One of the most fearsome foursomes in modern instrumental bluegrass is at it again. A year on from the release of their sophomore record Formations, Hawktail spent their time off the road and in the lab over the last year, writing and arranging music that offers their characteristic finesse and virtuosity while never sacrificing melodic excellence. In the simple setting of a garage, the group performs “Antilopen,” which features a harsh, angular melody that gets traded around between bass and fiddle, while the guitar and mandolin provide rhythmic support and melodic responses.
As the song develops, all four musicians have a chance to really stretch out over the tune, passing the spotlight between them in a way that is playful and awe-inspiring at the same time. That’s no surprise when you consider the creativity of its members: Hawktail is composed of fiddler Brittany Haas, bassist Paul Kowert, guitarist Jordan Tice, and mandolinist Dominick Leslie. And if you haven’t treated yourself to this Nashville-based band’s music yet, we implore you to check out this live rendition of Lena Jonsson’s “Antilopen,” which was released this spring. You won’t regret it.
Banjo innovator and string band visionary Tony Trischka has kept his eyes on the future over a fifty year career, but on a new album he looks to our uneasy past.
Shall We Hope is a song cycle about the Civil War and its aftermath, featuring a cast of elite collaborators such as Maura O’Connell and Guy Davis. We talk about how the project came together over more than a decade and about Tony’s rich career from his funky band Breakfast Special and teaching Bela Fleck to his work with Steve Martin. Also, another stringed instrument visionary is 33-year-old Jordan Tice of Nashville. The Hawktail guitarist has a new album of solo songwriting and guitar rags in the tradition of John Fahey.
Taking NPR’s Tiny Desk (Home) Concert series to the socially distanced outdoors, much-loved artist Yola offers outstanding acoustic versions of three songs from her breakout album, Walk Through Fire, as well as a song from her debut EP. The Bristol-born (that’s Bristol, England) singer-songwriter is as vivacious as ever, yet the outdoor setting of her home concert channels a different, more personal presentation. Yola accompanies herself on guitar, joined by gifted guitarist Jordan Tice (also a member of the band Hawktail). There’s not much one can do to strip down the power and energy of Yola’s songs, but the two paint the them in a somewhat gentler light.
The second song on the docket is from Yola’s 2016 EP, and in the song’s introduction, she describes the newfound relevance of the song in light of the ever-growing Black Lives Matter movement and our nation’s struggles with the global pandemic. The song, titled “Dead and Gone,” speaks on the impossible struggle that she has felt as a Black woman in a world wrought with racism and sexism. Yola’s delivery is a powerful statement on pretense, one that needs to be heard now more than ever. Watch the full Tiny Desk Home Concert here.
Do you remember the soundtrack to your earliest childhood memories? Do you remember the songs that wafted from the car radio to the backseat as you rode along the highway, en route to a family reunion or summer vacation? My earliest memories of seemingly interminable, minivan-filled-to-bursting road trips are often scored by solo acoustic guitar. My older brother, a fingerstyle enthusiast and acolyte, had an equally interminable collection of Phil Keaggy albums. At one point, I could tell you the exact title of the tune that was my favorite to fall asleep to on the road — though by now I’ve long forgotten which one.
Guitarist and Nashville transplant Jordan Tice counts many a virtuosic, acoustic guitar aesthetician (cutaway or not) among his influences, from Norman Blake to Mississippi John Hurt — two pickers Tice references as direct inspirators of his upcoming solo album, Motivational Speakeasy. The record was written pre-pandemic and, despite its “stripped down” nature, feels impetuous, mischievous, and adventure-ready, even in a song as languid and buttery as “Stratford Waltz.” Named for Stratford Avenue in Nashville’s Inglewood neighborhood, the tune immediately recalled to mind the family road trips of my childhood, my brother’s CD carrying case, and my sleepy head bonking against the back window in our circa 2004 Chevrolet Astro Van.
