This Could Be a Golden Year for Lillie Mae

Brown’s Diner is the kind of hole-in-the-wall that your eyes have to adjust to, after stepping in from a sunny afternoon in Nashville. However, Lillie Mae shines like a beacon in the dim light of the dark booth as she gabs with the staff she’s clearly known for years.

A twenty-year Nashville veteran, her very first business meeting as the youngest member of her former family band, Jypsi, was in this very restaurant. A true road warrior, Lillie Mae and family traversed the country playing bluegrass festivals and churches. On the heels of a censored childhood steeped in traditional music, she graduated to the honky-tonks of Lower Broadway and on to her own burgeoning career as a solo artist now signed to Third Man Records.

Settling in at the beloved burger-and-fries mainstay after three weeks on the road with The Raconteurs, Lillie Mae detailed the process of making her brand new record, Other Girls, with producer Dave Cobb, as well as songwriting inspiration, a crummy golden year, and what works feels like when it doesn’t feel like work.

BGS: Your lyrics leave a lot to the imagination. They weave a story and put you in a setting but they aren’t inculcating anything for the listener. But tell us more about “A Golden Year.”

That one and the last one are my favorites on the album for sure. Basically, my birthday is June 26 so my golden year was a year ago. We were in The Refuge in Appleton, Wisconsin, and we’d played a couple of gigs up there and we were leaving this monastery. It is an amazing place where musicians and artists of all kinds can go and live for free. Food and everything is taken care of. They get government grants and they have a studio. It is an amazing place right on the water.

We were rolling out and I went to do one more look around and my brother was still wrapping up so I was just walking through the hallways. They have a chapel where they do shows and I heard a choir singing “Ahhhs” and I just heard the whole song and I had a guitar in my hands. I rummaged through rooms to find a pen. I sat down on the guitar case and wrote it. It came from somewhere else. It is a perfect example that we are just a vessel. I had been looking forward to my golden year my whole life and then it turned out pretty lousy for me. I was super depressed and down and writing that song was probably the best part of it.

Do you sit down to write or do you mostly write when you are inspired?

You know, mostly when it starts to come through. But if I sit down and pluck on the guitar or something for a minute, I will easily find myself trying to come up with something. I don’t sit down and try to write nearly as often as I should.

Did you have to do any of that for this record as you were putting the songs together?

Nah. There were a couple of things that were not completely finished, like the last song on the record. I was tweaking words until recording. Some stuff was almost there. And every once in a while, if a second verse is not coming, I’ll just repeat the verse, though that’s kind of cheating.

With your ingestion of art being censored in your religious upbringing, there is some open sexuality on this record. Bluegrass, folk, and country have all been known to suppress that. Have you ever come up against censorship from co-creators or folks in the business realm?

Totally. I think a lot of it you can do it to yourself. You can put yourself in a little conservative box easily. But these days, I’ve just lost my care about what people think. It just doesn’t matter. I have a couple of songs that I haven’t been open about what they are about — on the last album, that were written about abortion. Songs that were really heavy to me and I never talked about that. It wasn’t a secret but “Why do we need to talk about this?” because it can mean whatever it means to anyone. But that is coming from a very conservative place of trying to please all ears.

Having these old mindsets of being in old Nashville, I definitely have been more conservative than I truly am. For me to not mute or hide lyrics or not be open about things, it has been a step for me. There is a song on the album called “Crisp & Cold” that was inspired by a friend of mine who is transgender. There is a line in the song that says, “Don’t be scared/Be more.” When you literally have to worry that some people might take your life because of that. It is crazy. There are times when you don’t want to offend anyone but those days are over.

But growing up in bluegrass, we did the circuit. We were always on our way to another festival. My sisters were older than me and were beautiful young women who were experiencing growing out of the whole religious thing. We did Beatles covers back then when I was a little kid and bluegrass snubbed us. To love something so much and to be ousted from it because you’ve developed some fashion sense or something. It sucks to be such a supporter of something and to not have them have your back. But it has changed a lot.

Did you and your siblings grow up listening to any specific artists?

It was super limited, what we were allowed to listen to and we grew up playing full time. We played churches and bluegrass festivals. We had a lot of live influence. As far as what we were allowed to listen to, it was not very much. We’d be allowed to listen to some Del McCoury songs but not all of them because of the content. A lot of Marty Robbins and Hank Williams, but always excluding some stuff because my folks were super strict.

Did you find yourself seeking ways to listen to those excluded songs?

Not me. I’m the youngest in the family and I never did. I’m really bad about that still. I don’t go out and pick out music. If I go to a record store, I have a panic attack. Every single time I end up on the floor in a corner just sitting cross-legged waiting for everyone to check out. I have full-on attacks. Maybe I’ll be better now. It has been a minute since I’ve been in one. I never got joy out of going to buy a record.

I was the youngest and growing up, I never had a choice. I didn’t get to pick where we went or what we listened to or anything. I just listen to what other people are listening to. I really rely on my boyfriend or my brother playing cool music. Unless I hear someone at a gig or a festival, then I’ll pick up their music. Like Natalie Prass. My brother met her at a show a couple of years back and he brought her CD home. And I was like, “Oh my God.” Her music changed me.

