Chris Stapleton Archives - Page 2 of 5 - The Bluegrass Situation

You Gotta Hear This: New Music From Wood Box Heroes, Ashby Frank, and More

Posted on March 15, 2024June 20, 2025 by Justin Hiltner

This week, our premiere round-up is chock-full of amazing new music. From a Chris Stapleton co-write from bluegrass-meets-country supergroup Wood Box Heroes to a Terry Baucom tribute from bluegrasser Ashby Frank, plus songs from Americana singer-songwriter Jack McKeon, guitarist Yann Falquet, and Asheville’s Holler Choir.

Plus, don’t miss exclusive premieres from banjo magnates Alison Brown and Steve Martin, and a posthumous release from Chick Corea with his friend and collaborator Béla Fleck.

It’s all right here on BGS – and really, You Gotta Hear This!

Wood Box Heroes, “Cannonball”

Artist: Wood Box Heroes
Hometown: Nashville, Tennessee
Song: “Cannonball”
Album: 444
Release Date: March 15, 2024 (single)

In Their Words: “‘Cannonball’ is a song I wrote a while back with Chris Stapleton. I was trying to figure out a new way to talk about the ‘love and war/love as war/love is war’ theme and of course, Chris helped to bring that to life so well. I never made a demo, just the voice memo. Hearing Chris’s amazing singing on it could be a daunting thing for lots of artists to get past, but I knew Josh Martin could handle it, so I pitched it to the Heroes for this project. It took a while to sink in with them, but I’m beyond thrilled with the treatment they gave it!” – Barry Bales

Track Credits:

Barry Bales – upright bass, vocals
Jenee Fleenor – fiddle, vocals
Josh Martin – guitar, vocals
Matt Menefee – banjo
Seth Taylor – mandolin, vocals

Produced by Wood Box Heroes.
Recorded by Brandon Bell at Sound Emporium; Nashville, Tennessee.
Mixed by Brandon Bell.
Mastered by Eric Conn at Independent Mastering; Nashville, Tennessee.

Ashby Frank, “Knee Deep in Bluegrass”

Artist: Ashby Frank
Hometown: Nashville, Tennessee
Song: “Knee Deep In Bluegrass”
Release Date: March 15, 2024
Label: Mountain Home Music Company

In Their Words: “‘Knee Deep in Bluegrass’ is a tune written and originally recorded by my friend and former Mashville Brigade bandmate, banjo legend Terry Baucom. Sadly, Terry passed away in December. When we recently gathered to start recording my next album, it happened to be the day after his funeral. All of us had Bauc and his wife, Cindy, on our minds. Remembering this song, I messaged Cindy, asking if it would be ok to record a slightly modified version of ‘Knee Deep’ as a tribute to him and she graciously approved. Bauc was performing at the first festival I ever attended in Denton, NC. His style and persona has been an inspiration to me ever since that first meeting. I think Matt Menefee, Travis Anderson, Jim Van Cleve, Seth Taylor, and Tony Creasman really nailed their parts on the tune. I hope our recording brings back fond memories for anyone who knew Terry and will honor him as he so richly deserves.” – Ashby Frank

Jack McKeon, “Last Slice of Heaven”

Artist: Jack McKeon
Hometown: Chatham, New York; currently residing in Nashville, Tennessee
Song: “Last Slice of Heaven”
Album: Talking to Strangers
Release Date: June 21, 2024

In Their Words: “I was working at a house in Williamson County, on a stretch of road that is flanked by two separate but equally cookie-cutter developments. Across from this house and squarely in the middle of all this new, was a vacant field, a decrepit barn festering in the corner. At some point that field must have meant food, crops, and a living. Now it seems to only conjure the image of an older person sitting on a potential windfall when they sell out to a developer. But with all that money comes the death of the beautiful things that made that life worth living. My boss noticed me looking at this field and facetiously said, ‘Oh, didn’t you know? These developments all come with their own complimentary field to look at.’ I wrote this song to give a voice to the person I imagined holding on to this ‘Last Slice of Heaven,’ a character at odds with the transformation around him who’s fighting to hold on to his own identity in spite of ‘a world that’s always changing what it means to be the same.'” – Jack McKeon

Track Credits:

Jack McKeon – Guitar/vocal
Ashby Frank – Mandolin/harmony vocal
Vickie Vaughn – Upright bass/harmony vocal
Christian Sedelmyer – Fiddle
Justin Moses – Banjo
Engineered by Sean Sullivan at the Tractor Shed Goodlettsville, Tennessee.
Mastered by Justin Perkins at Mystery Room Mastering.

Video Credit: Brooke Stevens

Yann Falquet, “Courage”

Artist: Yann Falquet
Hometown: Brattleboro, Vermont
Song: “Courage”
Album: Les secrets du ciel
Release Date: March 15, 2024 (single); May 3, 2024 (album)

In Their Words: “I moved from Québec to New England a couple of years ago. My instrumental background was compatible with the fiddle styles I encountered here (Appalachian, Irish, Scottish, etc.), but I quickly realized that I had to rethink the way I approached songs. Back in French Canada, traditional singers often perform unaccompanied, and rely heavily on others in the room to participate in the ‘response’ part of call-and-response songs. For this project, I began reframing these songs into a more English or American ‘folk singer’ format, and had a lot of fun coming up with interesting guitar parts in DADGAD tuning. I then collaborated with producer Quinn Bachand and a bunch of fantastic musicians to add extra musical layers to the song.