The intimate setting of the album — it’s just Tice and his “beloved and well-worn Collings guitar,” as a press release puts it — and the subtly lush reverb magnify the gentle, magnetic momentum of “Stratford Waltz.” With that motion and the sly adventuresome spirit we know from Tice’s writing, both lyrical and instrumental, it’s no wonder a mind might leap immediately to the open road, with hundreds of miles ahead. And personally, it’s certainly fitting because, nowadays, when I turn off the highway and head south on Gallatin Pike in Nashville towards my current home, my most direct route is down — did you guess it? — Stratford Avenue
Four virtuoso string band musicians well known for their work with other bands are taking instrumental acoustic music to new heights in the band Hawktail.
They are fiddler Brittany Haas, bassist Paul Kowert, guitarist Jordan Tice and mandolinist Dominick Leslie. And they recently landed on the Grand Ole Opry on release weekend of their second album Formations. Also, the delightful and clever throwback country duo of Noel McKay and Brennan Leigh. They’ve moved from Austin to Nashville and put out a masterful album of timeless songwriting.
Bluegrass instrumental music is being reimagined by one of the buzziest bands in Nashville. Hawktail is an assemblage of four exquisite instrumentalists with a collective prowess for composition like no other. Brittany Haas, Paul Kowert, Jordan Tice, and Dominick Leslie just released their highly anticipated sophomore album, Formations on Padiddle Records. Co-produced by Chris Eldridge, the record is a gem whose songs transport the listener to another place, one filled with familiar sounds built in unique structures. The Current caught onto the dream that is Hawktail, bringing in the group to capture videos of their new music. Here’s Hawktail performing “The Tobogganist” from their new album Formations.
Impossible combinations. Hawktail makes them seamlessly, time and again, with their effortless-while-labyrinthine brand of instrumental string band music. Their brand new album, Formations, is their first conceived and executed wholly as a four-piece. Mandolinist Dominick Leslie joined the lineup of Paul Kowert on bass, Brittany Haas on fiddle, and Jordan Tice on guitar after Hawktail developed most of Unless, their debut, as a trio. Confidence and ease permeate the new record, along with a palpable sense of intense listening and a feeling of space, openness, and synchronization. With virtuosos such as these it’s hard to imagine that they could possibly grow closer, become tighter, more enmeshed — but it would seem after little more than a year these four certainly have.
Tice introduces “Padiddle,” Formations’ penultimate track, combining a bouncy, folk-rock inflected melodic hook with a smoldering, bluegrass-born conviction. An all too rare pairing in string band music, these modern, impetuous musical ideas don’t always emulsify with age-old, dyed-in-the-wool techniques. With each of the six originals on the record (and, of course, the Väsen cover, too) Hawktail are, as always, daringly inventive. But on Formations they’re distinctly proud to be catchy as well, flirting playfully with pop while still constantly reinforcing the deep roots of their collective pedigrees in fiddle music, old-time, bluegrass, and plain ol’ pickin’. An overarching impossible combination coloring the entire collection of tunes must be this: That something so timeless is also remarkably contemporary.
Roots music is already taking hold this decade, with ten notable bands preparing to release their newest albums in the months ahead. From award-winning bluegrass bands to prominent Americana ensembles, here are ten projects BGS believes are worth your attention.
The Ballroom Thieves, Unlovely (February 14)
This band’s undeniable energy has endeared them to crowds at Boston Calling, Newport Folk, Moon River, Mountain Jam, and Calgary Folk. However, folk music is just one part of their approach. The political messages are especially evident in Unlovely, while a new relationship between band members Callie Peters and Martin Earley informs the songwriting as well. Listen for Darlingside on the title track.
Della Mae, Headlight (January 17)
Prodigiously talented as instrumentalists and empowered by their mission of women’s rights, Della Mae make a statement on Headlight, especially in their support of those women whose claims of sexual abuse have been questioned. This time out, their sound is bolstered by keys, drums, and electric guitar. The trio of Jenni Lyn Gardner, Kimber Ludiker, and Celia Woodsmith will be touring in the U.K. this month.