Jack White gave me a record player but I didn’t have speakers and I’m technically challenged so I could never figure out how to hook it up. The vehicle I have doesn’t have music. I have very little music on my phone and rarely listen to it. I do think I have Natalie Prass’ record on there. [Laughs]

What was it like working with Dave Cobb on this album?

He was wonderful to work with. He’s a really nice person. The first conversation we had, we talked about some bluegrass bands. I think it was something different for him. I was very nervous as first to go in because I was out of my comfort zone but it was really easy. We went in and recorded a song, took a lunch, and came back and recorded another song. It was a pretty easy process.

How was it out of your comfort zone?

Well, Dave uses his drummer Chris Powell on most of his stuff so for me going in because I’m such a picky asshole, I was nervous about playing with someone I hadn’t played with. I was just nervous it wasn’t going to be my vibe. But it was. It was wonderful. It’s an amazing studio [RCA Studio A] with great sounds and a great crew.

So it was pretty easy once it started?

Totally. After song number one. The first song had two different time signatures the way it was written but it got straightened out to just one. At first, I was like, “What is going to happen here?” It ended up a great thing, but I was a little stubborn at first.

Did that create friction?

No. Not at all. I kept it to myself. I went to the bathroom, cried it out, and came back ready to give it a try.

That’s awesome you trust your producer.

Well, I’d be foolish. Who am I, you know? Here’s a shot to work with some amazing people. If I threw a wrench in it, there are too many people on board. There are too many people invested in me. I owe too many people too many things. There’s a time and a place. Maybe next album. [Laughs]

I’ll get OCD and have little brain freak-outs. One can come across as stubborn, and all I’ve ever tried to do is be opposite of that. I’ve tried hard to be positive and give my all no matter what the project is, but those little OCD things, they can hinder you for sure.

Have you ever made concessions that you regretted making because the art didn’t turn out the way you wanted it to?

If I’ve thought like that, I’ve tried to change my outlook and be like, this is the way it was supposed to be. It (the process of making the album) wasn’t what I had anticipated. I anticipated buckling down. I anticipated really working hard, and then when I wasn’t working hard and it was just coming really easily and naturally, I felt like I wasn’t doing a lot. When you are used to hustling and it comes easy, it feels like something must be wrong.

How do you feel about the release of the new album? What is the period like right before it comes out?

The last couple of weeks [touring with The Raconteurs] were super exciting. It was fun to be out playing the tunes. I wasn’t ready to be done. I enjoyed it a little too much.

I’m pretty level. Just from so many years of getting my hopes up, not even just about music. I used to get so excited about something but I crashed and burned too many times. I don’t allow myself to get excited about much of anything. People will get the wrong impression that I’m not enjoying myself or that I’m not grateful. I’m so thrilled but my expectations are pretty low. I’m excited about it coming out, but if I got dropped tomorrow I think I’d be prepared. Which is not good! [Laughs]

My boyfriend took the pictures for the album campaign. And my sister Scarlett and our friend Amy helped with the photo shoot. It was just us, so it feels super close to home, and I feel really proud of it.


Photo credit: Misael Arriaga

Del McCoury, Jim Lauderdale Will Host IBMA Awards

Del McCoury and Jim Lauderdale will host the 30th Annual IBMA Awards show on September 26 in Raleigh, North Carolina.

“This year we celebrate both the 30th anniversary of the International Bluegrass Music Awards and the 80th birthday of Hall of Famer Del McCoury! What could be better than Del co-hosting the Awards Show with the legendary Jim Lauderdale?!” said Paul Schiminger, executive director of the IBMA. “It is sure to be a fun and memorable evening with unforgettable performances by awards nominees. This is the biggest night in bluegrass music, as we honor excellence over the past year and over entire careers.”

Even among the pantheon of music’s finest artists, Del McCoury stands alone. From the nascent sound of bluegrass that charmed hardscrabble hillbilly honky-tonks, rural schoolhouse stages, and the crowning glory of the Grand Ole Opry to the present-day culture-buzz of viral videos and digital streams, Del is the living link, headlining sold-out concerts to music festivals of all genres, including one carrying his namesake. In 2010 McCoury received a National Heritage Fellowship lifetime achievement award from the National Endowment for the Arts, and in 2011 he was elected into the International Bluegrass Music Hall of Fame. A two-time Grammy winner, McCoury has won numerous IBMA Awards, as well, including Entertainer of the Year a record-setting nine times.

Jim Lauderdale won the Best Bluegrass Album Grammy in 2002 for Lost in the Lonesome Pines, his collaboration with Ralph Stanley & The Clinch Mountain Boys, and won a second Grammy for his album The Bluegrass Diaries in 2008. A lauded singer-songwriter, he has been a symbol for creative integrity and prolificacy for thirty-two albums over decades of recording. He’s an A-list Nashville songwriter whose songs have ruled the music charts while recording an eclectic catalog of albums. His prolific streak of releases continues in 2019, as he finishes his tenth bluegrass album.

