Tag: Irish

Ed Helms Chats With Steve Martin & Alison Brown About Their New Album

Posted on by Justin Hiltner

They always say, “Don’t meet your heroes,” but in the bluegrass world, I’ve mostly found that not to be true. Take Steve Martin & Alison Brown, for instance – two of the most recognizable and veritable banjo players alive today. Earlier this year, I was fortunate enough to join them (along with Rhiannon Giddens and a formidable lineup of bluegrass, folk, and old-time musicians) onstage at the legendary Hollywood Bowl. It was a night I’ll never forget.

And earlier this month, I had the pleasure of rejoining Steve and Alison in conversation about their new collaborative project, Safe, Sensible and Sane, (out now via Compass Records). It’s a beautiful album filled with original songs, guest appearances from musical friends, and a whole lot of banjos.

Hope you enjoy our conversation!

Ed Helms: First of all, let me just say huge congratulations. An album like this is such a big undertaking and this is phenomenal. I’ve been listening to it basically on a loop for the last couple of days. And my family, my kids are loving it.

Steve Martin: Thanks. Thank you. It’s not easy to rope the family in.

I know! My four- and seven-year-old are extremely critical of anything banjo-related. You won them over.

SM: Awesome.

Right off the bat, what jumps out at me about this album is the title – which immediately strikes me as a kind of direct counterbalance or maybe even a rebuke of these unsafe, nonsensical, and totally insane times that we’re living in. I do think that the album title sets such a warm, funny, and welcoming tone that the music then totally delivers on. Am I getting close?

SM: You’re so far. [All laugh]

Tell me what it is. Walk me through.

SM: I’m almost embarrassed to tell you. Alison, should we confess?

Alison Brown: You told us never to tell, but it’s up to you. [Laughter]

SM: When Alison and I were writing songs together, I had come across a book published in the 1930s on how to improve your letter writing. 80 years old, 90 years old, and it had a list of phrases you can use in your letter writing or business letter writing to brighten up your letters. It said things that are formal phrases, like “thank you for the frank statement of your affairs.” And it went on, things like that.

One of them was “safe, sensible and sane.” I just listed these suggestions and I wrote Alison and said, “I think there’s song lyrics in here somewhere.” Alison organized it, so they kind of rhyme, then Alison wrote this tune for it, and Jason Mraz made sense of it. Because the lyrics are actually nonsense, we have noted that the more we listen to it they actually start to make sense in some way.

That is wild. That is such a weirdly specific rabbit hole of where that came from.

Is the banjo itself something that feels safe, sensible, and sane to each of you in some way? Is it a place of home?

AB: For sure. I think so, certainly speaking for myself. It’s definitely been an anchor for me in my life and I noticed, Steve, watching your documentary, how many scenes the banjo was in the background and realizing that it’s been trailing you your whole life, too.

SM: Yeah. I find you’re right, in the sense that it’s not a “dangerous” instrument like the guitar, sure. Which can be naughty. The banjo is safe, sensible, and sane – but the way Alison plays and the way these great banjo [players] turn it into a kind of extraordinary jazz instrument. It’s too bad that most people probably have an idea of what the banjo sounds like and they’re way off.

I think what you’re saying is that the banjo can be edgy.

AB: it can be edgy, but it can be mainstream, palatable at the same time.

SM: Edgy in the sense of avant-garde, yes. There are some. Didn’t you write a 12-tone banjo song, Alison?

AB: I did. I had a chance to produce and play on a track called “Old Atonal Music” and I actually wrote a 12-tone row banjo solo, which–

Oh my gosh.

AB: Which was then analyzed by the classical community. And fortunately it really was a 12-tone row, so that’s about as edgy as you get.

That’s getting out there.

AB: Boy, are we.

This just got so nerdy so fast.

AB: It sure did. I knew that was gonna happen.

The last time I saw you guys, we had the incredible privilege of joining Rhiannon Giddens at her show at the Hollywood Bowl, and I remember showing up to rehearsal for that and you guys were working on what I thought was just “Cluck Old Hen.” I’m watching you and listening and thinking, “What are these lyrics? What is this? This is so funny.”

Of course, now I know that’s “New Cluck Old Hen,” which is on the album. But what I observed that day in the rehearsal stages was just the rapport that you guys share, which seems so easy and effortless, light, fun, and playful – and well earned. It makes me very curious about the origin of your friendship and was it music immediately? Where did you first connect and what was it you saw in each other?

SM: Go, Alison.

AB: Okay, we were on a Caribbean island at the same time by chance, really just by luck. It was a place that we both vacation regularly with our families and I knew we were gonna be down there at the same time that Steve was gonna be down there. We were gonna overlap for a couple of days and Steve suggested we get together for lunch. Of course, banjos had to be involved, so we had a really wonderful lunch and then sat and spent the afternoon playing banjo together, just sonically clicked really easily.

Because Steve and I both really love finding beautiful melodies in the instrument, we’re both in the same pursuit when we’re playing and composing music. Writing this music, it’s been surprising to me how easy it’s been. It is almost like the tunes were just waiting to be written and we just had to pull them outta the sky.

How long ago was that first connection?

AB: I would say maybe about 10 years ago.

Then was it right away, “Let’s start collaborating!” Or did you guys circle back to each other?

AB: It took me a little while to get up the nerve to see if Steve actually would co-write some music together. [Laughs] I got a chance to do a few shows with Steve and Marty [Short] when the Steep Canyon rangers weren’t able to make shows, so we got a chance to jam some more backstage and play some more clawhammer banjo and three-finger banjo, which is my favorite combination. Like chocolate and peanut butter. Clawhammer and three-finger.

I totally agree. It’s so beautiful. And there are a lot of great players that do both, but usually I think most people assume that a song is in an old-time style or in a sort of three-finger style. So to hear [you] two just beautifully mixed together, you guys are really sharing a language that transcends the style of playing. You’re playing very differently, but there is a fluidness.

I think the song “Evening Star,” which might be my favorite on the album, is such a great example of that, starting out with your three-finger, beautiful lilting rolls and melodic runs. Then Steve comes in picking up the same tune in a [clawhammer] style that feels like a really even, woven-in feel. It doesn’t change the feeling of the song in any way. I think that’s a testament to the connection that you guys share musically.

SM: Our roots and love of the banjo are very similar in the sense of Appalachian sound, the Celtic sound, the modal mountain sound. That’s what gets me. We both like to find those melodies that reside within those tunings and history.

And Alison, as I recall, you sent me this beautiful part and I contributed another part and then Alison found– You can tell the story. You found yourself in Dublin?