Drive-By Truckers, The Unraveling (January 31)
The modern political climate informs Drive-By Truckers’ The Unraveling, with titles like “Armageddon’s Back in Town,” “Thoughts and Prayers” and “Babies in Cages.” Patterson Hood and Mike Cooley battled writer’s block for their first album in four years but it’s easy to figure out who ultimately inspired this set of songs, which were recorded in Memphis with producer David Barbe and engineer Matt Ross-Spang.
Dustbowl Revival, Is It You, Is It Me (January 31)
Dustbowl Revival decided to shake things up on Is It You, Is It Me. First of all, the Los Angeles-band wrote the songs in a two-week window in the studio, rather than fine-tuning them on the road. Second, the musical inspirations stretch further than usual, with pop vibes and percussion getting ample space. With Z. Lupetin and Liz Beebe on lead vocals, and produced by Sam Kassirer, this is one of the most exuberant records you’ll hear this year.
The Haden Triplets, The Family Songbook (January 24)
After an uncle discovered a songbook from the Haden Triplet’s grandfather, a radio star in the 1930s, the LA ensemble carried the material to the studio. The Family Songbook echoes that earlier era, while its covers range from the Carter Family to Kanye West. Their brother Josh Haden wrote “Every Time I Try.” A stunning musical blend comes naturally to the siblings, as their father was jazz bassist Charlie Haden.
The Lil Smokies, Tornillo (January 24)
While this roots band has origins in Montana, the Lil Smokies recorded Tornillo in a Texas town of that name – the site of Sonic Ranch Studio. While clearly influenced by bluegrass, the Lil Smokies capably transcend its borders. Their instrumental and vocal skills are evident in “Worlds on Fire,” yet bandleader Andy Dunnigan writes abstract lyrics that are just open-ended enough to put your own experiences inside.
The Lone Bellow, Half Moon Light (February 7)
Everything that has propelled The Lone Bellow into the hearts of live music fans is found in abundance within Half Moon Light. The passionate delivery, the poetic lyrics, the propulsive melodies – all accounted for. This time the trio teamed with The National’s Aaron Dessner, who produced the album at his studio in upstate New York. A three-month U.S. tour kicks off Feb. 12-13 at the Troubadour in Los Angeles.
The SteelDrivers, Bad for You (February 7)
The lonesome growl of the SteelDrivers is now delivered by Kelvin Damrell, a raspy singer and guitarist who makes his debut recorded appearance in the lineup on Bad for You. (No pressure, but their 2015 album won a Grammy for Best Bluegrass Album.) Founding member and fiddle player Tammy Rogers co-wrote 10 of the 11 new songs and sings harmony, too. Their spring tour launches February 6 in Bristol, Tennessee.
The Wood Brothers, Kingdom in My Mind (January 24)
Even when they’re writing about heavy topics, the Wood Brothers bring joy into their music. Kingdom in My Mind offers a mature perspective with a timeless groove, although the album came together by chance after building their own studio in Nashville. After listening back to some jam sessions, they discovered they could carve out some new tracks. Tunes like “Little Bit Sweet” capture that unmistakable magic.
Wood Belly, Man on the Radio (January 31)
A bright spot on Colorado’s bluegrass scene, Wood Belly worked with producer Sally Van Meter to further tap into their harmony-driven sound and arrangements. “Can’t Get Behind” (with special guest Jeremy Garrett) is about needing acceptance, although the band has found exceptional allies already with an IBMA Momentum Award nomination and a win in the 2018 Telluride Bluegrass Band Competition.
Something completely magical happens when musicians find the perfect blend of darkness, quietness, and intensity. It almost feels like the bottom drops out of the music, guiding the listener’s ears into the void of beautiful nothingness below. I still can’t pin it, how such a soft sound can feel so immeasurably huge, like it somehow contains the entire universe within itself. It’s something I’ve grown to love over the past few years, and I hope these songs will touch you as they’ve touched me.
P.S: The tracks on this list have been responsible for the majority of my tears over the past few years, so get your tissues ready. — Nate Sabat
“Humble Me” – Norah Jones
The raw story mixed with the incredibly honest delivery of the lyric always gets me with this one. Norah at her absolute best. I also particularly love the line “it never rains when you want it to.” I feel like it sticks out in a really, really good way.
