Tag: Dan Tyminski

You Gotta Hear This: New Music From JOSEPH, East Nash Grass, and More

Posted on by Justin Hiltner

You Gotta Hear This! It’s another excellent roundup of track and video premieres plus new music arriving on digital “store shelves” today. There’s bluegrass, folk, Americana, and more.

Kicking us off, Kentucky’s Bibelhauser Brothers enlist their hero and friend Sam Bush on their rendition of “One Tin Soldier,” from their upcoming album, Down The Road. As an added bonus, Aaron Bibelhauser and Sam Bush had a nearly hour-long chat about the track, too – you can find and watch that video below. Also in a bluegrass space, Irish ‘grasser Danny Burns offers his cover of “Brother Wind,” a modern classic written by Tim O’Brien. Dan Tyminski joins Burns on the track, which does O’Brien and Darrell Scott’s versions of the song justice, for sure.

Alt- and indie-folk outfit JOSEPH return with new music, bringing us a video for their new track, “Bye and Bye,” borrowing a classic and often ecclesiastical line to explore growth, loss, and the drawn out transformations life brings each of us – while tipping their hat to a bar by the same name. You can also hear Appalachian mountain music duo the Wildmans perform “Autumn 1941,” a song co-written by Berklee’s Mark Simos and Roger Brown that touches on the harrowing reality of eugenics in the mountains of the Southeast.

East Nashville’s favorite band of lovable bluegrass delinquents, East Nash Grass, released a new single earlier this week, too! Don’t miss the excellent and lovely “Followin’ You,” written by ENG guitarist James Kee and new Travelin’ McCourys fiddler Christian Ward especially for Maddie Denton to sing. Plus, Nick Dumas is readying a bluegrass album, offering our readers a peek at a new video for “Where Have You Been,” a song about how sometimes folks you love “go away” without actually leaving.

There’s still more fantastic roots music, though! Award-winning fiddling phenoms Deanie Richardson and Kimber Ludiker are teaming up on a twin-fiddle album coming soon from Mountain Home Music Company; you can hear “Cacklin’ Hen,” the first offering from that project, below. And, wrapping us up this week, Jessica Willis Fisher went into the studio with Bryan Sutton playing guitar and mandolin to record the heartfelt and touching, “Seeds,” a country/Americana flavored track about interrupting generational cycles of pain and trauma and refusing to reap the seeds someone else may have sown in your heart and mind.

It’s quite the collection of music, and, as we say every week: You Gotta Hear This!

Bibelhauser Brothers, “One Tin Soldier” (Featuring Sam Bush)

Artist: Bibelhauser Brothers
Hometown: Louisville, Kentucky
Song: “One Tin Soldier” featuring Sam Bush
Album: Down The Road
Release Date: May 15, 2025 (single)
Label: Common Loon Records

In Their Words: “Our latest collaborative effort, ‘One Tin Soldier,’ marks the first studio version of the familiar song that features Sam Bush singing and playing mandolin. The Father of Newgrass jumped right in as an honorary Bibelhauser Brother on this fourth single from our forthcoming album, Down The Road, slated for release this October. (I actually had a candid, nearly hour-long conversation with Sam on video to chat about the track – check that out here.) With his help, we’ve made an honest attempt to frame this song as a missing link in ‘newgrass’ history, connecting the dots between some larger-than-life personalities quintessential to the evolution of the bluegrass world. Much like many of our heroes, we’d like to keep the traditional torch burning bright, while igniting our own flame, fusing elements of blues, country-rock, and soul with our primordial bluegrass sensibilities.” – Aaron Bibelhauser

Track Credits:
Sam Bush – Mandolin, vocal
Adam Bibelhauser – Vocal, bass
Aaron Bibelhauser – Vocal, guitar
Steve Cooley – Banjo
Jeff Guernsey – Fiddle

Danny Burns, “Brother Wind” (Featuring Dan Tyminski)

Artist: Danny Burns
Hometown: Donegal, Ireland
Song: “Brother Wind” featuring Dan Tyminski
Album: Southern Sky
Release Date: May 16, 2025 (single); August 22, 2025 (album)
Label: Bonfire Recording Co.

In Their Words: “I first discovered ‘Brother Wind’ on the Transatlantic Sessions on BBC many moons ago. I’ve had the great pleasure of knowing Tim O’Brien and working with him — he was one of my very first collaborators in Nashville when we cut a few songs at John Prine and Ferg’s Butcher Shoppe [studio]. I asked him about ‘Brother Wind’ and he said, ‘Yeah, you should cut it.’ So, we did — tried to stay true to his original version while adding something new. Having Dan T. come in and sing on it brought it to another level of cool.” – Danny Burns

Track Credits:
Danny Burns – Vocals, guitars
Dan Tyminski – Vocals
Ethan Burkhardt – Upright bass
Billy Contreras – Fiddle
Matt Menefee – Banjo, mandolin
Cody Kilby – Guitars
Jerry Roe – Drums

Video Credit: Shot by Ryan Kay at the Station Inn, Nashville, Tennessee.

Nick Dumas, “Where Have You Been”

Artist: Nick Dumas
Hometown: Sturgeon Bay, Wisconsin
Song: “Where Have You Been”
Album: Where Have You Been
Release Date: May 16, 2025
Label: Skyline Records

In Their Words: “Everyone has been in that place – where someone close to you just isn’t there like they used to be, even if they haven’t gone anywhere. This song really struck me because of how real and universal that feeling is. And when Jim Van Cleve came in to mix it, he completely brought out the emotional tension in a way that blew me away. There’s this haunting, almost cinematic atmosphere that he created in the mix – it’s ominous, raw, and it elevates the story in a way that made me hear the song differently. It gave the whole track this weight, like you’re walking through fog trying to find someone.” – Nick Dumas

Video Credit: Thomas F. Obrien, TFOBV 

East Nash Grass, “Followin’ You”

Artist: East Nash Grass
Hometown: Madison, Tennessee
Song: “Followin’ You”
Album: All God’s Children
Release Date: May 13, 2025 (single); August 22, 2025 (album)
Label: Mountain Fever

In Their Words: “East Nash Grass was touring Ireland the first time I heard the demo recording of ‘Followin’ You,’ which I was told that our guitar player, James Kee, and our good songwriting pal and fiddler, Christian Ward, had written for me to sing on our upcoming record, All God’s Children. We were on the way to our next gig, driving through scenery too incredible to describe, and I was enchanted by an iPhone recording of Christian playing the guitar and singing this new song. The chorus is simple: following you. That’s all. And right there, in the beauty of simplicity, I understood that we had all been brought together to make this music to share, not because someone told us to or because of any hidden agenda; but purely because there was no other option for us.” – Maddie Denton

Track Credits:
Harry Clark – Mandolin
James Kee – Guitar
Jeff Partin – Bass
Maddie Denton – Fiddle
Cory Walker – Banjo
Gaven Largent – Dobro

JOSEPH, “Bye and Bye”

Artist: JOSEPH
Hometown: Portland, Oregon
Song: “Bye and Bye”
Release Date: May 16, 2025
Label: Nettwerk Music Group

In Their Words: “This song is about being a woman in her late thirties with none of the results she expected from the plans she made – no husband, no house, no kids, no religion. The start of the song came one night when I was getting dinner with my then-girlfriend Talia at a bar called the Bye and Bye on Alberta St. in Portland. Our sister Allie had just quit the band, I was about a year past my divorce, I had a hunch the relationship I was in couldn’t keep going in its current form. I told Talia, ‘I feel like, in a way, I just died. Like everything I am – every bit of identity I’ve had – is over.’ I started crying in the way that isn’t tidy so I ran to the bathroom and let the tears rip. It had been a rough few days and as I sat on the toilet lid bawling I opened my notes app and typed ‘Crying in the bathroom of the Bye and Bye/ Saturday’s mascara in my eye/ it’s Tuesday.’” — Natalie Closner

Deanie Richardson & Kimber Ludiker, “Cacklin’ Hen”

Artist: Deanie Richardson & Kimber Ludiker
Hometown: Nashville, Tennessee; Silver Spring, Maryland
Song: “Cacklin’ Hen”
Release Date: May 16, 2025
Label: Mountain Home Music Company

In Their Words: “I’ve been a Kimber Ludiker fan for many, many years now since I heard her play at the Grand Master’s Fiddler contest. I was a judge that year and she completely blew me away. I think Kimber is one of the most tasteful, versatile fiddlers that we have in bluegrass music today and the work she’s done with Della Mae speaks volumes for her integrity and her talent. Kimber and I have been talking about doing a twin fiddle record for at least three years now and we’re so glad that we found a home and so glad that we found a place to record this record. Mountain Home has been so generous and good to me and allowed Kimber and I the space to come record this twin fiddle record. And we took it back-old school — just twin fiddles through the whole thing and we’re super excited for you guys to hear some fun music.” – Deanie Richardson

“Deanie Richardson has long been one of my favorite fiddlers and has always been my favorite to play with. We’ve been dreaming about a twin fiddle record for years and Mountain Home is the perfect label to share our excitement and vision. With our bands Della Mae and Sister Sadie, we’ve both had a long commitment to showcase and create a platform for women in this music, and we’re excited to add our fiddling to the canon of tunes in our music. I especially hope young girls will be excited to have more and more recordings of instrumentals played by women to inspire their learning.” – Kimber Ludiker