“‘Courage’ comes from the repertoire of the Voyageur folks who paddled across North America, using songs to keep paddling in rhythm. It tells the story of a young soldier who abandons war for the pursuit of love, knowing well the consequences if he gets caught.” – Yann Falquet

Track Credits:

Yann Falquet – Guitar, voice
Julia Friend – Voice
Keith Murphy – Pump organ
Trent Freeman – Violin
Quinn Bachand – Violin, bass pedal

Quinn Bachand – Producer, engineer
Charles-Émile Beaudin – Mixing engineer
Philip Shaw Bova – Masterin engineer

Holler Choir, “Hamlet Blues”

Artist: Holler Choir
Hometown: Asheville, North Carolina
Song: “Hamlet Blues”
Album: Songs Before They Write Themselves
Release Date: January 12, 2024

In Their Words: “I can’t speak to everyone else’s tastes, but for the purpose of songs that I perform and have written, ‘Hamlet Blues’ is my most timeless song. I know this because 10 years after having written it, it’s just now seeing a definitive release, and it feels no less personally relevant than the day I wrote it.

“There’s a very intentional juxtaposition between the carefree energy of the music and the existential crisis portrayed in the lyrics. It’s a cognitive dissonance that I’ve experienced in different settings many times in life, and I chose to channel that energy into this song. There’s a smiling nihilism that can be found at any college bar. Kids drinking to excess, with little regard for what’s happening tomorrow. Seemingly happy people, sitting on a fault line that is long overdue. I wanted to capture the dread that was the humming drone in my head beneath whatever pop song was blaring over the bar speakers at the time. I don’t find this sentiment any less relevant for bars I go into as an adult.” – Clint Roberts

Alison Brown & Steve Martin, “Bluegrass Radio”

Artist: Alison Brown & Steve Martin
Hometown: La Jolla, California (Alison); Waco, Texas (Steve)
Song: “Bluegrass Radio”
Release Date: March 15, 2024
Label: Compass Records

In Their Words: “This little tune brings a ton of joy to me. Alison’s playing is flawless, and my singing is flaw-full.” – Steve Martin

MIXTAPE: Brit Taylor’s ‘Kentucky Bluegrassed’ Inspirations

Posted on March 4, 2024June 20, 2025 by Justin Hiltner

I grew up deep in the hills of the Appalachian Mountains in Eastern Kentucky where, I’m pretty sure, that on a quiet, cool, foggy morning after the rooster crows, you can hear the faint strumming of a mandolin or banjo echoing through the hollers. My home was near the famed Country Music Highway, Route 23, and that set the bar high for me, even at an early age. With local artists such as Patty Loveless, Loretta Lynn, Dwight Yoakum, The Judds, Ricky Skaggs and Keith Whitley and songwriters like Larry Cordle, later joined by artists like Chris Stapleton and Tyler Childers, there was always an incredible standard of music and songwriting to strive for. It also encouraged me, because if it could happen for their hillbilly asses, then why not mine?

Kentucky Bluegrassed is a sister record to my sophomore album produced by Sturgill Simpson and David Ferguson. My husband Adam Chaffins and I, along with an incredible crew of pickers (Rob Ikes, Stuart Duncan, Seth Taylor, Matt Menefee, Dominick Leslie) reimagined five songs from the Kentucky Blue album and added three new songs, to boot. Although Kentucky Blue and Kentucky Bluegrassed are kin, they have their own unique personalities and can stand separately as two distinct independent projects. Kentucky Bluegrassed is exactly what the title implies. It is “grassed” versions of some songs from the Kentucky Blue record.

I’ve never claimed to be a grasser, but I’ve always loved the genre. A lot of my favorite country acts growing up either started with bluegrass music and went to country or started in country music and went to bluegrass. My favorite country artists always drew from bluegrass inspiration and instrumentation and blurred the lines of country and bluegrass music. This Mixtape is comprised of songs that I grew up listening to and that inspired the sounds and writing on Kentucky Bluegrassed. – Brit Taylor

“Pretty Little Miss” – Patty Loveless
(Songwriters: Traditional, additional lyrics by Emory Gordy Jr. and Patty Loveless)

It’s 2006 in Prestonsburg, Kentucky, and I’m standing side stage at the Mountain Arts Center waiting for my cue to prance out on stage in an old, ugly vintage dress, silly hat, and no shoes. I always picked Patty songs to sing, whether they were bluegrass or country. I loved them all. During this particular summer show season of the Kentucky Opry Junior Pros, I chose to sing Patty Loveless’ “Pretty Little Miss.” There’s something raw and painfully beautiful about the way that Patty Loveless sings. She feels every note and you feel it with her.

Patty is a wonderful songwriter and a hell of a song hound. She surely knew how to sniff good songs out, and Patty and Emory (husband/producer) knew exactly what to do with them when they found them. Whether she writes the song or finds a great song to sing, she knows how to empathize with the song’s character and you can hear it. Unlike some of her more heart-wrenching songs (like my personal favorite, “You Don’t Even Know Who I Am,” written by Gretchen Peters), “Pretty Little Miss” is funny and fun, plus she wrote it! And she sings the shit out of it. Patty Loveless, like Dolly Parton, knows how to get into character and have fun.

“Busted” – Patty Loveless (Songwriter: Harlan Howard)

Written in 1962 by one of my favorite songwriters of all time, Harlan Howard, this song has been recorded and re-recorded. From Johnny Cash and the Carter Family to Waylon Jennings to Ray Charles and more, this song has been done again and again for good reason. In 2009, my queen Patty Loveless comes along and grasses the hell out of it. Each interpretation of this song is different from the last in pretty drastic ways. That’s one of the things I love about music and production. Music is like water, it can literally fit into whatever mold you want to pour it into. You just have to have some imagination. It’s songs like this that inspired me to write and record my song, “Rich Little Girls.” And it is artists like Patty Loveless and producers like her husband Emory Gordy who inspire me to not be afraid to reimagine a song completely different from its original presentation.

