IBMA Reveals Award Nominees, Hall of Fame Inductees, Distinguished Achievement Winners

Five of the top bands in bluegrass earned IBMA Entertainer of the Year nominations from the International Bluegrass Music Association. The ballot was revealed on Wednesday morning in Nashville.

The Entertainer of the Year nominees are Balsam Range, Sam Bush Band, The Earls of Leicester, Del McCoury Band, and Joe Mullins & the Radio Ramblers.

Due to a tie, seven titles will compete for the Song of the Year category. The IBMA Awards will take place Thursday, September 26, at the Duke Energy Performing Arts Center in Raleigh, North Carolina, with hosts Jim Lauderdale and Del McCoury.

Mike Auldridge, Bill Emerson, and the Kentucky Colonels have also been named as inductees into the Bluegrass Hall of Fame.

Distinguished Achievement Award recipients include radio personality Katy Daley, Mountain Home label founder Mickey Gamble, former IBMA executive director Dan Hays, The Lost and Found founder Allen Mills, and Japanese language magazine Moonshiner, now in its 37th year covering bluegrass and acoustic music.

The full ballot is below.

ENTERTAINER OF THE YEAR

Balsam Range
Sam Bush Band
The Earls of Leicester
Del McCoury Band
Joe Mullins & the Radio Ramblers

VOCAL GROUP OF THE YEAR

Balsam Range
I’m With Her
Doyle Lawson & Quicksilver
Russell Moore & IIIrd Tyme Out
Sister Sadie

INSTRUMENTAL GROUP OF THE YEAR

Sam Bush Band
Michael Cleveland & Flamekeeper
The Earls of Leicester
Ricky Skaggs & Kentucky Thunder
The Travelin’ McCourys

NEW ARTIST OF THE YEAR

Appalachian Road Show
Carolina Blue
High Fidelity
Mile Twelve
Billy Strings

SONG OF THE YEAR (7 nominees, due to a tie)

“Dance, Dance, Dance”
Artist: Appalachian Road Show
Writers: Brenda Cooper/Joseph Cooper/Steve Miller
Producers: Barry Abernathy, Darrell Webb, Ben Isaacs
Executive Producer: Dottie Leonard Miller
Label: Billy Blue Records

“The Girl Who Invented the Wheel”
Artist: Balsam Range
Writers: Adam Wright/Shannon Wright
Producer: Balsam Range
Executive Producer: Mickey Gamble
Label: Mountain Home Music Company

“The Guitar Song”
Artist: Joe Mullins & the Radio Ramblers with Del McCoury
Writers: Bill Anderson/Jamey Johnson/Vicky McGehee
Producer: Joe Mullins
Associate Producer: Jerry Salley
Label: Billy Blue Records

“The Light in Carter Stanley’s Eyes”
Artist: Peter Rowan
Writer: Peter Rowan
Producer: Peter Rowan
Associate Producer: Tim O’Brien
Label: Rebel Records

“Next Train South”
Artist: The Po’ Ramblin’ Boys
Writer: Mac Patterson
Producers: The Po’ Ramblin’ Boys, Dave Maggard, Ken Irwin
Label: Rounder Records

“Take the Journey”
Artist: Molly Tuttle
Writers: Molly Tuttle/Sarah Siskind
Producer: Ryan Hewitt
Label: Compass Records

“Thunder Dan”
Artist: Sideline
Writer: Josh Manning
Producer: Tim Surrett
Label: Mountain Home Music Company

ALBUM OF THE YEAR

City on a Hill
Artist: Mile Twelve
Producer: Bryan Sutton
Label: Independent

Del McCoury Still Sings Bluegrass
Artist: Del McCoury Band
Producers: Del and Ronnie McCoury
Label: McCoury Music

For the Record
Artist: Joe Mullins & the Radio Ramblers
Producer: Joe Mullins
Associate Producer: Jerry Salley
Label: Billy Blue Records