Track Credits:
Deanie Richardson – Fiddle
Kimber Ludiker – Fiddle
Cody Kilby – Acoustic guitar
Hasee Ciaccio – Upright bass
Tristan Scroggins – Mandolin
Kristin Benson – Banjo

The Wildmans, “Autumn 1941”

Artist: The Wildmans
Hometown: Floyd, Virginia
Song: “Autumn 1941”
Album: Longtime Friend
Release Date: July 11, 2025
Label: New West Records

In Their Words: “‘Autumn 1941’ is a song Roger Brown, former Berklee College of Music President, co-wrote with Berklee songwriting professor Mark Simos. Mark has written for Alison Krauss, the Infamous Stringdusters, and Del McCoury. Del recently released the other song in this series titled ‘Working for the WPA.’ The ‘Autumn 1941’ story hails from Roger’s North Carolina Appalachian roots, it was passed down through his family and while some of the specifics remain unknown, different versions of this story of eugenics prove to be true across Appalachian regions and more largely other minorities throughout American early-mid 20th century history. Stories of this same movement took place in Virginia and communities like Floyd, our hometown. Once we got into the studio with this song, it just flowed and out of it came a haunting authenticity we hadn’t yet discovered in our music.” – The Wildmans

Jessica Willis Fisher, “Seeds”

Artist: Jessica Willis Fisher
Hometown: Nashville, Tennessee
Song: “Seeds”
Album: Blooming
Release Date: May 16, 2025
Label: Bard Craft Records

In Their Words: “When we’re young, much of our life is shaped in ways we can’t control. Seeds are planted in our life and when we grow up, we can be left reaping the effects of toxic generational patterns. A big part of my life the last few years has been weeding out so many beliefs and habits that, if left to continue to grow, would choke me to death in many ways. Some days are harder than others and I still have doubts that rise up about which way to go in life, how to best move forward, how to heal from the abuse I experienced when I was younger.

“That vulnerability and honesty felt important to include on this record which centers around healing and growth.” – Jessica Willis Fisher

Track Credits:
Jessica Willis Fisher – Vocals
Bryan Sutton – Acoustic guitar, mandolin
Ben Fowler – Engineer, producer, mix engineer

Photo Credit: JOSEPH by Gardenia Miramontes; East Nash Grass by Scott Simontacchi.

An AKUS Primer: Alison Krauss and (Mostly) Union Station for Beginners

Posted on by Justin Hiltner

While you know better, there’s a wide swath of the music-listening world in which Alison Krauss is best known as former Led Zeppelin golden god Robert Plant’s duet partner. Yet, Krauss has had a wholly remarkable career going back nearly 40 years, in which she has exhibited profound collaborative instincts and abilities.

On the occasion of the release of Arcadia, her first album with Union Station in 14 years (as well as a reunion with the founders of her former longtime label, Rounder Records), we look back at some of Krauss’ career highlights in and out of Union Station.

“Cluck Old Hen” (traditional; 1992-2007)

We begin with a literal oldie, “Cluck Old Hen,” from the pre-bluegrass era, which demonstrates two things – that Alison Krauss has always revered the history, roots, and traditions of bluegrass; and that Union Station is one incredible ensemble. Recordings of this Appalachian fiddle tune go back more than a century, to country music forefather Fiddlin’ John Carson in the 1920s.

Krauss first released an instrumental version of the tune on 1992’s Everytime You Say Goodbye (her second LP with Union Station), and won a GRAMMY with the onstage version on 2002’s AKUS album, Live. But feast your ears and eyes on this 2007 performance at the Grand Ole Opry, with a pre-teen Sierra Hull sitting in.

1992 studio version: 

2002 live version:

“When You Say Nothing At All” (Paul Overstreet & Don Schlitz; 1994)

After a decade of steadily accelerating momentum, Krauss had her big commercial breakout with this AKUS cover of the late Keith Whitley’s 1988 country chart-topper. Krauss sang it on 1994’s Keith Whitley: A Tribute Album and it served as centerpiece of her own 1995 album, Now That I’ve Found You: A Collection. It reached No. 3 on the country singles chart and went on to win the Country Music Association’s single of the year plus a GRAMMY Award. You can hear why.

Whitley’s version:

“I Can Let Go Now” (Michael McDonald; 1997)

For any interpretive singer, the choice of material is key. And if the singer in question has Krauss’ range and chops and vision, some truly unlikely alchemy is possible. Among the best examples from the AKUS repertoire is “I Can Let Go Now,” a deep cut on Doobie Brothers frontman Michael McDonald’s 1982 solo album, If That’s What It Takes. Another amazing Krauss vocal in a career full of them.

McDonald’s version:

“Man of Constant Sorrow” (traditional; 2000-2002)

Before O Brother, Where Art Thou?, you wouldn’t have called singer-guitarist Dan Tyminski the unheralded “secret weapon” of AKUS. Nevertheless, he didn’t become a star in his own right until serving as movie star George Clooney’s singing voice in the Coen Brothers loopy, Odyssey-inspired farce. “Man of Constant Sorrow” was the hit in the movie and also on the radio, launching Tyminski to solo stardom.

Resonator guitarist Jerry Douglas especially shines on this version from 2002’s Live, recorded in Louisville – you can just tell everyone in the crowd was waiting for the “I bid farewell to old Kentucky” line so they could go nuts. Tyminski would have another unlikely hit in 2013, singing on Swedish deejay Avicii’s “Hey Brother.”

O Brother version:

“New Favorite” (Gillian Welch & David Rawlings; 2001)

Kraus sang on the GRAMMY-winning O Brother soundtrack, too, alongside Gillian Welch. It will come as no surprise that the Welch/Rawlings catalog has been a recurrent favorite song source for her. One of Krauss’ best Welch/Rawlings selections is “New Favorite,” title track of the thrice-GRAMMY-winning 2001 AKUS album. Though it’s edited out in this video, the album-closing version concluded with a rare in-the-studio instrumental flub, followed by sheepish laughter to end the record. Perhaps the AKUS crew is human after all?

“Borderline” (Sidney & Suzanne Cox; 2004)

The story goes that the first time Krauss was on the summer touring circuit, she’d go around knocking on camper doors at bluegrass festivals to ask whoever answered, “Are you the Cox Family?” Once she found them, she didn’t let go, and the Coxes became some of the best of her collaborators and song providers. Along with producing their albums, Krauss covered Cox compositions frequently; “Borderline” appeared on 2004’s Lonely Runs Both Ways, another triple GRAMMY winner.

“Big Log” (Robert Plant, Robbie Blunt, Jezz Woodroffe; 2004)

When Krauss first sang with Robert Plant at a Leadbelly tribute concert in November 2004, it seemed like the unlikeliest of pairings. But here’s proof that they had more in common than you’d expect, with Krauss covering a solo Plant hit from 1983. She sang “Big Log” on her brother Victor Krauss’ album, Far From Enough, which was released earlier in 2004.

This video pairs the Krauss siblings’ version with Plant’s original 1983 video, directed by Storm Thorgerson.

“Dimming of the Day” (Richard & Linda Thompson; 2011)

Fairport Convention guitarist Richard Thompson is one of the finest instrumentalists of his generation as well as a brilliant songwriter, especially with his former wife and collaborator Linda Thompson. This stately, bittersweet love song dates back to their 1975 duo LP, Pour Down Like Silver, and Linda sets the bar high with a stoic yet emotional vocal. Krauss more than lives up to it on the 2011 AKUS album Paper Airplane, which also offers another great showcase for resonator guitarist Douglas.

Richard & Linda’s version: 

“Your Long Journey” (Doc & Rosa Lee Watson; 2007)

Krauss isn’t just a spectacular lead vocalist, but also an amazing harmony singer, one of the few who can hold a candle to Emmylou Harris. Retitled from the Doc/Rosa Lee Watson original, “Your Lone Journey,” this closing track to 2007’s grand-slam GRAMMY winner Raising Sand has Krauss’ most emotional vocal harmonies with Plant on either of their two albums together.

Doc Watson’s version:

“Heaven’s Bright Shore” (A. Kennedy; 1989, 2015)

All that, and she’s an incredible backup vocalist to boot. “Heaven’s Bright Shore” is a gospel song Krauss first recorded as a teenager on 1989’s Two Highways, her first album billed as Alison Krauss & Union Station (and also her first to receive a GRAMMY nomination). It’s great, but an even better version is this 2015 recording in which she’s backing up bluegrass patriarch Ralph Stanley alongside Judy Marshall.

AKUS version: 

“The Captain’s Daughter” (Johnny Cash & Robert Lee Castleman; 2018)

The late great Johnny Cash left behind a lot of writings after he died in 2003, some of which were turned into songs for the 2018 tribute album, Forever Words: The Music. None of his songs ever had it so good as “The Captain’s Daughter.” This superlative AKUS version fits Cash’s words like a glove.

Continue exploring our Artist of the Month coverage of Alison Krauss & Union Station here.

Alison Krauss & Union Station figure prominently in David Menconi’s book, Oh, Didn’t They Ramble: Rounder Records and the Transformation of American Roots Music, published in 2023 by University of North Carolina Press and featuring a foreword by Robert Plant.

Photo Credit: Randee St. Nicholas

Six of the Best Alison Krauss Covers

Posted on by Justin Hiltner

Alison Krauss has been recording and releasing music with her band, Union Station, for longer than she’s been able to legally drink or vote. Along the way, she’s been a key influence in the lives and careers of countless other musicians, many of whom have recorded and performed covers of their favorite Alison Krauss material.

