Tag: Cadillac Sky

Cadillac Sky Plans Reunion for 20th Anniversary of Blind Man Walking

Posted on by Editor

When Cadillac Sky released their full-length label debut, Blind Man Walking, in 2007, they soon found that they had created something much bigger than anticipated. In many ways, Blind Man Walking and the two albums that followed, Gravity’s Our Enemy in 2008 and Letters in the Deep in 2010, were prescient moves — experimental fusions of rock, jazz, “prog-grass,” country, acoustic, and roots music that paved the way for a new wave of bluegrass artists.

During those years, band members Bryan Simpson (vocals/songwriter/mandolin), Matt Menefee (banjo), Ross Holmes (fiddle), and Andy Moritz (bass) took traditional bluegrass into then-unlikely realms. In addition to other lineup changes along the way, Simpson left the band in 2010, and after completing what became their final tour in 2011, Cadillac Sky announced their “indefinite hiatus.”

The four musicians who’d been with the band since Blind Man Walking pursued other projects, but their paths continued crossing. Menefee and Holmes launched the band ChessBoxer, opened for Bruce Hornsby, and recorded and toured with Mumford & Sons. In 2018, Menefee started The Hit Points, and in 2022, co-founded Wood Box Heroes. Simpson launched The Whistles & The Bells, with Menefee and Holmes joining him, and The Golden Age, with Menefee. Moritz returned to Houston, where he and his wife raised their family, and dedicated himself to teaching orchestral bass and authoring bass-instruction books. Holmes joined the Nitty Gritty Dirt Band in 2018, continuing through their farewell tour in June 2026.

Through it all, the legacy of Cadillac Sky never faded. Nor did the loyal fan base, who continued listening to their albums, following the new projects, and hoping for a reunion. They’ll soon get their wish: On January 29, 2027, Cadillac Sky will reunite onstage in Nashville to celebrate the twentieth anniversary of Blind Man Walking.

With the promise of new music to come, the band participated in a conference call with BGS to discuss the past, present, and future.

The Beginning

Bryan Simpson: I started the band a long time ago. I was writing songs and had so many that didn’t fit in the genre and marketplace I was writing for. I loved string band music and bluegrass, and my goal was to come up with players and play original music. At age 10, I had Pete Wernick from Hot Rize’s book How to Make a Band Work, and I read it over and over because I loved the concept of being in a band. I would look at Bluegrass Unlimited ads for festivals and wish I could do that. You [start a band], travel around, and learn that it’s difficult. In Cadillac Sky, we were all different ages and places in our maturity, but it had its own signature because we were from New Mexico and Texas, which are not necessarily known for deep bluegrass roots.

Andy Moritz: They grabbed me from another band in Houston. My involvement was supposed to be four or five dates. I thought I was just covering for their old bass player, and it turned out to be a long-form audition. The next thing you know, I was in for the ride, and it was a fabulous ride, incredible, but rides have ups and downs. Traveling as a band is like a family; you argue, but there is love. We lasted longer than a lot of bands because there was love and respect. When it came apart, it was like a piece of me got ripped into.

Matt Menefee: I was born and raised in New Mexico. My grandpa played and sang bluegrass. I got my start in the world of music through video games. It freaked my parents out, so they said, “Here’s a banjo, go play with Grandpa.” We moved to Texas and I played in all kinds of bands, different types of music, marching band and jazz band in school, and tried to fit the banjo into situations like that. I met Bryan at a benefit. He was a songwriter, I thought that was cool, and we decided to do this. Cadillac Sky was my first legit band and it was an incredible journey.

Ross Holmes: I started out with Texas contest-style fiddle. Bryan and I had the same teacher, although we didn’t know each other. I was into Western swing and he was into bluegrass. I met Matt first, and we started a band with a guitar player, called Ellis County Line. We recorded some songs, but we never played. I met Matt, then Bryan met Matt, he passed my number along to Bryan, and we got together and talked about his vision for Cadillac Sky. When we cut Blind Man Walking, at that moment for all of us it was, “This is special.” It was unlike anything in bluegrass at the time and it gave us a sense of purpose. We did the thing until the thing expired for the reasons bands break up. It was a powerful first chapter that set us all up for everything that has come since then.

