LISTEN: Benjamin Tod, “The Paper and the Ink”

Artist: Benjamin Tod
Hometown: Muhlenberg County, Kentucky
Song: “The Paper and the Ink”
Album: Songs I Swore I’d Never Sing
Release Date: September 23, 2022
Label: Anti-Corp Music

In Their Words: “I wrote this song about the notebook passed down to me from my late friend Nicholas Ridout. It was one of his dying wishes for me to carry on his music and his wife gifted me his last notebook that held 4 entries from him. It is my prized possession and it keeps me dedicated to the art and craft of songwriting.” — Benjamin Tod

For Bluegrass Fans, Kentucky Offers a Commonwealth of Tourist Attractions

Kentucky music is currently having a moment, but it’s far from the first time. Before artists like Tyler Childers, Sturgill Simpson, and Chris Stapleton made it big, folks like Bill Monroe, Loretta Lynn, Keith Whitley, Crystal Gayle, Tom T. Hall, Patty Loveless, Ricky Skaggs, Dwight Yoakam, and countless others helped build up the Bluegrass State’s rich musical foundation spanning bluegrass, country music, and more.

With so much talent having originated from Kentucky, there’s no shortage of destinations around the Commonwealth to consume this musical history. From the Mountain Arts Center in Prestonsburg in the southeast to the Muhlenberg Music & History Museum in the west, Lexington’s Red Barn Radio and beyond, every nook, cranny and holler throughout the state is full of destinations beckoning to be explored by music fans. We’ve compiled more than a dozen of these attractions below in an epic road trip that could be called the Kentucky Music Trail.

Central Kentucky

Opened in 2002, the Kentucky Music Hall of Fame & Museum in Mount Vernon features exhibits showcasing talent from throughout the state ranging from country and bluegrass trail blazers like Bill Monroe, Loretta Lynn and Keith Whitley along with Black Stone Cherry, The Kentucky Headhunters and Exile, among others. The museum is open from 10 a.m.-5 p.m. daily with an admission of $10.

 

 

Also sitting on the same 55-acre property is the Renfro Valley Entertainment Center. First opened in 1939, the massive barn features two unique performance halls that host country, gospel and bluegrass music annually from April through December. Additionally, the venue has been the home of Renfro Valley Gatherin’, a syndicated radio program airing on Sunday nights at 9:30 p.m. EST, since 1943. The show is the third oldest continually broadcast radio program in America and the second longest continuously running such program featuring country music, behind only the Grand Ole Opry.

Back inside the Hall of Fame & Museum, one of the most prominent exhibits is one showcasing Woodsongs Old-Time Radio Hour, an internationally syndicated radio program hosted by folk musician Michael Johnathon in front of a live studio audience at the historic Lyric Theatre in Lexington on most Monday nights at 7 p.m. Launched in 1998, the entirely volunteer-run production spotlights musicians across all genres performing their songs and sharing the stories behind them. Now over 1,000 episodes in (and counting), the program has featured artists like Sam Bush, J.D. Crowe, The Black Opry, Riders in the Sky and Billy Strings. Each show also features a “Woodsongs Kid,” helping to encourage and grow the next generation of Kentucky songwriters.

Another radio program based in Lexington and featuring talent from around Kentucky, Appalachia and the southeast with a similar mix of conversation and performance is Red Barn Radio. Founded in the early 2000s at Renfro Valley’s little red barn (from which the show draws its name), co-founder Ed Commons helped lead the show’s move to its current home inside LexArt’s headquarters in downtown Lexington in 2005. The show has taken off since moving there, hosting everyone from Sam Bush to J.D. Crowe, Tom T. Hall, John R. Miller, Arlo McKinley, Sierra Ferrell, Sunday Valley (led by a young Sturgill Simpson) and Tyler Childers. In the case of Childers, his performance on the show became so revered that he ended up releasing it as a live album, Live on Red Barn Radio I & II, in 2016.

Eastern Kentucky

Out east on the campus of Morehead State University you’ll find the Kentucky Center for Traditional Music (KCTM), a school teaching the next generation of bluegrass and old-time musicians the nuances, history and business side of the music. Founded in 2000, the center offers the only Bachelor of Arts in Traditional Music in Kentucky along with a minor in traditional music. It also features an extensive digital archive of Kentucky and Appalachian traditional music, a recording studio, sound-proofed classrooms and rehearsal spaces. Alumni from the school include Linda Jean Stokley and Montana Hobbs of The Local Honeys, current professor and pedal steel player for Nicholas Jamerson, Thomas Albert; Lauren and Leanna Price of The Price Sisters, and current Assistant Director, Archivist, Instructor and member of Tyler Childers’ band, Jesse Wells.