“Truth No. 2” – The Chicks (Songwriter: Patty Griffin)

This entire album is an inspiration for Kentucky Bluegrassed. The songwriting is impeccable as are the production and the playing. The album is full of incredible songs by writers like Darrell Scott, Tim O’Brien, Marty Stuart, Patty Griffin, and others. The tracks could have easily been recorded on a Chicks traditional country record, but I love that they decided to do them this way. I love the melody of this particular song and the extended intro with the fiddle hook. I also love the space in this song. They didn’t fill every “hole” with a lick. They let the song breathe. These are definitely concepts we were mindful of when recording Kentucky Bluegrassed. Where can we let it breathe? What’s the signature lick here and who’s playing it? Heavy on the dobro and fiddle, please.

“I’m Gone” – Dolly Parton (Songwriter: Dolly Parton)

No one can tell a story quite like Dolly. This whole record – Halos & Horns – is a lesson in storytelling. Dolly is always an inspiration. Her ability to connect with her audience through her lyrics, honest stories, and light-heartedness will always be something I strive to do in my own music. This is one of those records that I remember begging my mom to take me to the Walmart in Prestonsburg to buy!

“Big Chance” – Patty Loveless (Songwriters: Emory Gordy Jr. and Patty Loveless)

Lyrics in Patty’s “Big Chance” such as, “Looka here mama, looka here daddy/ This is my true love, we’re gonna get married/ Ain’t a gonna hem-haw, ain’t a gonna tarry/ This is my big chance, we’re gonna get married/” are what inspired me to be confident in my own Appalachian dialect, enough so that I put words like “sworpin’” in my song “Saint Anthony,” regardless of if other people were going to understand it.

“Marry Me” – Dolly Parton (Songwriter: Dolly Parton)

I love the perspectives and simplicity in songwriting on both “Big Chance” by Patty and “Marry Me” by Dolly. The character in Dolly’s song sounds like she might be 13-years-old, hollering to her folks about how she’s gonna run off and marry this new feller! I love that the character sounds so young and also like she just met the boy yesterday. It just lends itself to sweetness and innocence with a light-hearted humor.

I wanted a song about getting married on my bluegrass record simply because my heroes had them on theirs. I love the personality and the very matter-of-fact, bossy lyrics of these songs – and that’s what Adam Wright and I were going for when we wrote my own song, “Married.”

“A Handful of Dust” – Patty Loveless (Songwriter: Tony Arata)

This is another one of those songs that has been recorded again and again by multiple artists and for good reason. It was first recorded by Dolly Parton, Linda Ronstadt, and Emmylou Harris in 1993 and then by Patty Loveless on her 1994 country album. Then she cut it again on Mountain Soul II where she grassed it! Charley Worsham and Lainey Wilson also just released their own version of the song. I honestly couldn’t pick a favorite version if I tried. It’s hard to mess up a song this great. I chose this version for the playlist because it’s grassed and very much an inspiration for grassing several of my own songs.

I realize I have a lot of Patty Loveless songs on this playlist, but that’s because she is honestly who inspired Kentucky Bluegrassed the most. I listened to her songs on repeat growing up and still find myself doing so today. If you have heard Kentucky Bluegrassed and are now listening to these Patty songs from the Mountain Soul records, you will definitely hear some similarities. Rob Ickes, who plays Dobro, and Stuart Duncan, who plays fiddle, who were on both Mountain Soul records also play on my Kentucky Bluegrassed album.

“Don’t Cheat In Our Home Town” – Keith Whitley, Ricky Skaggs
(Songwriters: Ray Pennington and Roy E. Marcum)

Both Ricky Skaggs and Keith Whitley are from near the Country Music Highway in East Kentucky, and you can hear the hillbilly twang in their voices, especially when they’d sing together. This song is wonderful. The harmonies just kill me. If you want a lesson in singing bluegrass harmonies – hell, any harmonies for that matter – this is the record to listen to and learn from. When people tell me they don’t like bluegrass, I always tell them they just haven’t listened to the right records yet. This is one of the first albums I send them to. The self-deprecating lyrics along with the simplicity of the music with its quirky upbeat instrumentation might seem to be a contradictory songwriting and production combo, but that’s just one of the unique and beautiful things about bluegrass music that I love so much.

“Rank Strangers” –The Stanley Brothers (Songwriter: Albert E. Brumley)

My Papaw Hillard Anderson introduced me to bluegrass music when I was just a kid. Truth be told, he liked to put on a Stanley Brothers 8-track tape, drink a little too much Crown Royal and have himself a good cry – or maybe just raise some hell. One of the two. Man, I miss him. When I turned 16 and got my driver’s license, I got us tickets to go see Ralph Stanley at the Mountain Arts Center in Prestonsburg. I picked him up over on Beaver Creek in my little red Mustang and off we went. I think my driving scared him to death. But it was all worth it when we got to see Ralph sing and play. I was able to charm my way backstage because the volunteer door people already knew me from my singing at the Kentucky Opry. I got my Papaw a picture signed by Ralph Stanley himself.

Papaw passed in 2009. I sang to him and strummed my guitar as he died. I wish he could have been here to hear this record more than any record I’ve ever made. But I know he’s got a front seat in Heaven. When I recorded Kentucky Bluegrassed, I took two of my Papaw’s old, scuffed-up Stanley Brothers 8-tracks tapes with me. I set up a little hillbilly altar with the two tapes, some tigers eye, Kentucky agate, clear quartz, and other crystals, a rabbit’s foot, some incense, and a glass of bourbon. I wanted to make sure he knew he was welcome there with us. He was there. I could feel it.

