Kristin Scott Benson and Wayne Benson Finally Find the Time for a Duo Project

Working in two separate bluegrass bands, Kristin Scott Benson and Wayne Benson normally stay busy on the road with about a hundred shows a year. However, when the COVID-19 pandemic hit, the pause on all live performances “created an opportunity as far as time for the two of us,” Wayne said.

Kristin, who has been named the IBMA’s Banjo Player of the Year five times, plays with the Grascals, while Wayne is the longtime mandolinist for Russell Moore & IIIrd Tyme Out and runs a YouTube educational channel called Wayne’s World of Mandolin. The couple, who have been married for more than two decades, have rarely shared the same stage, nor have they done much recording together. Their packed schedules, plus raising their son, didn’t leave a lot of time and headspace to think about collaborating and even talking much about music.

“So all of a sudden, we’re at home and we just started talking about different songs and who we thought would be a good voice for that song,” Wayne continued. “And the next thing you know, there was enough discussion that there was a record there.”

A melding of the artists’ styles and taste, that record is the couple’s first full-length creative project together and their debut as Benson. Kristin said the project pushed each of them artistically, in the best kind of way, and gave them the chance to record songs and try things they might have not gotten to otherwise.

“We’re dyed-in-the-wool, traditional bluegrass players at our heart, that’s our deepest roots,” Kristin said. “But his instrumentals can lean very forward and be a little bit more on the progressive side than the ones I typically write — I’m more of a traditional-style banjo player. So if you look at this record, it’s a balance between who he is and who I am.”

BGS: How did the collaboration, which began while in pandemic isolation, take shape?

WB: It would just happen in moments when the subject would come up and we would talk about it. We never really scheduled time that we were going to put into it, never had to. If we were trying to make it and there had never been COVID, it would have been more of a process. But it just fell into place. A lot of it did, [including] the album cover, that “pick your poison” thing that’s on the window right behind where I’m sitting. And when we looked at those pictures that day, it was like, that’s got to be the name of the record because it is about musical diversity.

It has this song “Red Mountain Wine,” which is like a straight-ahead, you know, three chords and a cloud of dust kind of song. And then there’s the far more contemporary-sounding things. And then some of the instrumentals that I wrote are right outside the edge of the bluegrass umbrella. We talked about how we felt like all of that could come together because we live in a world now where most people are never going to purchase a physical copy of the record. People stream what they want to hear. So I think you can get by with this kind of an approach more so now than ever before.

Was that desire for a diverse array of music there from the beginning or did that evolve as things went on?

WB: I think it was inevitable because we have different tastes in music and different things that we feel comfortable with, and finding something that works that we felt like it was in our wheelhouse.

KSB: I’ve done banjo records; some were all instrumental and some also had vocals, like the last record I did was called Stringworks and it was half and half. Then Wayne has a mandolin CD of all original instrumentals. And if you look stylistically at those records, this album is a little bit in between, and part of the difference is just creatively.

WB: We each stretched in different directions, more so than if I would have been doing just a solo project for myself. I would have recorded all instrumentals. And Kristin has this real gift for finding material and then pairing it with a singer that would be comfortable with the particular song.

The first single released from the album was “Conway,” an instrumental written by Wayne years ago. Tell me about the story behind that song and why that was the tune to lead with in announcing this new creative endeavor.

WB: I was really surprised [the record label Mountain Home] wanted it to be an instrumental. But I think it was a good thing to warm people up to the project. And it’s really weird because I wrote that tune probably 15, maybe even more, years ago. Conway, South Carolina, is the town that that tune is named after, like in the tradition of Bill Monroe, when you have “Louisville Breakdown” or “Pike County Breakdown,” all these tunes that are basically just a location that they happen to be in, or that it reminded them of, or whatever. It was, to me, a little bit scary for that to be the first thing because it was something from so long ago. The energy of writing that or pouring anything into it, I had totally forgotten about, where normally when you’re recording something you have these recent memories of caring about it that much. And all of a sudden, this song is going to be the flagship.

KSB: It’s a groovy track though. Wayne said that I had a knack for finding vocal songs that worked well with bluegrass. Well, I think Wayne has a knack for creating simple, hummable melodies, and then arranging those, employing them in a way that you can stretch out and play different things. One of the things that I like about musicianship is when you can grow a simple idea and do a lot of different things with it. And if you take “Conway,” for instance, it was a pretty happenin’ little demo that he did. The nugget is approachable and accessible to anybody’s ears… It’s the simple melody, but a lot of groove and is super fun to play, that stuff when it’s all about the feel. I had a ball [playing it]. And as for the first song released, I hope it makes people feel good. And it’s been interesting to get to pull some of these tunes that Wayne wrote long ago and get to play them.

WB: That was written not too long after [our son] Hogan was born. That tune is the spirit of that season; having a baby that’s that small and everything that that brings out emotionally. And tunes should represent those seasons of your life.

The second single from the album was a cover of Matthew West’s “Oh Me of Little Faith,” featuring your church friend Heath Williams on vocals. Why did you want to include this song and how does it speak to each of you?