Claire Armbruster and Mary Burdette return as executive producers of the show.


Photo of Jim Lauderdale: Scott Simontacchi
Photo of Del McCoury from DelMcCoury.com

22 Top Bluegrass Duos

Everyone knows that in the early days of bluegrass, before that term was even coined, all you needed to make a “band” was two people and two instruments. Fiddle and banjo? Sure. But in those days, they’d take whatever they could get. Duos are still a strong presence in the music today, in brother/sibling duos, spouse-led bands, and legendary collaborations.

Check out these twenty-two bluegrass pairings — and their accoutrement — on BGS:

Bill & Charlie Monroe

Before Bill Monroe, the Father of Bluegrass, made his indelible mark on the genre (quite literally giving it its name), he was already a popular performer with his brothers Charlie and Birch. Birch left The Monroe Brothers in the mid-1930s, and Charlie and Bill went on to enjoy success on the road, in the studio, and on the radio — until rising tensions and a fateful fight in 1938 caused them to split ways. But, without that fight, we may not have “bluegrass” at all.

Flatt & Scruggs

December 1945. The Ryman Auditorium. Nashville, Tennessee. Bill Monroe and his Blue Grass Boys stepped on stage for the Grand Ole Opry with Lester Flatt and Earl Scruggs among their ranks for the very first time and bluegrass as we know it today was born. Flatt & Scruggs left Monroe in 1948 to join forces and went on to become one of the few ubiquitous, household names of bluegrass.

Hazel Dickens & Alice Gerrard

Undeniably trailblazers, Hazel Dickens & Alice Gerrard are widely regarded as the first women in bluegrass to capture the “high lonesome” sound popularized by Monroe, the Stanley Brothers, and others. They toured across the U.S., often supporting causes that benefited forgotten, downtrodden people from all backgrounds and walks of life. They were inducted into the Bluegrass Music Hall of Fame in 2017.

The Stanley Brothers

Natives of the music-rich southwest corner of Virginia, Carter and Ralph Stanley were prolific recording artists and touring musicians in bluegrass’s first generation. Countless songs written and/or popularized by the Stanley Brothers and their backing band, the Clinch Mountain Boys, are staples of the genre today. Carter passed in 1966 and Ralph continued until his death in 2016 with the Clinch Mountain Boys — who still tour today with Ralph’s son, Ralph II.

Don Reno & Red Smiley

Unsung trailblazers of the first generation of bluegrass pickers, Reno & Smiley were tireless innovators with a jovial, sometimes silly flair to their songs and instrumental prowess. Their duets are simply some of the best in all of bluegrass. The duo performed together off and on from the early 1950s to the 1970s — but both passed away much too young, Smiley in 1972 at the age of 46 and Reno in 1984 at the age of 58. Reno’s frenetic, electric and pedal steel guitar-infused licks remain unmatched in banjo picking today.

Jim & Jesse McReynolds

With matching suits and impeccable pompadours brothers Jim and Jesse McReynolds often brought rockabilly, rock ‘n’ roll, mainstream country and pop sensibilities to their take on sibling harmonies and bluegrass brother duos. Jesse’s crosspicking on the mandolin was — and continues to be — absolutely astonishing. Jim passed in 2002, Jesse continues to perform on the Grand Ole Opry to this day. At the time of this writing, he is ninety years old.

Laurie Lewis & Tom Rozum

Laurie Lewis often takes top billing — as leader of the Right Hands and before that, the Bluegrass Pals, and others — but since 1986 her musical partner Tom Rozum has almost constantly been at her side on the mandolin and harmonies. Their duo recording, The Oak and the Laurel, was nominated for a Grammy in 1995. Here is the album’s title track:

Bill Monroe & Doc Watson

What is there to say? Two of the folks who paved the way for this genre, laying a foundation so strong and far-reaching that we still can’t fully comprehend its impact. Bill and Doc collaborated on more than one occasion and we, as fans and disciples, are lucky that so many of these moments are captured in recordings and videos.

Del McCoury & David “Dawg” Grisman

At face value, an unlikely combo, but their friendship goes back to the early 1960s and their musical endeavors together began soon after. As Del slowly but surely became a bastion for traditional bluegrass aesthetics applied broadly, Dawg embraced jammy, jazzy, new acoustic sounds that sometimes only register as bluegrass-adjacent because they come from the mandolin. Opposite sides of the same coin, their duet makes total sense while at the same time challenging everything we think we know about the music. In this clip, Dawg sings tenor to Del — not many would be brave enough to try!

Ricky Skaggs & Keith Whitley

They got their start together in the Clinch Mountain Boys with Ralph Stanley, making some of the best recordings in the history of the band’s many iterations. Before they both struck out on wildly successful, mainstream careers they recorded a seminal duo album together, Second Generation. It remains one of the most important albums in the bluegrass canon — especially as far as duos/duets go.

Norman & Nancy Blake

Norman is well known for his flatpicking prowess, which has graced recordings by John Hartford, Bob Dylan, the Nitty Gritty Dirt Band, and so many others. He and his wife, Nancy, were married in 1975 after having begun their musical forays together a year or so earlier. Nancy’s command of many instruments — cello, mandolin, and fiddle among them — balances neatly with Norman’s jaw-dropping, singular style on the flattop. Their inseparable harmonies and timeless repertoire are merely icing on the cake.