AB: Yeah, actually that one, I knew that we were gonna be in Glasgow. I dunno if you have ever become acquainted with the music of John McSherry, Mike McGoldrick, and John Doyle, they have a fabulous trio. They’re completely badass Irish players, Celtic players and I knew that it would sound great to play this tune with them. John Doyle in particular, when he plays rhythm guitar, it’s like riding a big wave. They’re also heroes.

SM: They’re heroes of mine, too.

AB: It’s funny, though, because the genesis of that tune was really Steve telling me about a song he wrote called “Canadian Girl” where he was playing clawhammer in 3/4 time. I’d never even thought about the clawhammer playing in 3/4. But it’s so beautiful. Then I tried to write a melody that could work for both.

I think it’s a real testament to Steve’s banjo playing, too – like you were saying, a lot of banjo players will choose a lane. They’re either three-finger or they’re clawhammer. But Steve’s really unique that he plays both. I think that’s part of the reason why our two banjos go so well together, ’cause he completely understands the three-finger thing. But when he’s playing clawhammer, he brings some of that sensibility to it.

SM: You can also play the modality that you find in clawhammer on three-finger. I remember a song I found on a record recorded by Dick Weissman called “Trail Ridge Road” and it was played with picks, but it had this unique– I just call it modality. I’m sorry to keep using that word, but it had this minor sound that just kept rolling. I always loved it. I think that sound stuck with me forever. I even wrote him once to tell him that.

I think your song, “The Crow,” falls in that category, right?

SM: It is in double C. [It has] that drone sound, ’cause you have two strings tuned to the same note. Yeah, that does have a bit of that in there.

That was one of my favorite songs to learn. I found a transcription in a Banjo Newsletter and I was able to work it up and I love it. Another one of my all-time favorite tunes.

SM: Alison told me that banjo players like to play my songs because they’re easy. [All laugh]

How do you guys collaborate? Walk me through that process. Are you sending each other tracks and just saying, “Hey, here’s an idea.” A little melody or a catch or a hook, and then you’re building on it together? Or do you try to make sure you’re in the same space, just steeping the tea together?

SM: All of the above. Garry [West] and Alison flew out to California, where we spent like three, four days there just writing and recording. We got ideas, initial ideas for songs there. Then we started communicating by text and sending song ideas. It’s the new way to write things. It’s everything.

But we did meet and get that sound of two people together. You’re listening to the other player.

AB: That’s the thing, when I get a chance to sit around with Steve and just play, it always gives me more ideas for where we can take the banjo. Or gives me a new way of thinking about what he’s doing that maybe you could expand on. That’s really exciting. But technology’s totally been our friend, so we’ve done a lot of this by just swapping ideas back and forth and it’s amazing how efficiently you can do that.

How frustrating is it that Zoom, the latency of these video conferences, you can’t quite jam.

SM: You cannot play over the internet! You can’t play, you gotta bounce it back and forth.

That’s [why] I flew down to Nashville to record with Vince Gill, so it’d all be in the same room.

You mention flying down to Nashville to work with Vince and others. This album is so much more than just a double banjo album. It’s this grand collaboration. So many special guests, close friends of yours like Tim O’Brien, Aoife O’Donovan, Sarah Jarosz, Vince Gill, Jason Mraz, Jackson Browne, Jeff Hanna, the Indigo Girls – I’m from Georgia, so that’s a huge one for me. I love, love, love the Indigo Girls.

You two obviously have such a deep well of relationships and friendships throughout music. How did you decide who to rope in on these particular songs? What was that decision-making process like?

SM: I’ve said this before, I’m a talk singer. I sing like Robert Preston, The Music Man. I know Alison sings harmony, but she’s never presented herself as a lead singer, as I know. So we’re forced to find someone to sing these songs. A good example is the song “Michael,” which was written without anybody in mind. The lyrics to that are imperfect in the best sense, in a good sense. Sometimes they don’t quite scan out. Sometimes the rhyme is soft.

Alison was at an event with Aoife O’Donovan and said, “Hey, would you mind singing?” And [Aoife] just understood the song so perfectly. You just go, “Oh, that’s it!” There’s no need to look anywhere. She just really knew how to sing it. You’re looking for people who know how to sing these songs. Like Jason Mraz instantly understood “Safe, Sensible and Sane.” He knew that it was in some way humorous, that none of us could figure out why.

Both of those songs have a little international flair to them. “Michael” almost has a samba or Brazilian feel? And then “Statement Of Your Affairs” with Jason Mraz, is it like reggae?

SM: Is it reggae?

There’s something Caribbean there.

AB: It’s definitely Caribbean, yeah.

Really everything sprang from the banjo. The melody for “Michael,” I just wrote that chorus melody as a banjo tune and really could not fathom how you could do anything other than play a newgrass banjo tune with that melody. It was amazing that Steve could set words to it and then he developed this whole story. It was really fabulous.

SM: What I liked is Alison sent me the tune, I listened to it, and it inspired me to a situation, an atmosphere. And she said, “We can change those lines, some of those melodic lines, and shorten ’em.” I say no. That’s what you want, that unexpected line that extends too long or it forces the words to do something tricky. I really like that challenge.

I love your closing number, “Let’s Get Out of Here” [with] Sam Bush, who counts that one in. I’ve heard it said often that Sam Bush is the best drummer in bluegrass. He sets such a great, driving tempo and rhythm.

SM: I couldn’t play without the mandolin! I’d be all over the place, rhythmically.

AB: No, that’s true. There is nothing like Sam’s chop. When Stuart Duncan and I were teenagers, we were presidents of the “Sam Bush Chop Fan Club.” A super nerdy thing.

This is one for both of you. You’re both multifaceted, creative people. You move so effortlessly between different creative disciplines, collaborative contexts, different bands, different musicians, different media and art forms. Obviously, Steve with film and comedy and writing and performing. You’re also a passionate art collector. Alison, you have tremendous business acumen running Compass Records for so long with your husband.

This is a question as a fellow sort of striving, creative person: How do you balance all of it? I always wonder when I see people like you, is this something that you set aside and approach each discipline as a chunk? Or do you feel more like these are constantly interwoven? Is there a seamless overlap of your various disciplines and ideas and you’re just weaving in and out? Or is it more, “I do this for this time” and now, “It’s comedy time. I’m gonna work on this.” How do you break it down?

SM: Go ahead, Alison. I know my answer.

AB: Okay. So mine probably is less interesting, ’cause mine is kinda like that right brain versus left brain thing. I find that sometimes I’ll be doing just banjo for a stretch of time or music or producing a record or getting to go out and play shows. Other times, I’ll be behind the desk doing spreadsheets and financials – that kind of thing. In some kind of bizarre way, the two things inform each other.