Famously signing with Rounder Records when she was just 16, Krauss has spent the past four decades offering inspiration to multiple generations of artists spanning many genres, from bluegrass and country to Americana, folk, and beyond. She’s collaborated with fellow legends like Dolly Parton, Neil Young, and Robert Plant, and her list of honors includes not one, not two, but 27 GRAMMY Awards. In fact, she’s the fifth-most GRAMMY-awarded musician of all time, across all genres and categories.

As we highlight the vibrant legacy of Alison Krauss & Union Station, our Artist of the Month, in celebration of Arcadia, their first album in over a decade, we’re carving out some space for the performers who have skillfully and reverently covered Krauss and her music over the years. From big names and bluegrass stalwarts to some less expected artists that land a bit further off the beaten path.

While not all of our selections are Alison Krauss & Union Station originals, you can tell each of these musicians have been distinctly inspired by Krauss and her musical legacy. The internet is chock full of Alison Krauss covers, and we think these are six of the best.

“Whiskey Lullaby” – Kaitlin Butts and Flatland Cavalry

Originally released by Brad Paisley on his 2003 album, Mud on the Tires, “Whiskey Lullaby” was penned by Jon Randall and Bill Anderson and remains one of Krauss’s most popular songs as a featured guest artist. This cover by country phenoms Kaitlin Butts and Cleto Cordero of Flatland Cavalry – and featuring multi-instrumentalist Kurt Ozan on Dobro – infuses fresh grit and intimacy into the somber sensitivity of the original. While it’s hard to compete with Krauss’s bright, soaring vocals, Butts honors them well while staying true to her own rich vocal timbre.

We also recommend checking out this version where Paisley and Krauss perform the track at Carnegie Hall back in 2005.

Plus, the pair recently reunited on the special Opry 100: A Live Celebration TV broadcast to perform the song, as well. It was one of our favorite moments from the event.

“The Boy Who Wouldn’t Hoe Corn” – Dan Tyminski

You might know Dan Tyminski as the voice of Ulysses Everett McGill (AKA George Clooney’s character in O Brother, Where Art Thou?), but he was also a longtime member of Alison Krauss & Union Station. In 2001, Tyminski arranged and recorded a version of “The Boy Who Wouldn’t Hoe Corn” for the band’s album New Favorite.

In this video recorded for BBC Four, Tyminski leads the charge, belting this stunning rendition of the American folk traditional. While admittedly not a cover in the truest sense of the word (since Tyminski also sings lead vocals on the original), we couldn’t help but include this heart-stopping performance with Jerry Douglas, Russ Barenburg, Aly Bain, and more.

Tyminski performs the song as a member of Alison Krauss & Union Station in this equally impressive video from a 2002 performance in Louisville, Kentucky.

Tyminski left AKUS before the release of Arcadia and has been replaced in the band and on the recordings by bluegrass veteran Russell Moore. Still, Tyminski does appear on Arcadia on a couple of tracks and he also co-wrote “The Wrong Way.”

“My Love Follows You Where You Go” – Lori McKenna

Another unconventional cover, Lori McKenna co-wrote “My Love Follows You Where You Go” for Alison Krauss, but she didn’t record or release it herself until 2013. Alison Krauss & Union Station had recorded and released it on their acclaimed 2011 album, Paper Airplane.

This offbeat love song captures the richness and complexity of Krauss’s singing and performance style; hearing McKenna perform it adds another layer of depth. McKenna wrote the track with Barry Dean and Liz Rose as a bittersweet love note to her children. She shared her feelings about it with American Songwriter in 2013: “I was able to sing it pretty well. Not as beautifully as Alison Krauss, of course. But I’m happy that one made my record because it is such a message to our kids.”

Watch AKUS performing the number on a live television performance from 2011:

“Let Me Touch You For A While” — Mary Spender

Mary Spender isn’t too well-known in the American bluegrass scene, but she’s an acclaimed British singer-songwriter and YouTuber. Guitarist Magazine even called her “one of the most dynamic, expressive young British singer-songwriters working today.” She’s one of many young musicians who draws inspiration from Alison Krauss.

Spender has one of those rich, soulful voices that makes you stop and catch your breath when you first hear it. It’s hard to anticipate and it’s also very distinct from Krauss’s light, angelic voice. But in this cover of “Let Me Touch You For A While,” Spender offers a simple yet jaw-dropping performance that boldly honors the original while taking things in a unique direction. Accompanied only by her guitar, Spender brings a sultry, driving energy to the song’s emotional complexity and leans into her impressive vocal range.

Originally recording the track in 2001 for New Favorite, it would go on to become one of their most recognizable hits. Krauss & Union Station performed “Let Me Touch You For A While” alongside Jerry Douglas at the Opry 100 celebration last month.

“No Place to Hide” – Adam Steffey

If you’re a diehard AKUS fan, you’ll definitely recognize Adam Steffey’s name; he’s another past member of Union Station from 1990 to 1998. Here, Steffey and his own band (including Tyminski) give a raucous rendition of “No Place to Hide,” a song Steffey recorded with Union Station on So Long So Wrong (1997). A straightforward “mash” bluegrass track, “No Place to Hide” booms and rolls with the band’s strong vocal harmonies and tight, effortless timing.

Here’s a much earlier live version of the song that’s got a more traditional bluegrass sound by Krauss and band:

“The Lucky One” – Jessica Willis Fisher, Gavin Trent

One of Krauss’s major country hits, “The Lucky One” was originally released on New Favorite in 2001. That same year, it won two GRAMMY Awards: Best Country Song and Best Country Performance by a Duo or Group. This stripped-down cover by Jessica Willis Fisher and Gavin Trent honors Krauss’s voice and musicianship in a way few other musicians can. Fisher has a similarly bright, soprano voice, and she can definitely hold her own on the fiddle, which she’s been playing since she was a child. As soon as you start listening, it’s clear Fisher is inspired by Krauss and this rendition serves as a fitting tribute.

A lifelong musician, Fisher has received praise from CMT, American Songwriter, and Billboard, and she’s worked with some of the same songwriters who write for AKUS – but it’s still possible you’ve never heard of her. Fisher has intentionally stayed out of the public eye in recent years (despite releasing her debut solo album, Brand New Day, in 2022) due to significant personal trauma tied to her family history. Fisher now uses the trauma she’s endured to help others heal, both through her music and her writing.

Alison Krauss & Union Station performed “The Lucky One” live on CMT in 2005:

Explore more of our Artist of the Month content on Alison Krauss & Union Station here.

Photo Credit: Randee St. Nicholas

“Not Easy Shoes to Fill” – Russell Moore Gets the Gig of a Lifetime: Alison Krauss & Union Station

Posted on by Justin Hiltner

Russell Moore has been a professional musician and bandleader for 40 years and, though he wouldn’t describe himself as complacent, he does readily admit he generally knows what he can expect from that job.

“It’s almost like, ‘Okay, I know what this week is going to bring and what next week is going to bring,’” he shares over the phone. “It’s the same thing, even though you try to explore different opportunities … I never would have thought that at this point in my career that this opportunity would arise.”

Back in early December 2024, Alison Krauss & Union Station announced their first headline tour in nearly ten years and, with that announcement, that Moore himself would be joining the band. The bluegrass community responded with an outpouring of love for Moore, his talent, and his iconic, long-running bluegrass band IIIrd Tyme Out while marveling at how perfectly he and his voice would fit into one of the most prominent, best-loved, and best-selling string bands in music history.

Once fears of IIIrd Tyme Out being benched were totally allayed – the band has lasted 34 years so far and has no plans to curtail their efforts with Moore’s new gig – the ‘grass community set their sights on the next announcement from AKUS, which came in January: Arcadia, their first album since 2011’s Paper Airplane, will release March 28.

Arcadia will be the starting pistol for a breakneck six-month tour that will find Alison Krauss & Union Station (and their newest member, Moore) criss-crossing the continent to perform at some of the most notable venues and festivals in the scene. Many of which Moore will find himself checking off his bucket list for the very first time.

To mark the occasion, and as we anxiously count down the weeks to Arcadia and the Arcadia Tour, we sat down with Russell Moore to chat about his career, his plans for IIIrd Tyme Out, and how energized and excited he is by this once-in-a-lifetime chance. As he puts it, he has very big shoes to fill – but perhaps he is the only one concerned about having the chops to fill them.

You’ve been leading your own band for so long and you’ve been the person to “make the call” – hiring a sideman, or hiring someone to fill in, or finding a new band member. So how does it feel at this stage in your career to get this kind of call to join a band like Allison Krauss & Union Station? How does it feel to be on the receiving end for a change?

Russell Moore: What a blessing. It’s definitely the other side of the fence! For 34 years I’ve been running IIIrd Tyme Out and making the decisions or helping make the decisions. That’s a job in itself. You wear many different hats when you’re doing that.

The last time that I was in a situation like I’m going into with AKUS was back when I was with Doyle Lawson & Quicksilver. That was basically, “I’m the guy that plays guitar and I sing” and everything else was pretty much taken care of. Since then, up ‘til now with IIIrd Tyme Out, I’ve been heavily involved with all the decisions and making things happen, which like I said, it requires several different hats to wear day-in and day-out.

This is going back to that time, before IIIrd Tyme Out. And I’m excited about it. It really gives me the opportunity to focus totally on the music and my part in the band, rather than anything else that goes along with running a band. That’s exciting in itself. I will say, it’s going to take some getting used to, because I know that I’m going to be saying, “Oh, what can I do today to help this thing out?” That’s going to be a change of pace for me!