Jimmy Martin & Ralph Stanley

How their first album together, First Time Together (cough), is not more well-known is truly impossible to understand. The King of Bluegrass and the Man of Constant Sorrow twining their extraordinary voices must have been ordained by a higher power. It’s a good thing they answered the call. Be careful, Jimmy’s percussive G-runs feel like a slap in the face — in the best way.

Darrell Scott & Tim O’Brien

Their live albums together and their co-written masterpieces belong in every museum and shrine to roots music around the world. Both of these triple threat (Quadruple? Quintuple? When do we stop counting?) musicians are rampantly successful in their own right, but together they are simply transcendent. Their cut of “Brother Wind” deserves a listen right this instant and “House of Gold” gives you the harmony acrobatics gut punch you need every time. It was nearly impossible to choose just one, but here’s a hit that was recorded once by a little group called the Dixie Chicks.

Ricky Skaggs & Tony Rice

Again, words fail. Skaggs & Rice is a desert island record. Each and every time these two have graced a recording or a stage together, magic has been made, from their days with J.D. Crowe & the New South and on. We only wish that they could have done more together.

Vern & Ray

Vern Williams and Ray Park were California’s original bluegrass sons. Though they were both born and raised in Arkansas, they relocated to Stockton, California, as adults. They’re often credited with “introducing” bluegrass music to the West Coast. They disbanded in 1974 (both passed in the early 2000s), but their influence is palpable to this day, even if they’re sorely unheard of east of the Mississippi. This deserves correction! Immediately!

Eddie & Martha Adcock

Eddie is a pioneering banjo player who’s a veteran of both Bill Monroe’s Blue Grass Boys and The Country Gentlemen, two decidedly legendary and influential acts. His style is somewhat wacky, certainly singular, but effortlessly bluegrass and traditional as well. He married Martha in the late 1970s and the pair have toured prolifically as a duo. In 2008, Eddie underwent brain surgery to correct debilitating hand tremors. He was kept awake, playing the banjo during the procedure — and there is jaw-dropping film of this online!

Dailey & Vincent

When Dailey & Vincent burst onto the scene in the mid-aughts after both having notable careers as sidemen, the bluegrass community rejoiced at the reemergence of a wavering art form within the genre — traditional duo singing. However, Jamie and Darrin, whether they knew it at the time or not, had their sights set much higher. Now more of a full-blown stage show than a bluegrass band, their recordings and concerts are a high-energy, charismatic, and downright entertaining mix of classic country, Southern gospel, quartet singing, and yes, bluegrass.

Kenny & Amanda Smith

Husband and wife Kenny and Amanda first recorded together in 2001, going on to win IBMA’s Emerging Artist of the Year award two years later. They’ve now cut eight albums together, all clean, clear, crisp modern bluegrass that centers on Amanda’s impossibly bright vocals, which maintain a personal, country hue alongside Kenny’s fantastic flatpicking. SON!

Tom T. & Dixie Hall

Two of the most recent inductees into the Bluegrass Music Hall of Fame, Tom T. and Dixie Hall wrote hundreds and hundreds of songs cut by country, bluegrass, and Americana artists alike. Tom T.’s reputation and chart-topping originals tend to eclipse Dixie, but he is unyielding in his efforts to point that same spotlight at his beloved wife instead, who passed away in 2015. Though she never performed — definitely not to the extent that Tom T. did — the marks she left on bluegrass, country, and her partnership with her husband are indelible. This number was co-written by the pair:

The Louvin Brothers

Recipients of IBMA’s Distinguished Achievement Award in 1992, the Louvin Brothers are another example of early bluegrassers who enjoyed the amorphous, primordial days of the genre before it became more and more sequestered from mainstream country and country radio. Their duets are iconic, with counter-intuitive contours and lines that bands and singers still have difficulty replicating to this day. Their most famous contribution to the American music zeitgeist, though, might not be their music, but the spectacular cover art for their 1959 album, Satan Is Real. If you haven’t seen it, Google it right now.

Delia Bell & Bill Grant

Natives of Texas and Oklahoma, respectively, Delia Bell and Bill Grant met through Bell’s husband, Bobby, in the late 1950s. Between their band, the Kiamichi Mountain Boys, and their duo project they recorded more than a dozen albums together through the 1980s. Famously, Emmylou Harris became a fan when she heard their cut of “Roses in the Snow,” which Harris went on to record on her eponymous bluegrass record. Bell died in 2018.

The Osborne Brothers

Though they popularized a style of three-part harmony that had never been heard before — the infamous “high lead” harmony stack — their band, no matter who it may have included over the years, was undeniably helmed and anchored by Bobby and Sonny. (Which does explain the name.) You may remember “Rocky Top” and “Ruby” first and foremost in their discography, but the hits they’ve contributed to the bluegrass songbook are innumerable. Here’s one such classic.