“You’ll Never Leave Harlan Alive” – Patty Loveless (Songwriter: Darrell Scott)

I’ll probably spend the rest of my life trying to write a song this good. Nothing captures where I’m from as much as this one does. It just sounds like East Kentucky. It sounds like the coal mines. It feels like home. The first version of this song that I heard was by Patty Loveless on her first Mountain Soul record. I try to sing it sometimes, but it hits pretty close to home. By the last verse I’m normally in tears. My Papaw was a coal miner, and my husband’s father was a miner, too. Growing up, coal mining was about all there was to do for work around home. So hearing this song just always hits hard.

I hope you enjoy this playlist of tunes that inspired Kentucky Bluegrassed, from the songwriting down to the instrumentation. Songs like these will never grow old or sound dated because they’re too original. They don’t chase any trends of the times. They just are what they are.

Photo Credit: Natia Cinco

NEWS: BGS Announces New Brand, Good Country

Posted on December 29, 2023June 20, 2025 by Justin Hiltner

BGS is proud to announce the launch of a new brand in 2024: GOOD COUNTRY. By this point, you may have seen or heard mentions of Good Country on our site, at our events, and on our socials feeds as we prepare this exciting new expansion for our readers and fans.

Launching in mid-January 2024, Good Country is a curated, bespoke email newsletter that will highlight all good country from across the roots music landscape. Every other week, GC will deliver high-end country music reporting, long reads, playlists, videos, and exclusive content from your favorite country artists direct to your email inbox. As you scroll, you’ll dive into the deep and broad world of Good Country, from gritty and raw Americana to glitzy and glamorous radio hits, from bluegrass supergroups to southern rock ensembles and swampy string bands. Sign up for Good Country now.

“Good Country is a brand new horizon for BGS,” says managing editor Justin Hiltner. “But, at the same time, it’s nothing more than a reinforcement of our values as a media company and roots music community. Country – like its family members bluegrass, folk, and Americana – is more than just music, it’s a lifestyle, an identity, a way of being. There’s so much good country being made out there right now and we know our audience agrees. Whatever ‘good country’ means, you’ll know it when you hear it. And you’ll hear plenty of it in this newsletter!”

Each issue of Good Country will center features, think pieces, and interviews penned by the best writers and thinkers in country music highlighting not just the biggest names in the genre, but new and upstart artists as well. Exclusive newsletter content will live alongside deep dive playlists, sonic explorations, and thoughtful examinations of what country is, who makes it, and to whom it can belong – everyone.

BGS co-founder, actor, activist, and musician Ed Helms, will be featured in each issue as well with “Ed’s Picks,” artists and bands selected by Helms himself, direct from his own listening.

“From the very beginning, BGS was forged on a foundation of celebrating the full spectrum of roots music fans and artists,” explains BGS co-founder Amy Reitnouer Jacobs. “This community has never been one thing, nor has it been static. It’s a diverse, expansive, and ever-changing art form. The same can and should be said for country music. And that’s why now is the perfect time to create a more representative media landscape. It’s time for Good Country.”

Good Country’s first issues will feature music, art, and content featuring Zach Bryan, Sierra Ferrell, Amanda Fields, Veronique Medrano, Shania Twain, Chris Stapleton, Vincent Neil Emerson, Brittney Spencer, and so many more. No matter your entry point to this music, with our new brand and newsletter you will find endless Good Country to enjoy. Interact with content in your email inbox, on our website, and on our social media – wherever you are, Good Country will meet you there.

Good Country isn’t about deciding what is or isn’t good country music. Good Country is a place. It’s a way of looking at the world, a way of enjoying music. If you think it’s good and you think it’s country, then you’ve found Good Country.

Sign up now to be one of the first readers to receive Good Country direct to your email inbox. And, begin your exploration of Good Country with our BGS Class of 2023: Good Country year-end list.

Photo Credit: Zach Bryan by Trevor Pavlik; Vincent Neil Emerson by Thomas Crabtree; Sierra Ferrell by Bobbi Rich.

BGS 5+5: Mikhail Laxton

Posted on July 31, 2023June 20, 2025 by Justin Hiltner

Artist: Mikhail Laxton
Hometown: Mossman, Queensland, Australia; now based in Ottawa, Ontario, Canada
Latest album: Mikhail Laxton
Personal nicknames (or rejected band names): Mik (Mick)

Which artist has influenced you the most … and how?

I had a lot of great artists that I loved when I was growing up. But when I was 18, I was introduced to an artist that pretty much changed everything.

I had just joined a music school that was made up of mostly international students. One day, I was relaxing on campus when I heard this amazing song. The style of the song is what gripped me at first, then came these beautiful lyrics. I couldn’t figure out where it was coming from, so I started searching the campus, and as I got closer a friend of mine was just sitting there strumming her guitar and singing.

At first I was just so impressed with her skill and talent. She then told me she couldn’t take all the credit as the song was a cover. She gave me the name of the artist – Amos Lee. I spent the rest of that day and night watching YouTube videos of this guy, and I was just absolutely blown away by his music, his singing and songwriting. It wasn’t long before I was covering his songs and trying to emulate his voice. Not only did that ignite the fire of songwriting in me, it also sparked more interest in the idea of possibly pursuing music more seriously.

Since then, there have been only a few other artists that have impacted me the way he has (Chris Stapleton, and right there with Amos Lee is Glen Hansard). But Amos Lee’s self-titled album is what truly got things started.

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

Mostly it’s film and photography.

I’m a very visual person. When I hear music, I automatically start seeing visuals in my head like scenes from a movie, and my mind also works the opposite way. When I see something like a film or a photograph, my mind starts playing sounds in my head.

