You Gotta Hear This: New Music From Aaron Burdett, Nic Gareiss, and More

Here’s a flock of brand new songs and videos you gotta hear! This week, our premiere round-up includes Americana, fiddle tunes, percussive dance, good country, string band excellence, and more.

Don’t miss new tracks like “Second Best,” from Americana singer-songwriter and Steep Canyon Rangers vocalist Aaron Burdett, and “China Camp,” a fiddle tune written by Paul Shelasky and performed by Amy Kassir with Jake Eddy and more. Also, Wisconsin’s own Them Coulee Boys drop “I Am Not Sad,” a song that grapples with mental health from their upcoming 2025 album, No Fun In The Chrysalis.

We’ve got some superlative videos this week, as well! Percussive dancer and folk musician Nic Gareiss dances us through a gorgeous, queer rendition of a Gillian Welch song, “Back Turn and Swing,” and alt-folk trio Palmyra have brought a live field recording of “Fried,” a song from their brand new EP, Surprise #1. Meanwhile, Eilen Jewell pays tribute to Loretta Lynn and spotlights the progress and regression of the last 50 years of reproductive rights activism with a cover of “The Pill.”

To wrap us up, we don’t want you to miss the latest AEA Session, premiered in partnership with AEA Ribbon Mics on BGS earlier this week. This edition of the series features Brit Taylor & Adam Chaffins, performing live at Americanafest last month.

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


Aaron Burdett, “Second Best”

Artist: Aaron Burdett
Hometown: Saluda, North Carolina
Song: “Second Best”
Release Date: October 25, 2024
Label: Organic Records

In Their Words: “You might say ‘Second Best’ was a song 30 years in the making. I’ve had this line from an old David Wilcox song rattling around in my head since the ’90s. It always struck me as a phrase that could be interpreted in many different ways. So I eventually started playing with that idea and bouncing it off various scenes and situations. A year or so ago I landed on the one (or two) that ended up in the recording, along with the original Wilcox line that inspired the chorus. Some songs arrive quickly, and some arrive much more slowly!” – Aaron Burdett

Track Credits:
Aaron Burdett – Vocals, acoustic guitar
Kristin Scott Benson – Banjo
Carley Arrowood – Fiddle
Tristan Scroggins – Mandolin
Jon Weisberger – Upright bass
Wendy Hickman – Harmony vocals
Travis Book – Harmony vocals


Nic Gareiss, “Back Turn and Swing”

Artist: Nic Gareiss
Hometown: Lansing, Michigan
Song: “Back Turn and Swing”
Release Date: October 25, 2024

In Their Words: “When I heard Gillian Welch’s song ‘Back Turn and Swing,’ I was immediately drawn to the way it brings the listener into the scene of a dance event: musicians tuning up, someone cooking potluck food to pass around, the excitement in the air, folks eager to get up onto the floor. The lyrics evoke the feeling of the square and contra dances I grew up attending in the rural Midwest. At the same time, as a non-binary queer person, I feel bodily unease around how the song sets up the dualistic gender of the attendees.

“Many folk dances these days have adopted expansive and inclusive dance calls, like using ‘larks and robins,’ ‘lefts and rights,’ etc. (shoutout to Michigan’s Looking Glass and Ten Pound Fiddle contra dances, Detroit’s queer square dance, Asheville’s Old Farmer’s Ball, and Brooklyn’s Gayli). Yet I’m still compelled to check beforehand that the caller – the authoritarian voice at the front of the hall telling people what to do with their bodies – is onboard with same-sex couples dancing together or trans and genderqueer people expanding these roles. This past summer a partner and I were at a dance when someone in their 20s asked us mid-set, ‘Who is the man?’ This reminded me that there’s still work to do; inclusivity still requires advocacy and allyship to help all feel welcome in the dynamism of the dance floor.

“Speaking of dynamic, as a child I saw John Hartford and was both astonished and inspired by the soundscapes he could create; dance, music, and song all embodied in one person. I aspire towards that dance-as-music in this video, where I added a few lyrics to the last verse.” – Nic Gareiss

Video Credits: Filmed by Blake Hannahson. Audio mixed by Jaron Freeman-Fox.


Eilen Jewell, “The Pill”

Artist: Eilen Jewell
Hometown: Boise, Idaho
Song: “The Pill”
Album: Butcher Holler: A Tribute To Loretta Lynn
Release Date: October 22, 2024 (single); November 15, 2024 (album)
Label: Signature Sounds

In Their Words: “The amazing thing about ‘The Pill’ is that it still feels edgy today, nearly 50 years after its original release. Loretta infused it with so much sassy defiance that, even now, when I sing it live and reach the phrase ‘now I’ve got the pill,’ some fans pump their fists while others clutch their pearls. It still strikes a nerve, a testament both to how effective this song is and how little progress we’ve made in this country in terms of reproductive rights.

“Loretta still holds the prestigious record for the singer of more banned radio hits than all other male country artists in the twentieth century combined. And ‘The Pill’ was the most banned of all of her songs, which is saying a lot. By recording and performing it live, I hope to do my part to spread the word about the importance of public access to family planning as an integral part of a woman’s right to the pursuit of happiness. It’s hard to believe this fight is still going on, but until it’s over I’ll be here for it.” – Eilen Jewell

A note from the artist: A percentage of sales from “The Pill” will be donated to Planned Parenthood.

Video Credits: Bill Hurley at The Fallout Shelter in Norwood, Massachusetts


Amy Kassir, “China Camp”

Artist: Amy Kassir
Hometown: Durham, North Carolina. Currently lives in San Rafael, California.
Song: “China Camp”
Album: Bread and Butter
Release Date: October 25, 2024

In Their Words: “‘China Camp’ is a great tune by the legendary California fiddler Paul Shelasky. I first heard it on the 1983 Good Ol’ Persons record, I Can’t Stand to Ramble, and I’ve been obsessed ever since. While so many tunes on my album are ‘bread and butter’ fiddle tunes I grew up playing in North Carolina, I wanted to include a tune that represents the rich musical legacy of California, which has been my home for the last 10 years. I’m so thankful Paul gave me his blessing to record this tune.