I think for me, I spent so many years in school and got an MBA studying finance. I was an investment banker for a while, so there’s part of me that really enjoys doing all that and feels a responsibility to my mom and dad, too, that I do some of that stuff on some kind of regular basis. I have to look analytically at the music business. I think it helps me when I go in the studio to think about positioning a record – whether I’m producing or just writing my own stuff – positioning it for success, because I understand the challenges of the business landscape in a way that if I was just a banjo player, I wouldn’t understand.

Then when I get to go out and play, it’s like a complete relief just to be out and let your mind be a little bit more free. I know you can be structured and disciplined about creating, but it’s a completely different mindset to sit and look at financials than it is to have enough of an expansive view in your mind to be creative for a moment. But, somehow, the two things work together.

SM: I’ll give my answer. Most people have a job. They maybe, let’s say, go to work at nine and they come home at six – or sometimes they work [until] maybe seven or eight. And if they’re gonna do any extracurricular thing, like practice the banjo, they have to do it at night or on the weekend.

But I just wake up. I don’t have a job, so I can have breakfast and have an idea and go pick up my banjo and go play it. There’s a lot of time where you’re just really doing nothing, because you don’t have a job.

I think it really is that concept they used to apply to basketball players, “being in the zone.” Where you don’t have a sense of time. It’s just there and it’s either working or not. And it’s fun, especially at this age where my creative mind is more agile, where I’m not afraid to go other places or think of things. Ideas seem to come without as much angst, because it doesn’t have to be a success. It just has to be fun.

I know Alison hates hearing that. [All laugh]

AB: No, actually. I’m glad to hear that!

SM: The creative part of my life has become really fun. Whether I’m working with Alison or with Marty or live stage shows… or just dinners! Dinners will be fun.

That’s really beautiful and really inspiring and I’m really grateful to both of you for opening up a little bit and talking me through this. Congrats! This is a fantastic album. It’s a really wide pastiche of different ideas and feelings and vibes, and it all works together. So congrats and thank you.

SM: Thank you, Ed. It’s always great to talk with you. And you’re a great player, too. Don’t forget that!

Thanks, guys.

AB: I’m thinking what we need to do is a triple banjo thing!

SM: I’m up for it! We’ll figure it out.

AB: We’ll figure it out.

SM: Fifteen banjo strings. Can’t get enough. You can never have too many.

 

What Is a Cowboy Ballad?

Posted on by Justin Hiltner

Sam Shackleton is a good example of the successful contemporary songwriter – a Scottish traditional folk singer with some formal education in musicology. He posts excellent, moody clips online; he goes viral enough to open for bands and artists like the Mary Wallopers or Willi Carlisle; and he releases music on Bandcamp. Though he could easily slide into a minor but culturally significant record label, he released his new album Scottish Cowboy Ballads and Early American Folk Songs independently; when a writer emails him, the answers come back on a plain Hotmail account, his avatar a famous 19th century painting of Robbie Burns.

There is something telling in this amalgamation: the 200 years of cowboy songs, the move between America and Scotland, the slightly old-fashioned email address. Even Shackelton’s very contemporary distribution methods envelop other kinds of tradition, the busker as troubadour or a work song floating across oceans. For example, when he sings “The Butcher Boy,” his framing includes that Mary Wallopers’ cover from a couple of years ago, the Sinead O’Connor version before that, and the Tommy Makem version before that. And he also echoes those who sang before them. “The Butcher Boy” is not even a cowboy song, though. When he offers songs like “Chisholm Trail” or “I Ride an Auld Paint,” something shifts in how he sings them.

The cowboy song is muddled – it is the expression of poor, often Black, Hispanic, or Indigenous agricultural workers, telling explicit stories about their lives – but like a shanty, it is also a song that aids labor, in passing the time and moving the livestock along. These dual instincts of work and entertainment gathered into an oral tradition, which was translated into grand public spectacles. These spectacles were later depicted on radio, film, and television, abstracted and cleaned up. When a singer chooses to return to these songs, their versions are always paratextual – they are making choices of interpretation. When Shackleton sings the verses in “Chisholm Trail” about punching bosses or selling cowboy gear, he is foregrounding a kind of economic subtext, which might be less fun and seems more serious.

It reminds me a bit of growing up in Alberta (maybe because on “Roving Cowboy” Shackleton sings about crossing the Rockies and the “cold and distant plains”), or my relations in Calgary, that city mostly named after Scottish figures, romantic still for a set of cultures that doesn’t exist. How much easier it is to consider the romance of the West without considering the isolation of it all. Men would be sent from places like Scotland to the prairies as part of a great colonial project; the rascal sons of minor aristocracy, rampaging across the land. That roving grew into myths of grand cowboy narratives. The big rodeo turned into a banal bacchanal. When Shackleton sings in “Roving Cowboy” about leaving “his good old father” or “his friends and home there,” he refuses the grandeur and returns to the profound isolation. A kind of homecoming in place and in time that may never occur.

Talking to Shackleton via email for Good Country, I learned that an album I first thought was a small jape was really a sophisticated conversation with these traditions, lands, and desires.

I am curious about why cowboy ballads and also how you define a cowboy ballad – some of the songs seem very clearly part of that tradition, but some to be an extension of it. Is “Butcher Boy” a cowboy ballad?

Sam Shackelton: I’ve always been a fan of cowboy music since spending many hours watching old Westerns, when I’d go through and spend the weekends with my dad as a kid in a wee Scottish town called Bridge of Alan. For me, the best part about them was the music, singing, whistling, and yodeling. Even to this day I think it’s pretty hard to find anything cooler than Dean Martin singing “My Rifle, My Pony and Me” in Rio Bravo.

Much of my early musical influences were inspired by my father. I remember vividly the first time he showed me the excellent Woodstock: 3 Days of Peace & Music documentary of the 1969 festival, which first led me down the path of learning to play and wanting to be a musician – though at the time I didn’t think I’d ever be good enough to step on a stage. In regard to the album title, I originally was going to just call the album Scottish Cowboy Ballads, but decided to throw in the “Early American Folk Songs” to allow me to add a broader range of songs to the album such as “The Butcher Boy” or “O Death.”

Could you talk a little bit about the loops of influence which exist in folk music circles. The Scottish ballads which end up in Appalachia, from the 18th century onward, but also the dual folk revivals in the 1950s and 1960s? Where do you see your place in the ebb and flow of these revivals or these conversations?

Mainly through my own research and watching many hours of old music videos and documentaries on YouTube as a teenager, I discovered the American and Scottish folk revivals of the 1950s and ‘60s and knew I’d finally found my musical home, so to speak. I strongly believe that what you put in is what you get out, as a musician, when it comes to inspiration, so I deeply immersed myself in this music for many years. Still to this day only really listen to music from this period or those who can capture a similar sound today. I was deeply inspired by Woody Guthrie and also by his close friend, Cisco Houston, especially his album, Cowboy Ballads, which was a big influence on my latest album and much of my earlier music too.

