: “It Is Cyclical, Missing You”
Album: It Is Cyclical, Missing You
Release Date: January 30, 2025

In Their Words: “This song is sort of meant to mirror the experience of running up and down a hill, continuously. It was born of witnessing two brothers arguing in a parking lot– the younger, around five years old, was sobbing trying to get his older brother’s attention. The older brother, around age seven, clearly had the awareness that ignoring someone only makes them more desperate for your attention, and wouldn’t look his brother in the eye. The whole record is sort of a big statement of what it means to be in both of these positions, cyclically. I am both the desperate, reaching brother, and the power-hungry, indignant brother who hasn’t learned the responsibility of loving other people.” – Lily Talmers

Track Credits:
Lily Talmers – Vocals, acoustic guitar, music, lyrics
Raffi Boden – Cello
Konstantinos Revelas – Bouzouki
Alec Spiegelman – Clarinet, bass clarinet, flute
David Ward – Drums, percussion


Photo Credit: Lonesome River Band by Sandlin Gaither; Lily Talmers by Bailey Lecat.

Alison Krauss & Union Station Announce ‘Arcadia,’ Their First Album in 14 Years

A few short weeks ago, Alison Krauss & Union Station made roots music waves announcing their first headlining tour since 2015, featuring dozens of dates stretching from April ’til September of this year. Now, the 14-time GRAMMY-winning bluegrass band is announcing their first album in 14 years, Arcadia, set for release on March 28 on Down The Road Records. This marks the return of Krauss & Union Station to collaborating with Rounder Records founders Ken Irwin, Marian Leighton Levy, Bill Nowlin, and John Virant, who recently began Down The Road Records. Decades ago, Irwin first signed the fiddle phenom when she was still a teenager.

With the album’s announcement, the band have released Arcadia‘s first single, “Looks Like the End of the Road,” a song written by Jeremy Lister that hearkens back to the emotive slow burns of classic AKUS albums like 1997’s So Long, So Wrong. (Listen above.) Gritty Dobro, by none other than Jerry Douglas of course, and pining mandolin tremolos are underpinned by sweeping pads and transatlantic textures. It all at once sounds like idiomatic Union Station while clearly signaling their transition from a former era to a newly minted one. “Looks Like the End of the Road” is an apropos beginning for this world-renowned group starting down a new highway.

“Usually, I find something that’s a first song, and then things fall into place,” says Krauss via press release. “That song was ‘Looks Like the End of the Road.’ Jeremy Lister wrote it, and it just felt so alive – and as always, I could hear the guys already playing it.”

“The guys,” at this juncture, include longtime band members Douglas, Ron Block, Barry Bales, and a new addition, Russell Moore, a 6-time winner of the IBMA Male Vocalist of the Year Award and a veteran frontman of bluegrass mainstays IIIrd Tyme Out.

“To say I’m excited about recording and touring with Alison Krauss & Union Station would be a huge understatement,” Moore gushed in the band’s December 2024 tour announcement. “After 40 years of playing music full-time and leading my own group for 34 years, this opportunity is among the few things at the top of the list that my music career has offered me. My hopes and desires are to fill this spot in AKUS with the same professionalism, precision, and thoughtfulness as other members who have held this position before me, and I’m looking forward to the ‘ride!'”

Tickets for the gargantuan Arcadia tour – which will feature special guest Willie Watson – are already on sale. Anticipation for the first studio album in 14 years from one of the most prominent and impactful bluegrass groups in history is remarkably high. Yet again, with Arcadia, Alison Krauss & Union Station are poised to bring their singular blend of bluegrass, Americana, adult contemporary, and stellar song interpretations to millions of fans and listeners around the world.


Want more? Listen to our exclusive Toy Heart interview with Alison Krauss here.

Photo Credit: Randee St. Nicholas

BGS 5+5: Olivia Wolf

(Welcome to another 5+5! Hit play, scroll, and get to know artists, creators, and roots musicians of all sorts with five questions and five songs.)