 

 

Just over an hour southeast of the KCTM you’ll find the U.S. 23 Country Music Highway Museum. Located just off of U.S. 23 in Staffordsville just north of Paintsville, the museum features memorabilia from Tyler Childers, Chris Stapleton, Loretta Lynn, The Judds, Patty Loveless, Dwight Yoakam, Billy Ray Cyrus, Tom T. Hall and other artists hailing from the counties that the highway passes through in Eastern Kentucky. The area known as the “Country Music Highway” is distinguished as having the highest number of charting country musicians calling the area home per capita than anywhere else in the world. Admission to the museum is $4.

After another half-hour drive through the area’s Appalachian mountain back roads and hollers you’ll come across Loretta Lynn’s birthplace at Butcher Hollow in the old coal mining community of Van Lear. The humble mountainside cabin features four rooms to explore—one bedroom for Loretta, younger sister Crystal Gayle and her five other siblings; a bedroom for her parents, a tiny kitchen and a cozy dining room—all covered wall to wall in pictures and other collectibles from the Coal Miner’ Daughter’s childhood and life as a musician. Tours are $5 and are typically guided by members of Lynn’s family who still call the holler home.

 

 

About a mile up the road from Lynn’s home you’ll find Webb’s Grocery, a general store constructed by the Consolidated Coal Company in 1918 when Van Lear’s coal output was near its peak. In addition to stocking ice cold Coca Cola, Mallo Cups and other quick bites the shop also is stuffed with tons of pictures of Loretta Lynn and her family including a massive banner reading “Welcome Loretta Lynn.” A journey to Butcher Hollow offers not only an incredible look back on the upbringing of one of country music’s most iconic voices, but also a look back on the mountain towns ravaged by the boom and bust of the coal industry that back in the day helped to power our entire country.

Another 30 minutes south of Van Lear is the Mountain Arts Center (MAC) in Prestonsburg. Opened in 1996, the building features a 1,000-seat concert hall, a state-of-the-art recording studio, loads of rehearsal space and will soon be the home to the TV and radio headquarters of CMH23, an organization dedicated to educating people on the history of artists from the Country Music Highway and giving a platform to up-and-coming musicians from the region. According to Executive Director Joe Campbell, the MAC and CMH23 are also partnering with The Country Network on Live From CMH23, a show that will focus on rising artists from around the state.

 

 

The MAC is also the home of a family variety show called Billie Jean Osborne’s Kentucky Opry, as well as the Kentucky Opry Jr. Pros. (an educational program for aspiring entertainers ages 6 to 18) and the Appalachian Arts & Entertainment Awards. Kentucky Opry alumni include Chris Stapleton’s longtime bassist J.T. Cure, Jesse Wells, Tyler Childers’ piano/keys player Chase Lewis, Brit Taylor, Marleena Vanhoose and Rebecca Lynn Howard.

Western Kentucky

Just under two and a half hours west of Lexington via the Western Kentucky Parkway is Rosine, a small town in Ohio County with its claim to fame being the birthplace of the Father of Bluegrass, Bill Monroe. In the heart of Rosine, you’ll find several landmarks commemorating the artist starting with the Bill Monroe Museum, which houses countless instruments, outfits, fan letters, photos, personal furniture and even Monroe’s personal Cadillac DeVille in a constantly growing and evolving collection. The museum is open Monday-Saturday from 10 a.m.-4 p.m. Admission is $3-5.

 

 

Less than a mile up the road from the museum is the Rosine Barn Jamboree, which hosts free bluegrass jams every Friday night from mid-March through mid-November. A stone’s throw away from the barn sits the Rosine Cemetery, where you can’t miss the grave of Monroe. Featuring an obelisk-style monument and adorned in flowers, Monroe’s grave stands tall over the quaint hillside cemetery as, even in death, he watches over the town that helped to define him. The cemetery also includes several of Monroe’s family members including Birch and Charlie Monroe and Pendleton (Uncle Pen) Vandiver.