I’ve always been drawn to less commercially popular musicians, such as Walt Robertson or Alex Campbell, those with incredible talent but whose work went generally under the radar in favor of bigger, more commercialised folk artists. People often talk of Guthrie when referring to the folk revival, but even his songs were greatly aided by Cisco’s harmonies and Sonny Terry’s whooping harmonica, another huge inspiration of mine.

I also had the great privilege of studying at the School of Scottish Studies at the University of Edinburgh for 5 years, where I got both my undergraduate and master’s degrees. The School of Scottish Studies was founded during the Scottish folk revival in the 1950s and was based on a vast collection of field recordings collected primarily by Calum MacLean – brother of the legendary Gaelic poet Sorley MacLean – and renowned ethnomusicologist and poet Hamish Henderson. [Henderson] made many of his early Scottish recordings with Alan Lomax during his time in Scotland in the ‘50s.

I focused primarily on Scottish/Celtic studies, Scots-American emigration and musical traditions, and ethnomusicology, with a specific focus on the work of Alan Lomax – and what I identified as the new “digital folk revival,” which is happening right now on social media. In my masters thesis, I argued that modern online digital communications technologies (such as social media platforms like YouTube) are facilitating multiple new folk revivals. Lomax prophetically identified this in his 1972 paper “Appeal for Cultural Equity,” where he identified both the risk of mass communication technologies to traditional folk cultures, but also their extraordinary ability to preserve and facilitate folk revivals by allowing everyone to share and participate in folk traditions on a vastly more even playing field. All you need now is a mobile phone and you can participate in the digital folk revival, sharing and listening to songs from every corner of the world.

In relation to your original question, it is indeed true that many of the songs that were sung during the folk revival in North America at that time (and throughout American history) also had a very close and deep connection to the mass emigration of people from Scotland, Ireland, England, and Wales during the 18th and 19th centuries and beyond. This is evident in songs such as “Pretty Saro,” which is also on the album. This was a song sung commonly in England but was lost to time, only to be rediscovered being sung in the mountains of Appalachia by early song collectors. And, as such, the song became popular again across the Atlantic. This is a perfect example of how these early folk revivals facilitated this full circle of cross-cultural transfer.

How was this album affected by the large-scale American touring you have done in the last few years?

My time spent touring in the USA and Canada was certainly a big influence on this album. I traveled all over the states, starting in Nashville, where I then traveled through Kentucky and Tennessee with my good friend and director of the YouTube channel GemsOnVHS, Anthony Simpkins – his channel being another great example of the digital folk revival in action. We recorded a bunch of amazing music in the hollers and I met many amazing musicians during my time there, such as Benjamin Tod and Ashley Mae from Lost Dog Street Band.

[They] kindly invited us to spend the night at their house in rural Kentucky along with Jason O’Dea to shoot some guns (my first time doing so in the USA) and play some songs around the campfire. I remember playing Benjamin Tod an old Scottish ballad called “Tramps and Hawkers” on the banjo by the fire, to which he then responded that he was also aware of versions of the same song that had been sung in the American folk tradition. Again, highlighting this close cross-cultural connection between the Scottish and American musical folk traditions. I then toured all across the East and West Coasts of the USA and Canada with my good pals, legendary Irish folk band the Mary Wallopers, before selling out a couple shows of my own on the East Coast.

I noticed that the album’s songs are mostly very short – some under two minutes. Can you talk a little bit about that? Is that related to busking? How else does busking appear in these kinds of recordings? How does busking online relate to busking in person?

Since this is the first ever album I will be releasing on 12” vinyl LPs, I decided to try and fit as many songs on it as possible. Obviously, due to the physical limitations of the vinyl medium, I had to make sure my album was within a certain length of time, hence why some of the songs may seem shorter. Although there are a good few short songs on there, you will indeed find a few longer ones such as “Old Rosin the Bow” or “The Blackest Crow.”

I know that the Mary Wallopers sing “Butcher Boy,” and it is often a touchstone for Irish singers (the Mary Wallopers, Lankum, Lisa O’Neil, Sinead O’Connor, the Clancy Brothers), but also the Irish diaspora. In fact, in a live recording from the Clancys, Tommy Makem calls it, “Well known in America.” What is your relationship to both the song and the people listening to it? How do you make songs thought commonly to be American or Irish to be Scottish?

“The Butcher Boy” is a class wee ballad and you are right in noting that it is indeed popular amongst Irish artists such as The Clancy Brothers, their version being my favorite. However, the history of this ballad and its origins are far more complex, as this ballad is actually derived from multiple old English broadside ballads such as “Sheffield Park,” “The Brisk Young Sailor,” and “The Squire’s Daughter,” to name but a few. Many versions of this song have been collected across England, Ireland, Scotland, and North America. It is perhaps one of the best examples of a cross-cultural folk ballad I can think of.

I had actually stopped singing this song for a long time after what happened with my dad, as the later verses were far too similar to what I had experienced with my father’s suicide. But, despite how hard it was for me to sing again, I felt it absolutely needed to be included on this album. If anything comes from people hearing that song in particular, I hope that they show some love to the people in their lives who may be struggling. It’s not easy being a human on this cruel old rock hurtling through space, so we all need all the love and support we can get.

I noticed that you dedicated this album to your father – what was your relationship to him?

Yes, I dedicated this album to my father, as it’s my first major release since he tragically took his own life in the summer of 2023. We also used to sing many of these songs from the album together when I was younger. As I mentioned at the start, my father has always been a huge influence on my music and I can say for certain that I wouldn’t be a musician today if it weren’t for him. From buying me my first guitar to constantly taking me on stage to perform with him as a child.

My mother and father actually used to be in a band together before I was born called Big Shacks. My mother, Kim, was the singer and my father, Norman, was the lead guitarist. I have many fond memories of busking with my dad on the streets of Edinburgh and Glasgow as a child, too. It was something that brought us very close together over the years. When he died, it really took a huge toll on me. I was actually down in England opening for Willi Carlisle when it happened and I was also in the process of getting my American O-1 visa at the time. I decided to still go ahead with the first American tour a few months later, regardless. However, afterwards I was in a really bad place mentally, so I decided to take a long break from performing until I finally felt ready to return. In that time, I recorded this album and as such I have dedicated it to his memory. I’ve now also returned to touring in the last few months and will be announcing a really big tour of my own in the very near future!

What makes a Scottish Cowboy different than other cowboys?