I Hear Bluegrass Calling Me
Artist: Carolina Blue
Producers: Bobby Powell, Tim and Lakin Jones
Executive Producers: Lonnie Lassiter and Ethan Burkhardt
Label: Pinecastle Records

Sister Sadie II
Artist: Sister Sadie
Producer: Sister Sadie
Label: Pinecastle Records

GOSPEL RECORDING OF THE YEAR

“Acres of Diamonds”
Artist: Joe Mullins & the Radio Ramblers
Producer: Joe Mullins
Associate Producer: Jerry Salley
Label: Billy Blue Records

“Gonna Sing, Gonna Shout”
Artist: Claire Lynch
Producer: Jerry Salley
Label: Billy Blue Records

“I Am a Pilgrim”
Artist: Roland White and Friends
Producers: Ty Gilpin, Jon Weisberger
Label: Mountain Home Music Company

“I See God”
Artist: Marty Raybon
Producer: Jerry Salley
Label: Billy Blue Records

“Let My Life Be a Light”
Artist: Balsam Range
Producer: Balsam Range
Executive Producer: Mickey Gamble
Label: Mountain Home Music Company

INSTRUMENTAL RECORDING OF THE YEAR

“Cotton Eyed Joe”
Artist: Sideline
Producer: Tim Surrett
Label: Mountain Home Music Company

“Darlin’ Pal(s) of Mine”
Artist: Missy Raines with Alison Brown, Mike Bub, and Todd Phillips
Producer: Alison Brown
Label: Compass Records

“Earl’s Breakdown”
Artist: The Earls of Leicester
Producer: Jerry Douglas
Label: Rounder Records

“Fried Taters and Onions”
Artist: Carolina Blue
Producers: Bobby Powell, Tim and Lakin Jones
Executive Producers: Lonnie Lassiter and Ethan Burkhardt
Label: Pinecastle Records

“Sunrise”
Artist: Sam Bush & Bela Fleck
Producers: Akira Otsuka, Ronnie Freeland
Label: Smithsonian Folkways Records

COLLABORATIVE RECORDING OF THE YEAR

“Burning Georgia Down”
Artist: Balsam Range with Atlanta Pops Orchestra Ensemble
Producer: Balsam Range
Label: Mountain Home Music Company

“Darlin’ Pal(s) of Mine”
Artist: Missy Raines with Alison Brown, Mike Bub, and Todd Phillips
Producer: Alison Brown
Label: Compass Records

“The Guitar Song”
Artist: Joe Mullins & the Radio Ramblers with Del McCoury
Producer: Joe Mullins
Associate Producer: Jerry Salley
Label: Billy Blue Records

“Please”
Artist: Rhonda Vincent and Dolly Parton
Producers: Dave Cobb, John Leventhal, Frank Liddell
Label: MCA Nashville

“Soldier’s Joy/Ragtime Annie”
Artist: Roland White with Justin Hiltner, Jon Weisberger, Patrick McAvinue, and Molly Tuttle
Producers: Ty Gilpin, Jon Weisberger
Label: Mountain Home Music Company