Also nearby is Jerusalem Ridge, Bill Monroe’s homeplace. On the compound you can see Monroe and other family member’s childhood homes. Restored in 2001, Bill’s home features guided tours Monday-Saturday from 9 a.m.-4 p.m. and Sundays from 1-4 p.m. The site also features several stages and plays host to the Jerusalem Ridge Bluegrass Celebration, a festival taking place annually in September with some of the region and country’s best traditional bluegrass bands.

Less than an hour west of Rosine in Central City you can learn about icons like John Prine, The Everly Brothers, Merle Travis, Ike Everly, Mose Rager and Kennedy Jones at the Muhlenberg Music & History Museum. In addition to the traditional museum the building features a 1950s era jukebox serving up hits from the aforementioned artists that call Muhlenberg County home along with a towering Everly Brothers monument just outside. It also houses the Kentucky Motorsports Museum.

 

 

Just under an hour north of Central City is the last stop of our Kentucky Music Trail tour at the Bluegrass Music Hall of Fame & Museum along the banks of the Ohio River in Owensboro. The latest jewel of Owensboro’s transformed downtown, the $15.3 million building opened in October 2018 not only houses the museum and hall of fame, but also the 447 seat Woodward Theatre, a gift shop and several private event spaces along with a 1,500-seat outdoor amphitheater to boot.

When it comes to the museum, the biggest of bluegrass fans could easily spend a day diving into everything the facility has to offer. A self-guided audio tour will inform you on the ins and outs of each exhibit, the roots and impact of artists to bluegrass music, the nuances of the music and more, helping to fully immerse and indulge visitors in the music. On display are items from the likes of Rhonda Vincent, Bill Monroe, Billy Strings, Sam Bush, The SteelDrivers’ fiddler Tammy Rogers, Flatt & Scruggs, The Steep Canyon Rangers, J.D. Crowe, Hee Haw, bluegrass’ cinematic coronation O Brother, Where Art Thou? and more.

 

 

Other facilities in the museum include a pickin’ parlor where guests can play on pre-tuned guitars, mandolins, banjos, upright bass and more along with a transcribed and searchable interview database provided in partnership with the University of Kentucky’s Louie B. Nunn Center for Oral History, a massive display honoring banjo maker Jimmy Cox and the Hall of Fame itself. The prestigious space contains 68 plaques honoring those instrumental to bluegrass from its roots to its golden age and everywhere in between. Much like the museum, it offers a tremendous look back at the genre’s roots, where it is now and how it got there.

The same could be said for all of these destinations. I was already in love with my home state prior to visiting all of these places, but after having done so I’ve grown an even greater appreciation for the state, its musical roots and trailblazing artists. I’m confident that you will too upon making the trip for yourself.

WATCH: Tyler Childers, “Angel Band (Jubilee Version)”

Artist: Tyler Childers and The Food Stamps
Hometown: Lawrence County, Kentucky
Song: “Angel Band (Jubilee Version)”
Album: Can I Take My Hounds to Heaven?
Release Date: September 30, 2022
Label: Hickman Holler/RCA Records

In Their Words: “I grew up Baptist and I was scared to death to go to hell. And a lot of that stuck with me. Filtering through that and trying to find the truth, and the beauty, and the things you should think about and expelling all that nonsense has been something I’ve spent a lot of time on. This is a collection that came together through those reflections. In a lot of ways, this is processing life experiences in the different philosophies and religions that have formed me, trying to make a comprehensive sonic example of that.

“Working with the same song three different ways is a nod to my raising, growing up in a church that believes in the Holy Trinity: The Father, Son and Holy Ghost, and what that means. The Father being the root, the place from which everything comes from, and The Son coming to free up some of those things, allowing it to be more open and welcoming. And then you have the Holy Ghost once The Son is gone — that feeling that’s supposed to keep us sustained until we are reunited, in whatever way that looks.

“Message wise, I hope that people take that it doesn’t matter race, creed, religion and all of that like — the most important part is to protect your heart, cultivate that and make that something useful for the world.” — Tyler Childers

Editor’s Note: Conceptualized as a three-part project, the eight songs on Can I Take My Hounds to Heaven? are presented in a trio of distinct sonic perspectives — Hallelujah, Jubilee and Joyful Noise. Produced by Childers and The Food Stamps, the collection features a mix of new and traditional songs and was primarily recorded in guitarist James Barker’s home studio. The Hallelujah version captures Childers and the core band playing live in a single room over the course of two days, while the Jubilee version builds on it with the addition of strings, horns, background vocals and an array of worldly instruments such as dulcimer, mbira and sitar. The Food Stamps are: Barker (pedal steel), Craig Burletic (bass), CJ Cain (guitar), Rodney Elkins (drums), Chase Lewis (keyboards) and Jesse Wells (guitar, fiddle).