Scotland has a very long history of cattle droving, going back many hundreds if not thousands of years. There is indeed much to be said on the topic of Scottish cowboys and their influence on the conceptualization of the American cowboy and the Wild West. A good place to start, if you want to research this fascinating topic further, is the fantastic book by Rob Gibson called Highland Cowboys: From the Hills of Scotland to the American Wild West. In it, he details the links between the two cultures, as not only did the thousands of emigrants from the Scottish Highlands and Lowlands bring with them their musical culture and songs to the New World, they also brought with them their unique way of life and cattle-herding culture and practices. Not to mention the practice of cattle rustling, which although not unique to Scotland was a very common yet serious crime throughout Scottish history.

To further emphasise this connection, I included the song “Chisholm Trail,” as this song is sung about the historic cattle trail that runs from Texas to Kansas, which is named after the famous half-Scottish, half-Cherokee cowboy, Jesse Chisholm.

Photo courtesy of the artist.

Danny Burns’ Roots Music Journey Through the South

Posted on by Justin Hiltner

My new album’s theme, along with the theme of this Mixtape, is a roots-inspired journey through the South, with songs that evoke the feeling of traveling across its landscapes and into the heart of the Deep South. I hope the fans enjoy the journey of these songs and all the sounds and people it takes to make them come to life on Southern Sky – it takes a village.

That village comes to life across the nine-track journey of Southern Sky, where Irish roots fuse with Southern soul driven by Dobros, fiddles, and rich storytelling that soar with Appalachian tradition and Southern warmth. Inspired by the textures of the South, the spirit of the album is like Allen Toussaint’s Southern Nights, where Appalachian tales intertwine with the deep twang of the South.

Southern Sky features a multitude of musical titans – Vince Gill, Tim O’Brien, Ricky Skaggs, and Sam Bush to name a few – all contributing to the exceptional sound that I strive for. – Danny Burns

“Summer in Siam” – The Pogues

I always loved this tune, growing up listening to the Pogues and having met Shane many moons ago.

“My Old Friend the Blues” – Steve Earle

Steve is one of my favorites. I’ve had the honor to sing with him, open shows with him, and hang on his bus. His songs are epic; this is a great example of that.

“Southern Nights” – Citizen Cope

I first met Clarence Greenwood in New Orleans when I was driving him, Neal Casal, and Jon Graboff (the Cardinals) around while they were playing Tipitina’s. I fell in love with Clarence’s songs and his performances. Another great American artist and songwriter.

“Whenever You Come Around” – Vince Gill

I’m a huge fan of Vince and this track is about as good as it gets. I’ve always admired his songs, his voice, and everything he brings to the table.

“Locals Only” – ERNEST

I first heard this song down in Mexico during the pandemic while hanging out on the beach in Puerto Morelos. It became a bit of an anthem for those days by the water.

“Waiting On You” – Cecilia Castleman

A truly killer talent. Cecilia can play, she can sing, and I’m sure her skills as an engineer and producer are just as strong. This song is fantastic.

“Angel Flying Too Close To The Ground” – Willie Nelson

This has always been one of my go-to lonesome Willie tunes.

“That’s How Every Empire Falls” – John Prine

Epic song written by RB Morris out of Knoxville. I love both versions, but it was John’s take that first introduced me to it.

“The Lucky One” – Alison Krauss & Union Station

What can I say about Alison’s voice– absolutely world-class. Pair that with a world-class band, production, and song and it’s just unbeatable.

“Years” – Sierra Ferrell 

This is pure ear candy. So intriguing and instantly captivating. It feels amazing and sounds incredible. Perfect work!

“Colony” – Damien Dempsey

A heavy hitter in the Irish scene, this track is a prime example of his finest work.

“Settle For A Slowdown” – Dierks Bentley

I really loved this album; it feels like a perfect introduction to where country meets bluegrass with a modern twist.

“Señor” – Tim O’Brien

Love Tim and his take on this epic Bob Dylan song.

“Linger” – Áine Burns

Love Áine’s take on this Cranberries hit – can’t wait to hear more from her before the year’s end.

Photo Credit: Jim Wright

Basic Folk: Paul Brady

Posted on by Justin Hiltner

Bob Dylan once called Paul Brady a “secret hero” and meant it as a compliment. The Irish songwriting legend has not been bothered by the fact that his profile has not risen as high as some of his peers. Starting off in the world of traditional Irish music, Brady spent time in the hugely influential Irish group Planxty until they disbanded in 1975. After that, he and bandmate Andy Irvine recorded a record of trad music together. In 1981, Brady released an album of original songs titled Hard Station that was based on his experience of growing up during The Troubles in Northern Ireland. It was a huge left turn for him stylistically and in being so personal with his writing. After that, Brady’s songwriting career took off; he has written songs for Bonnie Raitt, Santana, Tina Turner, and many others.

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In our Basic Folk conversation, Brady reflects on his upbringing and how music served as his reliable companion. He also discusses his parents’ artistic influences, particularly his father’s passion for acting and how it shaped his own stage performances. We touch on themes of perfectionism, impostor syndrome, and the inherent pressures of the music industry. Additionally, Paul talks about his latest massive box set, The Archive, which features rare demos, live recordings, and unique collaborations, offering a comprehensive look at his extensive body of work.

Photo Credit: Stuart Bailie

You Gotta Hear This: New Music From JigJam, Ashby Frank, and More

Posted on by Justin Hiltner

A long weekend requires great music on the speakers, doesn’t it? Here are a handful of brand new tunes to add to your playlists for the festivities – You Gotta Hear This! This week, our roundup includes bluegrass from the Carolinas and from across the pond, too.

Below you’ll find fun-filled Irish bluegrass and string band JigJam enlisting Lindsay Lou for their new track, which releases tomorrow, called “Running Back to You.” It’s a delightful, traditionally-crafted song of love, longing, and life on the road.

From the foothills in upstate South Carolina, husband-and-wife duo Benson – Kristin Scott Benson (the Grascals) and Wayne Benson (IIIrd Tyme Out) – are joined by their friend from just up the mountains, Woody Platt, on a song written by Grant Williams. “Lover of the Road” continues in a similar vein to JigJam’s new number, lamenting the haunting and nagging feelings of being gone from the people you love while off traveling.

Rounding out our collection this week is Ashby Frank, Nashville-based North Carolinian mandolinist, singer, and songwriter, who’s assembled quite the band for his latest, “Everybody’s Got Their Nine Pound Hammer.” Frank found the song through Tim Stafford, one of the track’s co-writers, and was immediately drawn to the universality of its central sentiment.

It’s a mighty trifecta of bluegrass sampled from across this genre’s spectrum of sound – and geography. And you know what we think… You Gotta Hear This!