Blue Ox Music Festival 2019 in Photographs

String bands of all sorts from all across the country descended upon Blue Ox Music Festival and Eau Claire, Wisconsin last week for three days of music in the backwoods — and the rain! BGS partnered with Blue Ox and Jamgrass TV to broadcast nearly 20 sets from the festival’s main stage online for thousands of fans around the world. But, if you did not have the good fortune to be on site for the goings-on and if you didn’t get a chance to tune in to the livestreams, don’t fret. You can check out what you missed with our photo recap — while you make plans to join us in 2020!


Lede photo: Ty Helbach

LISTEN: Fletcher’s Grove, “Stray Bird”

Artist: Fletcher’s Grove
Hometown: Morgantown, West Virginia
Song: “Stray Bird”
Album: Waiting Out the Storm
Release Date: May 17, 2019

In Their Words: “I’m a longtime fan of the likes of Bill Monroe and Del McCoury, so I often look to those folks and their ilk for inspiration. I wanted to write a classic country song for our new record. ‘Stray Bird’ is a modern take that pays homage to an earlier era. One of the last songs to be brought into the studio, ‘Stray Bird’ came together quickly and stood out as a different sound for the band that fit this record.” — Ryan Krofcheck, Fletcher’s Grove


Photo credit: Dan Gifford

Old Settler’s Music Festival 2019 in Photographs

We’ve loved Texas’ Old Settler’s Music Festival for years now, with their carefully curated lineups steeped in roots and peppered with bluegrass, folk, and Americana. We even filmed a handful of Sitch Sessions (with Earls of Leicester, Sierra Hull, the Hillbenders, and David Ramirez) on site a few years back. This year, BGS photographer Daniel Jackson was on hand to capture all of the Old Settler’s magic so that you can relive last week’s festival in photographs.


All photos by Daniel Jackson

MIXTAPE: Crowder’s Simple Yet Complex Bluegrass Playlist

“I think my favorite description of bluegrass music is from Bill Monroe: ‘It’s Scottish bagpipes and ole-time fiddlin’. It’s Methodist and Holiness and Baptist. It’s blues and jazz, and it has a high lonesome sound.’ It is that and more to me. It is simple and complex. It is death and life. It is impossible to put together anything close to a definitive playlist of such things so here are a few songs I really like.” — Crowder

“A Far Cry” – Del McCoury Band

Del McCoury is the epitome of the progressive conservation of that “high lonesome” sound.

“Angel Band” – Stanley Brothers

This is it for me. An old gospel song from a poem originally titled “My Latest Sun Is Sinking Fast.”

“The Prisoner’s Song” – Bill Monroe

This origin of this song goes back to the beginning of recorded “hillbilly” music and nothing better than the Father of Bluegrass’ take on it with electric guitar, piano, and drums. Heretical!

“Ruby” – Osborne Brothers

Those falsetto jumps and holds, if you’re not smiling we can’t be friends.

“Shady Grove” – Ricky Skaggs

Mr. Skaggs is one of my favorite humans ever made and he and Kentucky Thunder slay this traditional Appalachian courtin’ song that’s found its way into the repertoire of all the greats.

“Walls of Time” – Bill Monroe

A classic written by Monroe and Peter Rowan, but not recorded until after Rowan left the group. The lyrics are perfectly haunting.

“Freeborn Man” – Jimmy Martin

“King of Bluegrass” after the addition of Gloria Belle. That female vocal sitting above Martin’s cutting tenor is supreme.

“Mama’s Hand” – Hazel Dickens

Known for her singing style as well as her advocate songs for coal miners and the working folk and to be one of the first women to record a bluegrass album. This song tells the story of the day she left her family’s home in West Virginia.

“Carry Me Across The Mountain” – Dan Tyminski

This guy is legend. Popping into the universal ethos and consciousness of popular culture every so often, from his updated version of “Man of Constant Sorrow” to vocal feature on Avicii’s international hit “Hey Brother.”

“Blue Train” – Nashville Bluegrass Band

I love how these guys incorporate black gospel and spirituals. Just a line as simple as “coming for to carry me” brings with it the momentum and mass of a locomotive.

“Salty Dog Blues” – Flatt and Scruggs

The original meaning of “salty dog” comes from rubbing salt into the coat of your dog as a flea repellent. That infers that a “salty dog” would be your favorite person or your best friend. I like that.

“Oh, Death” – Ralph Stanley

No vocalist will ever fit a song more perfectly.

“The Little Old Log Cabin in the Lane” – Fiddlin’ John Carson

The first “hillbilly” song ever recorded with vocals and lyrics. When I moved to Atlanta I landed in Cabbagetown on Carroll Street living in the Fulton Bag and Cotton Mill that he and his children worked in. That’s as close as I’ve ever come to greatness.

Photo credit: Eric Brown

Like Father, Like Sons: Del McCoury & The Travelin’ McCourys

Even after five decades in the bluegrass business, the McCoury family is having a banner year in 2019. In February, Del McCoury turned 80 years old and shared the Grand Ole Opry stage with some of his most famous admirers. That same month, the Travelin’ McCourys – fronted by Del’s sons Rob and Ronnie McCoury — picked up a Grammy award in Los Angeles for their self-titled, debut album. And looking ahead, the 12th annual DelFest music festival in Cumberland, Maryland is slated for May, with performances by both bands on the schedule.