Artist: Olivia Wolf
Hometown: Leipers Fork, Tennessee
Latest Album: Silver Rounds

Which artist has influenced you the most – and how?

Gillian Welch. She has shown me that lyrics can be both beautiful and dark, honest and true. Her instrumentation is brilliantly simple and to see her play live is to transcend to a different plane.

What’s your favorite memory from being on stage?

We played “The Wild” in Seattle, and I asked if anybody had gone fishing that day. A fella had been out that morning and caught three coho salmon. When the song started he closed his eyes and I knew he was back on the ocean in the breeze and the water. I love to see other people getting to escape through my music.

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

Photography, antiquing and home décor design, cooking, and hosting friends.

What is a genre, album, artist, musician, or song that you adore that would surprise people?

I love Daft Punk. Especially their song “Something About Us.” They influenced a lot of the cosmic aspect of my album and I greatly admire their lyrics and musicality.

If you didn’t work in music, what would you do instead?

There is nothing I could do instead, I am married to the music.


Photo Credit: Alysse Gafkjen

You Gotta Hear This: New Music From Max McNown, Miss Tess, and More

Wherever you are on this wintry week, we hope our collection of roots music premieres warms you all the way up. We expect it will!

In this edition of our premiere roundup, don’t miss a brand new track from stupendous string trio, The Devil Makes Three, who debuted “Ghosts Are Weak” from their upcoming album on Wednesday on BGS. Plus, there’s straight-ahead bluegrass to be found, too, from Tyler Grant, who pays homage to a towering train bridge on “Goat Canyon Trestle.”

Singer-songwriter Bre Kennedy has reimagined “Before I Have a Daughter,” a song co-written with Lori McKenna about breaking generational cycles, healing, and motherhood. (A theme shared with another premiere this week.) And, Tobacco & Rose repurpose a love song infused with a Buddhist twist with their new track, “Tara.”

In the mood for some music videos? Catch Leslie Jordan’s new video for a Sarah McCracken co-write, “The Fight,” that also grapples with parenthood, discipline, and family. And, the sensational Max McNown brings us the video for the title track for his brand new album, Night Diving, which releases today.

Just in time to shepherd out the once-in-a-lifetime blizzards across the Deep South, Miss Tess showcases her music video for “Louisiana,” a centerpiece of her upcoming album, Cher Rêve. Then Sarah Quintana, who calls New Orleans home, brings us down the road to the Big Easy with an artful music video made with Kat Sotelo for the title track of her soon-to-be-released project, BABY DON’T.

It’s all right here on BGS and, you know the drill – You Gotta Hear This!

The Devil Makes Three, “Ghosts Are Weak”

Artist: The Devil Makes Three
Hometown: Santa Cruz, California
Song: “Ghosts Are Weak”
Album: Spirits
Release Date: January 22, 2025 (single); February 28, 2025 (album)
Label: New West Records

In Their Words: “‘Ghosts Are Weak’ is about breaking free from destructive habits and patterns. It reflects on how leaving behind a substance or lifestyle often comes with losing certain friends along the way…” – Pete Bernhard

Read more here.


Tyler Grant, “Goat Canyon Trestle”

Artist: Tyler Grant
Hometown: Boulder, Colorado
Song: “Goat Canyon Trestle”
Album: Flatpicker
Release Date: January 24, 2025 (single); March 28, 2025 (album)
Label: Grant Central Records

In Their Words: “The largest wooden trestle ever built still stands in the Mojave Desert of eastern San Diego County. I wrote this uptempo bluegrass song to tell the story of the trestle and the ‘Impossible Railroad,’ which was conceived by sugar and shipping magnate John D. Spreckels in 1906 and completed in 1919. History songs are tricky and I am very proud of this one. It will tickle the ears of any enthusiast of the classic railroad songs. I furnish some Doc Watson-style flatpicking and Michael Daves delivers on the hot tenor vocal part. The moral of the story is, if you take on the desert, it will always win.” – Tyler Grant