“This recording features Jake Eddy on guitar and banjo, Korey Kassir on mandolin, and Carter Eddy on bass. It’s such an exciting tune to play, and we had a lot of fun bringing it to life.” – Amy Kassir


Palmyra, “Fried”

Artist: Palmyra
Hometown: Richmond, Virginia
Song: “Fried”
Album: Surprise #1 (EP)
Release Date: October 24, 2024
Label: Oh Boy Records

In Their Words: “As we have ventured into playing bigger stages and festivals, our sound has expanded significantly. While the core of Palmyra remains the three of us, we’ve been experimenting with a larger four-piece sound, as heard on the recorded version of ‘Fried’ on our new EP, Surprise #1, with Oh Boy Records. ‘Fried’ is our most ambitious acoustic experiment, starting with a drum set and a hypnotic repetitive guitar lick. Recording the song acoustically with one microphone in a field was a fun way for us to find the core of the tune. It was a challenge to see how many elements we could strip away and still keep the groove. We like to call ‘Fried’ our ‘jam band’ song, and we hope even this field recording gets you on your feet.” – Palmyra

Track Credits:
Written by Sasha Landon, Mānoa Lewis Bell, and Teddy Chipouras.
Sasha Landon – Mandocello, voice
Teddy Chipouras – Guitar, voice
Mānoa Bell – Upright bass, voice
Jake Cochran – Drums

Video Credit: Elliott Crotteau


Them Coulee Boys, “I Am Not Sad”

Artist: Them Coulee Boys
Hometown: Eau Claire, Wisconsin
Song: “I Am Not Sad”
Album: No Fun In The Chrysalis
Release Date: October 29, 2024 (single); February 28, 2025 (album)
Label: Some Fun Records

In Their Words: “‘I Am Not Sad‘ is the last song on the record and captures the theme of accepting change this record focuses on. I’ve struggled with my mental health my whole life, dealing with depression, anxiety, and issues with self worth. I’ve embraced those issues in my songwriting, hoping to shine a light on things that we all go through from time to time. We have plenty of songs that talk about these issues, but this one is the first that accepts them.

“The song is built around the phrase ‘I am not sad anymore, at least not today.’ It’s a celebration of the happiness in the moment, while acknowledging that there’s times when it’s harder. It’s about being thankful for the good times, and letting them stack up on one another for when the bad times come. It’s a declaration, a moment of catharsis, while knowing that it won’t always be like that.

“Sonically it starts sparsely, with elements of the band being added with each verse, like confidence growing in one’s self as you begin to believe. It’s self-assured, with strummed mandolin and piano a backdrop for growth. When the bridge lyrically introduces the idea that these positive feelings might not last, the musical interlude represents the choice to embrace that realization. An ethereal, almost dream-like backdrop sets up the catharsis of the last verse. When the last verse hits, it invites all the good feelings back for a triumphant jam. It’s loud and snarls in the face of the hard times. It’s meant to soar and it does.” – Soren Staff


AEA Sessions: Brit Taylor & Adam Chaffins, Live at AmericanaFest 2024

Artist: Brit Taylor & Adam Chaffins
Hometown: Hindman, Kentucky (Brit), Louisa, Kentucky (Adam); now, both call Nashville home.
Songs: “Little Bit at a Time,” “Holding On Holding Out,” “Trailer Trash,” “The Best We Can Do Is Love,” and “Saint Anthony”

In Their Words: “It was fun playing and talking about new songs on some incredible sounding AEA gear with Brit Taylor on the Bell tone sessions!” – Adam Chaffins

“Brit and Adam’s songs are personal, yet universal. They are warm in person and it’s clear they spend a lot of time together singing, playing, and writing. Their vocals weave and intertwine so effortlessly.” – Julie Tan, AEA Ribbon Mics

More here.


Photo Credit: Aaron Burdett by Mike Duncan; Nic Gareiss by Blake Hannahson.

‘Sweet Critters’ Shows a Deepening of Caleb Caudle’s Point of View

On his new album, Sweet Critters, Caleb Caudle has no desire to reinvent himself. The North Carolina native has spent his career trying to move closer and closer to what is already inside of him. “This well is getting deeper… more nuanced,” he explains. “And I really enjoy that. I’m not trying to be repeat myself, I’m trying to be myself.”

Dedicated to friend and former bandmate Alex McKinney, who recently passed after a battle with cancer, the album rings out with appreciation for the everyday experience of life. With gratitude and grit, Caudle explores both his external and internal world as he continues to travel the hardfought and beautiful path of a touring troubadour.

Reaching Caudle by phone during his headline tour in support of Sweet Critters, he explained that on days off from the road his band likes to rent a spot out in the woods somewhere, hunker down, cook meals, and play music and board games to recharge for the shows ahead. It was during one of these recharge days that he caught up with BGS.

This album was produced by John Paul White, former member of The Civil Wars. How did that come about and what did he bring to the record?

Caleb Caudle: John Paul and I have been buddies for a long time and we had always talked about working together. For this record, our schedules finally synced up and we had the chance to do it. I traveled to Alabama with my road band. It was my first time recording with my live band and that brought something special to the record.

With John, he’s such a great singer and he pushed me harder than anyone has pushed me as far as the vocals on this recording. I think there are things he hears that other folks don’t hear, so I trusted him. I liked that atmosphere of being pushed to go further, and I really enjoyed the process.

You’ve been doing this work for a long time. This is your sixth studio album. Is there anything new, thematically, that you see in this collection, or any new places you tried to reach?

It’s kind of in a similar world to my other albums… you know, it’s love, it’s loss, it’s empathy, it’s addiction, it’s anxiety. I think there’s some more character studies than I have done in the past, which is an exercise I kind of started doing more of on my previous record, Forsythia. At this point, I’m not trying to reinvent myself so much as I’m trying to deepen it all. Some of the habits you create end up just being your style and I think that’s what’s kind of happening at this point in my career.

A lot of the record is about endurance, whether about me or through the eyes of another character – which is usually me, anyway. For example “The Devil’s Voice,” it’s an empathetic look at addiction, because I’ve dealt with that. I try not to judge the characters, I try to stay out of it in a way and let them just tell their stories. Another song, “The Brim,” is a love song that I wrote for my wife, which is also about endurance in a certain way, about endurance in a long relationship.

And then there’s career endurance. I think “Heaven Sometimes” is about that. You know you’re going to have an off night here and there, and this song is about trying to recognize that the art that I’m making is more important than any other money I might make from it and just focusing on that concept.

Sonically, where did you and White want to take this record? As far as production, did you have any specific references you were trying to achieve?

I have been trying to figure this thing out for a while where I’m trying to marry traditional instrumentation with less traditional instrumentation and sound. There’s not a lot of stuff going on in the world of music that I listen to which has vibes of fiddle and old-time string instruments blended with other electric sounds. I’m trying to mix it up and blend it to create something new and that was one of the great things about using my live band for this record. I’ve been able to bring that vision out on the road with me.