A little interesting side note: A few years ago, shortly after I got married, my wife had an interesting observation. She said, “I find it strange that you’re a musician, but you don’t actually listen to a lot of music at all.” At that particular point, we had been driving for a couple of hours without any music. I’d never taken notice of that before, but when I thought about it, I realized that it’s because most of the time there’s music playing in my head, whether it’s a well-known song or something my brain is working on. And usually if that’s not happening, I’m most likely writing songs and lyrics in my head.

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

The very first moment was when I was about 12 or 13 years old. I’d started to show a real interest in playing guitar, and I kinda had a knack for it already.

One night, I went spear fishing with two of my uncles. We came back late that night with a great catch. One of my uncles was cleaning the boat, and I was fileting the catch with the other. After a while, the latter uncle looked at me and said, “Mik, you see that guitar over there?” pointing his fileting knife to an acoustic guitar leaning against the wall. “Can you eat it?” I was very confused and said, “No.” He went back to cutting the fish and said, “What about this fish, can you eat it?” Realizing what he was inferring, I said, “Yep!” He then finished by saying, “Always remember, you can’t feed your wife and kids with guitar strings, but you can always feed them with fish!”

Basically, he was trying to squash any ideas I may have had about becoming a musician. I remember staring at that guitar at that moment, and it just made me want to go for it. I never liked being told what to do when I was that age. I’ve always had a bit of a rebellious streak in me, and this incident, thankfully, was no exception, even if it was coming from someone I admired. From that moment on, I knew music was something that I wanted to take seriously.

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

I do have a “pre-game” ritual.

– If I’m hungry, I’ll eat no less than two hours before the show. I usually just perform on an empty stomach. This is literally just so I don’t belch into the microphone, ha ha!

– I like to get in my vocal warmups within an hour of performing. I usually do this either on the way to the venue or right before soundcheck at the venue.

– I then like to stretch and warm up my body. This includes cracking my back with some random and probably incorrect yoga poses. I love the way it makes me feel, and it’s good to manage any nerves I might have.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Wow, this is a really good question!

A long time ago, early in my songwriting career, I was always extremely hesitant when writing songs that had some heavier content behind it — around then I had allowed my entire existence to be dictated by my faith and community of like-minded people. When I did start taking my writing seriously, I had tried to write without a filter, and I was heavily criticized by so-called friends and fellow musicians who felt that what I was writing wasn’t “nice” enough or was “too dark.”

And so I began to create a habit of censoring my writing accordingly by hiding meanings behind metaphors, and, yes, sometimes characters. Before too long, I found myself having constant bouts of never-ending writer’s block, and perhaps I developed a bit of an imposter syndrome. I felt like the music that I was creating wasn’t really art because I wasn’t allowing myself to freely create and say it how it is.

It took me a while, but thankfully I broke away from those influences. Art and music mean so much to me, and all I’ve ever wanted to do with my art is be honest, no matter how beautiful or ugly it can get. Our stories are worth telling in all their glory.

So, to finally answer your question, I do not hide behind characters. If the song is based on my own experience, you’ll know. But I also don’t mind telling the stories of others from a first-person point of view. I just use the song as a way to walk a mile in their shoes, I let those stories affect me emotionally, and I do my best to put that to paper as accurately as I can.

Photo Credit: Jen Squires

BGS Class of 2022: Musical Moments from Joni Mitchell, Molly Tuttle, and More

Posted on December 14, 2022June 20, 2025 by Editor

Whether you’ve been following the Bluegrass Situation for 10 years or 10 days, you’ve likely noticed that we cover more than bluegrass. That’s especially evident in our BGS Class of 2022, a retrospective written by our contributors that includes numerous familiar faces, a couple of superstars, and even a few surprises. (And you can probably tell that we’re fans of live music.) Here are our favorite moments of 2022, listed alphabetically and enthusiastically.

Banjos, Banjos, and More Banjos

For banjo lovers, 2022 offered an array of styles and inspirations. Jake Blount explored Afrofuturism on The New Faith, while Caamp’s Evan Westfall channeled his Ralph Stanley influences into the Americana-leaning album Lavender Days. Pharis & Jason Romero embraced a folk sound in “Cannot Change It All,” Tray Wellington indulged his interest in jazz on Black Banjo, and Leyla McCalla related her Haitian heritage in songs like “Fort Dimanche.” Could banjos be the great unifier? — Craig Shelburne

Big Thief, “Spud Infinity”

With its bounding cartoon mouth harp and Adrienne Lenker’s hound dog howl, this standout on Big Thief’s double album, is a goof on Americana tropes, a funny embrace of the kookier sides of early Dylan or maybe Country Joe & the Fish. The song’s odd climax is the bemused realization that you can’t kiss your own elbows: “They’re on their own!” Lenker declares. How the band manages to pivot from such silliness to a genuinely moving existential query is a cosmic bit of choreography. — Stephen Deusner

Black Artists in Country Music

Forty years ago I wrote a review of Big Al Downing’s LP on the Team label for the Bridgeport Post-Telegram (today the Connecticut Post). I got two letters — one from (I presume) a white man saying, “N-words don’t sing country music. Why did they print your crap?” The other came from a Black guy saying, “You’re a great writer. Write about OUR MUSIC.” I know he’d be thrilled at the presence of so many Blacks in country today, and at videos like Jimmie Allen’s poignant ‘Down Home.’ It’s about life, love, country things and every bit as much about Black life as any ghetto saga or rap chronicle. Seeing it always makes me happy and seeing him and other Black stars excel in country reaffirms it is AMERICAN music, period. — Ron Wynn