In person and off stage, Del McCoury is as polite and warm as one would expect. Smiling broadly as he enters the Opry dressing room, he’s wearing a Hawaiian shirt, his pompadour is on point (as always), and he seems unfazed by the fact that show time is less than 30 minutes away. To paraphrase another Opry star, he’s just so proud to be here.

“I’ve been listening to the Grand Ole Opry since I was at least 10 years old,” he says. “My brother and my dad would listen because it was before TV, you know? Especially out in the country where we lived. People had TVs, but I don’t remember anybody who did out in the country. We grew up on a farm. Like I said, I’ve been listening to the Grand Ole Opry since then and I’ve always looked up to all the acts on here. Especially the bluegrass acts, like Bill Monroe and Flatt & Scruggs. It’s a big show in my mind! Still is!”

Though the time set aside for the interview is somewhat brief, Del conjures up stories about everything from crusty club owners to playing Carnegie Hall. He cracks up at a memory of Bill Monroe flat-out telling festival promoter Carlton Haney that a bluegrass festival would never work. Thinking even further back to his childhood, he reminisces about being fascinated by Earl Scruggs’ banjo on “Rollin’ in My Sweet Baby’s Arms” when he was around 11 years old.

“Something hit me here,” Del says, touching his heart. “That banjo behind the lead singer was so good. And so I learned how to play that. I was already a guitar player but I heard this record and I thought, ‘Wow, that’s what I want to do!’ So, when I could get a banjo, I started learning it. Just take the record, pick the needle up and put it over, and try to play what Earl was doing. It was not simple!”

Ronnie McCoury, Vince Gill, Del McCoury

Asked about the decision to spin off a group from The Del McCoury Band, employing everybody except himself, Del says he conferred with manager Stan Strickland about how to make it work.

“I got to an age where I thought, you know, I’m [not] gonna be around here forever,” he noted, just before breaking into his trademark laugh. “I felt good, and I still feel good, but you never know. When you get to 70, you don’t know how many days you got left. I thought, these guys depend on me. My wife and I talked to Stan and I said, ‘You know, if we get them something going on their own, and if something happens to me, then by that time they might be established.’ So we got them a different booking agent than I had, and it seemed like right from the start they were starting to do good already! And I thought, ‘Wait a minute now, I wonder if I should have done that…’”

He breaks into laughter again, before adding, “Especially when they start winning Grammys! And they don’t take me with them!”

Loyal bluegrass fans know that for decades the Del McCoury Band has done its own share of travelin’ – not to mention winning two Grammy awards of their own. Led by Del on lead vocals and guitar, the good-natured group includes Ronnie on mandolin, Rob on banjo, Jason Carter on fiddle and Alan Bartram on bass. Cody Kilby assumes Del’s role as a guitarist in The Travelin’ McCourys, while the vocals in that ensemble are handled in equal share by Ronnie, Rob, Jason, and Alan.

Three days after their Grammy win, the Travelin’ McCourys regrouped with Del when the Opry curated a special show called the Grand Del Opry, in order to commemorate McCoury’s milestone birthday as well as his 15th anniversary as an Opry member. Friends like Sam Bush, Bela Fleck and Abigail Washburn, Vince Gill, Old Crow Medicine Show, Jesse McReynolds, Ricky Skaggs, Marty Stuart, and of course Travelin’ McCourys jammed with the man himself.

The finale of the Grand Del Opry

In an interview a few weeks after the show, Rob says, “One of the biggest things for me was the finale, and looking at all these people on stage to help Dad celebrate his birthday. And also looking out to see nearly a full house in honor of my father. It made me very proud to see all these folks that have such respect for my dad and the music, and they all took the time to come out to the Opry that night and put on a show in honor of my father.”

Del McCoury made his first appearance on the Grand Ole Opry as Bill Monroe’s guitarist in 1963 – and that performance was only McCoury’s second gig with the esteemed Father of Bluegrass. The first was not long before that, when McCoury subbed for Monroe’s banjo player at a New York show. Although McCoury still preferred playing banjo, Monroe offered him a spot as a guitarist and lead singer – a job he kept for a year. “He’s the reason I’m doing that now,” Del says with a chuckle. “I didn’t think I would be, but once I started playing guitar and singing, I liked it.”

Obviously he still does. McCoury has played a staggering number of festivals over the years, including a few of those seminal Carlton Haney bluegrass festivals of the 1960s. Still he needed some persuasion to launch his own music festival. He recalls, “My manager said to me, ‘Did you ever think about having your own festival?’ And I said, ‘Yeah, I’ve always wanted to, but I don’t want the headache! What a headache that’s got to be!’”

But with persistence, the right location, and a diverse lineup, DelFest has become a major player on the folk festival circuit. This year’s roster includes The String Cheese Incident, Trampled by Turtles, Tyler Childers, Railroad Earth, and more than a dozen bluegrass artists, including Billy Strings, Sam Bush, the Gibson Brothers, Sierra Hull, and the SteelDrivers.