Generally, when it comes to production, I just try to stay open-minded and completely available in the moment. I try to go where the music is leading me, and stay out of it a little bit.

Speaking of your live shows, you’ve been on a big headline tour in support of this record. How has that felt?

The songs are already starting to feel more lived-in. We’ve all been playing together long enough where we aren’t really thinking about the songs anymore. We really know the material. So we are doing a bunch of different interlude stuff, and we aren’t really putting borders around anything, which feels really nice.

We are doing our Grand Ole Opry debut in November. I can’t remember not knowing what the Opry was, because everyone around me would listen to it when I was growing up. I’ve learned as I’ve gotten older that there is no one moment that can change the trajectory of your career, but I’ve gotten worse calls! And John Paul is going to come up and sing with me, so I’m excited to share that moment with the people I love.

I absolutely love the Allison Russell and Aoife O’Donovan features on this album! “The Brim” is my favorite track. Can you tell me how those guest appearances came about?

Allison came to an in-store performance I did and we talked afterwards. She was so great. I saw her again over in London and I asked if she wanted to sing on on my record and she said yes, so that was a treat.

With Aoife, I didn’t actually know her, but [she and] John Paul are friends and her voice was perfect for that song. I ended up meeting her at the Long Road Festival and got to thank her for making that recording more beautiful.

Before I let you go, I’d love to know what has been inspiring you lately?

Right now I’m kind of at a spot where this record is my entire existence. My days are: focus on the set, drive back to the AirBnb, and then get up, drive, and do it all over again. As far as art, I really like that new Waxahatchee record, and the new Dave and Gil record… there’s been so much great stuff out lately. We just heard the new Jerry Douglas record and really liked that.

But for me, nature is my number one inspiration and I’m always seeking it out. I like going to cities, but when I’m home I really like being home. I really like the land in North Carolina and when I’m there I feel like I’m back on my axis, I feel centered. It’s really nice and I always find my inspiration.

(Author’s Note: Between our interview and its publication, Hurricane Helene devastated Caudle’s beloved home region in North  Carolina and surrounding areas. We reached out to Caudle, who has been at the forefront of rescue and relief efforts, for comment and for folks who are interested in helping, he wanted to encourage donations to BeLoved Asheville. Find more ways to help Hurricane Helene relief here.)


Photo Credit: Joseph Cash

Guitarist Jackie Venson on Her Instrumental Peer, Yasmin Williams

(Editor’s Note: For a special Artist of the Month feature and op-ed, acclaimed guitarist, composer, and improviser Jackie Venson considers the impact, musicality, and originality of her peer Yasmin Williams. Read more about Venson on BGS here. Explore more AOTM content on Williams here.)

As someone who gets pigeonholed as a blues guitarist, I’ve publicly reckoned with what I feel is an othering of blues as no longer really art, but instead what might be seen as a wax museum-ification of a formerly revolutionary genre. Too many established musicians and fans alike don’t want blues to evolve, but to instead be preserved in amber. Yet, its sibling folk music has not only never entirely fallen out of fashion, it has evolved and even prospered specifically because its brightest figures have refused to let tradition and academic codification stagnate the genre. Whether you’re talking about Bob Dylan going electric or Bon Iver collaborating with hip-hop superstars, folk musicians understand that cross pollination and new ideas are vital to growth. To my ears, Yasmin Williams is a proud continuation of that tradition of evolving folk.

To listen to the music of Yasmin Williams is to listen to the thrill of musical mutation in action, to hear and feel playing that is in constant communication, not only with itself, but with myriad styles and personalities. Given how adventurous and playful Williams’ music is, it’s not too surprising that her gateway to music was in fact a video game, specifically Guitar Hero 2.

In a review of Williams’ breakout 2021 album Urban Driftwood for taste-making music site Pitchfork, writer Sam Sodomsky connected Williams’ percussive, tap-heavy fingerpicking style to the mechanics of that game, as well as folk guitar legend John Fahey. Rhythmic intensity and love for the thrill of performance are the unifying elements of Williams’ otherwise impossible-to-pin-down style; this isn’t folk as a study or stuffy examination of tradition, it’s folk as expression at its most pure, music for entertainment, communication, and friendly competition all at once.

Williams’ latest batch of singles from her just-released album, Acadia, impeccably illustrates this eclectic and freewheeling approach to folk. “Hummingbird” is a dazzling collaboration with banjo player Allison de Groot and fiddle phenom Tatiana Hargreaves that recalls Richard Thompson’s lush, melodic picking but marries it to the breakneck intensity of traditional bluegrass.

On the other end of the folk spectrum, “Virga” finds Williams teaming up with Darlingside for a gorgeous and stately slice of indie folk that would fit right in with the likes of Sufjan Stevens and Bibio. Somewhere in the middle is “Dawning,” a bluesy folk number that features Williams dueting on guitar with Aoife O’Donovan of Crooked Still fame, who also provides enchanting, wordless vocals that give the song an almost ambient quality, as if Sigur Rós moved to Appalachia.

Even on songs that are more traditional, Williams playfully inserts pop and experimental elements. Take “Sunshowers,” which opens Urban Driftwood with beautiful fingerpicking that in turn gives way to a simple yet addictive bass-like hook that wouldn’t be out of place on a Post Malone single. Or, consider the album’s title track, which features djembe playing by Amadou Kouaye and adds an almost IDM (Intelligent Dance Music) quality to the song. Or, “Nova to Ba,” a collaboration with Argentine musician Dobrotto that effortlessly transitions from cinematic grandeur to relaxing ambient textures.

As a musician, I can’t help but be entranced by the marvelous skill and tone on display in Williams’ music. But more importantly, as a listener, I’m struck by the immediacy and tunefulness of the songs. Like Williams’ early inspiration, Guitar Hero 2, these songs are hard to put down once you start, and the difficulty never gets in the way of the fun.

“Juvenescence,” one of Williams’ most popular songs, is a handy representation of her skills – the impeccable picking, the daredevil runs that would impress even Eddie van Halen, the self-dueting in the finale. But it’s also immensely listenable and never a chore. Equally impressive is “Swift Breeze,” where Williams utilizes her guitar as an organic drum machine, getting a booming kick drum sound out of the body and rim shot-like hits out of other components, all while arpeggiating like she just got off a tour as the lead guitarist for a Midwest emo outfit.