MALE VOCALIST OF THE YEAR

Shawn Camp
Del McCoury
Russell Moore
Tim O’Brien
Danny Paisley

FEMALE VOCALIST

Brooke Aldridge
Dale Ann Bradley
Sierra Hull
Molly Tuttle
Rhonda Vincent

BANJO PLAYER OF THE YEAR

Gina Furtado
Mike Munford
Noam Pikelny
Kristin Scott Benson
Scott Vestal

BASS PLAYER OF THE YEAR

Barry Bales
Mike Bub
Beth Lawrence
Missy Raines
Mark Schatz

FIDDLE PLAYER OF THE YEAR

Hunter Berry
Becky Buller
Jason Carter
Michael Cleveland
Stuart Duncan

RESOPHONIC GUITAR PLAYER OF THE YEAR

Jerry Douglas
Andy Hall
Rob Ickes
Phil Leadbetter
Justin Moses

GUITAR PLAYER OF THE YEAR

Kenny Smith
Billy Strings
Bryan Sutton
Molly Tuttle
Josh Williams

MANDOLIN PLAYER OF THE YEAR

Alan Bibey
Sam Bush
Sierra Hull
Ronnie McCoury
Frank Solivan

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

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

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

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

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

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

Ronnie McCoury, Vince Gill, Del McCoury

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

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

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

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

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

The finale of the Grand Del Opry

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

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

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

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

Sam Bush and Del McCoury

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

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

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

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

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

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


Photo credit: Chris Hollo / The Grand Ole Opry

MIXTAPE: Mike Barnett’s Favorite Fiddlers

If you want to know who the best fiddlers in bluegrass and old-time are, ask one of the best fiddlers in bluegrass and old-time … right? Here, Mike Barnett rattles off not just a list of songs by great players, but the reasons they are so great. Enjoy his insider’s view.

“Flannery’s Dream” – John Hartford

Records from John Hartford like Wild Hog in the Red Brush and Speed of the Old Long Bow got me really excited about the energy in old-time music. I never got to meet Hartford, but feel a connection to him through his music. He brings a special vibe that I’ve often tried to channel. I’ve heard stories that he used to have a guideline that nobody in his band could repeat their accompaniment/part for more than one section of a song, everyone had to mix up their playing often, which gives his music a certain drive and breath.

“Black and White Rag” – Johnny Gimble

When I heard Johnny Gimble play at Mark O’Connor’s camp maybe 14 years ago, it was so strikingly Texas, so rooted in that tradition. I particularly remember his feel when playing Texas rags captivating me, like here in the “Black and White Rag.” Johnny helped me understand more deeply the true spirit and community of Texas-style music.

“Bound to Ride” – John Hartford, Tony Rice, and Vassar Clements

Vassar Clements invented his own, incredibly unique style of fiddling. The vibrato, silky tone, double stops and slides … it’s like magic whenever he touches the fiddle, and I can tell within two notes if it’s him. This recording of “Bound to Ride” is a great snapshot into Vassar’s unique way of playing around a melody, backing up the vocal, and lifting the energy of a song.

“Dill Pickle Rag” – Buddy Spicher and Vassar Clements

Buddy Spicher is one of the legends, and one of those fiddlers you’ve probably heard but maybe didn’t know it was him. It was Buddy who got me wanting to play second fiddle — the harmony. This recording of Buddy with Vassar on “Dill Pickle Rag” shows some of Buddy’s genius and virtuosity (and Vassar’s!).

“Lonesome Moonlight Waltz” – Kenny Baker

Hard not to mention Kenny Baker here. I listened to his album Kenny Baker Plays Bill Monroe frequently growing up, and I’m still trying to understand those bowings! His playing is so clean, clear, good tone and time, and great melody player.

“Sally Goodin'” – Paul Warren

“Sally Goodin'” was actually the first COUNTRY hit! #funfact It was Tony Trischka who got me listening to Paul Warren when I was about 17. Another one of the legends in bluegrass fiddle, Paul brings a grit and edge that is often lost in modern bluegrass fiddling.

“Estrellita” – Bobby Hicks

Once Bill Monroe was asked if he had a favorite fiddler of those who’d played in his band. Bill said, “I’ve had a lot of fiddlers come through my band, but I believe Bobby Hicks was the truest fiddler I ever had.” Bobby is the double-stop king, and took a lot from what Tommy Jackson did with his single note playing around a vocal and made it his own.

“Back Up and Push” – “Benny Martin

Benny Martin’s double stops, attack, and full-throttle style really resonate with me. The tone he gets in this version of “Back Up and Push” makes it seem as if he’s got a brick tied to the end of his bow. And when he gets to the shuffle, it’s clear that so many contemporary fiddlers have been heavily influenced by how he did it.