Photo Credit: Emma Delevante. Pictured (L-R): Tyler Childers and The Food Stamps (Jesse Wells, James Barker, Tyler Childers, Chase Lewis, Craig Burletic, Rod Elkins)

LISTEN: Bendigo Fletcher, “Pterodactyl”

Artist: Bendigo Fletcher
Hometown: Louisville, Kentucky
Song: “Pterodactyl”
Release Date: July 22, 2022
Label: Elektra Records

In Their Words: “‘Pterodactyl’ was a kind of self-soothing progression that gradually bloomed with instrumentation and textures in the studio. And the live performance is an opportunity for Andrew, Evan and me to harmonize together for almost every word of a song, which is really refreshing and fun to exercise the special chemistry we’ve found over the years. The repetitive rhythm feels like walking to the park in my neighborhood and just trying to feel peace. I spent a lot of time during the first few months of the pandemic at Cherokee Park in Louisville thinking about geology and the layers of earth that touch our present lives and connect us to our ancestors. Ultimately, it’s a reflection on the inspiration I take from the feeling of togetherness in both my relationship and in humanity in general.” — Ryan Anderson, Bendigo Fletcher


Photo Credit: Tess Fulkerson

Bourbon & Beyond 2022: Full BGS Bluegrass Stage Lineup Announced

For the fourth year, BGS is thrilled to be back in Louisville for another round of Bourbon & Beyond to be held September 15-18, 2022!

In addition to featured chefs, local food stands, and seemingly unending stalls of bourbon distilleries, the lineup includes mainstage sets from the likes of Jack White, Brandi Carlile, Chris Stapleton, The Doobie Brothers, Caamp, Yola, Jason Isbell, Charley Crockett, and many more, plus four days of bluegrass goodness on the BGS Stage located inside the Bourbon Tent.

Check out the complete Bluegrass Stage schedule below:

THURSDAY
Tyler Boone
Alex Leach Band
Hogslop String Band
Gary Brewer & the Kentucky Ramblers

FRIDAY
Circus No. 9
Tray Wellington
Missy Raines & Allegheny
Hogslop String Band

SATURDAY
Missy Raines & Allegheny
Laney Lou & the Bird Dogs
Jon Stickley Trio
Molly Tuttle & Golden Highway

SUNDAY
Jon Stickley Trio
Bella White
Jake Blount
Sierra Hull

Purchase tickets and discover more about B&B 2022 at bourbonandbeyond.com

LISTEN: The Watson Twins, “Two-Timin'” (Ft. Butch Walker)

Artist: The Watson Twins
Hometown: Louisville, Kentucky
Song: “Two Timin'”
Release Date: May 20, 2022

In Their Words: “We wrote this song while living in Los Angeles. Being out on the West Coast away from our family and Kentucky roots, there were times we would get homesick. Writing songs that had that familiar old-school country sound were comforting and indulgent in the best way! ‘Two Timin” never made it on a previous album as the vibe just didn’t seem to fit on our earlier records. After the release of DUO (2018, The Orchard), which leaned a little further into our Americana sound, we started playing this song as part of our live set. When recording ‘Two Timin” it was important to capture the energy we felt on tour, so we decided to head into our friend Butch Walker’s new studio in Nashville and play it down live. Butch jumped in on background vocals and acoustic guitar and the outcome is a high-energy honky-tonk toe-tapper! We’re excited to record more songs this summer for a full-length release.” — The Watson Twins


Photo Credit: Elizabeth O. Baker

Basic Folk – S.G. Goodman

S.G. Goodman’s Kentucky upbringing is front and center in a lot of her songwriting. She is an artist concerned not just with her roots, but also with what it means to stay and invest in community even when it is hard. We started our conversation digging into the DIY music scene that inspired S.G.’s Jim James-produced debut album, Old Time Feeling.