It might seem odd to bring up emo in a feature on a folk musician, but there is a considerable amount of drama and theatricality in Williams’ music, even though most of it is instrumental. “Adrift,” in particular, has just as many emotional pivots and anthemic hooks as a Panic! At The Disco song. Here, the guitar comes in first, then the strings, but the swaggering hooks and melancholic valleys are there. It’s not hard to reimagine “Restless Heart,” from Williams’ debut album, Unwind, as an emo anthem either; it has a killer riff to kick things off followed by a pick slide and some heavy ringing chords. Even the title sounds like something the Get Up Kids would have used. If Dashboard Confessional was ever looking for their own Tim Reynolds to do an acoustic tour with, all I’m saying is Williams’ name should be high up on the list.

Every genre should be so fortunate as to have an artist like Williams, a performer who challenges herself without losing sight of what makes music a pleasure to listen to. A musician who commits to pushing the boundaries of the genre they call home, rather than maintaining a status quo. No genre should be inflexible and we need more musicians like Williams – period – who push themselves musically just as much as they do technically.

(Editor’s Note: Continue your Yasmin Williams Artist of the Month exploration here.)


Photo Credit: Ebru Yildiz

MIXTAPE: Celtic & American Folk Inspirations From Rakish

As a duo rooted in both Celtic and American traditions, we find the intersection of these worlds to be a rich and endlessly inspiring place. From the rhythmic drive of Irish & Scottish reels to the melodic storytelling of ballads, we’ve always been captivated by how these two traditions speak to one another. They each carry a sense of community and history, and both offer the chance to push boundaries and explore something new.

Our latest album, Now, O Now, wants to embrace this duality. It’s a reflection of our love for these traditions, but also a hope to continually reinterpret them. This Mixtape is a collection of the kinds of tunes and songs that have shaped our journey – music that evokes both the wild energy of a late-night session and the quiet contemplation of a solo walk through the woods.

These tracks are selected from the voices of friends, mentors, and heroes who have inspired our original music along the way. We hope you enjoy the mix! – Rakish

“6 Then 5” – Seamus Egan

We love to put this track on at the beginning of a long drive. Seamus continues to be a master of bringing together composition, sound design, and groove.

“Goodbye” – Sean Watkins & The Bee Eaters

This whole record is great; it combines Sean Watkins’ brilliance with the thoughtfulness of The Bee Eaters, who happen to be some of our favorite musicians in the world.

“765” – Rakish, Jamie Oshima

We composed these tunes and had the idea of having our good friend Jamie Oshima produce/remix the track. He’s an incredibly thoughtful and agile musician and brings such a unique aesthetic to new fiddle music. Thanks Jamie!

“Hidden Love/Sheila Coyles” – Four Men & A Dog

We listened to this album in the car recently and this track was so good that Conor had an epiphany about how it brought together all the elements of arranging music that inspire him: highly poetic language, mystery, and an excellent Irish tune.

“City In the North” – Maeve Gilchrist

Maeve is remarkable at seemingly everything she puts her hands to; this song highlights not only her virtuosity and inventive harmony, but also her narrative ability to weave melancholy and joy.

“Bull Frogs Croon (Suite)” – Aoife O’Donovan

This whole record is potent for so many reasons. Aoife’s setting of Peter Sears’ poems is a reminder of her singular gift for putting melody to text, and Jeremy Kittel’s string arrangements are some of the best we’ve ever heard!

“Jack Dolan” – John Doyle

Just of the grooviest versions of a ballad ever from the preeminent master of Irish guitar in the modern era.

“Imaginary People” – Viv & Riley

Viv & Riley are at the forefront of writing incredible original music inspired by their traditional music backgrounds. We’ve admired them for a long time and they always blow us away.

“6 O’Clock in the Morning” – Darrell Scott

Tristan Clarridge, who always has the best listening recommendations, turned us onto this album. This track stands out with its intense lyricism and amazing instrumental orchestration.

“Turn the Page Again” – Tim O’Brien

We’ve loved this song for so long. This whole album is incredible, but this track in particular has been a source of inspiration by bringing together Tim’s songwriting, John Doyle’s groove, and Casey Driessen’s improvisational style.

“We’ve Got Our Friends” – Maura Shawn Scanlin

Maura’s solo record impeccably brings together the many things she excels at (and some of the things this playlist hopes to demonstrate): instrumental acuity, lyrical thoughtfulness, and masterful arranging.

“Strange Vessels” – Caoimhin Ó Raghallaigh & Thomas Bartlett

Conor listens to this album all the time. It’s a source of inspiration and a reminder to make music that feels relaxed and to not use too many notes.

“Dear Starling” – Pumpkin Bread

This is a favorite tune from a band with some of our best friends we were a part of in our college days. Thanks for listening!


Photo Credit: Sasha Pedro

Basic Folk: Bruce Molsky & Darol Anger

The names Bruce Molsky and Darol Anger have come up more often than not when talking to fiddlers on Basic Folk. The pair have single-handedly mentored hundreds of our favorites in fiddle music at Berklee College of Music in Boston, Darol’s online music school, music camps, festivals, and more. The pair joined us on the occasion of their newest folk music collab, their new album Lockdown Breakdown. Folk music has often been associate with nerdiness, so we get right into their nerdy roots with Bruce’s love of fountain pens, his background in mechanical engineering, and all facts about American roots music, bluegrass, and fiddle music you can stand.

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Both talk about their origins: Bruce in the Bronx and Darol in Northern California, which eventually led him to become a co-founding member of the David Grisman Quintet. We discuss the social aspect of the old time and bluegrass world and how that has translated into the way they each approach socializing. Then, we get into the thousands of fiddle lessons they’ve given younger players and why they like to mentor younger generations.

And of course, we chat about the album, which was recorded live in a Nashville studio in just a few days. Darol and Bruce talk about what the energy was like in the room for all their live takes during the session. It was a pleasure to speak with these two very funny, very influential musicians! They are doing incredible and important work.


Photo Credit: Jeppe Blomgren

The Po’ Ramblin’ Boys: “Everything That Is Traditional Now, Once Was Progressive”

Over the past decade, The Po’ Ramblin’ Boys have established themselves as a modern voice in traditional bluegrass. They are equal parts researchers, archivists, and artists, continually reframing what it means to be “traditional” – with a particular focus on the ways that bluegrass and roots music have always been progressive and boundary breaking.

For BGS, I spoke via video call to mandolinist CJ Lewandowski and fiddler Laura Orshaw around the release of their new album, Wanderers Like Me. We talked about their unique approach and mission for the group, we covered a lot of ground, and I left the conversation feeling inspired to put more thought behind my own mission in music making.

I see that you are coming up on 10 years as a band. Many years ago I had the pleasure of writing a bio for The Po’ Ramblin’ Boys, and I’d love to know a bit about the way the band has developed and changed over the years?