The Reunion

Simpson: We’re all friends and have maintained friendships, so it wasn’t that crazy to call them and say, “Let’s celebrate twenty years of that record.” It seemed like a good place to start again and see how it felt. As simple as it sounds, we like having fun and creating music together. This is a special thing. We have the songs, the sound, and it’s all four of us diving in with equal voices. Back in the day, I was the voice and making decisions, and that didn’t work out very well. This time, we all respect each other’s voices more than ever and give each other room to grow.

Holmes: The last time the four of us were together was in the fall of 2010, in Milwaukee, on the road with Mumford & Sons, which we didn’t know would be our final tour. It was easy to be around the guys again because we’ve all worked in other projects and for those of us who live in Nashville, it’s inevitable that you’ll run into each other. When Bryan reached out about a Cadillac Sky reunion, there was joy from all of us because this was an integral part of us. It’s how we cut our teeth in this business. I’m grateful to be in this situation and turn to the thing I love so much — my passion, my work, my fiddle — and find comfort in that, especially revisiting songs that meant so much to us then and still do, and hopefully will mean as much to the people who have listened to them over the years and wished we’d do something again.

Moritz: You go in not knowing what this version of yourself, and the bunch of you, will be like in this situation. We started going through some tunes, and pretty quickly it was evident that there was a lot of magic, that this is happening, and it’s special and cool and we need to pursue that. I always enjoy spending time with and playing with these guys. We’re musical soulmates, and the way we’re approaching it this time — the level of professionalism, respect, open minds, and open voices — we’re in this together and it’s been great.

Menefee: I agree with all of that. [Since Cadillac Sky], we’ve done session work, freelance things, continued making music, toured, and had a lot of fun and grand adventures. When we had that first rehearsal [after Bryan called], it was nice to hear those tunes again. And here we are.

The Future

Simpson: We have plans for new music. The last thing we want is someone having a sentimental feeling, [thinking] “Oh, that’s sweet, they’re trying to play their old songs.” Our goal is to hit the speed we were once playing at. What we have in our back pocket is sixteen years of playing onstage with other people to influence the way we play together in 2027. People have open minds toward music now more than ever, and if you have something to offer, they’re willing to add you to their playlist. With everything you put out in the world, if you give something good, something good will come back. If we divulge a bit of ourselves and put ourselves out there, that’s a powerful thing.

Holmes: We’ve gone through a lot over sixteen years apart. We’re different people and better people. We’ve grown up. We’re better players and better thinkers, all trying to serve the songs the best way and treat the music with an acknowledgement of what we were capable of then and what we accomplished, but with a sense of maturity and energy that feels natural.

Moritz: When we were touring, everybody did not embrace the things we were doing. There was an old guard/new guard thing going on and that got to be a bit of a challenge, being on that cutting edge. But look at what the music’s done since we’ve taken a break. The music community has embraced the things we were trying to bring to the table, period, but particularly the bluegrass community. That’s been really encouraging, to see that in some ways, we were right. We were on to some good ideas. Now, other people have taken that ball and run with it, and we’re excited to get back on the playing field.

Pictured (L-R): Bryan Simpson, Matt Menefee, Andy “Panda” Moritz, Ross Holmes

MIXTAPE: AJ Lee & Blue Summit’s Songs That Stick With You

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Hi, we’re AJ Lee & Blue Summit! We’ve spent our ten years as a band playing for people all across the country (and occasionally the world) and these are some songs we’ve picked up along the way. We love a cover song, it’s the start to everyone’s musical journey. From day one picking up a guitar, every song you learn teaches you something in return. Many will stick with you throughout your life, songs that become a part of you. And for us, to perform them is to share that part of ourselves with you, and give you the songs back as we see them.