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Goodman’s new record, Teeth Marks, portrays the scars of love and grief. It is a complex, rock-inflected album rooted in relationship. Whether telling a story of romantic love, playfully establishing a connection between the artist and audience, or interrogating a community’s attitude toward the “other,” these songs made me think long and hard about what we are really doing when we talk to each other.

S.G. was also down to talk religion and politics, addressing which issues she wishes more artists would discuss in their works. She is a serious person, a singular artist, and a fascinating person to talk with.


Photo Credit: BK Portraits

Ian Noe’s Musical Inspiration Begins With the Sounds and Characters of Kentucky

Kentucky musician Ian Noe is a writer of experience and an experienced writer. An appreciation for the people, places, and moods in his hometown of Beattyville – first introduced with striking emotional depth on Noe’s 2019 debut, Between the Country – remains a narrative cornerstone on River Fools and Mountain Saints. Yet this new collection reveals more self-assuredness around his artistic decisions.

Not limiting himself to the acoustic folk framework leaned upon for Between the Country, Noe (pronounced “NOH”) and producer Andrija Tokic broadened the scope of which instruments would best support Noe’s stories this time around. One of the most notable shifts in tonal prominence comes via the electric guitar. Heard in the latter halves of songs like “Burning Down the Prairie” and “P.O.W. Blues,” the electric guitar is more than just present. It holds a central role, giving Noe’s songwriting a sonic swagger and a heavier musical temperament. Additional coloration and emotional influence atypical of his rootsy musicality comes by way of a French horn solo and the surprising flash of reverse-phased piano heard on “One More Night.”

All this being said, for Noe, the foundation for a song doesn’t start with an instrument, or even a memorable personal story. Instead, his songwriting fire often ignites with a hook and a particular set of chords. While the stories shared on River Fools and Mountain Saints present an intriguing peek into the human condition, what gives this album its most unexpected and fascinating layer of substance is Noe’s approach to composition and production. It’s one thing to verbally recount a directly lived or socially common experience. It’s another matter entirely to determine the path a melody takes – or how that melody ought to be transformed in size, space, dynamics, or sonic shape – based on the pursuit of reflecting one’s own perceptions of an experience.

The very sounds and sonic character of River Fools and Mountain Saints were chosen in such a way that they too can serve as a window into how Noe sees the world, giving the album a whole new autobiographical quality.

BGS: What kind of awareness did you have of bluegrass when you were young and getting into music? What do you remember about the impression that style made on you at the time?

Noe: I got my bluegrass fix from my grandma. I took a lot of road trips with her and it was Ralph Stanley. It was Bill Monroe. It was mainly those two. But she was a huge Ralph Stanley fan. I’d say it definitely made up a good 40 percent of what I was hearing when I was first coming up. I mean, the first thing that made me want to really play was Chuck Berry, specifically “Johnny B. Goode” – it’s the first song I ever learned how to play. Hank Williams’ “I Saw the Light” was number two, and with “The Wildwood Flower” I learned how to pick.

I was on that for a long, long time, until I got into John Prine. You want to talk about a song that has definitely been captured by the bluegrass world, it’s definitely his song “Paradise,” which has an amazing bluegrass feel to it. So I’d say after I figured out that I wasn’t going to be able to play like Chuck Berry, which was my first big letdown around the age of 6 or 7 – my fingers just wasn’t big enough to play that those famous leads, those famous licks … that’s when I started getting into Bob Dylan’s Bringing It All Back Home, which was the first album I ever bought and I ever owned. I just started getting really into people who could write their own songs and move me in that way.

Much of River Fools and Mountain Saints conveys its stories through character narratives. How did you create and subsequently shape the characters in these songs?

With each song, I was really trying to make it so when you took any one of these songs off this album and set it aside, that it could stand on its own. I definitely use “river” and “mountain” a lot on this whole thing, obviously. But I did want to make it to where they stood alone. Some of the songs just came, and some of them I had to work on for a second. But the very first thing that I had was the album title itself, before I even had a song like “River Fool” or “Mountain Saint.” That was a blessing because if I can get a good title, then I can see something in it, you know? I can see a vision in it, to where I’m able to put it together.

And I like character songs anyways. I found it pretty fun to work on. It was fun to work on a song like “Ballad of a Retired Man.” And as much as I wanted to make the characters of each song stand alone, I did the same thing with the music. “P.O.W. Blues” is a lot different from “River Fool” or “Ballad of a Retired Man.” So, I didn’t concern myself too much with, “Well, is this going to be too rockin’ to go with ‘River Fool’?” I just wanted to make sure that each song stood alone.