KSB: This was my favorite song.

WB: It’s my favorite track, too.

KSB: I lost a first cousin, and he was not much older than me. At the funeral, they played a Matthew West song. I’m tuned into some contemporary Christian music, but Matthew West was new to me. I loved the song they played, so I started listening to his music. And as soon as I heard this song, I knew that I had to record it somewhere. It has a wonderful tempo and feel to play the banjo on. The message in the song also really spoke to me because I had always thought of the section of the Bible where the desperate father goes to Jesus and says, “Lord, I believe, but help my unbelief.” I always thought, well, I need a lot more than that. It’s a song about doubt and grace. And if I had the gift of writing lyrical content, I would have written a song like that because it was a sentiment that I had related to for years. When I heard it, it just spoke to me in a powerful way.

What’s another track you’re excited about on the album and want to give some love to?

KSB: I really like the track “Look at Me Now.” We’re both huge New Grass Revival fans. And later in their career, like right before they broke up, they had a lot of mainstream-feeling country songs still with the brilliance of Sam Bush, Béla Fleck, Pat Flynn, John Cowan and others. The songs were just remarkably good and commercially accessible. To me, “Look at Me Now” is a bit patterned after that, whether we meant for it to be or not. But it’s a ’90s country song that I heard when I was a young teenager, and even then I identified the chord progression as clever; it has some interesting chord changes and I thought it was a neat song. So I just filed it away. That’s what inevitably happens for musicians; you are constantly listening to music with an ear toward what might work for you. That song just stayed with me always. We took a page out of the New Grass book when we play the chorus and it’s the full 4/4 feel.

What are you each listening to at the moment?

WB: I’ve actually been into bluegrass lately, which typically I’m not. I’m a mandolin geek, for sure. I like everything under the mandolin umbrella. But I go through phases of what I listen to and a lot of times it’s classic rock n’ roll music. But last night, I was listening to some early Doyle Lawson & Quicksilver.

KSB: He’s listening to more bluegrass now than I remember ever.

WB: Part of that, I think, is because, again, the pandemic changed so many things… We would listen to bluegrass on the bus and I think it’s that void of not listening to bluegrass with the guys in the band. Because it just makes you feel good to hear it. When I listen to Bill Monroe or Flatt & Scruggs from the 1950s, it just relaxes me to hear it.

KSB: For me the ultimate wake-up call if I’m getting sleepy and trying to stay awake is Doyle Lawson & Quicksilver because that’s the music that made me want to play bluegrass, and there’s nothing that inspires you more than the music that made you want to play in the beginning.


Photo Credit: Sandlin Gaither

Wes Corbett’s Banjo Needs: 10 Songs That Make Him Happy

Wes Corbett is a banjo player who wears many hats. The self-described “musically omnivorous bluegrass musician” is a true multi-hyphenate: 5-string aficionado (having released his solo album Cascade back in 2021), producer, former professor at Berklee College of Music, and musician with the likes of Joy Kills Sorrow, Molly Tuttle, and most recently Sam Bush Band.

Before hitting the road again with Sam Bush, the Washington native shared an exclusive playlist for BGS of “Wes Corbett’s Banjo Needs,” or as he puts it: the official home of all the songs that take him to his “happy place.”

“Fortune” – Adam Hurt


“Sliding Down” – Béla Fleck, Edgar Meyer, Mike Marshall


“Saint Elizabeth” – Kaia Kater


“The Hunt” – Kristin Scott Benson


“Milford’s Reel” – Noam Pikelny


“Your Love Is Like a Flower” – Flatt & Scruggs


“Come Back Darlin’” – The Bluegrass Album Band


“Poe’s Pickin’ Party” – Alison Brown


“The Over Grown Waltz” – Béla Fleck


“Goodbye, Honey, You Call That Gone” – Jake Blount



We’re giving away a Recording King Songster Banjo in honor of Banjo Month! Enter to win your very own RK-R20 here.

Kristin Scott Benson Shares Her Essential ’80s Bluegrass Banjo Tracks

I started playing banjo in 1989 and like most people, once I was hooked, I devoured all the banjo I could find. In my quest for the latest, coolest bluegrass, I ended up covering most of the music recorded in the ’80s. It took years to discover because (brace yourself, kids) there was no streaming or internet to bring it to us. We found music by buying CDs, listening to friends’ CDs, going to shows, and trial and error. In this list, I tried to represent the successful bands and players from the decade, who were recording music just before I fell in love with banjo.

Seeing Scott Vestal with Doyle Lawson & Quicksilver is what made me want to play, so his “Up on the Blue Ridge” is of special significance. I played along with Bill Emerson’s instrumental album, Home of the Red Fox, for countless hours. Sonny’s cut on “Listening to the Rain” (sung by Paul Brewster) is still a bit mystifying. I was sure I had two of these key phrases exactly right, but Sonny never thought I did. Shocking, I know. Thing is, he wasn’t entirely sure how he played them either.