But I’m looking forward to it. Honestly, I’m looking forward to not having to worry about anything else other than my position in AKUS and just doing my job to the best of my ability and that’s it. That’s gonna be pretty cool. I guess you would say a little weight off of my shoulders.

You can set down the CEO hat and pick up the “being an instrumentalist and a vocalist and a technician” hat. Of course it’s got to feel exciting in some ways to get to step back into that role of being an equal part collaborator in a band instead of having to wear so many hats and having to be a lightning rod for everything.

RM: It is. It definitely is. I did experience just a little bit of this a few years ago. Jerry Douglas called and asked if I could go out for a few days with the Earls of Leicester, which I did and it was the same thing. I played mandolin and I sang my harmony parts with Shawn [Camp]. And I didn’t have to do anything else. That was all I had to do. For a few days there, I got to relieve myself of all the responsibilities of running a touring band on the road, and it was cool. I enjoyed it. I really did.

I’m not going to lie, I’m not saying that I don’t enjoy running a band, I’m not saying that whatsoever! But it was nice to step back for a few days and just be that. So I see this, for the six months between April and September, being sort of in the same picture. I wanna focus everything I can, all the time I’ve got, on playing the music, being in the position that I’m in, and doing the best I can. Just focusing on that. That’s going to be cool. I’m not going to have to worry about, “Did the bus get there on time? Is there something wrong with the bus?”

I know I’m not the only one who was super excited to hear this news and also thought immediately, “I never would have connected these dots myself, but who else has a better voice for that gig?” You think of Dan Tyminski, of Adam Steffey, the guys who have been singing vocals in this band, they have that sort of warm, honeyed, Mac Wiseman-like bluegrass voice – less of the high lonesome and piercing, even though you have the range and you can get up there, too.

So many people’s reaction to the announcement was that you have a voice that’s perfect for this gig and for what we all come to expect as the AKUS sound. Did you have that realization too? Did you think, “Oh yeah, this is perfect for my voice”? Or did you feel like, “I’m going to have to work at this.”

What was your general reaction, musically, to coming into this? Not just as a guitarist, but also as a vocalist – and then, I assume you’ll be playing some mandolin too, like you said you were doing with Earls of Leicester. So how are you approaching it musically?

RM: I will be playing a little bit of mandolin, not a whole lot, but my main gig I guess you’d say would be playing guitar and vocals – harmony vocals and some lead vocals as well. I’ll be honest with you, Justin, I was concerned about some of the harmony singing. That’s the biggest thing.

It’s really intricate.

RM: It is very intricate! It’s not in the same breath that I usually sing at. I tend to sing very full throated. For lack of a better term, it’s a male voice trying to sing very high. I do it in a robust way. I do have subtleties that I use as well, but this application of trying to blend with Alison’s voice is a different place to be, for me, for sure.

I do sing harmony and I have for years, here and there, but still my vocal technique has always been full throated and far more harsh, a male vocalist trying to sing very high. This is a different application. I tried to do that on all the songs that I’m going to be singing harmony on with Alison, it would be too abrasive. I’m learning how to make it work with my voice and her voice. That is a really nice combination, [you don’t want] me standing out because of my approach to the harmony.

Of course, I do have songs that I’ll be singing lead on. Those, I’m just back to my old self doing my thing. But when it comes to the harmony stuff, most of the time I’m having to really listen and focus on how to project my voice to make her sound as best as she can and not interfere.

Are you going to be singing lead on some of your own music with AKUS?

RM: No. There might be one song, and I’m not going to give away any of the stuff that she has planned for the set list, but there might be one song that people recognize from IIIrd Tyme Out during the performance. For the most part, this is Union Station. We’re not trying to bring in Russell Moore and IIIrd Tyme Out into the project whatsoever. We’re still around, we’re going to be performing when I’m not on the road with AKUS. There might be a small ode to IIIrd Tyme Out during the show, but it will be very small.

I’m not here to promote IIIrd Tyme Out with Alison Krauss. I’m here to promote Alison Krauss & Union Station and to be a part of that group and promote what this record release is and the stage show. I am a team player and I told them all, “You’ll never find anybody that’s more of a team player than I am, because I understand what that means.”

You’ve seen it on both sides. I’m glad you mentioned IIIrd Tyme Out continuing, because I think a lot of people’s natural reaction to the news was, “What about IIIrd Tyme Out!?” Of course IIIrd Tyme Out’s been going for so long, they’re gonna keep going.

RM: IIIrd Tyme Out is here to stay. When the conversations started about my being a part of Union Station going forward, I had a lot of questions. Can I do this? Should I do this? And that was one of them: “Will my band support me in this decision, or if I say yes, will they support me?”

[I consulted] my family, my wife, and everybody around me – it wasn’t a decision that was made quickly. I had to talk to people. Once I talked to my band members and I got their total support and thumbs-up affirmation – along with my wife, family, and friends – it was just like, “Okay, I have no reason not to do this. Everybody says I should and it’s a great opportunity.” At that point, I said yes.

Hopefully I can fulfill the position, because it’s not easy shoes to fill. I can tell you that right now I’m a huge Dan Tyminski fan. I have been since he came onto the scene way back – we’re talking Lonesome River Band days. He is so unique and his position with Union Station, until recently with his own band, that was the epitome of his career in my opinion.

Then, of course, he gets the head nod for Oh Brother, Where Art Thou? And the Stanley Brothers song, “Man of Constant Sorrow,” it’s still incorporated into his shows. I love the Stanley Brothers’ [version of the] song. I really do. But when I think about that song, I think about Dan Tyminski.

I guess the point is I’m a huge fan of Dan and his work. He is such an intricate part of what Union Station has been up to now. I think that those are big shoes to fill. I just hope I can facilitate that to everybody’s liking. I know there’s going to be some people that say, “No, it’s not Dan, it’s just not the same.” But I do want to say there are [many] eras of Union Station that were awesome, as well. You go back to when other people were in the group. Adam Steffey–

I’m partial to the Alison Brown era, too.

RM: Alison Brown! Oh, gosh, yes. Tim Stafford along that same time. I can’t say there’s been a bad ensemble for AKUS. It’s just evolved. And the fact that Dan was there for so long, that kind of solidifies that is the sound that most people – especially younger people who didn’t really start listening to AKUS until let’s say 20 years ago – are hearing. What they’re hearing is Dan Tyminski on guitar, singing harmony, and singing lead. That’s what they’re used to. That’s what they realize is AKUS music, and here’s this Texas guy coming in here trying to fill those shoes. I just hope I can satisfy everybody. I’ll do the best I can.

Alison Krauss & Union Station shot by Randee St. Nicholas with Russell Moore second from right.

It’s gotta feel exciting, especially after having done something like this your whole entire life, to have that sort of childlike wonder at it feeling so brand new and so fresh. Even after you have done literally exactly this for so long, there are still things that you’re excited to accomplish and new territory you’re excited to explore. That sounds really energizing and really positive.

RM: It is energizing. I’ll be honest, Justin, I’ve been playing music full time for a good 40 years. That’s awesome. And at this point, after 34 years of IIIrd Tyme Out – I’m not going to say I’ve become complacent, but it’s almost like, “Okay, I know what this week is going to bring and what next week is going to bring.” It’s the same thing, even though you try to explore different opportunities and things that come within that.

But this, I never would have thought that at this point in my career that this opportunity would arise and I’d get to do something like this. Because, like I said, I’m not so much complacent, but I know what’s ahead. When the phone call was made and we talked, I had no idea that I had another option, another fork in the road. This is absolutely surreal, in a lot of ways, for me to get this opportunity and without giving up IIIrd Tyme Out. All the support from everybody that I know, like I said, there was no reason to say no.

Another part of this that I’m really excited about [is being] able to experience some of these places, these venues, these shows that I’ve never been to before. Just being able to experience it – like playing Red Rocks Amphitheatre – and just so many places that I’ve always wanted to go to and perform at. I’m going to get to do that!

Checking them off the bucket list.

RM: There you go. It wouldn’t be possible, I don’t believe, with IIIrd Tyme Out. I was always exploring new opportunities and things like that, but I don’t think it would have been possible to perform at some of these places without being a part of AKUS.

To me, “Looks Like the End of the Road,” the first single from the upcoming album, feels like classic AKUS. The So Long, So Wrong era is what it reminded me of first. You still have those tinges of adult contemporary, you have the pads and the synth-y sound bed underneath it, and it almost feels transatlantic a bit here and there. Overall, it sounds like classic, iconic Allison Krauss & Union Station. What are your thoughts or feelings on the single or what can you tell us about that first track?

RM: I think that the song is a great representation of what is coming out with the full album release, Arcadia. It is a great nod to Alison Krauss & Union Station music over the last several years and the last several recordings.

I think that the song itself is just well written and perfect for Alison to sing. There’s a small part of harmony vocals – and what I love about the way she constructs her arrangements is that it’s not overdone with harmonies. This is Alison Krauss & Union Station, it’s not just Union Station. So the focus is on Alison and her vocals. In my opinion, that’s the way it should be. This song doesn’t come out from the get go with a five-string banjo just blasting off. It’s a great construction of the arrangement and the vocals.I think it was perfect.

The only thing that people have said is that the title itself made them think that this was the end of Allison Krauss & Union Station! Which is so far detached from the truth. It was just the first single that was released. It’s a beautifully constructed song.
I will say, this song is just a piece of the puzzle to the rest of the recording. It just paints a beautiful picture and a wonderful listening experience. When people get to hear the full album, they’ll understand what I’m talking about. It’s just awesome. It’s just, it’s a piece of the puzzle.