That’s quite the fine line to walk. On one hand, any track can thrive on its own, but they fit together so seamlessly that you have this cohesive flow, both narratively and musically.

Yeah, and you might have just a short little melody – not even a bridge, not a chorus, nothing – and you remember that. It’s not always easy. I mean, this album originally wasn’t even gonna be called River Fools and Mountain Saints. I had a whole completely different album recorded and shelved – it just wasn’t doing it for me. It wasn’t any of these songs; it was a whole bunch of different stuff. But this title just came to me and I was like, “That’s good enough to stick on the front of the cover. So, I think I can do something.” And that’s the little formula that I’ve made up. Even if nobody else gets it, and even if it’s not a real thing, it helps me finish the [music].

How did you and/or Andrija Tokic discern some of the production decisions to reflect your vision of life in Kentucky?

It’s whatever I thought those characters or those places sounded like. … A song like “River Fool” is gonna sound like that because that’s what somebody sitting around a river sounds like to me. If I had to guess what that sounded like, that’s what it would be. The real openness of a song like “Ballad of a Retired Man” leaves you enough space to when you produce it like that, that you can really feel something about it, and the lyrics connect with that type of production because you want it to have air to breathe. And especially in a song like that where the lyrics suit that mood.

The music is just however I think it’s supposed to sound and that’s just how I’m going to do it. Like, even though the little drone-ness of a song like “Appalachia Haze” – that’s, to me, what a rainy day in Kentucky sounds like. That’s the way I hear it. So that’s why I produced it that way.

On “’The Road May Flood,” I was trying to capture a sound like when you see old cars, like maybe mid ‘70s, at a grocery store. Pictures of those older days – especially in Eastern Kentucky or any place like that. That’s what I thought something like that would sound like. I just take the picture of whatever the song is, and I have to look at the picture, and I think, “What does that sound like?” I try to get as close to that as I can. Luckily, I enjoy sound effects. I didn’t get to use as many on this album as I did on Between the Country but sound effects are important. Like in the beginning of “Strip Job Blues,” you hear that truck going. I always knew that song was going to be closer to a bluegrass style – the same with “River Fool.” I stick the character in my head and I have to figure out what he, or she, or they sound like.

What would you say makes the spirit of Kentucky unique from other rural, community-driven places in the U.S.?

I’m not so sure if it is as unique as what you might think as far as lived experience, you know? I can only speak for me growing up there, and loving growing up in Eastern Kentucky, and just honestly always having a life full of music and loving where you grow up and come from, and the people you live around. It’s not that hard to write about when it’s like that. But I’m not so sure that wouldn’t be that different from any other rural place.

As you were talking about being transported to somewhere you’ve never been, I felt the exact same way the first time I heard Neil Young sing “Helpless.” “There’s a town in North Ontario …” I’ve never been to North Ontario. Still haven’t. But it sounded like someplace that I was familiar with and he made you feel like you do. So, it was important for me to get a feeling like that, specifically out of the song “River Fool,” which I’m pretty sure is my favorite song on this album.

But you know, struggles are struggles. They really are, no matter where you’re at. I just try to put the happiness and the bad times in the literal geography of where I’m from, which is the mountains. That’s kind of how I think about it. Let’s take these day-to-day lives, and the stuff that you know, and let’s stick it around all this geography and let’s weave all this stuff together because it goes hand in hand as far as I’m concerned.


Photo Credit: David McClister

BGS 5+5: The Wooks

Artist: The Wooks
Hometown: Lexington, Kentucky, and Nashville, Tennessee
Latest Album: Flyin’ High

Which elements of nature do you spend the most time with and how do those impact your work?

I fish and kayak a lot, both here in Kentucky and elsewhere. Fishing and the time spent with friends doing so has certainly inspired me to write. Sometimes being outside and on the water helps me clear my mind for creativity, and sometimes the inspiration is more direct. “Mudfish Momma” is inspired by one of my favorite places to fish in Florida. Mudfish are also known as bowfin and are toothy creatures that often cut your line with their teeth, leaving you wondering if it was the one that got away or just another mudfish. My friend Ray Smith and I wrote the song together, and after telling Ray about this cool fishing spot and the mudfish that sometimes come to visit, he came up with the idea to make the Mudfish Momma a swampy Florida version of a mermaid. — CJ Cain

What is your favorite memory of being on stage?