Track Credits:
Tyler Grant – Guitar, lead vocal
Andy Thorn – Banjo
Adrian “Ace” Engfer – Bass
Dylan McCarthy – Mandolin
Andy Reiner – Violin
Michael Daves – Harmony vocal


Leslie Jordan, “The Fight”

Artist: Leslie Jordan
Hometown: Johnson City, Tennessee
Song: “The Fight”
Album: The Agonist
Release Date: April 25, 2025

In Their Words: “‘The Fight’ was written with Sandra McCracken on her back porch in September of 2023. When I read the piece that my grandfather wrote with the same title, I knew I had to save it for my co-write with Sandra. I have long admired Sandra’s ability to tell a story in her songs with honesty and raw vulnerability. I knew she could help me capture the true intention of this piece. It is heartbreaking. Gut-wrenching. A mother’s internal dialogue after she loses control and hits her son. We sat for a while and chatted through what we thought was really happening in the story, how it made us feel, and then I started playing the chord progression you hear. The story my grandfather wrote begins with these two lines:

‘The rebellion was over, and she had sent him to wash-up.
There comes a time when children must be made to realize limitations and authority.’

“Sandra immediately started scribbling in her notebook and turned it around to show me.

‘The rebellion was over
She sent him to wash his hands
She tried to reason with him
But he could not understand
There comes a time when you find the limit’

“I started singing the words along to the chords and it felt like we had caught lightning in a bottle. I was also very excited to have my friend Brittney Spencer lend her incredible vocals on this song! When she heard it, she immediately had an idea that would lift the chorus. She really brought the song to another level.” – Leslie Jordan

Track Credits:
Leslie Jordan – Acoustic guitar, vocals
Brittney Spencer – BGVs
Kenneth Pattengale – Guitar
Harrison Whitford – Resonator guitar
Daniel Rhine – Upright bass
Joachim Cooder – Drums, percussion
Evan Vidar – Pump organ

Video Credit: By Jake Dahm. Edited by Leslie Jordan.


Bre Kennedy, “Before I Have A Daughter” (featuring Lori McKenna)

Artist: Bre Kennedy
Hometown: Nashville, Tennessee
Song: “Before I Have a Daughter” featuring Lori McKenna
Release Date: January 24, 2025
Label: Nettwerk Music Group

In Their Words: “I am so excited to share this version of my song ‘Before I Have a Daughter’ with the one and only Lori McKenna. I wrote this song with Lori a few years back after small talk that led to a conversation about me not knowing my mother, who struggled with addiction as I grew up, and wanting to get to know her and heal with her before I have a daughter. Writing this song was the beginning of a healing journey with not only my mother, but with myself. [It’s] how I have learned to have grace and appreciation for my journey, as well as hers. This song continues to grow with me in real time and I am so honored I get to share this version with Lori with you all from where I am on my journey now.” – Bre Kennedy


Max McNown, “Night Diving”

Artist: Max McNown
Hometown: Bend, Oregon
Song: “Night Diving”
Album: Night Diving
Release Date: January 24, 2025
Label: Fugitive Recordings x The Orchard

In Their Words: “We stepped into the writing room and Erin [McCarley] asked, ‘What’s something in your life that you keep fighting and can’t seem to overcome?’ ‘Night Diving’ became the answer to that question – it’s a song that addresses addiction and I think it’ll resonate with people on a lot of different levels. The ‘Night Diving’ song and video contain the deepest waters of symbolism I’ve created to date.” – Max McNown

Track Credits:
Jedd Hughes – Electric guitar
Todd Lombardo – Acoustic guitar, mandolin, additional electric guitar
Jamie Kenney – Bass, acoustic guitars, additional electric guitars, drum programming
Aaron Sterling –Drums
Max McNown – Lead vocals, background vocals