You’re going to be blown away. Absolutely blown away, as I was. I had my headphones on. I can’t tell you how many nights before I’d go to sleep, I’d have my headphones on [listening]. I listened to it two, three times a night, just because it was so enjoyable. It was just that good. I know that everybody else is gonna feel the same way when they hear the whole project.

Photo Credit: Matt Morrison

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

Posted on by Justin Hiltner

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.

See the Nominees for the 67th GRAMMY Awards

Posted on by Justin Hiltner

This morning, Friday, November 8, the Recording Academy announced the nominees for the 67th GRAMMY Awards, to be held in Los Angeles on February 2 at the Crypto.com Arena. Roots musicians can be found at all levels and across all fields of the buzzworthy awards, which are voted on by the vast Recording Academy membership of music makers, artists, and creatives.

Notably, Beyoncé, her groundbreaking country fusion album COWBOY CARTER, and its tracks can be found throughout the general field and American Roots categories, including landing nominations for Best Country Album, Best Country Song, Best Americana Performance, Album of the Year, Record of the Year, and more. Banjoist and composer Béla Fleck collected more than a handful of nominations for his work with Chick Corea – released posthumously – and Rhapsody in Blue, as well.

The Best Bluegrass Album category this year includes releases from Bronwyn Keith-Hynes, the Del McCoury Band, Sister Sadie, Billy Strings, Tony Trischka, and Dan Tyminski, making for an incredibly stout and superlative lineup.

From Kacey Musgraves to Shemekia Copeland, Aoife O’Donovan to Lake Street Dive, below we’ve collected all of the nominees in the Country & American Roots Music fields, plus we feature select categories from across the many fields, genres, and communities that also include roots musicians and our BGS friends and neighbors. Check out the list and mark your calendars for the 67th GRAMMY Awards, Sunday, February 2, 2025.

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)

General Field:

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

Graphic courtesy of the Recording Academy.

You Gotta Hear This: New Music From Dan Tyminski, Liam Purcell, and More

Posted on by Justin Hiltner

Americana, alt-folk, bluegrass – whatever form these tracks may take, You Gotta Hear This! Our premiere round up this week includes plenty of Texas, a dash of Missouri, and a heaping helping of the Southeast, too. From new bluegrass numbers by the legendary Dan Tyminski and up-and-comers Liam Purcell & Cane Mill Road to thoughtful and intentional Americana by John Calvin and Goodnight, Texas. Plus, there’s a musical tribute to Godfrey, Missouri, a small town on the mighty Mississippi River, by Lost on the Metro and the Steel Wheels reunite with Malena Cadiz on a Paul Simon cover.

Our second-to-last installment of our DelFest Sessions – featuring Mountain Grass Unit – is included here as well, as it premiered on the site earlier this week. It’s a mighty fine collection of music and you know what we think… You Gotta Hear This!

John Calvin, “Austin Chalk”

Artist: John Calvin
Hometown: Recently Boca Raton, Florida, but this record was written living in Dallas, Texas (and this song is very Dallas-centric).
Song: “Austin Chalk”
Album: Greener Fields & Fairer Seas
Release Date: July 25, 2024 (single); January 24, 2025 (album)

In Their Words: “North Texas rests on an ancient deposit of chalk and marl that sits about five feet below the topsoil and runs for hundreds of feet below that. Living in North Texas, you realize how much of our present is determined by an ancient past. The Austin chalk formation leaves torrential rain with nowhere to go. Rivers, like the Trinity River, flood easily and entire neighborhoods and can be underwater in a matter of hours. There are beautiful communities on the banks of the Trinity like Joppa and Bonton that were only able to stabilize and grow with the extension of the levee system by the Army Corps of Engineers in the early 1990s. Our foothold is always more tenuous than we think, and that’s truest for those that can least afford to move.” – John Calvin

Track Credits: Written by John Calvin.
Produced by Nate Campisi.
John Calvin – Vocals, acoustic guitar
Greg DeCarolis – Piano, bass, electric guitar, OB-8 synth
Pat Coyle – Drums, percussion
James Hart – Pedal steel
Eric DeFade – Alto, tenor, baritone sax
Robert Matchett – Trombone
Joe Herndon – Trumpet
David Bernabo – Brass arrangement

Goodnight, Texas, “A Bank Robber’s Nightmare”

Artist: Goodnight, Texas
Hometown: San Francisco, California (Avi Vinocur) and Chapel Hill, North Carolina (Patrick Dyer Wolf); the real town of Goodnight, Texas is the exact mile-for-mile midpoint between the two locales.
Song: “A Bank Robber’s Nightmare”
Album: Signals
Release Date: July 19, 2024
Label: 2 Cent Bank Check

In Their Words: “We’re enjoying some light world building. Our most recent single, ‘The Lightning and The Old Man Todd,’ fleshes out the tragic story of a character from a previous song of ours, ‘The End of the Road.’ Meanwhile, ‘A Bank Robber’s Nightmare’ checks in a decade later on the once carefree, now world-weary and estranged heroes of our 2014 song, ‘A Bank Robber’s Nursery Rhyme,’ which has been a fan favorite and staple of our live shows. The scene is kind of a bittersweet reunion, emphasis on the bitter. What do you say to your former partner in crime?” – Patrick Dyer Wolf

Lost on the Metro, “Godfrey”

Artist: Lost on the Metro
Hometown: St. Louis, Missouri
Song: “Godfrey”
Album: Resonance and Regrets EP
Release Date: July 25, 2024 (single); September 20, 2024 (EP)

In Their Words: “We have this giant river confluence here in St. Louis, and it’s common to take a drive along the river road from St. Louis to get away from the city for a while. Godfrey is a real town along the Mississippi River. Imagine bluffs, eagles flying overhead, touristy shops and restaurants, and the river road cutting through it all carrying cars, trucks, boats, bikes, to some unknown destination. The lyrics focus on getting older in a relationship, and the doubts that creep in, and that need to find a way to clear your head. There’s a dark element to Godfrey as well. It’s definitely a driving song on the surface, but the undercurrent holds all the worries and doubts and fears and hopes that float around as we find our way alone. It’s those thoughts in your head that you’re not sure you want other people to know you’re thinking. Driving down the river road with an open window and the wide Mississippi next to me lets me think those thoughts and then let them go.” – Lost on the Metro

Track Credits:
Jilly Morey – Songwriter, lyricist, lead vocals, percussion
David Morey – Songwriter, composer, arranger, rhythm guitar, vocals
Chris Dunn – Composer, arranger, lead guitar, vocals
Lucan Stone – Composer, arranger, bass, vocals
Josh Bayless – Composer, arranger, drums, vocals

Liam Purcell & Cane Mill Road, “Old Man’s Dream”

Artist: Liam Purcell & Cane Mill Road
Hometown: Deep Gap, North Carolina
Song: “Old Man’s Dream”
Album: Yellow Line
Release Date: April 5, 2024
Label: Pinecastle Records

In Their Words: “This song is one of the most personal stories I’ve ever released. I wrote it one day while my father and I were working at my folks’ place in Deep Gap. The land next door had been sold off for housing development and we had to prepare for them to widen the road. Over the next few months, I watched the trucks come and go, watched the bulldozers change the shape of the mountains, and watched the destructive path of progress as it made its way through our little mountain community.” – Liam Purcell

The Steel Wheels, “Gone at Last” featuring Malena Cadiz

Artist: The Steel Wheels featuring Malena Cadiz
Hometown: Harrisonburg, Virginia (The Steel Wheels) and Kalamazoo, Michigan (Malena)
Song: “Gone At Last”
Release Date: July 19, 2024
Label: Big Ring Records

In Their Words: “This Paul Simon song has been a favorite of ours for awhile. The plain spoken, down to earth writing with a gospel-sounding flare. We have been known to sing a cappella from time to time, but this was an opportunity for strong vocals with a bed of active bass and drum parts.

“Last February we were asked to play as the house band for the International Folk Alliance Music Awards in Kansas City. The house band job comes with the joy of meeting and playing with a variety of musicians. When we got a chance to play and sing with Malena Cadiz, we immediately fell in love with her voice. We were inspired to look for a chance to record together and ‘Gone At Last’ was that chance.” – Trent Wagler

Dan Tyminski, “Whiskey Drinking Man”

Artist: Dan Tyminski
Hometown: Originally from West Rutland, Vermont. Lives in Nashville, Tennessee
Song: “Whiskey Drinking Man”
Album: Whiskey Drinking Man
Release Date: July 19, 2024 (single); August 16, 2024 (album)
Label: 8 Track Entertainment

In Their Words: “My first single off of the new project is one I’m very excited to release. It’s written to be a toe tapping burner in the party spirit. This one should get your juices flowing.” – Dan Tyminski

DelFest Sessions: Mountain Grass Unit

Our second-to-last installment of our DelFest Sessions features Birmingham, Alabama-based jamgrass group, Mountain Grass Unit. Videographers I Know We Should were on hand at this year’s DelFest in Cumberland, Maryland over Memorial Day Weekend to capture a collection of beautiful, fun, and engaging live sessions on the banks of the Potomac River. (See all of our DelFest Sessions here.) For their shoot, Mountain Grass Unit played a pair of exciting cover songs.