Probably the first time I was ever on a “stage.” I had been playing mandolin for a couple of months and was really starting to get into it. A family friend called my mom to tell her that there was a fall bluegrass festival in a little rural community about 20 miles from where we lived. My mom took me and my brother to the park/fire station in Letona, Arkansas, where there was a flatbed gooseneck trailer set up with a bunch of what I’d assume were Shure SM57s (the international microphone of bluegrass). There was an open mic style jam and a group of pickers we had just met invited us to come up and play some tunes with them. That was the first time I’d ever heard myself back through a microphone and monitors and it was enough to get me hooked. That memory still stands out very vividly. — Harry Clark

What other art forms influence your music

I’m a huge fan of movies, and have been as long as I can remember. I love movies for the same reasons that everyone loves movies; it’s the thrill of being taken to another place and living a life other than our own for a brief moment, and perhaps returning to reality with some new perspective, knowledge, empathy, etc. I think a great song or composition can do that, too. When I write a song or instrumental piece, I want it to take the listener to another place, in a similar way that a movie would. Sometimes when I’m stuck writing a song or composition, I try to imagine a scene in a movie that might go along with the piece I’m writing. It usually helps to spark new ideas and make the music more evocative. Both “Virgil’s Prayer” and “Madison Chimes” came from this approach. I wrote “Virgil” one night after watching a few episodes of the Netflix show Ozark. The somber cinematography and dark subject matter were fresh in my mind and that song just kind of appeared as a result. I wrote “Madison Chimes” while driving around on a dark and spooky summer night in Madison, Tennessee, and that tune is basically just the soundtrack I imagined for that evening. — George Guthrie

What has been the best advice you’ve received in your career so far?

I have been fortunate to spend a good deal of time around my friend Tyler Childers, and have learned a great deal from him. He never said this directly but I have learned from writing with him and listening to his songs — that you not only can, but you should write about the people you have in your life that are inspiring to you. Their life story or simple daily life circumstances can make for wonderful storytelling songs. You can invoke a philosophy or thought through those stories in a more effective way than just spewing out lyrics that sound like you got something figured out. A good example of one of Tyler’s songs that does this is “Matthew,” a song about his brother-in-law and friend, and one that informed my creativity when I wrote “Flyin’ High.”CJ Cain

Which artist has influenced you the most and how?

One of my favorites is Del McCoury. I’ve been listening to him and his band since I was an adolescent learning about bluegrass. Del keeps his core sound rooted in traditional bluegrass with both his vocal style and band dynamics while having the ability to reach new audiences with songs that aren’t inside the box of traditional bluegrass. A few examples of this are Tom Petty’s “Love Is a Long Road,” Robert Cray’s “Smoking Gun,” or the Richard Thompson ballad “1952 Vincent Black Lightning.” All three songs are from very different artists with contrasting styles. This has given Del different reaches in the music world and why it’s not uncommon to go to a Del McCoury Band show and see an audience of diehard traditionalists standing next to deadheads. His ability to bridge that gap between fans is outstanding. — Harry Clark


Photo Credit: Carrie Wilson/CW Photography

LISTEN: Rhyan Sinclair, “Gasoline in the Morning”

Artist: Rhyan Sinclair
Hometown: Lexington, Kentucky
Song: “Gasoline in the Morning”
Album: Letters to Aliens
Release Date: March 4, 2022
Label: Little Haunted Girl Records

In Their Words: “During the writing of this album, I was working through past trauma in therapy. That experience strongly informed my writing for this album, and I think that’s especially present on ‘Gasoline in the Morning.’ The song, for me, is about mental health, its upkeep, and ultimately, reevaluating what you allow to propel you forward…what you use as ‘fuel.’ It’s easy to get caught up in the speed of life, sometimes to the point where you’re running on fumes, leaning on old habits. I think there’s a hesitant hope within the song. It’s that universal feeling of trying to attain some sort of balance within life, and just not quite knowing what steps to take to get there. Some days that balance feels more elusive than others.” — Rhyan Sinclair

Rhyan Sinclair · Gasoline In The Morning

Photo Credit: Julian Karpinski