Miss Tess, “Louisiana”

Artist: Miss Tess
Hometown: Nashville, Tennessee
Song: “Louisiana”
Album: Cher Rêve
Release Date: January 24, 2025 (single); February 7, 2025 (album)

In Their Words: “‘Louisiana’ was the first song inspiration for my new album Cher Rêve, coming out February 7. It was deep in the pandemic and I had reached a point where I was really missing traveling, friends, live music, and dancing. I became fixated on my memories of basking in the Cajun culture of South Louisiana (Lafayette & Eunice, mainly during the Blackpot Festival and music camp), and started to write a song about it.

“My excellent co-writer friend and fellow Blackpot visitor, Maya de Vitry, helped me work on it for about six hours one day while she was house-sitting. Since it was a challenging time to hang out with people in person, we finished it over the next month via email. It is one of my favorite songs on the album and really sums up my feelings and nostalgia for being down there, playing and enjoying music beneath the tall Louisiana pines. I am thankful this recording includes the talents of so many amazing Lafayette-area musicians, including Joel Savoy (fiddle + studio engineer), Trey Boudreaux (bass), and our dear friend Chris Stafford (Wurlitzer), who passed away tragically this past May.” – Miss Tess

Track Credits:
Thomas Bryan Eaton – Electric guitar, vocals
Joel Savoy – Fiddle
Miss Tess – Vocals, guitar
Kelli Jones – Vocals
Chris Stafford – Wurlitzer
Trey Boudreaux – Bass
Matt Meyer – Drums


Sarah Quintana“baby, don’t”

Artist: Sarah Quintana
Hometown: New Orleans, Louisiana
Song: “baby, don’t”
Album: BABY DON’T
Release Date: January 24, 2025 (single); March 28, 2025 (album)

In Their Words: “Kat Sotelo is the amazing performance artist and videographer behind this video. She designed and executed the concept, built the set, and asked the band to wear blue jeans. We wanted the first single to feel like something off The Ed Sullivan Show in the ’60s with a live performance lip-sync and vintage transitions. Silly moments of stop-motion animation flaunt Adrienne Battistella’s stunning band photos.

“I love Kat Sotelo’s work. She is a longtime friend and collaborator and my muse. She is a lovely human, creative powerhouse and inspiration to us all! She and I have been working together since my first project, Mama Mississippi, in 2012. Thanks for this adorable video, Kat!” – Sarah Quintana

Track Credits:
Cello: Chris Beroes-Haigis – Cello
Drums: Rose Cangelosi – Drums
Saxophone: Rex Gregory – Saxophone
Sousaphone: Jason Jurzak – Sousaphone
Recorded by Justin Tockett at Dockside Studios

Video Credit: Video and set design by Kat Sotelo, photography by Adrienne Battistella.


Tobacco & Rose, “Tara”

Artist: Tobacco & Rose
Hometown: Victoria, British Columbia, Canada
Song: “Tara”
Release Date: January 31, 2025 (single)

In Their Words: “‘Tara’ is a repurposed love song. The initial melody and lyrics were inspired by a crush that subsided as quickly as it appeared, but I was inspired to revive the song after following along to some guided Tara meditations. The Buddhist deity, Tara, is known for her compassion, but also for her encouragement to action. So I dedicate it to her, and, in fact, the writing of this song spurred into action the completion of my record, as it was the last song I wrote for it, and a standout track at that. I love this song, in part for the unusual wide guitar voicings that I got from my viola studies as a teenager, and for the melody that soars into head voice at the end of the chorus. And lyrically, I treat this song as a Buddhist-themed reminder for myself to stay awake and aware, and to treat all challenges, afflictions, and aversions as opportunities to get better at human being.” – Richard Moody

Track Credits:
Richard Moody – Guitar, vocals, strings, keyboards
Joey Smith – Bass


Photo Credit: Max McNown by Nate Griffin; Miss Tess by Jo Vidrine.