Kate Bush’s Second Run and Sam Bush’s Radio John

If this year gave us one thing to be especially grateful for, it was the return of Kate Bush, whose 1986 earworm “Running Up That Hill” was inescapable following its prominent inclusion in Season 4 of Stranger Things. Suddenly Kate was almost everywhere (though to some of us she never really went anywhere but I digress…). Even my 16-year-old niece suddenly knew about “Cloudbusting” and “Wuthering Heights,” to my great joy. But Kate wasn’t the only Bush to make an impact in 2022. A more familiar face to BGS fans, the Sam variety of Bush released a beautifully personal tribute, titled Radio John, for his friend and musical icon John Hartford. While the Bushes’ music couldn’t be more diametrically opposed, the “Bushaissance” was a welcome reminder that some of our most legendary artists continue to be as prolific and relevant as ever. — Amy Reitnouer Jacobs

Mike Campbell & The Dirty Knobs at Brooklyn Bowl Nashville

This March 15 show began as a statement of where Mike Campbell is going and ended with a celebration of where he’s been. It was a cathartic night of mourning Tom Petty’s death and celebrating that his brand of literate rock lives on through Campbell’s music vision. It was exhilaratingly joyful. Bonus: Margo Price bashing away on drums behind husband and opening act, melodic songwriter Jeremy Ivey. — Jim Patterson

Cimafunk at Austin City Limits

When Cimafunk taped his Austin City Limits debut in May, it was like watching the spirits of James Brown and Prince explode into an Afro-Cuban soul-funk supernova. The moves, the grooves, the seductive way rhythms rippled through his body … the language barrier simply melted away, replaced by pure, infectious energy. From gorgeous balladry to syncopated deliciousness, Cimafunk & the Tribe, his eight-piece, jazz-influenced band, left me crushing hard — and dancing out the door. — Lynne Margolis

JazzFest Returns

The first second line parade… the first blaring brass band … the first Cajun waltz… the first bite of a cochon de lait po’ boy… New Orleans’ JazzFest was back after three looooong years! The “headliners”? Who cares? The stuff you can’t get anywhere else was what we missed. DahkaBrakha from war-torn Ukraine, their traditional towering hats against a backdrop of the words “Won’t Bow Down,” the defiant credo of New Orleans’ Black Masking Indians? Yeah you right. — Steve Hochman

Kentucky Rising Raises $3 Million

After flash flooding decimated Eastern Kentucky in early August, Chris Stapleton organized a relief concert at Lexington’s Rupp Arena on Oct. 11 that included Kentucky all-stars Tyler Childers and Dwight Yoakam. The show’s highlight came during a star-studded finale that saw Eastern Kentucky musical paragons Ricky Skaggs and Patty Loveless join others for a rendition of John Prine’s “Paradise.” The surprise moment was a powerful reminder of how, even in the darkest of times, music has the power to lift spirits. — Matt Wickstrom

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Joni Mitchell at Newport Folk Festival

After a 2015 aneurysm left Joni Mitchell having to relearn how to walk and sing, her performing days seemed over. But she had a comeback for the ages at this past July’s Newport Folk Festival, with help from Brandi Carlile and friends. Mitchell’s first full set in 23 years was an unequivocal triumph, especially the penultimate “Both Sides Now” – which had everyone there openly weeping. The moment of redemptive healing we didn’t know we needed. — David Menconi

Plains, I Walked With You a Ways

Waxahatchee’s Katie Crutchfield and Jess Williamson teamed up to form Plains this year, and Williamson may have written the perfect millennial country song for the project (though, as country music tends to do, it’ll resonate with any generation.) “Abilene” reluctantly talks of dreams that once were — now abandoned, for one reason or another. With white picket fences being harder than ever to reach these days, “Abilene” might leave my fellow millennials crying into their avocado toast, but immediately swept back up by this wholly incredible and refreshing album. — Shelby Williamson

Caitlin Rose, CAZIMI

Before November, Caitlin Rose hadn’t released an album since 2013 — and still managed to be a “top-played” artist for me every year. CAZIMI perfectly encapsulates why: Her hummable melodies, expertly balanced instrumental twang, and smart lyrical candor make every song feel like a confessional with your wittiest friend. From the forward-looking harmonies of “Getting It Right” to the vulnerable, clear-voiced “Blameless,” CAZIMI is yet another Rose stunner I’ll be spinning for decades to come. — Dacey Orr Sivewright

Sam Shackleton on Gems on VHS

A top musical moment for me this year was watching Scottish musician and folklorist Sam Shackleton on GemsOnVHS’ YouTube channel, performing the classic song “House Carpenter” from Arthur’s Seat which overlooks his hometown of Edinburgh. I love how Shackleton’s spirited busker style puts him at ease anywhere, solo or in a crowded pub jam. His richly accented singing voice and his unpretentious banjo style shine through in this video. — Lindsey Terrell

Sister Sadie, “Diane”

So, how’s this for a storyline? The singer finds out not only that her boyfriend is a two-timing creep, but also that he’s married to her friend Diane. And in this female take on the cheating story, knowing she has betrayed a friend is what hurts most. After a sweet acapella intro, a banjo backup tells you to strap in — the bluegrass is about to take off. Great story, great vocals, great drive. – Claire Levine

Chris Stapleton & Patty Loveless at the CMA Awards

For my musical moment of 2022, I didn’t have to go too far back. At this year’s CMA Awards, Chris Stapleton and Patty Loveless joined forces on a Darrell Scott classic, a gut-wrenching song about the hardship of living in the coal country of Eastern Kentucky. I performed this song a few times in my day and it still makes me shiver when I hear the hook: “You’ll Never Leave Harlan Alive.” — Jonny Therrien

https://www.youtube.com/watch?v=pZ2ZgQ1AP2c

Town Mountain, “Lines in the Levee”