Some of these songs transport us back to childhood, listening to the radio from a carseat, some to our teen years wringing every second out of the too-short nighttime at a bluegrass festival, and some are recent additions, songs that grabbed us in one way or another and inspired us. These songs are probably familiar to you, listeners, from your own musical memories. They’re not all deep cuts. What they are, though, are songs that have shaped us, and songs that have been part of our live show, some for many years. They’ve become favorites of ours and I hope soon, of yours. — Cheers, AJLBS

“Meet Me in the Morning” – Bob Dylan

I’m a huge Dylan fan and this is my favorite album of his. His songwriting is a little more serious than it was on some of his ’60s stuff and his voice hit its all time peak in my opinion. I’ve covered most of the songs on Blood on the Tracks at various different times but after playing this one with the band for a few years it felt like we’d really found our own groove. – Sully

“Matterhorn” – The Country Gentlemen

This is a song I grew up listening to. My dad would put on bluegrass in the living room in the background and I usually didn’t know the names of the bands or songs but this one stuck out to me and I’d often request it. It’s always been one of my favorite bluegrass songs and brings back a lot of childhood memories. – Sully

“Who Walks In When I Walk Out” – Bob Wills & His Texas Playboys

I heard this song for the first time a few years ago while listening to a bunch of Bob Wills. His recording, played fast and energetic, made me want to do a version with the band sort of like his but with a bit of Django Reinhardt influence thrown in as well. – Sully

“Drivin’ Nails in My Coffin” – Rhonda Vincent

“Drivin’ Nails In My Coffin” was written by Jerry Irby, who originally recorded and released the song in 1945. I was inspired by Rhonda Vincent’s bluegrass version from her 2001 album, The Storm Still Rages. Rhonda was one of my first inspirations as a female singer. – AJ

“Red Dirt Girl” – Emmylou Harris

“Red Dirt Girl” was written by Emmylou Harris and released in 2000. I first came across a version on her 2001 album, Hickory Wind, and fell in love with it. The story of a girl named Lilian who’s dreams were never achieved tug at my heartstrings every time! The weight of the lyrics and emotion in Emmylou’s voice attest to her superior songwriting and musicianship. When we recorded our version I was a little under the weather, but I believed it worked out for the better. I had to execute a more gentle approach than planned and I was actually happy to have some airy notes. – AJ

“Glendale Train” – New Riders of the Purple Sage

“Glendale Train” was written by John Dawson, lead singer and songwriter of the band New Riders of the Purple Sage. A few years ago we were practicing and a bandmate had the funny idea to stretch out the middle section into a funky psychedelic jam (which isn’t typical in traditional bluegrass music). For fun, we’ve kept that section of the song open for improvisation. – AJ

“Wish I Could Say I Was Drinking” – Cadillac Sky

“Wish I Could Say I Was Drinking” was written by Ashley Gorley and Cadillac Sky’s Bryan Simpson. Their album, Blind Man Walking, was released in 2007 – a very influential year for 10-year-old AJ. This band has been the most inspirational to me throughout my musical career. They had so many unique arrangements. I was sad when the group disbanded in 2011. – AJ

“Fishin’ in the Dark” – Nitty Gritty Dirt Band

“Fishin’ in the Dark” was written by Jim Photoglo and Wendy Waldman. The song was first recorded by Ed Bruce in 1986, but was made famous by Nitty Gritty Dirt Band in 1987. We decided to “bluegrassify” this country-rock classic by replacing the halftime feel with a more driving feel. Wherever you are, this song will make you feel like you’re out in the country laying where the “cool grass grows”. – AJ

“Tear My Stillhouse Down” – Gillian Welch

“Tear My Stillhouse Down” was written by Gillian Welch and first released by The Nashville Bluegrass band in 1995. Gillian followed up with her own version in 1996. Gillian is another of my most inspirational female singers/songwriters. – AJ

“It Takes One to Know One” – Jimmy Martin

“It Takes One to Know One” is a classic country song written by Harlan Howard and Freddie Hart. It’s one that I’ve heard sung in bluegrass jam circles all my life. To me, the theme of this song is giving trauma bonding. – AJ

“Soak Up the Sun” – Sheryl Crow

“Soak Up the Sun” was written in 2002 by Sheryl Crow and Jeff Trott. This song has been a longtime favorite of mine. It’s almost impossible to not sing along when the chorus comes around. I’ve listened through many rotations of the album C’mon C’mon, which features Sheryl’s iconic rock sound. – AJ

Photo Credit: Natia Cinco

Mumford & Sons Continue to Matter, In Americana and Beyond

Posted on by Justin Hiltner

“Well, we’ve been here before…”

When Rushmere was released in March of this year – Mumford & Sons’ first album in seven years – critics noted its homecoming feel. The songs, the sound, the oh-so-yearning lyrics; they all combined to take the listener back to the beginning.