“Pink Champagne” – Kathleen Edwards
The combination of Kathleen Edwards’ brilliant songwriting and Justin Vernon’s production approach are in full force on this track. Since hearing this song I’ve made it one of my life goals to not feel like this on my wedding day.
“Unless” – Hawktail
I love the winding, lush melody of this tune, paired with the beautifully shot video at Nashville’s Downtown Presbyterian Church. And also, I like, TOTALLY geek out at Paul’s bass shredding. Ya know, as a fellow bass player and all.
“Louise” – Daniel Romano
I first heard Daniel Romano on WUMB, Boston’s premier folk music radio station, with his song “Time Forgot (To Change My Heart).” Since then I’ve dug into a ton of his stuff, and particularly love his record Modern Pressure, an ode to the psychedelic sounds of yesteryear.
“Dreams of Nectar” – Abigail Washburn
This track is so cool and collage-like. I’m such a sucker for horns, so was instantly pulled in from the start the first time I heard it.
“Turning Away” – Crooked Still
I love how exposed Greg Liszt’s banjo part is on this track. The track is so short, but also the exact right length.
“Bonden & fan / Leffes polska” – Hazelius Hedin
This pair of tunes from Swedish duo Hazelius Hedin are so dark, so expansive, and so, so rich. I always picture a dark Swedish forest after an intense rainfall when I listen to this one.
“Your Long Journey” – Sam Amidon
This song, written by Rosa Lee and Doc Watson, has been beautifully reimagined by the great Sam Amidon. In my opinion he’s one of the greatest interpreters of folk and traditional music on the scene today, so definitely check out more of his stuff if you haven’t already.
“Harbour Hawk” – Becca Stevens
Becca Stevens’ music is some of the most interesting stuff I’ve heard to date. Constant texture and groove changes are tied together with impeccably crafted lyrical content. I love the opening riff of this song, and how it re-enters throughout in such a smooth way.
“00000 Million” – Bon Iver
One day last summer I was in a dark place, so naturally I listened to Bon Iver, specifically the entirety of 22, A Million. This song, the final one of the record, was so comforting. I remember being amazed at how powerful music can be, that it could somehow reach into my mind and make me feel better.
“Closer” – Joe Walsh
Man, Joe wrote an absolute gem. I don’t know if I’ve ever heard a melody so simple and profound. I told him how much I loved this tune, and that I always thought of the name as meaning “closer to someone or something,” but he told me that it’s actually “the closer of the album,” as it is actually the closer of his latest album, Borderland. Go figure.
Ah, to truly live in the moment. These past twelve months often felt like myriad moments were perpetually fighting for our attention all at the same… moment. So at those junctures that did allow — or perhaps they mandated or beseeched or coaxed or compelled — us to take pause and truly be present, we found some of our favorite musical landmarks of the year, each one unified by their arresting message: Stop. Inhabit this moment. You’ll be glad you did.