Their first selection, “Big River,” is a funky and charming re-imagination of a Johnny Cash classic with a mash-tastic, blues-inflected groove. Drury Anderson, the group’s mandolin picker and lead vocalist on the track, sings with a drawl seemingly from right down the proverbial road from Cash’s homeland (near Memphis, Tennessee). It fits the bluesy undertones of their rendition perfectly, equal parts Muscle Shoals and Bean Blossom. Cash is a common cover subject in bluegrass, and MGU’s version of “Big River” demonstrates exactly why that’s the case.

Watch the full session here.

Photo Credit: Liam Purcell & Cane Mill Road by Pinecastle Records; Dan Tyminski by Jeff Fasano.

Willie Nelson’s ‘Bluegrass’ Underlines His Lifelong Relationship with the Genre

Posted on by Justin Hiltner

“He was exceedingly cool and easy,” long-time Bill Monroe bassist Mark Hembree remembers about Willie Nelson’s presence at a 1983 recording session where Nelson sang and played with Monroe. “I never had a say in Bill’s mixes, but they had Willie’s guitar way up and as we listened to playback he mentioned it, then turned and asked what I thought,” Hembree wrote in a recent exchange of messages. “I agreed, a little surprised he would ask me.”

People who hear about Willie Nelson’s latest album, Bluegrass, before hearing the music might ask, “Wait, what? What does Willie Nelson have to do with bluegrass music?”

Upon listening, at least two answers come to mind: 1) Much more than you might think. 2) Don’t worry so much.

With tunes by Nelson, one of the best American songwriters, played by notable pickers, the record contains strong music that should sound welcome to fans of Nelson, of bluegrass, and of the field with the loose label, “Americana.”

It’s a given that in more than 60 years of major-label recording, Nelson, 90, has been better known for presenting his own songs, enduring tunes such as “Crazy,” “Hello Walls,” and “On the Road Again,” the last of which is heard here in a new version. But he’s also made his name with notable covers – like “Blue Eyes Crying in the Rain,” “Seven Spanish Angels,” “Blue Skies,” and others – in a welter of styles, including blues, pop standards, and even reggae. Nelson’s core music enfolds ‘40s and ‘50s country, traditional fiddle tunes, four-square gospel, ragtime, some swing flavorings, and definitely a heap of blues. The mix also includes more contemporary pop. Subtract some of that last bit of material, throw in some lonesome mountain banjo and ballads, and you’ll find, in different proportions, foundational bluegrass as designed by chief architects like Bill Monroe and Earl Scruggs.

Legacy Records, the Sony division putting out Nelson’s Bluegrass disc, says the style “was given a name by Kentucky songwriter/performer/recording artist Bill Monroe and the Blue Grass Boys, whose post-war recordings profoundly influenced Willie’s songwriting sensibilities and the direction of American country music in general.” They go on to say, “Willie chose songs combining the kind of strong melodies, memorable storylines and tight ensemble-interplay found in traditional bluegrass interpretations of the roots (from European melodies to African rhythms) of American folk songs.”

And it’s pretty much on target. But what else speaks to Nelson’s involvement with bluegrass?

Let’s return to the early ‘70s, when he famously abandoned a Nashville scene where he had achieved songwriting fame and a recording career. But Music Row had flagged in creativity and opportunity, he and others thought. And yes, at the end of 1969, his house had burned down. By 1972, Nelson’s persona was changing as his new approach revisited his Texas roots. The year saw new-breed stars like Kris Kristofferson showing up at the first Dripping Springs Reunion, a Texas country music festival. The show, which was to morph int0 a string of outdoor throwdowns known as Willie’s Fourth of July Picnic, presented a bluegrass contingent led by Monroe, with foundational figures Earl Scruggs and Lester Flatt leading their post-breakup bands, as
well as additional notables including Jimmy Martin.

Jo Walker, executive director of the Country Music Association, told the Austin-American Statesman that the trade group was delighted to hear about the Dripping Springs Reunion. “So many of the rock festivals and similar events have reflected so unfavorably on the music industry that we are particularly happy that your reunion will be a Country Music show.” But with Nelson embracing a new, youth-driven fan base and a long-haired, bandana-ed look, what did country music even mean?

There was a growing correlation, it seemed, between the increased popularity of bluegrass and the emergent outlaw (read: long hair, free-thinking, whiskey-drinking, dope smoking, etc.) movement in country music, led by Nelson and Waylon Jennings. Its bluegrass surge was sparked in part by the Earl Scruggs Revue’s broad acceptance in non-traditional venues like college campuses and hot sales for the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken. Back in Nashville, in 1973, wider acceptance of bluegrass also meant that Monroe, his former Blue Grass Boy Flatt, the brilliant wildman Jimmy Martin, and the great brother team of Jim & Jesse McReynolds would join Nelson amid the crowd of stars at CMA’s second annual Fan Fair celebration.

In 1974, both Scruggs and Monroe, as well as Grand Ole Opry stars Ernest Tubb, Jeanne Pruitt, and Roy Acuff appeared on stage singing with another wildman, country-blues rocker Leon Russell. That’s documented in a photograph of this period, likely from a Willie’s Picnic. Quite a lineup.

A version of the picture found on the web says the shot is from A Poem is a Naked Person, a documentary on Russell by esteemed filmmaker Les Blank shot between 1972 and 1974, but not released until 2015. Nelson appears in the movie to sing “Good Hearted Woman” – also on this new album – playing guitar bass runs that would work fine in bluegrass. He also backs up fiddler Mary Egan, of the Austin “progressive-country” band Greezy Wheels, on an energetic version of the bluegrass-country perennial “Orange Blossom Special.”

In 1974, Nelson went to work in the soul-music capital of Muscle Shoal, Alabama, to record a milestone disc on his road to making records his own way. The album, Phases and Stages, which won over both fans and critics, contains prominent five-string played Scruggs-style on the hit “Bloody Mary Morning,” which also returns on Bluegrass.

The 1983 Bill Monroe session referenced above came after a last minute February 22 phone call from Nelson to let Monroe know he was available to appear on the in-progress Bill Monroe and Friends album for MCA Records. That’s according to a passage in the indispensable book, The Music of Bill Monroe, by bluegrass scholars Neil Rosenberg and Charles Wolfe.

“[Engineer, Vic) Gabany recalls that on February, 22, 1983, Monroe called the studio and asked if it was free that afternoon,” Rosenberg and Wolfe write. “Willie Nelson was in town, and he wanted to rush in and cut the duet with him. Fortunately, it was. Moreover, the Blue Grass Boys were all available, and Haynes was able to round up studio musicians Charlie Collins and Buddy Spicher.”

Monroe’s original tune with Nelson, “The Sunset Trail,” shows the impact of another style, cowboy music, that both men favored. Nelson reaches into his upper range to sing below Monroe, who’s going way up there, as was his wont. “It’s a thrill of my life to be here with you,” Monroe says as he and Nelson exchange praise in the track’s introduction.

In 1990, Monroe accepted Nelson’s invitation to perform at the April 7 Farm Aid IV concert in Indianapolis. “We’re glad to be here with Willie Nelson!” he said to kick off a set marked by powerful singing, crisp mandolin picking, and a little crowd-pleasing buck dancing. The show placed Monroe, 79, in a lineup that included stars such as Elton John and Lou Reid. The Indianapolis Star estimated the crowd at 45,000.

During Monroe’s last years — he died in 1996 — he often spoke to Nelson on the phone, according to a person who didn’t want to be identified, but often spent time at Monroe’s home on the farm outside Nashville during that period. “He valued their friendship immensely,” the person said.

Bluegrass‘s 12 songs contain several Nelson compositions that became standards of his repertoire, along with less familiar tunes that also fit in the recording approach overseen by Music Row’s Buddy Cannon. A songwriter and producer, Cannon is known for delivering big songs, like “Set ‘Em Up Joe” for Vern Gosdin, and chart hits for more recent mainstream acts such as Kenny Chesney, John Michael Montgomery, and Reba McEntire. A frequent Nelson collaborator, Cannon assembled a list of Nashville co-conspirators: Union Station members Barry Bales, on bass, and Ron Block, on banjo; former Union Station member and current rising star Dan Tyminski on mandolin; fiddler Aubrey Haynie; Dobro man Rob Ickes; Seth Taylor also on mandolin; as well as harmonica player Mickey Raphael, who’s worked for decades in Nelson’s band.

The music mostly doesn’t come off as hard-core bluegrass in the mode of, say, the Stanley Brothers. But it leans on the elements that Nelson has in common with the style — lonesome melodies, classic country, swing and blues.

The mournful “You Left Me a Long, Long Time Ago,” from 1964, reflects the straight-country songwriting to which Nelson and others brought a terse, modern beauty in the late ‘50s and early ‘60s. It was a time when bluegrass enjoyed a closer co-existence with mainstream country, as opposed to straining against the tight format borders that limit today’s music business. Among the many artists who crossed back and forth freely were guitarist-songwriter, Carl Butler, fiddler Tommy Jackson, and Cajun star Doug Kershaw. They all worked with Monroe.

A new version of “Sad Songs and Waltzes” mourns in tones not too different from Monroe favorites ranging from “Kentucky Waltz” to “Sitting Alone in the Moonlight.” The song also recalls the 3/4 time Lone Star tunes that Nelson might have heard at the Texas Fiddlers Contest and Reunion.

That show got going in 1934 in Athens, Texas, just one year before Nelson arrived on the scene in Abbott, less than 90 miles away.

The fiddle contests that influenced so much of Texas music beginning in the 19th century, had parallels in the 18th century Southeast, where contests featured both the fiddle and the banjo, with its African roots. This music went around, and it still comes around.