Tracks like “Malibu” and “Caroline” do not, perhaps, hit the wild highs of “Little Lion Man.” There’s a subtler expression at play in the album, reflecting an evolution from youthful exuberance to the quiet wisdom that only comes with experience. But a decade and a half on from Sigh No More, the band have clearly doubled back from their more experimental forays – 2018’s Delta; Marcus Mumford’s solo project, (self-titled) – to celebrate what brought them together in the first place. In Rushmere they had returned to their rootsy roots, and found peace there.

This month, the band heads back out on tour to Chicago, Philadelphia, Montréal, and more. In November, they’ll return to Europe, and ultimately to the UK, where their final leg will climax at London’s 20,000-capacity O2 arena. Months on the road this year and playing to sold-out venues have proven one thing: people still can’t get enough of them.

And yet the world is a very different place to when their debut album hit the shelves in 2009. When Mumford & Sons first toured Sigh No More, Barack Obama was President of the United States. In the UK, the biggest question on people’s lips was what Kate Middleton would be wearing at her royal marriage to Prince William.

Today’s social backdrop feels meaner, more fractious, less optimistic. Widening rifts in society have made it harder for people to celebrate shared values, even cherish the same moments together. Mumford have split with one of their own band members as a direct consequence of our rapid political polarization. What is it, then, that felt so fresh back then – and that still appeals today?

Matt Menefee first encountered the Mumford sound when his progressive bluegrass band, Cadillac Sky, were at their peak. “We were heading up out of Texas to play Telluride in 2010, and we played some gigs en route,” says Menefee. “So we’d stopped at a hotel, and there was Marcus on MTV, and someone said, ‘Oh, this band’s headlining the festival.’ Our lead singer already had the record and so we listened to it all the way up there.”

For a group of musicians that favored a raucous, punk rock vibe, Mumford’s gleeful-yet-soulful energy was something new. “We were like, ‘Oh man, this is something else!’” Menefee recalls. “To hear these cohesive, in-your-face anthems… it was raging. The melodies and the lyrics were beautifully crafted as well. It was a force that blew our guys away.”

Mumford’s Telluride set became an instant classic (it’s still spoken of in awe today). “It was just a party,” remembers Jerry Douglas, whom the band had asked to join them on stage. “The guys looked so excited. I’ve been to that festival so many times and you can get jaded. But I’m watching them jump up and down and I’m going, this is what it’s supposed to feel like.” He describes that electric closing set as one of the best he’s seen in Telluride’s 51 iterations.

Douglas is one of the many Americana musicians that Mumford and bandmates Ben Lovett, and Ted Dwane sought out to learn from in their early years and have built enduring relationships with. They included Douglas in their performance at the SNL 50th anniversary show, after he had recorded lap steel for Rushmere track “Caroline” – although he laughingly points out that it didn’t make the final mix. “It changed it, it took the band away from just sounding like themselves. I kind of Jackson Browne-ed them a little bit…”

Those collaborative relationships are one of the reasons that Mumford & Sons continue to matter, not least to the musical communities they’ve done so much to elevate. After their first meeting, Menefee became a regular guest artist with the band and has been their go-to banjo player since Winston Marshall’s departure. “You watch them interact with people,” says Menefee, “and they’re so humble, so sweet, so encouraging. They really look after everybody. They’re good, good dudes.”

In August, Mumford & Sons relaunched their Railroad Revival Tour, whose 2011 iteration involved travelling the Southwest in vintage trains alongside Old Crow Medicine Show and Edward Sharpe and the Magnetic Zeros. This summer’s rolling festival picked up where that one had left off, traveling between New Orleans and Vermont. The long list of musicians joining them on board ranged from Nathaniel Rateliff and Ketch Secor to Lainey Wilson and Molly Tuttle to Trombone Shorty and Chris Thile.