First & Latest: Half a Century of Gospel Dynasty The Isaacs

The Isaacs need no introduction. In gospel, bluegrass, and country circles they are well known for their convicting, heartfelt songs in the sacred tradition, demonstrating ardent faith through familial harmonies and a stunning polished, tight-knit sound.

They’ve been performing and recording as a group for 50 years, with their first commercial albums released now more than 30 years ago. They are veterans of the Grand Ole Opry, churches and bluegrass festivals all across the country, Gaither Homecoming, RFD-TV, and so many more roots music and gospel institutions.

In October of last year, the family – whose band consists of Lily and her children Ben, Sonya, and Becky – released a brand new album, Praise & Worship: More Than A Hollow Hallelujah. And, whether heard by “secular” listeners or listeners of faith, the project is a pitch perfect continuation of the mission and message the Isaacs have brought with them across their entire 50 year career.

The collection, as always, is stirring, resonant, and warm. With crisp and clean stylings of modern worship music intermingled with country and string band touches. In an exclusive interview with BGS, we spoke to Sonya Isaacs via email about More Than A Hollow Hallelujah by comparing and contrasting their latest project with their first – A Labor Of Love, which was released in 1990 and Live in Atlanta, which arrived in 1992.

We spoke about the Isaacs’ longevity, their faith, what sacred music offers to all of us, and how it feels to look back on so many decades of making music together as a family and ministry. Gospel music and roots music have always gone hand-in-hand and the Isaacs demonstrate that connection, intuitively, in all that they do.

Your latest album, Praise & Worship: More Than A Hollow Hallelujah, begins with the track, “Gratitude,” which I feel is a perfect place to start. This project is more than 30 years – nearly 35! – since your first releases. Can you speak a little bit about your longevity and what it means to you, at this point, to look back at such a prolific and productive career? I imagine you must practice a lot of gratitude.

Sonya Isaacs: We have been so so blessed to be doing what we love to do for the majority of our lives now! We are incredibly grateful for the journey that has brought us where we are today. The highs were high and the lows were low, but God has been with us and allowed us to live our dreams. A lot has changed about our sound, style, and even personnel since those humble beginnings, but one thing has remained and that is Christ is the center of everything that we do!

Gospel music and sacred music go hand-in-hand with American roots musics of all types. You all are comfortable in so many genres and styles, from bluegrass and country to contemporary Christian. I wonder what it means to you that gospel is such a big part of so many roots genres and how you see your own music fitting into different formats and styles of music?

When we started out 50 years ago, we never intended or dreamed that our music would cross over into different genres and styles. God has opened doors in different markets for us to get to take His message into. We don’t change who we are, we don’t change why we are there, we just sing and the songs do the work! It’s wonderful that so many different styles encompass the gospel message and we are grateful that we get to stand on different stages all around the world and be who we are. God is always the most important listener at our concerts.

What do you remember about the making of those first albums, A Labor of Love released in 1990 and Live in Atlanta released in 1992? Did you ever think or dream or assume you’d still be putting out records well into the 2020s? Was that always the hope or the plan?

I don’t think any of us were thinking too much about the future when we first started out recording almost 50 years ago. We were so excited to be in the moment and to get to be singing and recording, especially when we got our first major record deal in the late ’80s. Back then we weren’t very experienced as musicians or singers, and in the studio everything felt like a dream! We remember feeling nervous, excited, and grateful during those early years.

When we recorded the Live in Atlanta album and video, some of us were the most nervous we have ever been on stage. But it felt like a game-changing album once we finished the concert. There was a sweet spirit in that room that only God’s presence can bring. The songs we recorded on Live in Atlanta became some of our first to reach the top of the charts.

Now, a song you selected to spotlight from Live in Atlanta is “From the Depths of My Heart.” How did that track come into your repertoire and how does it strike you now, decades later, when you listen back?