With its first album on New West Records, Lines in the Levee, Town Mountain has broken into a new, exciting level. Based in Asheville, North Carolina, this Americana/bluegrass act is a high-octane, live-wire presence on stage. And, with this latest record, the group dug deep into its lyrical wellspring, commenting on the state of affairs in America — a melodic voice of reason amid uncertain times. In truth, after 17 years together, the band is only getting more raucous and riled up. “Lines in the Levee” has already become a staple in the concert realm. — Garret K. Woodward

Molly Tuttle & Golden Highway, “Crooked Tree”

Molly Tuttle’s “Crooked Tree” is a testament to finding strength in otherness. It’s a track that leans into traditional aesthetics while oozing Tuttle’s personality, worldview, and musical ethos — which remind of second-generation bluegrass trail blazers like Laurie Lewis and Lynn Morris. The confidence, vigor, and panache Tuttle has built with Golden Highway and on Crooked Tree are striking and widely resonant; in November, she received two Grammy nominations: Best New Artist and Best Bluegrass Album. — Justin Hiltner

Watkins Family Hour, Vol. II

I cheered about everything that went into Watkins Family Hour’s Vol. II. Not to downplay the 20-year milestone of Sean and Sara Watkins’ collaborative project but their third LP being devoted to just that, collaboration, felt like a burst of sunshine against lockdown’s darkness. Each song sounds so full of human individuality — of life. Rather than listening to a recording, I feel like I’ve walked into Largo for Watkins Family Hour’s next live show. — Kira Grunenberg

Photo Credit: NPR (Leyla McCalla); Newport Folk Festival (Joni Mitchell); Nonesuch Records (Molly Tuttle)

Give Them a Hand: Joy Oladokun & Chris Stapleton Unite on “Sweet Symphony”

Posted on November 16, 2022June 20, 2025 by Editor

It’s true — Joy Oladokun and Chris Stapleton are sharing the spotlight in a new video. What’s even better news, the project features puppet-ized versions of both. In “Sweet Symphony,” Oladokun and Stapleton go back and forth, trading verses on a precious love song that has the glow of timeless classics and wedding ballads. It’s both heavy and happy in the way that it pulls you in to deliver a warm message about love. Oladokun wrote the song with Ian Fitchuk and Shae Jacobs. She also co-produced the track with Fitchuk and Mike Elizondo.

The decision to feature puppet versions of the singers wasn’t made without intention; instead, the video treatment was drawn from Oladokun’s childhood. “I felt really inspired as a black kid watching Sesame Street and The Muppets because we live in a world where our differences separate us, and these shows were so clearly modeled through the art form that differences don’t matter,” she says. “I love the surrealism and realism that puppet art blends together because it teaches us cool lessons about how we should treat others.”

Take a look at Joy Oladokun and Chris Stapleton’s “Sweet Symphony” below.

WATCH: Patty Loveless, Chris Stapleton Sing “You’ll Never Leave Harlan Alive”

Posted on November 10, 2022June 20, 2025 by Editor

Patty Loveless reminded us why she’s still a hero to traditional country and bluegrass fans during a rare performance with Chris Stapleton at the CMA Awards on Wednesday night. Loveless included the poignant composition on her landmark 2001 album, Mountain Soul, an acclaimed record that still holds up. Look closer and you’ll see that Darrell Scott, who wrote the song, is playing Dobro on this performance, along with Deanie Richardson on fiddle and Morgane Stapleton on harmony.

Released at the height of the O Brother, Where Art Thou? soundtrack’s popularity, Loveless pressed pause on her commercial country career for a set of songs featuring Jon Randall, Travis Tritt, and an exceptional group of studio musicians. (Seriously, look at this personnel list.) The emotional centerpiece of the project may be “You’ll Never Leave Harlan Alive,” which feels almost like it was written for Loveless, whose late father worked in the coal mines.

Stapleton deservedly won the CMA Award for Male Vocalist during the show, but his greatest accomplishment of the night may be been placing a six-minute Appalachian ballad in the middle of a mainstream country show, not to mention inviting Loveless back into the spotlight. She’s no stranger to the CMA Awards, of course, having won back-to-back Female Vocalist trophies in 1995 and 1996, in addition to Album of the Year honors for 1994’s When Fallen Angels Fly. She later collected another one for 1997’s “You Don’t Seem to Miss Me,” which she recorded with one of her own heroes, George Jones. It’s a touching moment to now see Stapleton paying homage to an artist who has made her own mark on country music throughout the decades. And it goes without saying that any time that Patty Loveless wants to make another album, we’re here for it.

Stapleton and Loveless first sang the song together at the Kentucky Rising benefit concert in Lexington on October 11, raising funds for relief and recovery following the devastating floods in Eastern Kentucky this past summer. The one-night-only event also featured performances from Kentuckians Tyler Childers, Dwight Yoakam, Ricky Skaggs, and S.G. Goodman. You can still donate to the Kentucky Rising Fund here.

Take a look at Patty Loveless and Chris Stapleton singing “You’ll Never Leave Harlan Alive” below.