CJ Lewandowski: I think we are all ten years older than when we started, for one, and that’s a lot. It started as four guys working at a distillery, you know, working a day job. … There was no traveling, no planning, no pushing to be something. And it naturally progressed. There were videos coming out and promoters started calling and asking us to come out and play.

A lot of people plan for stuff, and they push and push, and everything we’ve been involved with before this band was like that, plowing through clay. You push and you push and never get anywhere. Then this band just happened. We didn’t think we’d be traveling in a bus and going all over the world, but here we are!

Laura Orshaw: The coolest thing for me is seeing the material and the message of the band start to come together. Everybody is really interested in super regional groups from around where they grew up, or maybe just bands they got interested in, so the members have interesting and diverse listening palates.

For several years, the band was doing a lot of covers that people hadn’t heard before, drawing on that research. Then, for the past five years, we’ve been doing a majority of original material and I think that the conversations that it brings up within the band are new … like, “How did you come up with this?”

For example, a lot of the more recent songs are about traveling. … For me, I spin that from the women’s perspective, a lot of them are about mom or a woman waiting back home and I like to think about, “What if a woman sings this song?” I think a lot about those classic themes but making sure they’re relevant to the modern days.

You’re one of the few bands that has never changed their commitment to traditional bluegrass over the years. Tell me about that interest in maintaining your style and how to you resist the temptation to move in more commercial directions?

CL: We had a manager at one point and we were talking about different material we could cover, and I said, “I don’t know if that’s gonna fit us…” And he said, “Well whatever you play, you’re gonna play it the way you play, so it’s gonna sound like you.” I think about that a lot, because I think he’s right.

I try to stray from the word “traditional” and think more about “authentic.” It’s just the way we play, and the way we learned to play from the mentors in our home regions. Anything we do is going to sound like that. We just play and sing true to ourselves, it’s not a plan or an act, we kind of let it go with the flow

There has been pressure sometimes– maybe the band should push this way or that way, but all in all, it’s like, “Well, if it ain’t broke don’t fix it…” We are all just true to the way we play

LO: What CJ said, “whatever you do is gonna sound like you” – with the current album coming out, it’s the first time we’ve had a really heavily involved producer, Woody Platt (formerly of the Steep Canyon Rangers), working with us from pre- to post-production. I think five people are going to have their own opinion about every suggestion that comes up, but because of Woody we did try a lot of things that I don’t think we would have individually gone for. And after we all did them, we usually liked them.

CL: Woody had our sound in mind, and he said, “The main thing is, I want you guys to be you.” We spread our wings, we got a little more vulnerable. There’s a natural progression to all of this and this record is a great next step.

LO: It was just really refreshing to work with a producer and have that level of focus and excitement, having that external voice that studied and focused is huge.

Since the time I wrote your bio, Laura has formally joined the band, tell me about what she’s added to the group and how that came about? I think it’s such a magical fit, and really rounds out the sound of the band.

CL: Her first show with us was in December 2017 at the Station Inn and after that she did some sporadic shows with us and played on our next couple records. In January 2020, she joined full time and she has officially been with us for four/four and a half years now. We tried a lot of different fiddle players on the road and nothing fit quite like what she had on the table; the attitude, the drive, and the musicianship

I’m a huge fan of triple-stacked harmonies, like Jimmy Martin and Osborne Brothers, so she brought a completely different vocal opportunity to the group. There was us three guys, and we could do some three-part harmonies, but with her we could move to different keys and had a lot more flexibility. … And of course, her fiddle playing is sassy and full of energy.

A lot of people ask about the name, The Po’ Ramblin “Boys,” but there’s a tradition of that in bluegrass, with Bessie Lee playing with The Blue Grass Boys, and Gloria Belle with The Sunny Mountain Boys. I like playing into that. But it’s also the band saying, “Hey we aren’t limiting.” Like, whoever can cut the gig, we love you! We’re very open and try to be as inclusive as possible. There are a lot of demographics in the group and she just added another one. …

Bluegrass Unlimited dubbed us as being “progressively traditional,” and it’s true in that everything that is traditional now, once was progressive. I don’t try to stand on a soapbox, and it took me a long time to figure it out, but I’m a queer artist, and I didn’t have anyone to go to when I was figuring that out and I didn’t feel I had a place. So, a lot of the stuff we do today has an open mind to it. [I’m included in] an exhibit in American Currents at the Country Music Hall of Fame and I put a rainbow guitar strap in there just to say, “Hey we’re out here, and holler at me if you need something.” Because I didn’t have anyone to look up to in that way.

Can you tell me a little bit about the album art for this new record, Wanderers Like Me?

CL: The cover photo is a painting of a cowboy. It plays into the title and many of the songs on the record and goes back to the story of wandering all over the country. But that piece of art was painted by our bass player Jasper’s great-grandfather, who was a North Dakota scene painter born in 1900 who painted all the way until his passing. His artwork is in governors’ mansions, he was a very prominent artist and to include something like that for our album art is also another way of honoring tradition.

LO: The way I see bluegrass, it’s a truly American art form. just like painting scenes, it reflects the culture and the time that it was painted in. In a lot of traditional art forms, there’s a kind of preservationist stance, but I think as a band we don’t like to have that mindset as a way to hold up barriers, or to say we don’t like modern or progressive music. A lot of what is told about American and bluegrass history is through a very particular lens; it’s very easy to see a fuller picture when you start digging. We travel and meet a lot of people, we live in modern society, we all have a lot broader perspectives than the people creating music years ago.
So, we just see this mindset as a way to make the music reach its full potential. Preserve and broaden it by being aware of what’s going on around us, thinking about language and thinking about American art forms.

CJ: “Being you” is it’s own art form as well… There’s a lot to just making sure that you’re being yourself.

The people that we learned from, it’s amazing to learn at the knee or the foot of these incredible people, but it’s not a boundary. It’s something that you take and grow from and learn from. Not everyone is perfect or mindful… I learned good and bad from some of these folks. You learn what to do and sometimes you learn what not to do. You take it from spades and grow from that. We want to honor people, but also make this a better realm for everyone. Just because you play traditional music doesn’t mean you have to have a traditional mindset.

I think the fact that this record is coming out on Smithsonian Folkways says a lot about the timeless nature of the music you are creating. What do you hope that folks will get from your music now and also in the future?

LO: I think that one of the most neat things is knowing [Smithsonian’s] mandate around preserving music, knowing that everything that they have and archive will be there for ever. It will always be available.