“From the Depths of My Heart” was a song Ben and I wrote in a car riding from home in Morrow, Ohio, to our new home in LaFollette, Tennessee in 1992. I had just graduated high school the day before and we were all leaving behind all we’d ever known. The sad goodbyes with friends and loved ones were the inspiration for the song. It was like a gift God gave us to not only help us, but millions of other people who have needed the words over the years. It became our first number one song in gospel music, and remained in the charts for nearly 4 months. Looking back, it’s really the song that catapulted our career. We still get requests for that song all the time!

Obviously, there are so many connections between your music then and your music now, but I wonder what through lines or consistencies you see in your own body of work? What’s changed? What’s stayed the same?

As styles and technology have evolved, so has our sound. When we first started out, there was definitely more of a bluegrass trueness that came from our dad Joe Isaacs’ musical heritage. As the kids got older and began to play instruments and write songs, the style became more contemporary in general, but still was heavily influenced by the traditional bluegrass sound. Over the years we have done different albums with different styles; some country, some Americana, mostly gospel, bluegrass, and others, but the harmonies the Isaacs are known for have remained a constant. The instrumentation of guitar, mandolin, and bass have also remained a staple in our sound. Also, we have always been faithful to stick with lyrics that didn’t compromise the gospel in anyway.

It certainly feels like, from the outside looking in, the conviction you feel and the passion you bring to your music remains steadfast. What keeps you “in it,” making gospel, sacred, and Christian roots music?

We have always looked at our music as a ministry. Sometimes we are singing to the choir and sometimes to those who won’t even step inside a church door. We know that any talent we have comes from God, the Creator, and we love the faith aspect of our music. It is truly why we do what we do and we couldn’t imagine our music without Him being the center of it! He is everything to us, and our mission is to carry His love to the world.

Can you talk about “(More Than A) Hollow Hallelujah,” the title track, and how the song and its message became the cornerstone of this latest album?

When we decided to do an album of praise and worship covers, there was a song that came to my mind that I had started writing years ago. I had the chorus mostly finished and called the other three to come finish it with me just a few days before the session. It seemed like an important song to have on the record because it summed up everything the record was intended to say. Without sincerity, it’s all in vain. Jesus is looking for true worshippers and followers. It’s easy to get caught up in life’s rat race and hurdles, but it’s more important now than ever to show God how much we love, appreciate, and need Him. He responds to praise and that is something we have learned down through the years. The mysteries of God and the miracles we read about are found out in the deep. We shouldn’t be content to splash around on the shore. This song calls us out to the deep.

Looking ahead to the next 35 years, the next 50 years, what do you hope will be the Isaacs’ legacy over the upcoming few decades?

As we are all getting older together, it’s interesting to think about where we will be in 10, 20, 30 (if we’re lucky) years from now. We run so hard on a day-to-day basis that somehow it doesn’t feel like we are as old as we are – with our youngest Becky turning 50 in August this year! What we pray our legacy will be, when it’s all said and done, is a family who loved to sing and pray together, who loved to share the good news of Christ in song, and a family who never stopped striving to be the best they could be at their trade. We hope the songs we have written and recorded will live on in time as those we enjoy today from others who have gone before.

Is there anything else you’re reflecting on or want to add as you consider your First & Latest and your long, full careers?

Looking back, it seems good that you can’t look forward. We have learned that the journey is just as important as the destination, and if we could see some of the twists and turns, some of the disappointments, we would no doubt have chosen different paths. We have been so blessed to have made it to where we are today with God’s grace, but we sure have overcome our share of dark days. Many songs and testimonies have been written out of those dark days that have helped others get through them. By experiencing life’s struggles, we are equipped with the knowledge and experience to help others get through them, too. Don’t begrudge the hard journey – it’s where our faith is built and our wisdom is learned.


Photo Credit: Courtesy of the artist.