LISTEN: Joy Oladokun with Chris Stapleton, “Sweet Symphony”

Posted on September 27, 2022June 20, 2025 by Editor

Artist: Joy Oladokun with Chris Stapleton
Hometown: Nashville, Tennessee
Song: “Sweet Symphony”
Release Date: September 23, 2022
Label: Amigo Records/Verve Forecast/Republic Records

In Their Words: “‘Sweet Symphony’ is a song I wrote about the love that I got to witness my parents share as a kid. It’s about the vulnerability, the fear, and the ups and downs that come from loving someone. Showing all of yourself so that someone else can accept and celebrate you is what it’s all about. I’m excited to have Chris Stapleton on this song not only because he has one of the most iconic voices on the planet, but also, he’s just an incredible songwriter, artist, and instrumentalist. I feel very lucky and honored that he wanted to be part of this song.” — Joy Oladokun

Photo of Joy Oladokun: Sophia Matinazad. Photo of Chris Stapleton: Becky Fluke

WATCH: Kendell Marvel, “Don’t Tell Me How to Drink” (Feat. Chris Stapleton)

Posted on August 29, 2022June 20, 2025 by Editor

Artist: Kendell Marvel
Hometown: Nashville, Tennessee
Song: “Don’t Tell Me How to Drink” (featuring Chris Stapleton)
Album: Come on Sunshine
Release Date: September 23, 2022
Label: CmdSht

In Their Words: “I wrote ‘Don’t Tell Me How to Drink’ with my old songwriting buddy Chris Stapleton a couple years ago. Me and Beau Bedford tracked this song, and I sent it to Stapleton asking if he would be interested in playing guitar and singin’ on it. It’s a damn thrill for me to have him on this Honky Tonkin’, Rock n Rollin’, Hell Raiser. Younger folks might be better at some things, but don’t mess with the old dogs when it comes to stuff like drinkin’!” — Kendell Marvel

Photo Credit: Laura E. Partain

BGS 5+5: Wesley Dean

Posted on April 26, 2022June 20, 2025 by Editor

Artist: Wesley Dean
Latest Album: unknown
Hometown: I’m a drifter. Born in Adelaide. Lived in Sydney for 20 years and we left the Sunshine Coast, Queensland, to move to Nashville, Tennessee, in February 2021.
Personal Nicknames: Wes

Which artist has influenced you the most … and how?

John Lennon gave me the permission at 13 to create whatever I wanted to create through music. Mum bought me the Anthology box set for my 13th birthday, and I was obsessed by his raw home recordings. It gave me permission to write my own music and create my music, on my terms. Songs like ‘Working Class Hero’ and ‘I Found Out,’ the home recording versions really resonated with me. It was so familiar. Before that it was Michael Jackson. His presence on stage was like something other worldly. The way he danced and commanded the audience. I learnt about the power of stage presence through imitating him since I was 2 years old.

Nirvana was my favourite band growing up. When I stayed up late one night and watched the MTV Unplugged gig, the next day I strung my Mum’s old nylon string guitar that had been in the cupboard for 20 years, and my life changed forever. Kurt also gave me the permission to be honest and autobiographical. I resonated with the spirit of the music. It hit me at the right time. I was just becoming a teenager and he sang as if he knew how I felt. I wanted to be a light like that for somebody, and dreamed that one day my music could help someone through life also.

What has been the best advice you’ve received in your career so far?

“Major in the major” as opposed to “minoring in the minor.” In this business you can easily get bogged down in all the things that aren’t working, and fall into the trap of becoming a victim about things that don’t go your way. It’s a long road to build anything of worth, and I’ve been in this business for 20-plus years, writing songs and playing shows from small venues to stadiums. I’ve played in every venue I can think of in Australia over the span of 20-plus years, and to me, every gig, good and bad, have been the best blessings that have made me who I am today. I couldn’t think of doing anything else, even though sometimes the struggle is so intense. I could never give it up. My good friend once said, just keep majoring in the major and the blessings will follow. You have to stop yourself daily and ask yourself, “What’s most important? Where are you going? And who are you serving?” That’s what drives me, to be able to leave a legacy for my boys, and anyone who walks a similar path, to know that they will hopefully one day realise that I did everything I can to carve my own way in this life. When you major in the major, the small things don’t seem to matter.

What’s the toughest time you ever had writing a song?

Songwriting is a sacred craft for me. It’s one of the only ways I can feel truly at peace with myself. Twelve notes and yet infinite possibilities. I’ve never had a problem with writer’s block; it’s only when I think about something too much, that’s when the barriers come up and I can’t seem to finish what I started. My friend and co-writer Fred said to me once, “Take a big idea and make it smaller.” I really like that approach. Sometimes the big ideas can seem torturous and can play on your mind for weeks, years. I always put a lot of expectations on myself. I strive to be the best at what I do, because I don’t like to settle at anything worth doing well.

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

I practice TM (transcendental meditation) frequently. My non-negotiable routines, in order to feel well and look after my mental health, are eating well, 20 minutes of meditation and a 20-minute HIIT workout daily. I have a history of anxiety and depression, and both practices in the morning are the best way to start my day. Over the years I have discovered that food also has a major impact on how I think and feel. Sugar being the worst for me, mainly. I’m pretty sure I’m allergic to sugar, so when I’m eating clean, I’m in a much better frame of mind. It’s the old “what you eat, you are” mantra. Of course it’s easier said than done sometimes, when you’re on the road. I make sure I know where I’m eating before heading out on the road, so I keep strong and fit to perform every night. Nothing worse than trashing yourself and then trying to perform every night. Which I’ve done a few times. It’s an insult to the people who pay good money to see you play live.

What’s your favorite memory from being on stage?

So many favorite memories. I’ve sung with some Aussie icons in my time. Singing a song I wrote called “Lost” with Cold Chisel at the Sydney entertainment centre the night before it was demolished was one the best. Performing on the steps of the Opera House to a sold out crowd on a national TV show was a highlight. Playing inside the Opera House with the Sydney Symphony Orchestra was incredible. So many great moments with my best friends in my Aussie band. Playing with a band to me has to have a feeling of camaraderie. We are all on the journey together, telling a story, conveying a message. It has to feel like an experience not just a job that you clock in and get paid, but something that transcends the normal every day way of life. People that pay good money to see you play expect that you as the performer take them on a journey. They turn up to forget about the world for a while and just wanna be swept up in a moment and that’s the responsibility of an artist/performer.

Photo Credit: Anthony Scarlati