CL: there’s a lot of good material out there that’s been overlooked. I call listening through it “digging for gems.” As an artist, I hope that one day when we’re gone… someone might find our music like that. I don’t have any kids, so I really think about how my music might be left behind for the next generation. With Smithsonian, we could be dead and gone and someone’s great-grandniece could ask for a copy of our record from the label and even if it’s out of print, they will print one copy and send it to them.

You have a lot of songs about the hardships and joys of travel and touring, do you guys see yourself touring for another 10 years?

CL: There’s a lot of different factors, I think we’d all like to go as long as we can, but within this 10 years we have fiancés, marriages, children, people living in different states. In 2018, when we got Emerging Artist of the Year [award] at IBMA, I looked at everybody and I said, “OK, if you want out, get out now.” And we all put our hands in and said, “We got this.” We all got together about how if one of us going leave, then we’d all let it go.

We never really felt like there was a place for us for a long long time, so when we found success we felt like, “Wow, we did this together…” I think the future is bright, especially with this new album.


Photo Credit: Michael Weintrob

You Gotta Hear This: New Music From Flamy Grant, the Wildwoods, and More

To close out the week and celebrate New Music Friday, we’ve got an excellent assortment of track premieres from artists working in Americana, bluegrass, folk, and beyond.

Singer-songwriter Brendan Forrest has brought us “Lowdown Stray Dog Blues,” which features bluegrass and old-time favorites Dominick Leslie and George Jackson backing him up. Plus, the groundbreaking and buzz-worthy queer artist Flamy Grant shares her new track, “If You Ever Leave,” about faith and healing, growth and redemption.

Fiery bluegrass fiddler Andy Leftwich debuts a new, musically acrobatic instrumental single, “Aced,” which boasts an ace backing band of Matt Menefee, Byron House, and Cody Kilby. And, to finish us off strong, Nebraska-based Americana trio The Wildwoods have unveiled “There Goes the Neighborhood,” a contemplative track that explores ideas and feelings around gentrification and transformation.

It’s all right here on BGS and you know what we think… You Gotta Hear This!

Brendan Forrest, “Lowdown Stray Dog Blues”

Artist: Brendan Forrest
Hometown: Chicago, Illinois
Song: “Lowdown Stray Dog Blues”
Album: Daydreaming Music Fiend
Release Date: September 27, 2024

In Their Words: “I collaborated on this song with Dominick Leslie – IBMA winner and two-time GRAMMY Award Winner for Best Bluegrass Album with Molly Tuttle & Golden Highway – and George Jackson – Australian American fiddler and IBMA winner who plays in the Jacob Jolliff Band, with Jake Blount, and countless other prominent groups. The collaboration with Dominick was the crux of the record and the reason I went to Nashville to record it in the first place. I’m a huge fan of his band, Hawktail, which is why I hit him up, and he said yes after listening to my demos. I knew at the time it was the only chance I’d have to work with him, because the pandemic had still held touring back (later that year, things blew up). Now he’s touring non-stop with Molly after their 2 GRAMMYs, and it’d be impossible to get him in the studio the way we did it.

“The recording session was lock and step, even though I’d never met George in person until he rang the doorbell moments before we recorded (nor had he heard any of the songs prior). He was informally invited to the session to ‘see what happens,’ and we knocked it out in just 2 or 3 takes. I think the instant success in the take was 50% the Nashville magic musicians and 50% the song speaking so effortlessly to us cats who have spent much of our lives dedicated to bridging the past Americana music spirit into the present.” – Brendan Forrest


Flamy Grant, “If You Ever Leave”

Artist: Flamy Grant
Hometown: Asheville, NC
Song: “If You Ever Leave”
Album: CHURCH
Release Date: September 27, 2024
Label: Glam & Glory Records

In Their Words: “It’s hard to heal where you’re being harmed. Sometimes, maybe even most times, the best thing a person can do to save themselves from a toxic place is to leave it. For queer folks and many others, church can be a place of real damage, and until the broader American church — and its God — have figured out how to love queer people properly, I intend to stick around and show them how it’s done. But I’ll also be pointing the way to the exits.” – Flamy Grant

Track Credits: Written by Flamy Grant.
Produced by Ben Grace.
Engineered by Charlie Chamberlain at Forty-one Fifteen Studio, Nashville.
Mixed by Latifah Alattas.
Mastered by David Wilton.

Flamy Grant – Acoustic guitar
Megan McCormick – Electric guitars
Juan Solorzano – Pedal steel
Will Honaker – Bass
Megan Jane – Drums
Andy Sydow – String arrangement
Sav Madigan – Violin and viola
Katie Larson – Cello


Andy Leftwich, “Aced”

Artist: Andy Leftwich
Hometown: Carthage, Tennessee
Song: “Aced”
Release Date: August 16, 2024
Label: Mountain Home Music Company

In Their Words: “As musicians, we know that the journey never ends. You’re always trying to be better at your craft, always exploring new ways to approach certain things in music, and forever growing and learning. Every once in a while, you begin to see results of your hard work and it begins to pay off. When you get pickers like Cody Kilby, Byron House, and Matt Menefee together, good things happen. These guys are ‘Aces’ at their craft, and I’m honored they would pick with me on this song!” – Andy Leftwich

Track Credits:
Andy Leftwich – Fiddle, mandolin
Byron House – Upright bass
Cody Kilby – Acoustic guitar
Matt Menefee – Banjo


The Wildwoods, “There Goes the Neighborhood”

Artist: The Wildwoods
Hometown: Lincoln, Nebraska
Song: “There Goes the Neighborhood”
Release Date: August 16, 2024

In Their Words: “The song ‘There Goes the Neighborhood’ was written as a tribute to our hometown of Lincoln, NE and the gradual transformation of the familiar places we think of as ‘home,’ evolving from charming old buildings to modern structures that feel unfamiliar.

“Noah sparked the idea for the song and had been singing the chorus hook, ‘…there goes the neighborhood…’ for months just around the house. One rainy Tuesday afternoon back at home, while reminiscing about our old favorite local sandwich shop that had been transformed into a bank, we finished the rest of the song together in one sitting.

“This transformation from recognizable to unknown mirrors our own growth as a band and as individuals, reflecting the changes we’ve experienced over time. The lyrics and melody perfectly capture the bittersweet essence of these changes. The ending line of the chorus, ‘There goes the neighborhood, gone with the echoes of time,’ blends a sense of melancholy with acceptance and hope, enhanced by the lighthearted melody of the chorus. It’s a heartfelt tribute to the past while embracing the possibilities of the future, resonating deeply with anyone who has felt the inevitable passage of time and the shifts it brings to our surroundings and ourselves.” – The Wildwoods

Track Credits: Written by The Wildwoods.
Chloe Gose – Vocals, violin
Noah Gose – Vocals, acoustic guitar, percussion
Andrew Vaggalis – Vocals, upright bass
Engineered and mixed by Noah Gose at The Goosenest Studio in Lincoln, NE.