“Raggedy Ann” – Curly Ray Cline

If you’re wondering who ever had the most fun playing the fiddle, all you need to do is search “Curly Ray Cline Orange Blossom Special” on YouTube, and you’ll find that it was in fact Curly Ray Cline! He’s most known for his work with the Lonesome Pine Fiddlers and Ralph Stanley and is as much a treat to watch as to listen to. I love his note choice and where he plays in the beat — what he does with the time.

“Fire in the Mountain” – Scotty Stoneman and Bill Emerson

Scotty Stoneman was a wild man of a fiddler. His double stops and slides, and aggressive approach to the fiddle, are some things I’ve always gone and checked back in with in my listening. You can hear some of what I’m talking about with Scotty’s sound in the recording of him playing “Fire in the Mountain.”

“Learnin’ the Blues” – The Del McCoury Band

The Del McCoury Band is one of the finest — if not THE finest — bluegrass bands still in the business. One G run from Del will set you straight for the whole year. Jason Carter has got the old bluegrass sound, and I love how much he digs in and goes for stuff, and pulls so much sound and soul out of the fiddle.

“Pickin’ the Devil’s Eye” – Bruce Molsky

I’ve always loved this recording Bruce Molsky made with Rushad Eggleston, Darol Anger, and Michael Ducé of “Pickin the Devil’s Eye.” The groove masters! Or maestros! Bruce’s propulsive bowing, groove, and reverence for tradition is really remarkable. He’s basically a one man band, and hearing him here is transcendent.

“Buffalo Nickel” – Béla Fleck and the Flecktones

Stuart Duncan has played on countless recordings so it was hard to choose just one, but Béla Fleck’s Bluegrass Sessions was one of the most influential for me, and a major landmark in acoustic music. “Buffalo Nickel” is gorgeous, and Stuart plays the melody with so much taste, tone, feel, soul, intonation … all the good things. To me, Stuart has always been sort of a perfect combination of all the things I love about fiddling.

“Future Man” – Strength in Numbers

Mark O’Connor is one of the most versatile players on the planet, combining so many styles and influences so flawlessly to create his own incredible voice. Telluride Sessions by Strength in Numbers is another must-have album. The way everyone plays together, and Mark’s precision and virtuosity … amazing. His solo here on “Future Man” is a highlight — a glimpse of what Mark is capable of.

“Ducks in the Millpond” – Aubrey Haynie

Aubrey Haynie is the initial reason why I got into bluegrass. His sound made me want to learn how to do that. One of my favorite fiddle albums out there is Aubrey’s The Bluegrass Fiddle Album. I like this cut of “Ducks on the Millpond” — a really cool instrumental that weaves between three sections. Aubrey mostly plays the melody with so much tone and taste, and varies it slightly toward the end.

“Sweet Georgia Brown” – Billy Contreras

Not everyone is familiar with the fiddle stylings of Billy Contreras, as his genius is less substantially documented. I think he is the greatest improviser on the violin to ever live, and a master when it comes to bluegrass, swing, modern jazz… he can do it all. His brilliant, almost mathematical mind for music, combined with his deep heart for it all, is endlessly inspiring.

“Lee Highway Blues” – Darol Anger and Stuart Duncan

Growing up, I listened to so much music that Darol Anger is responsible for: Republic of Strings, duo with Mike Marshall, his own projects, his work with the David Grisman Quintet, etc. Besides his amazing lead playing, he is known for paving new roads for the violin as a rhythm instrument with his infectious groove and development of the fiddle chop. His album, Diary of a Fiddler, has so many thoughtful duets with great fiddlers of different styles.

“It Don’t Mean a Thing” – Stuff Smith

Matt Glaser, who turned me onto so much priceless music during my time at Berklee College of Music, introduced me to Stuff Smith. I love Stuff’s emphasis on groove and blues, and the grit and directness in his sound.


Photo credit: Justin Canerer