The sock-rhythm backing of “Ain’t No Love Around” recalls early Blue Grass Boys recordings such as “Heavy Traffic Ahead,” recorded September 16, 1946, and featuring Earl Scruggs’ first recorded banjo solo. Elsewhere, the laidback favorite, “On the Road Again,” gets a more intense reading from Nelson, with some vocal and instrumental improvisation to spice it up. The mystical “Still is Still Moving to Me” leaves plenty of room for pickers to range far and wide on banjo, mandolin, fiddle and Dobro.

“You give the appearance of one widely traveled,” Nelson sings in “Yesterday’s Wine.” He’s singing from a faraway spot in time, in myth, in history. It’s a stance that’s earned a place on bluegrass playlists for more recent songwriters such as Guy Clark, David Olney, and Gillian Welch.

“Bloody Mary Morning,” from Phases and Stages gets the most recent of several revivals from Nelson, who led a jam-grassy version in the 1980 film Honeysuckle Rose and later sang it in a duet with Wynonna Judd. The song’s forthright tale of fighting the blues by having a highball on a plane seems somehow classier than the constant tales of beer and pickups that populate country radio.

In the end it seems clear that for decades, both Willie Nelson and bluegrass music have served, in different ways, as a conscience of country music. Just as the Solemn Old Judge, WSM radio announcer George D. Hay, commanded, they “Keep her close to the ground, boys,” although their paths have diverged, at times.

In any case, this new collection brings Nelson together with bluegrass pickers for music that might even work to serve that same worthy purpose.

Photo Credit: Pamela Springsteen

33 Must-See Roots Artists at This Year’s Bourbon & Beyond

Posted on by Justin Hiltner

Since 2017, Bourbon & Beyond has become one of the BGS Team’s favorite annual events. The music, spirits and food festival held at the Kentucky Expo Center in Louisville, Kentucky, always boasts a roots-forward lineup – on and off the BGS Stage.

In anticipation of Bourbon & Beyond kicking off Thursday, September 14, and running through Sunday, September 17, let’s preview all of the artists gracing our stage throughout the weekend – and we’ll throw in a few we’re excited to catch on the main stages as well. 

Limited tickets are still available! Join us this weekend at Bourbon & Beyond in Kentucky. Scroll to see the full schedule for the BGS Stage. 

The Arcadian Wild – BGS Stage

We’ve been a fan of this bluegrass-infused Nashville string/Americana band for more than a few years now. In 2021 we invited the Arcadian Wild to perform a Yamaha Artist Session, for which they performed two songs, “Hey Runner” and “Finch In the Pantry.” They hit the BGS Stage at B&B on Sunday.

Armchair Boogie – BGS Stage

We recently caught this jammy Wisconsin outfit, Armchair Boogie, at Earl Scruggs Music Festival, where they burnt down their late-night set. You have two opportunities to see them on the BGS Stage, as they’ll kick us off both Friday and Saturday.

The Avett Brothers – Main Stage

These Saturday headliners need no introduction to our BGS readers and followers, as the Avett Brothers have been a staple of our community for nearly our entire lifespan. Looking at the Bourbon & Beyond lineup poster, it’s hard to believe we didn’t book this entire event! 

Jon Batiste – Main Stage

Fresh off the release of a brand new album, World Music Radio, in August, don’t miss Americana renaissance man Jon Batiste when he hits the B&B main stage on Sunday. We can certainly appreciate this Louisianan’s love for blurring genre lines – a perfect fit for Bourbon & Beyond.

Brandi Carlile – Main Stage

Let’s return to MerleFest 2019, the last time we had a stage at a festival Brandi Carlile headlined – and she brought her pals the Avetts out to sing “Murder In the City.” A BGS classic! We’ll be running from the BGS Stage to see Brandi on Thursday evening for sure.

Brandy Clark – Main Stage

Appropriate that Brandi and Brandy would end up as list neighbors and both on the Bourbon & Beyond main stage lineup, as the former produced the latter’s stunning new self-titled album. Clark has been a Music Row mainstay as an artist and songwriter for decades, but with her new record and her hit Broadway show, Shucked (penned with Shane McAnally), she’s finally getting her well-deserved flowers. 

Clay Street Unit – BGS Stage

We crossed paths with Denver, Colorado, country-folk-grass group Clay Street Unit earlier this year at WinterWonderGrass, so we’re more than pleased to have them on the BGS Stage on Thursday afternoon. 

Michael Cleveland & Flamekeeper – BGS Stage

Fiddlin’ phenom Michael Cleveland has performed for BGS at Bourbon & Beyond before, but with his new critically-acclaimed album, Lovin’ of the Game, and his recent selection as our March 2023 Artist of the Month, it’s the perfect time to get him back to Louisville. It’s basically home turf for Cleveland, and his set Thursday evening is not to be missed.

The Cleverlys – BGS Stage

Bluegrass’s preeminent song-interpreters – or song skewer-ers, depending on how you look at it – are a humorous hoot, bolstered by fantastic picking and on-stage personas pulled straight out of a caricature book. If you’ve never seen the Cleverlys live and in person, now’s your chance to catch covers like this waltz version of Radiohead’s “Creep” like you’ve never heard them before. 

Della Mae – BGS Stage

Our old pals Della Mae brought an outsized energy and charisma with them to their sets at Earl Scruggs Music Festival a couple of weeks ago, wowing the crowds in North Carolina. Now the groundbreaking bluegrass foursome set their sites on the BGS Stage at Bourbon & Beyond. There’s a reason why this group of all women remains a stalwart in bluegrass, old-time and Americana.

Myron Elkins – BGS Stage

If you’re not familiar with guitarist and Americana alt-rocker Myron Elkins, you’re about to be! His debut album, Factories, Farms & Amphetamines, was produced by superstar musician-engineer-producer Dave Cobb and released on Elektra. Catch him as he ascends on the BGS Stage on Thursday, kicking off the entire weekend for us at 12:30 p.m.

Fantastic Negrito – Main Stage

Fantastic Negrito is a one-of-a-kind performer. An expert in blues – and a purveyor of post-blues, neo-blues, and the tastiest of fringe Americana – Fantastic Negrito occupies a stage like no other. He’s a Bourbon & Beyond veteran as well, and his past performances are seared into our memories of this amazing event. Do not miss!

First Aid Kit – Main Stage

Indie folk duo First Aid Kit, made up of Swedish sisters Klara and Johanna Söderberg, are a favorite of BGS readers – the kind of readers who equally love Bill Monroe, Nickel Creek and boygenius. Get a taste at their Saturday main stage set or check out our 2018 feature on the group.

Drew Holcomb & the Neighbors – Main Stage

Don’t you just wish Drew and Ellie Holcomb and the Neighbors were your neighbors? (Sigh…) It just seems like it would be lovely. At any rate, you can catch up with these fine folks from next door on the main stage at B&B on Thursday. 

Brittany Howard – Main Stage

A god of rock and roll incarnate, Brittany Howard’s particular brand of roots rock is enormous and will fill the Bourbon & Beyond main stage and then some. If you haven’t caught the Alabama Shakes front person recently, now is your chance. Howard hits the main stage on Friday.

The Lil’ Smokies – BGS Stage

Formed in Montana, the Lil’ Smokies combine so many contemporary bluegrass influences into a Western-influenced, jam-forward sound. We enjoy every chance we have to cross paths with this group – if you miss their set at Bourbon & Beyond, catch the Lil’ Smokies at AmericanaFest in Nashville very soon.

Lindsay Lou – BGS Stage

Roots singer-songwriter Lindsay Lou is entering yet another new era of her career, with her signing to Kill Rock Stars and upcoming album, Queen of Time, due out later this month. At Bourbon & Beyond you’ll have two chances to hear current and past sounds from Lindsay Lou – on both Saturday and Sunday on the BGS Stage.

The Lone Bellow – Main Stage

One of our all-time favorite rootsy, folky, string band trios. It’s been too long since we’ve reconnected with our friends The Lone Bellow and we’re grateful B&B will give us that opportunity when they play the main stage on Thursday.

Lola Kirke – BGS Stage

Lola Kirke, who you can see on Friday on the BGS Stage at B&B, is an accomplished actress whose dream is to be a country singer – dream, achieved! She makes joyous, lyrical, story-rich music that pulls as much from country’s grit as its glitz. (And an appearance from lineup-mates First Aid Kit on “All My Exes Live in L.A.” is the cherry on top.)

Joy Oladokun – Main Stage

Intricate and involved indie folk is Joy Oladokun’s medium, her songs dripping with pop sensibilities and led by an agnostic approach to genre that builds on work by predecessors like Aimee Mann, Ani DiFranco, Tracy Chapman, k.d. lang, and many more. Oladokun continues to rise through the music-industry ranks, her latest album Proof of Life building more momentum off the ex-evangelical’s heart-forward, earnest, stoner indie pop.

Old Crow Medicine Show – Main Stage

Old Crow Medicine Show bring the Jubilee to Bourbon & Beyond! Don’t miss the party as the world’s most renowned and rollicking string band celebrates their just-released album on the B&B main stage on Saturday. And keep an eye out for a BGS feature on the new record coming soon to the site.

Pixie & The Partygrass Boys – BGS Stage

Another of our WinterWonderGrass pals headed to Bourbon & Beyond! Catch Pixie & the Partygrass Boys on the BGS Stage kicking off our final day of music on Sunday. You’ll certainly enjoy the party – unless you’re a fascist, in which case, avoid our stage altogether or you might get eaten by some chickens.