Photo Credit: Flamy Grant by Ash Perlberg; the Wildwoods by Sarah and Jeanne Vaggalis (S+J Photography).

The Travis Book Happy Hour: Phoebe Hunt

As much a mystic as a musician, Phoebe Hunt makes music that speaks to the yearning we all have to connect with something larger than ourselves. A deep commitment to making music with meaning is her compass and she’s an example of what it means to be in loving relationship with music. We need more musicians like Phoebe Hunt in this world.

LISTEN: APPLE • SPOTIFY • STITCHERAMAZON • MP3

This episode was recorded live at 185 King Street in Brevard, North Carolina on April 23rd, 2024.

Timestamps:

0:08 – Soundbyte
0:22 – Introduction
1:22 – Bill K’s introduction
2:03 – “Rise Sun”
6:06 – on “Lint Head Girl”
7:15 – “Lint Head Girl”
10:40 – “Take Me Home”
14:30 – Interview 1
28:22 – “Galloping”
31:20 – on “Pink and Blue”
34:51 – “Pink and Blue”
38:16 – “I couldn’t”
39:02 – Interview 2
53:20 – “Nothing Else Matters”
56:30 – “Good Blood”
1:00:20 – Outro


Editor’s Note: The Travis Book Happy Hour is hosted by Travis Book of the GRAMMY Award-winning band, The Infamous Stringdusters. The show’s focus is musical collaboration and conversation around matters of being. The podcast includes highlights from Travis’s interviews and music from each live show recorded in Brevard, North Carolina.

The Travis Book Happy Hour is brought to you by Thompson Guitars and is presented by Americana Vibes and The Bluegrass Situation as part of the BGS Podcast Network. You can find the Travis Book Happy Hour on Instagram and Facebook and online at thetravisbookhappyhour.com.

Photo Credit: Tim Jackson

BGS 5+5: The Down Hill Strugglers

Artist: The Down Hill Strugglers
Hometown: Brooklyn, New York
Latest Album: Old Juniper
Personal Nicknames (or rejected band names): We are sometimes mistakenly called the Down Home Stragglers.

Editor’s Note: Answers have been provided by band member Eli Smith.

What’s your favorite memory from being on stage?

Lots of great memories there. Being on stage at the Jalopy Theatre, the Brooklyn Folk Festival, or Washington Square Park Folk Festival with Walker, Jackson, and our dear bandmate, now gone, John Cohen would probably be my favorites.

It was also wonderful to play at the Library of Congress, in that hallowed hall. And the Oldtone Music Festival is an important one for us.

What’s the most difficult creative transformation you’ve ever undertaken?

It’s been interesting running the Brooklyn Folk Festival all these years, and now running the Jalopy Theatre’s record label, Jalopy Records, while also maintaining a musical life with the Down Hill Strugglers and solo, under my own name. Many musicians are also producers, as I am. It can be a challenge to switch back and forth between those mindsets, but it is satisfying to see both types of work progress. Finally, it’s all about sharing good music, however you can.

Genre is dead – long live genre! – but how would you describe the genres and styles your music inhabits?

We are working in the field of traditional music from the United States, with an ear also turned to traditional music from all over the world. One song I wrote, that’s on our new album, was inspired by a 78rpm record from Central Asia re-issued on the Secret Museum of Mankind series. It had a sound that stuck in my head and made sense to me. We changed it around until it became our own song in our own style. That seems natural.

The Down Hill Strugglers is an old-time string band. However, old-time music is a catch all for historic American folk music. It encompasses fiddle music, banjo tunes, guitar picking, songs & ballads, blues, religious music, work songs, and more; diverse music ministering to different parts of life.

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

Longmont Potion Castle has remained popular with the Down Hill Strugglers, driving around on tour, for years. That’s some funny stuff…

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

I might drive a cab, or something like that. I’d have great music playing in the cab and deck the vehicle out my own way. It’d be nice. Also, I’d do more organizing work as a leftwing activist. And I used to be a clerk in record stores. The best job I had was at the Arhoolie store, Down Home Music, in El Cerrito, California.


Photo Credit: Fernando Armenghol

Fiddles In Conversation: Brittany Haas & Lena Jonsson on Their New Album, ‘The Snake’

Behold, fiddle nerds! There is a new foundational collection of tunes to sink your teeth into, from two of the foremost fiddle players in Swedish and American traditions. Brittany Haas (Nashville) and Lena Jonsson (Stockholm), are award winning instrumentalists and have been long time collaborators and friends. The duo recently released their second recording together, and their first in nearly 10 years. The Snake explores old-time and Swedish fiddle traditions with finesse and subtlety, but is even more ambitious in scope than their first, self-titled record.

As part of the new collection, Jonsson and Haas composed a three-part suite for two fiddles, made up of entirely original material, but inspired by the format and musical stylings of J.S. Bach. Over a video call between Nashville, New York, and Sweden, we discussed how to stay inspired on the fiddle, what guides their accompaniment choices, and what records folks should start with if they want to learn more about Swedish fiddle and folk music.

We’ve put together a playlist of their recommendations at the bottom of this piece.

Okay, this is a weird place to start, but I noticed a distinct lack of chopping on this album. Was that intentional? I mean as someone who played in a two fiddle format a lot, you only have so many options for how to arrange. Were you like, “WE WILL NOT CHOP” on this record?

Brittany Haas: [Laughs] Honestly, I didn’t even think about it! But you’re right, I think maybe there’s just a little bit of chop on “10 Days of Isolation?” And maybe, Lena, did you chop on “Fiddle Claw?”

Lena Jonsson: I mean, maybe I kind of chopped! I can’t really chop. I think part of it is that for Swedish tunes, chopping doesn’t feel as natural. It isn’t really in the tradition, so it wouldn’t be a “go to” choice. It would more be an option if you wanted to do something really different sounding.

BH: Yeah, in Swedish fiddle music, the most common way that fiddles play together is in harmony, but the harmonies are way more diverse than in American traditions. The Swedish harmonies are all over the place, you call it second voice I think.

Totally. And considering that the options are so open ended for harmony, how do you decide where to go with it?