Benson, “Lover of the Road”

Artist: Benson
Hometown: Boiling Springs, South Carolina
Song: “Lover of the Road”
Release Date: July 4, 2025
Label: Mountain Home Music Company

In Their Words: “I’m really happy with how ‘Lover of the Road’ turned out. It was written by my best friend from college and we were so lucky to get Woody Platt to sing it. I’ve enjoyed the heck out of getting to play some shows with Woody and he sang this song perfectly. His vocal embodies the haunting, nagging feeling any of us can experience when trying to maintain relationships while traveling.” – Kristin Scott Benson

“Here’s a song by Grant Williams, who also wrote ‘Sleeping with the Reaper’ for the Grascals. The first time I ever heard Grant’s material was when he recorded a demo at our house, 20 or 25 years ago. He’s an eclectic writer and it’s been fun to watch him take an interest in bluegrass and see how appropriately he writes for us. We’re always trying to wisely pair songs with vocalists and Woody Platt did a great job delivering this one. Woody is well-known for good reason and we were really happy when he agreed to sing it.” – Wayne Benson

“I’ve long admired Kristin and Wayne Benson for their individual brilliance and their powerful partnership in shaping bluegrass music. Their influence on the genre and the industry is truly remarkable. It was an absolute honor to record ‘Lover of the Road’ with them!” – Woody Platt

“There’s something in me that loves being out on the road, but more than that, I love being at home with the people I love, my dog, and my bed. This song was what I imagined it would be like if those two loves traded places in priority in my heart.” – Grant Williams, songwriter

Track Credits:
Wayne Benson – Mandolin
Kristin Scott Benson – Banjo
Woody Platt – Lead vocal
Cody Kilby – Acoustic, harmony vocal
Kevin McKinnon – Bass
Mickey Harris – Harmony vocal

Ashby Frank, “Everybody’s Got Their Nine Pound Hammer”

Artist: Ashby Frank
Hometown: Nashville, Tennessee
Song: “Everybody’s Got Their Nine Pound Hammer”
Release Date: July 4, 2025
Label: Mountain Home Music Company

In Their Words: “I was immediately drawn to ‘Everybody’s Got Their Nine Pound Hammer’ when my good friend Tim Stafford shared a work tape with me. He co-wrote it with Eric Gibson and Greg Cornett. I loved the way it focuses on the everyday struggles we all face and it really has that traditional bluegrass feel. To bring this song to life, I brought in some incredibly talented musicians, including Matt Menefee on banjo, Seth Taylor on guitar, Jim VanCleve on fiddle, Tony Creasman on percussion, and Travis Anderson on bass. I was also honored to have Tim and my friend Kelsey Crews add those high and lonesome harmonies. They truly made the tune come alive and gave it a timeless quality. I’m really excited for everyone to hear it!” – Ashby Frank

Track Credits:
Ashby Frank – Mandolin, lead vocal
Seth Taylor – Acoustic guitar
Travis Anderson – Bass
Matt Menefee – Banjo
Jim VanCleve – Fiddle
Kelsey Crews – Harmony vocal
Tim Stafford – Harmony vocal

JigJam, “Running Back to You” (Featuring Lindsay Lou)

Artist: JigJam
Hometown: County Offaly, Ireland
Song: “Running Back To You” (Featuring Lindsay Lou)
Release Date: July 5, 2025 (single)

In Their Words: “I wrote this song on the road last year. Constantly being on the move going from hotel to hotel after shows isn’t easy when you’re away from a loved one. Having that someone to go home to after a tour can keep you going when the going gets tough and that’s where ‘Running Back to You’ comes from. Knowing there’s someone waiting for you at the end of a tour makes it a lot easier and worthwhile. The recurring fiddle tune part came to me first one day as I was on the I-55 from Chicago to St. Louis and the song was pretty much built around that tune. We thought Lindsay Lou would be a great fit for this song. We’re big fans of Lindsay’s music and her vocals have really complemented the track in both lead and harmony roles throughout. It’s a lively number and one we really enjoy playing at live shows!” – Jamie McKeogh

Photo Credit: JigJam courtesy of the artist; Ashby Frank by Melissa DuPuy.

BGS 5+5: Countercurrent

Posted on by Justin Hiltner

Artist: Countercurrent (Brian Lindsay and Alex Sturbaum)
Hometown: Olympia, Washington
Latest Album: Flow (released March 3, 2025)

Which artist has influenced you the most – and how?

It’s a three-way tie for me between Great Big Sea (gateway drug into trad music, consummate performers, wonderful harmonies), early Solas (dazzling musicianship, tight arrangements, and an unmistakable guitar style) and the Grateful Dead (fearless improvisation, and pushing the boundaries of what is possible while keeping one foot firmly in folk). – Alex Sturbaum

Chicago fiddler Liz Carroll has probably had the most comprehensive influence on me – she is a master of creative interpretations of traditional fiddle tunes and composing new tunes in a trad idiom. Much of how I think about melodic improvisation and variation around a melody is influenced by her playing. Her recordings over the years showcase some incredible arrangements and beautiful production, ranging from very minimal, traditional-sounding, to lush and modern tracks. – Brian Lindsay

If you had to write a mission statement for your career, what would it be?

“Play ’em happy, sing ’em angry.” We want our music to inspire joy and resilience and to generally make folks feel good. However, we also want to call out the injustice we see in the world every day and use our music to aid the fight against fascism in whatever way we can. – AS

“Every tradition is a living tradition, if we participate.” Musical traditions don’t thrive when we only admire them inside a glass case, they benefit from curating the archives of the past, honoring the figures who have shaped it today, and welcoming new contributions that reflect today’s influences (cultural, political, technological, etc.). Most importantly, music communities thrive when we make music that we really love to listen and move to. – BL

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

We draw from a lot of different folk traditions – Celtic, old-time, maritime, jam-band music, and more – but fundamentally, Countercurrent is a dance band. We cut our teeth playing for contra dancing, that’s still the main thing we do, and everything we play is built around groove and drive. One of our favorite things in the world is bringing our music to venues outside of folk communities and getting an audience to unironically throw ass to fiddle tunes. – AS

In a nutshell, “modern fiddle tune dance jams.” Our focus is to create music that moves people, both physically and emotionally, and our vocabulary comes from the genres of Irish, American old-time, and adjacent fiddle and song traditions. We add our own compositions using that vocabulary, but incorporating our musical influences from genres like jam bands, funk, electronic, and rock that we love. – BL

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

We both really enjoy the offbeat songwriter Dan Reeder. We had the pleasure of getting to see him and his daughter Peggy in Seattle recently – one of their rare tours from Germany – and we have been enjoying singing his songs together in green rooms and tour vehicles. I also have a sizable soft spot for Owl City. – AS

I’m very fond of the music of blues singer and instrumentalist Taj Mahal. I got some of his recordings when I was quite young and got to see him live near my home when I was in high school. I also love Moon Hooch, who essentially make saxophone-based EDM with live drums (I have an unabashed love for the saxophone, and brass instruments in general, though I don’t play any). – BL

Since food and music go so well together, what is your dream pairing of a meal and a musician?