Lucius’s Jess Wolfe was one of the musicians sharing the stage with Mumford, after forging a bond with Marcus at celebrated, now infamous jams arranged by Brandi Carlile in Joni Mitchell’s living room. “Sitting listening to our hero sing – that’s such a humbling experience, it’s going to bring people close quite quickly,” laughs Wolfe. She describes Mumford & Sons as “natural collaborators – they feel like brothers from the minute that you step foot in the room with them.” It’s that comforting familiarity that expresses itself in their music and forms a major part of their appeal.

Having first heard their sound while working on the Brooklyn open mic circuit, Wolfe was struck by how it reflected the songs that her peers were writing, “except that these were songs that everyone could suddenly, with ease and without thinking, just sing along to. It was like a conversation you were having with an old friend.”

Their pulsing, anthemic melodies, underlaid with a signature stomp, quickly became an in-demand and much replicated sound in the industry. Banjo and mandolin players found themselves getting far more calls for session work. For musicians like Menefee who had spent years justifying their choice of instrument and trying to persuade a sceptical mainstream of its charms, the change was remarkable. “When Mumford hit, it was like, banjo’s cool!”

“I’d go do demo sessions for songwriters on Music Row and for years the publishers would ask you for ‘like, a Mumford thing,’” Menefee continues. “And I should say that’s not all they do – their Delta record is one of my favorites, with its beautiful marriage of electro pop and effects. But I witnessed the success of the other bands that followed in Mumford’s wake. They had a huge influence.”

Douglas believes it’s no exaggeration to say they changed the sound of the musical landscape. “And people either liked it or they didn’t. But it’s a heartbeat, you know? That’s the thing about it. It gets people excited and it makes them feel good. That endorphin rush happens and everybody goes to their happy place. And we need that right now. We need to go to our happy place.”

There, perhaps, lies the key to their successful return after seven years away from the limelight. Every night they play, Menefee sees crowds “losing themselves” in the singalongs. “There’s an anger and a vulnerability that really pierces the heart,” he says. “And it’s so freaking singable.”

The band themselves have admitted to be “stoked” to be headlining festivals in the UK again and there’s little sense of ego at their appearances. Instead, they host shows that have the feel of a party at which they themselves are enthusiastic guests. “It’s just so much fun,” says Menefee. “There’s a real joy in it, a rest from all the chaos.”

Perhaps, right now, we all need a bit more Mumford in our lives.

Photo Credit: Marcus Haney

MIXTAPE: Carley Arrowood’s Colorful, Vibrant Bluegrass

Posted on by Justin Hiltner

Music is so colorful, whether the lyrics have actual color words, carry a deeper meaning, are just stylistically vibrant, or paint a mental picture without using words at all. Music is meant to reach down and touch your soul in all kinds of ways, evoking special emotions and calling to mind familiar times.

As a songwriter, it’s always my goal to be able to create such colors for listeners and these songs are some of my absolute favorites when it comes to all of the above. Each one has made a huge mark on me through my music journey, adding to my palette of influence and helping me see more the beauty of this art. – Carley Arrowood

“Shadows” – Tony Rice

When my husband and I first started talking, I went to see his band The Trailblazers perform. It was a sweet evening of music, seeing some of my old friends, meeting his family, and of course getting to visit with him. I went home with a CD and played it endlessly in my Jeep Liberty. “Shadows” was in the mix, and I just remember loving hearing him sing it. Fast forward two and a half years, and he’s singing it to our little girl.

Gordon Lightfoot had such a way with words. This is one of those songs where you can just picture your surroundings, and the one you love.

“Fall Creek Falls” – Jim VanCleve

Jim has always been a huge fiddle influence of mine and when I first heard this song, my heart just leapt at the minor [chords] walking to the majors. “Fall Creek Falls” is a bucket list place to visit, but with the progression of the music I can just picture a beautiful waterfall, maybe turning into a big rushing river with all its twists and turns. The musicianship on this track is just incredible.

“Daylight” – Alison Krauss & Union Station

“Daylight falls … Safe in shadow, it’s never as dark as the daylight.” Honestly though, how true is that? This is such a sweet poem full of vibrant imagery. It offers contemplation of realizing and learning that you have to be yourself in life and not try to be someone you’re not, as scary as that can be. Sometimes the dark is way more comfortable, as no one can see your flaws or mistakes, but when you bring it all to the daylight you realize everyone is just the same. “I see it’s safer to connect to the daylight.” My sister and I grew up listening to Alison, and this one was always a favorite.