BH: I think I’ve just heard it done a lot, and often the second voices will be lower, being more fluid with direction and rhythm. So when I’m playing with Lena, she will play under me, and then I don’t want to do the exactly same thing, so I might try and play something above her to explore and change it up.

LJ: The harmony above is really unusual in Swedish music, but now that I’ve heard Brit do it so much, I’ve started to do it and it sounds really cool, I love it!

BH: Because we’re just the two of us and because we are coming out of a heavily Swedish tradition on this record, the harmony is not so chordally rooted, it’s much more based on the melody and the implied chords can change completely from repeat to repeat.

That’s super interesting! So in Swedish music, what would the main chordal instruments be?

LJ: The chordal instrument would be guitar, accordion, cittern, or mandolin, an example is the band Dreamers’ Circus. But also, it’s a relatively new idea to play backup chords for fiddle tunes, so folks are always experimenting with how to do back up, but finding interesting ways to play it is always cool. For some tunes, it’s just really hard to define what are the chords are, especially with the the older tunes, the melody can be really open. So when you’re in a jam it can be very confusing, chordal instruments could be playing all completely different chords over the same tune. [Laughs]

Would it be fair to say that the Swedish tradition is very centered around the fiddle, and everything else is auxiliary?

LJ: Yes, I would say so.

You both have done a lot of playing in the old-time and Swedish traditions. In melding these two styles, I’m curious how you find a groove together? To me, these styles can traditionally land quite differently rhythmically, but it seems to be seamless between the two of you?

BH: My sense of that is that it happens pretty naturally and I think that the reason why we’re here, playing together, is because we naturally line up together on a groove.

LJ: I agree, I think that’s interesting too, to not be so decision oriented, to not say, “This tune should be traditionally this way,” or “That tune should be traditionally that way.” It’s more interesting to find the meeting of the two genres as it happens naturally.

BH: Over the years of knowing each other and playing together, we’ve probably come together groove-wise by teaching each other tunes, etc.

Of course, that makes sense. You’re learning each other’s groove within the tunes you’re learning from one another.

I wanted to ask you, there’s a really interesting series on the record called “Låt efter Back,” which is a three part composition, divided into Vals, Visa, and Polska, Can you tell me about it?

LJ: Yes! Well, I went to Nashville in March a few years ago to just visit and play tunes in Britt’s house, we didn’t have a plan to make an album. We started jamming and playing and writing typical tunes that we would write. But then, we decided to have a challenge, to write something in the style of Bach – and we wanted to write it in two fiddle parts at the same time, kind of inspired by the Bach double, so that the two parts are equal voice. It was fun but so hard, I mean much harder than the writing of a typical fiddle tune.

So, in writing this, were you through-composing it? Or were you creating a basic structure and then improvising around it.

BH: Somewhere in between, I think. I mean, sometimes we were improvising the harmony, but then that became how it went.

LJ: Yeah, because there’s long notes in the melody. You wouldn’t have those long notes in a regular fiddle tune, and it left room for another melody to come from the other part. I remember having the sheet music out, we were writing it out in front of us, and then moving things around, taking sections from here and there.

In using Bach as an inspiration, did you take any actual melodies from his work or were you just using stylistic inspiration?

BH: More the style, but we did examine it closely. Like checking out, “Where would he typically repeat a section? When do you move on from one idea?” So we were referencing it a lot.

LJ: Also, we looked at how the movements relate to each other – one fast, one slow, one medium – but we wrote it as a mix of that influence and our own, so that it would still have a part of fiddle music in it. I remember when we were on tour, there was a lady in Norwich who was a Baroque musician, and she thought it was inspiring to hear a Bach-influenced piece being played like dance music.

Yes, it’s like bringing “historical performance” full circle into the living tradition of fiddle music, which is in a way also historical performance.

Speaking of historical, it’s been some years since you two last recorded an album together. What inspired you to make this recording now?

BH: Well, we had both been doing different work for a while. I’m mainly in collaborative settings and not necessarily writing a bunch of music on my own, so it’s helpful to have someone who is really good at being creative to show up and bring me into that space. It’s really fun and I think easier than a lot of co-writing settings I’ve been in. This one is very fun and explorative.

LJ: This record was also easier, because there wasn’t a clear plan, like “We are gonna make an album.” It was kind of like, “Let’s see what happens.” I think that also opens up the creative space, because you don’t have pressure. You just want to find music that’s good and fun to play, and sounds nice. I think a lot of the time in the writing process, if it feels good to play, if it feels good on the instrument, then that’s a good indication that it’s a successful composition.

You two have both been playing fiddle music for a long time now. And as someone who struggles in my own relationship to the instrument, I’m curious how you stay inspired by the fiddle?

LJ: I’m super inspired by Brittany’s playing and in playing with her I learn so much and become a better fiddle player, so that’s a great way to stay inspired – and also a reason to do this project.

BH: I feel the same about Lena, I do think that seeing what someone else is doing is kind of the best resource for inspiration. Like, “Oh, there’s someone else doing it different than me, but it’s really cool, how does that work?”

LJ: Also, Instagram can actually be a source of inspiration, just checking out what everyone is playing and also listening to other styles of music, like classical music. Sometimes I work on a classical piece that’s really hard just to challenge myself. I don’t perform classical music, so it’s kind of disconnected from work and I don’t have to feel that I’m gonna perform it. It’s just there for me to grow and take inspiration from.

Here in the states, I think I understand where the fiddle as an instrument and fiddle music falls in the popular psyche. Of course there’s the nerds like me who go to fiddle camp, and the festivals like Clifftop that have their own entire subculture, but the general public also knows what fiddle music is as something that happens at barn dances or square dances and in their favorite country songs. They know of Charlie Daniels, and Oh Brother, Where Art Thou? And the fiddle licks in “Wagon Wheel” or Dave Matthews Band. I’m curious what relationship fiddle music has to pop culture in Sweden?

LJ: That’s a really interesting question. It’s definitely a sub-culture, but people know primarily of the fiddle players and dancers at Midsommar celebration, so everyone knows about that. But a lot of people don’t know that there are fiddle festivals and Swedish folk music, unless you’re from an area where there are fiddlers and more of a strong tradition. But there are some artists that break through a little bit, like Sara Parkman, who is a pop artist but will play a fiddle tune in the middle of her set.

But, at school for example, being a fiddle player is not “cool?”

LJ: [Laughs] definitely not. I mean some people come to school a little early just so they can hide their fiddle case away so nobody will see!

Well that feels pretty universal! Thank you both so much for your time and this wonderful album!


Photo Credit: Douglas Robertson