Sam Bush and Del McCoury

“Attendance is staying up there good, and it’s fun,” Del says. “It’s not a bluegrass festival, it’s just a music festival. We have a lot of bluegrass bands there, you know, but we have jam bands, and we have country acts, man, you name it. We had jazz bands, we had a mixture of music, and I like a variety of music my own self. I figured, if we have a variety of bands, some folks will come to see one band, then these folks will come to see another band, and that’s how you get your fans.”

Rob McCoury adds, “I thought having the festival was a great idea. We’ve played hundreds if not thousands of festivals through the years. So I think it was just the natural progression to have a festival of our own. I guess the most surprising thing is, the small details that add up to big things, that no one realizes is going on behind the scenes.”

Asked about the reward of all that work, he answers, “The fans, no doubt about it. All those folks come to DelFest, and anytime dad walks on stage at his own festival he’s a rock star. To me, it’s just the coolest thing.”

Rock star. Bluegrass Hall of Fame member. A nine-time IBMA Entertainer of the Year. Dad. These are just some of the ways you can describe Del McCoury. Winding down the interview backstage at the Opry, he pauses for a moment when he’s asked how he’d like the Opry family to remember him.

Finally, he says, “You know, I guess I’d want ‘em to remember me like a guy that never expected to be an Opry member. I knew I would play music, for years and years, but I thought, ‘The Opry is something is really special and I don’t know if they’d want me there.’ I was fortunate that they did, and I’m just so grateful. I hope they just remember a country guy that really loves the Grand Ole Opry and loves music.”

The Travelin’ McCourys, Vassar McCoury, Del McCoury, and Dierks Bentley


Photo credit: Chris Hollo / The Grand Ole Opry

Derek Trucks on Analog, Allman Brothers Band, and Aging Well (1 of 2)

With Tedeschi Trucks Band, you get a partnership. That impressive ability to divide and conquer serves them well on stage, with Susan Tedeschi nailing the vocals and tearing up the guitar, along with Derek Trucks calmly proving his own guitar proficiency. That’s not to mention the other 10 musicians that make this one of the most potent groups on the road right now, as evidenced by their newest album, Signs. (Incidentally, the conversation took place shortly before the death of longtime keyboard player Kofi Burbridge, who passed in February.)

To begin our Artist of the Month interviews, Derek took the phone first — yet frequently praised Susan throughout the conversation, especially her ability to captivate a crowd. Before passing the phone over, he also dug into his preference for analog recording, his history with the Allman Brothers Band, and the reason why age doesn’t really matter.

BGS: I know you recorded this album on two-inch analog tape and you have that Neve console. Why is it important for you to use that vintage gear?

Trucks: I think every time you record, you’re searching for that sound you hear in your head, and what you hear live on the floor. I feel like the more analog we go, the closer we’re getting to that. This is definitely the warmest recording we’ve done to date. You know, I think the beauty of having a studio is that you’re always working toward that and you don’t have to reset and start from scratch every single time.

And there’s something about recording to tape that focuses everybody a little bit differently. You don’t have unlimited tracks, you don’t have unlimited space, and it becomes a little more performance-based. Everything seems to mean a little bit more. Every reel of tape is important! You don’t have a hard drive to fill up, so it’s a different feel all the way around. And it slows things down in a good way. I think it really does put everybody’s head in a different spot.

What does that room look like?

We designed it visually thinking about Levon Helm’s band up in Woodstock. It’s a few hundred feet from our house in the swamp down here in Florida. It’s barn-shaped and the main recording room is a pretty good-sized room. When we rehearse with the 12-piece band, everyone’s set up in the main room. But it’s a bunch of vintage gear and old Fender amps. There’s a few drum kits in there and a B3 set up at all times. You know, it’s ready for action!

Speaking of those drum kits, I noticed at your show that you tour with two drummers. What’s the benefit of that?

There’s something special about that sound, man. It’s a powerful thing when you get those guys playing. The pulse gets really, really thick. When the whole band is firing, it feels like a freight train behind you. I think after years of being on stage with my uncle [Butch Trucks] and Jaimoe [the Allman Brothers’ drummer] and the Allman Brothers, when it really works and it’s really good, there is nothing quite like it. So when we put this band together, I was certainly thinking about those guys and that sound.

The chemistry really has to work when you have two drummers. It can be a freight train or it can be a train wreck! [Laughs] It can be really bad. I’ve been in situations where there have been two drummers and it’s a “less is more” situation sometimes. But Tyler [Greenwell] and JJ [Johnson] have a special chemistry. They really listen hard to each other and complement each other well, and they have a sound that is completely unique to the two of them. It’s a big part of what makes the band unique, I think.

At risk of being too heavy, what’s that experience like when you don’t have Gregg on stage, or knowing that you aren’t going to play with Butch anymore? Was that hard for you to process?