Darrell Scott Band – Main Stage

Darrell Scott is a musical shapeshifter, effortlessly moving from Music Row country to dyed-in-the-wool bluegrass to rocking and rolling. At his Bourbon & Beyond main stage set on Friday, you’re sure to hear new tracks from his recent album, Old Cane Back Rocker, made with the Darrell Scott String Band, as well as original hits like “It’s a Great Day to Be Alive” and some tasty covers, too. We never get enough of Darrell Scott! (Watch for an interview with Scott coming to BGS soon.)

Frank Solivan & Dirty Kitchen – BGS Stage

If this is the kitchen dirty, let’s never clean it up! Frank Solivan & Dirty Kitchen are a shredding bluegrass jam band certainly worth sticking around for on Sunday evening. You’ll hear music from their most recent Compass Records album, Hold On, which recently turned one year old, and plenty of mind-(and string-)bending solos.

Mavis Staples – Main Stage

Put the legendary Mavis Staples’ main stage set (Friday, 3:50 p.m., Oak Stage) on your calendar and circle it. And underline it. And set a push notification. We are grateful every single time we get to occupy the same space and air as Mavis, and this time will be no different. It’s a privilege to walk the earth at the same time as this civil rights leader and musical oracle! 

Billy Strings – Main Stage

Not so long ago our old friend Billy Strings would have been playing our BGS Stage, but not anymore, this flatpickin’ global sensation has decidedly hit the big time! We’ve so enjoyed watching Billy move up and up and up in the world and we can’t wait to see his main stage set at Bourbon & Beyond Thursday night. With such a stacked lineup, the special guest opportunities are exciting and limitless. 

Town Mountain – BGS Stage 

Western North Carolina string band Town Mountain have built up their sound over the past few years to where they feel and sound something like Ricky Skaggs in his country days — bluegrass bones, but fleshed out country. Their songs still go by you like a rousing honky tonk dance band, bluegrass or no, but with spit and polish and thousands of miles under their belts. Worth an add to your B&B to-do list!

Twisted Pine – BGS Stage

Another group that blew us away at Earl Scruggs Music Festival, Twisted Pine turns the jamgrass model on its ear, building their vibey, virtuosic songs and tunes with as much jazz interwoven as bluegrass, old-time, and country. They’re like Lake Street Dive and Crooked Still, mashed up together and lingering a bit longer in string band traditions – from across the Americana continuum – before taking off. Plus, bluegrass just needs more flute, right? See them Friday on the BGS Stage.

Two Runner – BGS Stage

We’re glad to be bringing some California sounds to Kentucky with Two Runner, old-time and Americana duo of Paige Anderson and Emilie Rose coming to B&B. They bring to mind duos like Hazel & Alice and Anna & Elizabeth, combining country harmonies and old-time instrumentation – all dragged through the coastal evergreen woods of Northern California. Hear them Thursday on the BGS Stage.

Dan Tyminski – BGS Stage

Dan Tyminski headlining a BGS Stage is simply a dream come true! This multi-hyphenate, lifelong bluegrasser has been a member of so many seminal and groundbreaking bluegrass groups and projects. He’s had a full career within and outside of bluegrass, but lately has returned to the genre that made him with a new band, a new album, God Fearing Heathen, excellent songs, and that voice – fit for George Clooney. 

Kelsey Waldon – BGS Stage

Kelsey Waldon on her home turf! Though she hails from West Kentucky, the entire state is certainly this country singer-songwriter’s domain. We’ve collaborated quite a bit with Waldon across her career, and are looking forward to her headline set closing out our first day of Bourbon & Beyond on the BGS Stage. She may be country, but her bluegrass roots run deep – and will be on full display at B&B for sure. 

Sunny War – BGS Stage

 One of our favorite guitarists of the last several years has released one of our favorite albums of 2023, Anarchist Gospel. If you’re unfamiliar with her work, you won’t want to miss Sunny War perform on the BGS Stage on Saturday. Her right hand is confounding and inspiring, an often textural and tone-setting device in her bigger sounding recent songs that combine punk, blues, indie and more. Not to be missed! 

Hailey Whitters – Main Stage

It’s no secret BGS loves some good country. Hailey Whitters is certainly some of the best to come out of Music Row in recent memory, releasing radio-ready bops that are fun and exuberant, yes, but also have a rich and subversive well of influences, content and production styles. That Whitters is connected with all the best pickers and singers in Nashville and has a penchant for bluegrass are nice little details to remember about this TikTok phenom. Worth a mosey to the main stage on Sunday, certainly!

 

The Bluegrass Situation Stage – Daily Schedule

Thursday, September 14

5:45 p.m. – Kelsey Waldon
4:15 p.m. – Michael Cleveland & Flamekeeper
3 p.m. – Two Runner
1:45 p.m. – Clay Street Unit
12:30 p.m. – Myron Elkins

Friday, September 15

5:45 p.m. – The Lil’ Smokies
4:15 p.m. – The Cleverlys
3 p.m. – Twisted Pine
1:45 p.m. – Lola Kirke
12:30 p.m. – Armchair Boogie

Saturday, September 16

5:45 p.m. – Town Mountain
4:15 p.m. – Della Mae
3 p.m. – Lindsay Lou
1:45 p.m. – Sunny War
12:30 p.m. – Armchair Boogie

Sunday, September 17

5:45 p.m. – Dan Tyminski
4:15 p.m. – Frank Solivan & Dirty Kitchen
3 p.m. – The Arcadian Wild
1:45 p.m.- Lindsay Lou
12:30 p.m. – Pixie & The Partygrass Boys

Purchase your Bourbon & Beyond tickets here.

 

BGS Returns to Louisville for Sixth Consecutive Bourbon & Beyond

Posted on by Justin Hiltner

BGS is excited to announce the full lineup and schedule for our Bluegrass Situation Stage at Louisville, Kentucky’s Bourbon & Beyond – for our sixth year in a row! Since 2017, BGS has curated a bluegrass-forward roster for the premier bourbon, food, and music festival’s only music stage outside of their main stages, Oak and Barrel. The 2023 edition of Bourbon & Beyond will be held September 14 through 17 at the Highland Festival Grounds at the Kentucky Expo Center. Tickets are still available.

Each evening of the event, the BGS Stage will culminate with performances by Kelsey Waldon (Thursday), The Lil’ Smokies (Friday), Town Mountain (Saturday) and Dan Tyminski (Sunday). The full schedule includes performances by Michael Cleveland & Flamekeeper, Lindsay Lou, The Arcadian Wild, Della Mae, Sunny War, Twisted Pine and more. See daily BGS Stage schedules below.

This year, as in the past, there are acts and bands all across the Bourbon & Beyond schedule that feel like they were pulled directly from the pages and stories of BGS. On the Oak and Barrel stage roots music fans can hear artists like Jon Batiste, Billy Strings, Midland, Brandi Carlile, Brittany Howard, Joy Oladokun, Darrell Scott Band, Fantastic Negrito, Hailey Whitters, Brandy Clark, Mavis Staples, the Avett Brothers, Old Crow Medicine Show, and so many more.

But that’s not all! For the foodies and bourbon hounds alike, there will be wall-to-wall culinary demonstrations, bourbon experiences, and more featuring celebrity chefs such as Edward Lee, Amanda Freitag, Chris Santos, Sara Bradley, bourbon expert Fred Minnick, and many others. If you’re curious which Kentucky straight bourbon whiskeys will be available for sipping and guzzling at the Big Bourbon Bar, it’s pretty much every distiller you could ever crave: Angel’s Envy, Bardstown, Brother’s Bond, Bulleit, Doc Swinson’s Whiskey Collection, Elijah Craig, Four Roses, George Dickel, Green River, Heaven’s Door, Jack Daniel’s, Jefferson’s, Kentucky Peerless, Larceny, Legent, Maker’s 46, Michter’s, Middle West Spirits, Monk’s Road, Old Forester, Rabbit Hole, Resilient Bottled in Bond, Starlight Distillery, Wilderness Trail and Willett Distillery.

Bourbon and bluegrass and beyond – what more do you need? We hope you will make plans to join us in Louisville for the 2023 edition of Bourbon & Beyond!

 

The Bluegrass Situation Stage – Daily Schedule

Thursday, September 14

5:45 p.m. – Kelsey Waldon
4:15 p.m. – Michael Cleveland & Flamekeeper
3 p.m. – Two Runner
1:45 p.m. – Clay Street Unit
12:30 p.m. – Myron Elkins

Friday, September 15

5:45 p.m. – The Lil’ Smokies
4:15 p.m. – The Cleverlys
3 p.m. – Twisted Pine
1:45 p.m. – Lola Kirke
12:30 p.m. – Armchair Boogie

Saturday, September 16

5:45 p.m. – Town Mountain
4:15 p.m. – Della Mae
3 p.m. – Lindsay Lou
1:45 p.m. – Sunny War
12:30 p.m. – Armchair Boogie

Sunday, September 17

5:45 p.m. – Dan Tyminski
4:15 p.m. – Frank Solivan & Dirty Kitchen
3 p.m. – The Arcadian Wild
1:45 p.m.- Lindsay Lou
12:30 p.m. – Pixie & The Partygrass Boys

 

Photos L-R: Dan Tyminski by Scott Simontacchi; Kelsey Waldon courtesy of the artist; Michael Cleveland by Amy Richmond