Mandy Barnett Refreshes “The Fool” A versatile vocalist who’s mostly known in classic country circles, Mandy Barnett made her newest album in Muscle Shoals, trading out the Nashville Sound for a slow-burn vibe that works particularly well on “The Fool.” This cool Lee Hazlewood/Naomi Ford tune has been kicking around since the late ‘50s when Sanford Clark gave it a rockabilly whirl. Since then it’s been covered by stylists such as Don Gibson, Robert Gordon with Link Ray, Elvis Presley, and Mac Wiseman – and like these guys, Barnett’s persuasive phrasing gives a sizzling guitar riff a run for its money. — Craig Shelburne
Mary Gauthier Joins Forces Against an Empathy Crisis
After decades upon decades of structural and systemic discrimination against LGBTQ+ service members in the U.S. armed forces, it might surprise one to encounter a queer, progressive singer-songwriter like Mary Gauthier releasing such a project as Rifles & Rosary Beads — an album populated entirely by songs crafted and co-written by military veterans and Gauthier herself. These songs are as harrowing as they are illuminating. And heartbreaking. And devastating. The beautiful, raw humanity exposed herein was captured simply by sitting across from another human being, no matter who they may be, and allowing oneself to see the other, and be seen. “The way I know how to create empathy is through song,” Gauthier describes in our Shout & Shine Q&A from early 2018. “Not preachy songs, not songs that tell people what to think, but songs that tell the story of what people are going through, so that we can see inside and know how they feel.” Clearly, Gauthier’s own life experiences — and the empathy (or, at times, lack thereof) she has experienced throughout — have enabled her to be a voice and a vessel for the tantamount importance of these soldiers, these stories, and these songs. — Justin Hiltner
Dead Horses Give “Turntable” a Surprising Spin During this year’s AmericanaFest, I opted to go see only the bands I’d never heard of. Fortunately for me, that included Dead Horses, a Wisconsin band that caught me off-guard with their striking vocal blend and deep songwriting. Sarah Vos interprets a tumultuous upbringing in a way that even a stranger can relate to. At her side is upright bass player Daniel Wolff, propelling the set along with a steady beat. One of their standout songs, “Turntable,” already had millions of spins on Spotify, but it still felt like a discovery to me. That night also served as a polite reminder to check out the newcomers, because you never know. — Craig Shelburne
Bobbie Gentry Bridges the Generations Bobbie Gentry’s entire catalog — eight albums in just four years — was remastered and repackaged in what may be the best reissue of 2018. The Girl from Chickasaw County spans 1967 breakthrough Ode to Billie Joe to her 1971 swan song Patchwork, each album transporting you to the fondly remembered South of Gentry’s childhood. She doesn’t just sing about growing up in rural Mississippi; she makes music that conjures up the people and the place, the humidity and the fried food, the mosquitos and the music. It’s a sprawling that presents her as a true visionary, one who used pop and country music to craft a world of her own even when the real world — and the music industry in particular — didn’t know what to do with her. — Stephen Deusner
Hawktail Goes With the Flow It was a strong year for instrumental string band music, with projects as daring as The Hit Points (see below), which arranged classic video game music for a bluegrass ensemble, and as intimate as Simon Chrisman and Wes Corbett’s banjo/dulcimer music. But nobody brought more of today’s top talent and compositional intelligence together than Hawktail. Established as a trio with fiddler Brittany Haas, guitarist Jordan Tice, and bassist Paul Kowert, the friends brought in mandolinist Dominick Leslie to round out both the rhythmic structure and the improvisational daring of the band. The all-original album, Unless, is more about a flowing ensemble sound than a jam showcase, but the picking is state of the art. Recorded in the grandeur of Nashville’s historic Downtown Presbyterian Church, the album meditates and celebrates in equal measure. — Craig Havighurst
The Hit Points Get in the Game The Hit Points, an ensemble of like-minded bluegrass virtuosos and video game music nerds, built themselves an album concept that, despite possibly being the most counter-intuitive vision for a record, ended up not only being aurally, aesthetically, and mentally astounding, it actually just works. Flawlessly. Fiddler Eli Bishop and banjoist Matt Menefee assembled a group of friends that would be up for the sometimes mind-numbing task of translating video game music from across the eras and consoles into bits and pieces and parts playable by a bluegrass band, bringing in bassist Royal Masat, mandolinist Sierra Hull, and engineer/guitarist Jake Stargel, among others, to deliver us a perfect nostalgia mash-up of bluegrass’ fiery, impeccable picking with the most iconic and familiar video game themes of the past couple of decades. Against the odds and intuition, it’s a truly stunning testament to the beautiful nerdy minds of bluegrass pickers and their common belief that there is no such thing as “biting off more than one can chew.” — Justin Hiltner