“Redbird” – Cadillac Sky

Dang, I love this song. These guys were so influential to my sister and I – and her husband, who plays bass in my band. My dad also really loves this song! We all used to sing it in the car together, each grabbing a different harmony part. There were only two in the original recording, but Autumn would add in the tenor for a cool extra layer.

“Redbird” tells the story of heartache turned to hope, as the singer declares, “You can burn me down to ashes, bury me beneath your clay / But I’ll rise again like Lazarus, and live to love another day.” I love how you can feel the hurt and frustration of the lyrics in the solos. I had the absolute privilege of playing with Matt Menefee for a couple years when I was touring with Darin and Brooke, and I asked him one time, “Do you remember any of your solos from Cadillac Sky?” hoping he’d just go off on the one in this song. He just kinda laughed and answered, “Nope!” So that tells me he was just crushing some improv in the studio. So, so good!

“God of All My Days” – Casting Crowns

I listen to this song whenever I feel burdened by the weight of the world, or even just by the weight of my to-do list for the day. It reminds me that everything I do has a purpose from the Lord and He is over it all, and that when “my seasons change, [He] stay[s] the same.” I’m reminded that there’s nowhere else for me to find comfort when all else fails. He’s the God of all my days.

“Colors” – Carley Arrowood

I’ll stick this one right here, because it goes with the theme of the last song. When my husband and I wrote “Colors,” we were sitting in our living room watching a gorgeous sunset glisten through our windows. It’s amazing just how much more this song has come to mean to me personally since I wrote it. I had a friend in mind who was dealing with a lot of anxiety while we were writing it, and while it wasn’t directly written to her, she stayed on my mind throughout the process. And when she came out of her anxious state victorious, she said the song really spoke deep. “Colors” is just a reassurance that whatever we are going through, the Lord means for our good and His glory, even though we may not understand it in the present thick of it.

“Harvest Sky” – Nick Dumas

My buddy Nick wrote a killer instrumental jam that paints a gorgeous Wisconsin sunset! I’m so glad he asked me to play fiddle on this. Let your mind run wild with this one!

“Two Boys from Kentucky” – Randy Kohrs

The Brother’s War, families split between blue and gray, the tragic shades of our American story. Randy’s writing in this kills me every time, especially with what happens – lyrically and musically – “while the cannon fire rang down.” It’ll move you to tears as the story progresses.

“Space and Time” – The Trailblazers

In 2020 the Trailblazers (my husband’s band) came out with a stellar album of progressive bluegrass originals and covers, and the title track, “Space and Time,” is one that sticks after you hear it. Flooded with colorful imagery, the song follows a contemplative traveler through weary lands who longs for a perfect home. It’s one of my favorite songs on this album, and no, not just because my husband wrote it! 😉 It’s been sweet to see his growth as a musician and writer since we’ve been together.

“Chasin’ Indigo” – Carley Arrowood

I added this one off my new album, Colors, just because of the fun color language! Daniel and I wrote this from our love of sunset watching, and we hope it encourages you to pick your head up from your work and enjoy time with your loved ones. We’re not promised tomorrow, so chase today’s colors to the very end.

Photo Credit: Laci Mack

WATCH: The Golden Age, “Weirdo”

Posted on by Editor

Artist: The Golden Age
Hometown: Nashville, Tennessee
Song: “Weirdo”
Album: I’m Sure It’ll Be Fine
Release Date: February 21, 2020
Label: Poke the Bear Records

In Their Words: “This video was made by those wild guys from Neighborhoods Apart, Joshua Britt and Neilson Hubbard. Josh had this concept he’d always wanted to do that ‘Weirdo’ seemed to fit nicely. Ultimately the video/song is a quick prick to the balloon that suggests that in order to connect with other people we need to present these shiny-flawless images socially and hide our odd nuances under a bushel… But what all that green-screen, horse-hockey magic really does is make us feel isolated. And like little worms that don’t measure up. The video is a trumpet’s call to embrace the fact that, at our nitty gritty, we’re all just a couple of strange brained-lumpy bodies in skin-tight suits plucking on banjos and mandolins in front of someone’s garage in the middle of the afternoon. More or less.” — Bryan Simpson and Matt Menefee, The Golden Age

BGS 5+5: Ross Holmes

Posted on by Editor

Artist: Ross Holmes
Hometown: Fort Worth, Texas
Latest album: Not Very Good at Winning
Nickname: ‘Rooster’ is a nickname that has lingered since the glory days of Cadillac Sky.