I once had a Thai meal with roasted coconut and pork belly right before seeing Gillian Welch perform The Harrow and the Harvest in its entirety, and to be honest I have been thinking about both ever since. – AS

A meal consisting entirely of East Asian dumplings of every variety, with Kishi Bashi, whose music I adore and also appears to be an incredibly interesting and kind person. – BL

Photo Credit: Molly Walsh

MIXTAPE: Celtic & American Folk Inspirations From Rakish

Posted on by Justin Hiltner

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

MIXTAPE: Wanderlust with Katherine Nagy

Posted on by Justin Hiltner

I moved around a lot as a child – from Ireland to Indianapolis to Puerto Rico to Seattle to Spain and more. It was so wonderful to experience different cultures and connect with new people. And I think these experiences caused me to have a restless soul. I am always looking for new people to meet and new experiences to have. I am always searching for meaning in life and for authenticity and joy. This Mixtape is for people struck by a seemingly endless sense of wanderlust who are enjoying the journey as we try to figure out this thing called life. – Katherine Nagy

“All Done” – Katherine Nagy with Austin Johnson

I wrote this song as I started living life the way I want to live. We only get one shot and I don’t want to have regrets. So the people-pleaser in me is “done pleasing everybody else, I can only be myself.”

“Starting Over” – Chris Stapleton

Sometimes I just want to pick up and start over again, like I did so many times as a child. A new house, new roads, new people, new experiences. I daydream about “starting over.”

“Into the Mystic” – Van Morrison

He is a fellow Irishman and I have always admired the passion of delivery and arrangements he uses in his songs. This classic has long rocked my gypsy soul.

“Angela” – The Lumineers

I have driven a Volvo since I was 16 years old, so I love the lyric about the “Volvo lights.” And so many times I’ve gone for long drives with the windows down listening to great songs that resonate with me the way this one does.

“Gypsy” – Stevie Nicks

I just adore Stevie and her essence. She is magical and whimsical and so in touch with her heart and art. I have always loved this song and related so strongly to it for years.

“Send me on My Way” – Rusted Root

This was one of the most fun concerts I have been to. It was at the House of Blues in Chicago. I was young and free as I danced all night enjoying the vibes of their music.

“Midnight Train to Georgia” – Indigo Girls

If the Indigo Girls are on the train – I am coming! Love their harmonies and beautiful melodies. This is a favorite and I perform it at my own shows.

“I Still Haven’t Found What I’m Looking For” – U2

Me neither, Bono! (another fellow Irishman) I am still searching over here. I’m always writing to process life and try out new things. Life is a journey of searching, and I’m not sure we ever find what we are looking for – wish I knew.

“Mockingbird” – Ruston Kelly

I am a sucker for beautiful guitar work and pedal steel. The intro to this song gets me every time and it just keeps getting better with the harmonica. It makes me want to go on a road trip. Plus, I love birds!

“The Time I’ve Wasted” – Lori McKenna

Let’s not waste time doing things or being with people that do not bring us joy. Life is too short, and “time goes by and when it’s gone it’s gone.” Live your life authentically – be brave.

“Shine” – Dolly Parton

I love Dolly and I love ’90s music, so this cover is just amazing and resonating with me. And I always want heaven to shine its light down!

“The Architect” – Kacey Musgraves

Kacey is an amazing writer. I love her music. This little gem of a song is so profound, as it’s trying to understand this beautiful life. Is there a higher power and what’s the masterplan?

“Keeps Getting Better” – Katherine Nagy

Stay optimistic and stay checked-in with life. Stay true to your heart and surround yourself with people that love you. If you do, it will just keep getting better.

Photo Credit: Robert Zyromski

Humbird: From Dinner Table Singing to Dismantling White Supremacy

Posted on by Shelby Williamson

Siri Undlin, better known as Humbird, is a talented singer-songwriter from the Twin Cities with deep roots in Minnesota music and the land that surrounds her. Growing up, she was a true cold-weather kid who loved hockey during winter, but also loved music and feeding her vivid imagination. Her interest in music was nurtured by her parents, religious music, church choir, and also her Aunt Joan, who taught Siri guitar at age 12. Hockey actually led her to her first band, Celtic Club, which would play at Irish Pubs, talent shows, and of course, at the local hockey rink. They introduced her to Celtic music and her first live performances.

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In this episode of Basic Folk, Undlin shares her rich experience studying folklore and fairy tales, which greatly influence her musical journey. She discusses her intensive research in Ireland and Nordic countries, exploring how music intertwines with storytelling traditions.

Throughout the episode, Undlin reflects on her upbringing, her time at an art school, and her evolving approach to songwriting, blending traditional folk music with indie music and experimental sounds. On her new album, Right On, Siri is acknowledging and addressing white supremacy in middle America, as highlighted in her song “Child of Violence.” She talks candidly about what writing and releasing the song taught her about white supremacy. Touring has provided Undlin with unexpected challenges and valuable insights, shaping her perspective as a musician and performer. We talk about the importance of being open to chaos and disciplined in one’s mindset while navigating the music industry and life on the road.

(Editor’s Note: Read our recent interview feature with Humbird here.)

Photo Credit: Juliet Farmer

MIXTAPE: JigJam’s Irish Bluegrass

Posted on by Justin Hiltner

We all grew up in rural Ireland in small communities in the midlands around County Offaly and County Tipperary. From a young age we were brought up with traditional Irish music, learning the tunes and playing in local sessions. Bluegrass was never a part of our musical upbringing, however, little did we know how strong the relationship between Irish and bluegrass music is. Our band JigJam was formed in 2012 and over the years we developed a sound which captures the crossover between these musical genres.

The creation of bluegrass music and its development over the years is heavily influenced by Irish music. When the Irish people emigrated to North America years ago they brought their music and culture with them, which you can hear within bluegrass music from tunes, melodies, and songs.

We released our new album, Across The Pond, on March 1st of this year. The theme of Across the Pond is to creatively celebrate the deep connection between Ireland and North America through newly composed material that is a dynamic fusion of bluegrass, old-time, and Irish traditional music. By also including traditional tunes and songs which are popular amongst the people from both Irish and American traditions, we added their voice to this transatlantic conversation. This album has been inspired and composed on themes of immigration, nostalgia, cultural difference, and cultural amalgamation. It views the immigrant experience through the lens of pre-immigration, the journey of immigration itself, and their lives upon having settled in North America.