Kathy Mattea Rediscovers Her Voice For the last few years, Kathy Mattea felt worried that her singing voice had essentially abandoned her. However, with medical guidance and patience, her warm alto returned. And it’s worth a nod to Pretty Bird producer Tim O’Brien, who knew how to make it shine. The folk-focused album offers beautiful songs like Dougie McLean’s “This Love Will Carry” and Mary Gauthier’s “Mercy Now,” while the Wood Brothers’ “Chocolate on My Tongue” brings a sweet perspective to looking for the meaning of life. Closing out the album, her reverential reading of Hazel & Alice’s “Pretty Bird” illuminates Mattea’s rediscovered voice with quiet power. –Craig Shelburne
Michigan Rattlers Deliver a Strong Debut After hearing one track by Michigan Rattlers a year ago, I wondered when more music would be coming – because it gave me the same feeling as when I listened to Reckless Kelly and Turnpike Troubadours for the first time. This Midwestern band’s debut album, Evergreen, arrived in September, and proved to be a consistently compelling and well-written project. Guitarist Graham Young has just a hint of sadness in his voice, although Evergreen is by no means a sad record. With Adam Reed on upright bass and Christian Wilder on piano, the music falls somewhere between a bar band and a songwriter night, which is right where I live. Check out “Didn’t You Know” and “Baseball” for starters. — Craig Shelburne
Ricky Skaggs Shows ‘Em How It’s Done A new member of the Bluegrass, Country, and National Fiddle Halls of Fame this year, Ricky Skaggs has been recovering from shoulder problems, but you wouldn’t know it from this fantastic performance — three songs performed with three bands, including his own Kentucky Thunder. Recapping a rich — and ongoing! — career, the medley featured several generations of musicians, from old band members like Bruce Bouton (pedal steel guitar) to guitar-picking country superstars (Keith Urban, Brad Paisley) to bluegrassers like Sierra Hull and teenaged fiddler Carson Peters. If the best lessons are taught by example rather than lecture, this one was a graduate level course. – Jon Weisberger
Chris Thile Establishes a New Radio Classic It’s been two and a half years since mandolin virtuoso Chris Thile took the helm of the long-running public radio show A Prairie Home Companion. But it’s been a year since he fully made it his own, rechristening the program as Live From Here. In these twelve months, Thile’s show has become a powerhouse music showcase for acoustic music and far beyond: a place where St Vincent or Vulfpeck can play the same stage as I’m With Her, Brandi Carlile, and Jeff Tweedy. The host himself churns out a brand new song for each episode (an impressive feat in itself), and surrounds himself with a house band and writing staff that’s a who’s who of modern roots: Chris Eldridge, Sarah Jarosz, Joey Ryan, Brittany Haas, amongst others. It’s as if he’s been doing such a show forever, and something we can only hope will continue long into the future. –Amy Reitnouer Jacobs
Colter Wall Captures the Prairie Wilderness Of course country music isn’t limited to the American South, but it’s been so well established in that specific locale it sometimes feels as if anything else needs an asterisk. Canadian singer-songwriter Colter Wall sets about erasing that mark with his sophomore album, Songs of the Plains. Telling tales about truck drivers, cowboys, and blue collar types at the mercy of automation, Wall uses traditional country influences to sing of his prairie homeland. Working with Nashville’s Dave Cobb, he blends an array of original songs and covers, each of which provides a formidable stage for his voice. Wall’s baritone growl feels like a barroom throwback, the kind of sound you stumble across at dusk when the jukebox finally falls silent and the guy keeping to himself in the corner finally opens his mouth. I put this on when I want to actually feel Canada’s vast prairie wilderness, and think about the ever-widening world of country music. — Amanda Wicks
The War and Treaty Share Their Love Story In 2010 Tanya Blount and Michael Trotter fell in love after performing, separately, at a Maryland event known as, yes, the Love Festival. In 2018 many fell in love with the Michigan-based duo, now known as the War and Treaty, with the release of their Buddy Miller-produced debut album, The Healing Tide, and even more so from their concerts. Their boundless joy alone is irresistible, but the songs and performances are elevating. “I’m singing with my wife, songs I wrote for us, and we’re on the road helping bridge humanity in our way,” Michael said in an August BGS profile, Tanya adding, “This project is an act of love.” – Steve Hochman
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