What’s your favorite memory from being on stage?

I can’t say I have one favorite memory from being onstage, but I do have a great story about a particular gig in late 2014. As a native Texan, there isn’t a more sacred shrine than the Alamo. I’d been invited to perform at an annual ceremony in March of ’14 inside the Alamo chapel. I wound up composing an original piece an hour before the event honoring those who perished in the fight.

An iPhone recording I made of the piece, “We Fall a Sacrifice,” made its way to Phil Collins (who is an avid collector of artifacts from the battle of the Alamo and war for Texas independence), and I was invited to perform this tune again at a ceremony honoring Phil for the donation of his extensive collection to the state.

We took it a step further and, with permission from the Witte Museum in San Antonio, borrowed Davy Crockett’s supposed fiddle for the gala. Here I was, onstage with Crockett’s fiddle at the Alamo, playing this piece I’d written, in the presence of presidents, politicians, astronauts, sports legends, and recognized Texans. My sister, Katie Shore (Asleep at the Wheel), joined me for the set and, to this day, we still laugh at the absurd “WTF just happened” of that evening.

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

Imagery and color stimulate my musical thinking the most. I often turn on films or pull out prints of my favorite artists to glean inspiration from their creativity while I practice. The imagination of others is revelatory and channeling the intent of these minds has helped me grow as a composer and player.

Try this sometime: turn on Planet Earth, mute your TV, and play a soundtrack for the episode as you’re watching. Let the dynamic environment of each scene take you to a place of quiet calm or intense fear. You’ll be amazed at what comes out, maybe a familiar idea you filed away will emerge again, or maybe a new melody or groove will come to you. If anything, it’s really fun to provide fiddle accompaniment to snakes chasing lizards and sloths chilling on a branch.

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

I don’t have a set routine when I record or when I take the stage, as those environments are always changing. I do, though, have a special relationship with my case and the process of opening it and taking out my violin and bow. My case is my home-away-from-home and inside I keep a small, personal collection of memories. I find it’s a spiritual experience to unlatch and lift the lid, remove the blanket over my violin, and prepare my heart and mind to play. Those first moments are filled with thoughts and energy, like a prayer, and the respect I show my instrument feels like an abiding friendship when the first notes come so easily.

If you had to write a mission statement for your career, what would it be?

Early in my career I focused, obsessively, on being the “best” player I could be — the most technical, cleanest, impressive, etc., because I felt those skills would prove to listeners I was “elite.” Time has gone by, life has happened, victories and losses, the ups and downs that come with this profession, then something clicked a couple of years ago. I arrived at a point where I didn’t care about being the “best” anymore (thank god), and a new word replaced that selfish adjective — HONEST. I will always push the limits and challenge boundaries, but now my heart’s desire is to simply be the most honest musician I can be. That’s my mission statement, “In all things, be honest.” That’s it.

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

There’s no hiding that I’m a bona fide space junkie, completely taken with the cosmos and the notion of leaving earth on the greatest adventures to explore the deep expanse of our universe (I have a tattoo of the Apollo SM, CM, and LM on my right arm). We can’t see beyond blue skies during the day, but we know endless creation is still above us. When night falls and the sky is peeled back, the heavens are once again revealed and we sit and gaze at the mysteries between the stars.

The relationship between mankind and space and music is intrinsically linked because of curiosity and our need to explore. The greatest composers and players continue to seek new heights with their melodies, chords, and expression because that is our nature, journey to the new place. What will beings find on that golden record affixed to Voyager? Bach. Chuck Berry. Blind Willie Johnson. The human voice.

Photo credit: Allen Clark