I don’t know if I ever thought of it that way so much. I played with them for so many years and I was always doing my solo groups and other things at the same time, so there were always a few different streams. I knew it wouldn’t be forever, so that part wasn’t a shock, but more recently we started playing a few of those tunes from time to time, and it definitely hits me now. Especially when we’re playing the Beacon Theater or some of these rooms I’ve played with [the Allman Brothers Band] so many times. You certainly miss them, and you miss that sound and that spirit. When we’re making records, there are certain times when for some reason I’ll be thinking about them. They were family, they were friends, and they were musical heroes, too. Those are big losses and I think it takes a while to unpack that stuff.

I’ve heard you and Susan both talk about being “a lifer.” How would you describe what that means?

I was thinking about Del McCoury this morning when I knew I’d be doing this article. It’s the people that you just know are going to be playing and touring and making people feel good as long as they’re on the planet. The Allmans, B.B. King, Willie Nelson –there are thousands of musicians who play in small clubs that are that way. You just know once you start doing it. I knew when I started in my pre-teens. Once I got serious about it, I always got that feeling like, ‘This is what I’m going to be doing. Whether it’s successful or not, I don’t think it’s going to matter.’ [Laughs]

And the beauty of what we do is that we can do it forever. I think about professional athletes sometimes and how they give everything to their sport — and by the time they’re 30, they’re washed up. We’re incredibly fortunate. We can play into our 90s. There are guys out there doing it.

What is it about Del McCoury that you admire?

He’s one of those personalities, man. You just see him and you immediately love him before you meet him. Then you meet him and you love him more. [Laughs] And there’s something to a guy who keeps his family with him. It helps that his family members are incredibly talented too. It says a lot about somebody when music and family intersect like that, and it becomes a way of life. There’s something that really speaks to me about that.

And his sound — I don’t think there’s anyone alive who’s doing it better. Every time I hear those guys, it just makes you feel good. It gives you a little hope. It is authentic and really, really good on every level, and that dude has it in a headlock. We love him. He’s fearless, man. He’ll jump up with anyone. He’s sat in with our band. He’s not a guy that won’t go outside of his genre. Del will step on in.

That’s an interesting point because I don’t think your band can be categorized as one certain thing — you fit in a lot of places, too. That must be a great feeling to not be locked into a certain style.

Yeah, I’ve always appreciated that about this band, and my solo band as well. We were always kind of half-accepted and half-shunned by every genre. They’d put us on a blues festival and we’d hear ‘You all aren’t blues enough.’ Or in the early days, the jam band festivals, but we weren’t jam band enough. Or jazz… they let us in all of them a little bit, but no one would fully accept us, which I appreciate because that’s where my tastes have always been. I think it’s what I naturally come from, so I never minded it.

In the early days, it was a little more difficult because when you get accepted by a certain scene, it makes it a little easier to tour, and there are certainly benefits to that. But I like being able to bounce around, and in the course of a month, play a festival for four or five different genres of music. It makes you a better player because everywhere you go, you hear things that you wouldn’t have heard or known. You see incredibly talented musicians that maybe you weren’t aware of. That makes you double down on what you’re doing when you see somebody new.

I remember the first time seeing Jerry Douglas and thinking, “All right…” [Laughs] “Well, there’s that!” I think it’s important to listen wide.

It’s remarkable to me how poised you are when you play guitar. You make it look easy while some guitarists put their whole body into it. Is that the way you’ve always played, just stand and deliver?

Yeah, and at different times, especially early on when I was a kid playing, I would get people almost every night coming up and asking, “Why aren’t you smiling? Aren’t you having fun?” [Laughs] It’s like, “I’m taking this shit serious, people!” I’ve never had a stage presence that’s going to bring people to the show. I’ve had to do it another way. I don’t know… some of it is just your personality, mainly.

But I remember seeing pictures of Duane Allman as a kid and I always imagined him standing there, getting it done. And I remember seeing footage of John Coltrane when I was in my early teens, just black-and-white footage around the Kind of Blue sessions. He was stepping up and taking a solo, and the look on his face — it just felt really important. It hit me, like, “That’s what I’m after.”

Editor’s Note: Read our Artist of the Month interview with Susan Tedeschi.


Photo credit: Shervin Laivez
Illustration: Zachary Johnson

Del McCoury’s 80th Birthday at the Grand Ole Opry in Photographs

As bluegrass fans know, Del McCoury is kind of a big deal — in fact, the Grand Ole Opry briefly renamed itself on Wednesday (February 13) in his honor when the “Grand Del Opry” event gathered good friends like Dierks Bentley, Sam Bush, Béla Fleck & Abigail Washburn, Vince Gill, Jesse McReynolds, Old Crow Medicine Show, Marty Stuart, and the Travelin’ McCourys to celebrate the legendary musician’s 80th birthday. Happy birthday, Del!


The Travelin’ McCourys’ Ronnie McCoury, Rob McCoury and Alan Bartram with Del McCoury



Sally Williams, Grand Ole Opry; Del and Jean McCoury; Dan Rogers, Grand Ole Opry



Del McCoury Band with Dierks Bentley and special guest Vassar McCoury on “upright bass.” 



Sam Bush and Del McCoury



The finale of the Grand Del Opry


Photo credit: Chris Hollo, The Grand Ole Opry