This is our Irish Bluegrass Mixtape, hope you all enjoy! – JigJam

“Good Ole Mountain Dew” – JigJam

Here’s our version of the bluegrass standard, “Mountain Dew,” that we put our own spin on. There’s a similar Irish song called, “The Rare Old Mountain Dew.” It’s about the same subject – “Good Old Mountain Dew” is obviously about moonshine. What we call the “mountain dew” at home is poitin, which is Irish moonshine.

We took some of the lyrics of that song and put it into our version and also wrote our own lyrics based on where we come from. We took the instrumental tune from “Rare Old Mountain Dew” and put it in “Good Old Mountain Dew” while also adding in a bit of Irish lilting. It’s a mashup of both cultures in one song!

“Classical Grass” – Gerry O’Connor

When I was young and first learning how to play the tenor banjo one of my musical heroes was Gerry O’Connor. I was always mesmerized by the speed and precision of his banjo playing. The first time I saw him in concert was at a banjo festival in Ireland called Johnny Keenan Banjo Festival. He was sharing the bill with Earl Scruggs and his band. As a 12-year-old Irish boy, I had no idea who Earl Scruggs was at the time. Little did I know the influence he (Earl Scruggs) would have on my music and JigJam’s music in years to come, when we discovered what bluegrass was and where it came from!! In this track from Gerry, he shows his bluegrass influence himself with pristine crosspicking along with his renowned clean triplets, which was always a favourite of mine growing up.

“Colleen Malone” – Hot Rize

“Colleen Malone” is one of our favorite songs that Hot Rize recorded. Here’s a great live version from their Hot Rize’s 40th Anniversary Bash album. A lovely song co-written by Leroy Drumm and Pete Goble about an Irish girl, Colleen Malone.

“Tennessee Stud” – The Chieftains

In many ways The Chieftains paved the way for Irish bands touring in America and that is something for which we’ll always be incredibly grateful. Their album, Down The Old Plank Road: The Nashville Sessions, paints a vivid picture of the crossover between between the Irish and American music traditions.

“B/C Set” – Beoga

Beoga are an Irish trad band who we all listened to as kids growing up. They were known for thinking outside the box and being ahead of their time as regards arrangements. The second tune in this set is “Daley’s Reel,” which I only realized in recent years when I heard some of the great bluegrass players like Bryan Sutton and Aubrey Haynie playing it. Beoga have a very unique version of “Daley’s Reel,” played on two button accordions and accompanied by piano, bodhrán, and even brass near the end of the track. Certainly a fun one to listen to!

“Streets of London” – Tony Rice

This is one of my favourite songs sung by Tony Rice. “The Streets of London” is a very popular song in Ireland and has been covered by many Irish artists. Written by English songwriter Ralph McTell, I learned this song from the playing of the great Liam Clancy of The Clancy Brothers, Irish powerhouses. I only heard Tony Rice’s version in recent years when I delved into bluegrass guitar playing and I loved it straight away. Tony Rice’s rendition is beautiful as he incorporates his flawless bluegrass crosspicking and signature approach to this classic.

(Editor’s Note: Watch JigJam guitarist Jamie McKeogh perform “Streets of London” for a recent Yamaha Session here.)

“Water’s Hill” – JigJam

“Water’s Hill” is a song off our new album, Across The Pond. The lyrics were written by Ken Molloy as he tells the story of a couple falling in love together and marrying on water’s hill, a mound near Tullamore in County Offaly. The music is by Jamie McKeogh and Daithi Melia along with an old traditional Irish reel that is incorporated into the middle of the song. “Water’s Hill” features a driving Scruggs-style 5-string banjo part along with a strong mandolin backbeat, fiddle counter melodies, and rhythmic acoustic guitar which creates the JigJam sound, capturing the crossover between Irish and bluegrass music.

“Forty Shades of Green” – Rosanne Cash and Paul Brady, Transatlantic Sessions

The Transatlantic Sessions is an amazing platform for the collaboration of Irish and bluegrass musicians. With the likes of Jerry Douglas, Aly Bain, Mike McGoldrick, and many more, this project has wonderfully captured Irish and bluegrass crossover for years. I could have chosen many songs from their repertoire, but I went with this one. It’s “Forty Shades of Green” from the legend that is Johnny Cash. Here, it’s being sung by his daughter Rosanne and Irish singer-songwriter Paul Brady, backed up by the Transatlantic band.

“Sally Goodin / The Blackberry Blossom” – Gerry O’Connor

Gerry O’Connor from Co. Tipperary is the reason I began to play the tenor banjo and he has always been a musical hero of mine – his music still inspires me to this day. This set showcases his skill set, pickin’ on these classic bluegrass fiddle tunes.

“Battersea Skillet Liquor” – Damian O’Kane, Ron Block

One of my favorite tracks off one of my favorite albums. I always loved the groove in this track and of course the playing from this star-studded crew of players always leaves me feeling inspired.

“Bouli Bouli” – JigJam

This set combines the traditional Irish jig, “The Miller of Glanmire,” with the bluegrass fiddle tune, “Big Mon.” It showcases the dynamic and genre fluid nature of JigJam through seamlessly traversing both traditions while highlighting each instrument’s capabilities. We’ve been having a lot of fun playing this one live!

“On Raglan Road” – Dervish & Vince Gill

I always enjoyed this song being performed by the great Luke Kelly from The Dubliners and recently came across this beautiful version of Patrick Kavanagh’s “On Raglan Road” by the legendary Dervish featuring the iconic vocals of Vince Gill.

“The Stride Set” – Solas

I love this set by Solas from their album, The Words That Remain. We are influenced by their creative way of arranging Irish tune sets. I love the addition of the 5-string banjo featured on this track.

“Did You Ever Go A-Courtin’, Uncle Joe” – The Chieftains

Here’s a mighty set from The Chieftains’ live album, Another Country. The crossover between Irish and American genres is great here with a medley of American songs and Irish tunes and also featuring a 5-string banjo. With a great lineup of The Chieftains with Chet Atkins, Emmylou Harris, Nitty Gritty Dirt Band and Ricky Skaggs.

“County Clare” – New Grass Revival

New Grass Revival are one of our biggest influences as a band. Béla Fleck is one of the reasons why I fell in love with the 5-string banjo and started to learn ‘Scruggs style’ while delving into the bluegrass world. Here’s his great instrumental “County Clare,” which Béla wrote inspired by his time spent in Ireland.

Photo courtesy of the artist.