Some of my favorite current music from formative years just missed the deadline, like Alison Brown’s “Simple Pleasures,” which was released in 1990, but I tried to stick with the ’80s only. I love these banjo players, bands, and songs. To this day, if I get sleepy driving in the middle of the night, I can turn on this music and get a second wind. I hope you enjoy these 19 glimpses into the ’80s. — Kristin Scott Benson


We’re giving away a Recording King Songster Banjo in honor of Banjo Month! Enter to win your very own RK-R20 here.

WATCH: Jim Hurst, “Weary Old Highway” (Feat. Darin & Brooke Aldridge)

Artist: Jim Hurst
Hometown: Toledo, Ohio
Song: “Weary Old Highway” (feat. Darin & Brooke Aldridge)
Album: From the Ground Up
Release Date: July 1, 2022
Label: Pinecastle Records

In Their Words: “Road musicians are driven by desire, the pulling of what lies ahead, and searching for opportunities to grow, learn, and perfect — as much as possible — their craft, their art. But not perfection really, because to play the perfect performance, set, song, solo, last note… is extraordinary and uncommon. And maybe that’s the way it should be, because not unlike so many explorers, most if not all artisans/musicians/songwriters are always looking for the unknown ‘next.’ Once found, we want, need really to go for something. Something else, something further than what we have found.

“I am thrilled to have the opportunity to be a road musician, songwriter, troubadour of sorts… and kinda doing it my way. And sometimes I find a song written by another of the same ilk that I am so fond of I request to cover it on a recording project and/or perform it live. Such is the case with Keith Little’s ‘Weary Old Highway,’ a road musician’s journal of sorts. I first heard this song on Keith’s Distant Land to Roam CD, and immediately fell in love with the song. Years later, I asked him if I could get his permission to record my version of it, and he graciously said yes. So I did, on my newest project: From the Ground Up on Pinecastle Records. I had wonderful musician friends to help me: Kristin Scott Benson (banjo), Wayne Benson (mandolin), Shawn Lane (fiddle), Ethan Burkhart (bass), Darin Aldridge (tenor vocal), and Brooke Aldridge (high baritone vocal). Oh, and Keith gave my version his approval… which matters to me. I hope you approve as well!” — Jim Hurst


Photo Credit: Pinecastle Records

LISTEN: Benson, “Conway”

Artist: Benson (Kristin Scott Benson and Wayne Benson)
Hometown: Boiling Springs, South Carolina
Song: “Conway”
Release Date: February 18, 2022
Label: Mountain Home Music Company

In Their Words: Kristin: After 20 plus years of marriage, we’re finally getting around to recording some music together.

Wayne: Yep. I’ve played on Kristin’s solo projects and we’ve both played as session players on a lot of the same projects for other artists, but this is the first collaboration between us.

Kristin: One thing I love about doing this is that we get to record some of Wayne’s instrumentals. On my banjo records, I only recorded tunes I wrote that featured banjo, but I always hear what he’s writing and wish they were mine. (laughs)

Wayne: This is exciting for me because none of my original instrumental music has been recorded in a long while. I had the Instrumental Anthology album that was all-original and was largely compiled from the Bluegrass ’90s series. We added a few to make an entire record. I’ve recorded a few originals with Russell (of Russell Moore & IIIrd Tyme Out), but I’ve had a lot of songs just sitting there.

Kristin: And “Conway” is one of those! I like the groove on this one and I think that’s why the folks at Mountain Home liked it. It’s got a simple melody that anybody can hum, but then on the B part, it really grooves with electric bass.

Wayne: That’s mainly why I demoed it. I’m a closet electric bass player and it was a chance for me to have fun doing that. Paul Watson really did a great job and Tony Creasman added some nice, tasteful percussion.

Crossroads Label Group · Conway – Benson

Photo Credit: Sandlin Gaither

WATCH: J.D. Crowe Receives an All-Star “Blackjack” Tribute at 2020 IBMA Awards

When the IBMA Awards celebrated the 75th birthday of bluegrass in 2020, they brought out the best banjo pickers in the business for an all-star tribute to J.D. Crowe. A pioneering figure of the 1970s whose hard-driving approach has never gone out of style, Crowe remains a musical hero to many. When the community learned of his death on December 24, 2021, the IBMA honored his legacy by posting this special performance of “Blackjack” from the 2020 broadcast. Due to COVID protocols, all of the musicians were socially distanced but nonetheless forged a strong connection standing side by side on the Ryman Auditorium stage.

With an introduction from good friend and former bandmate Jerry Douglas, the clip features cornerstones of the industry like Sam Bush on mandolin, David Grier on guitar, and Missy Raines on bass. In a fitting gesture, the spotlight also shines on all five nominees for Banjo Player of the Year: Kristin Scott Benson, Gena Britt, Gina Furtado, Ned Luberecki, and Scott Vestal. Watch all the way through, as Crowe himself gives it his stamp of approval at the end.


Photo Credit: Shelly Swanger

So Many Supergroups: Hear IBMA’s 2021 Instrumental Recording Nominees

We’re just over a week and a half away from the International Bluegrass Music Association’s annual awards show held in Raleigh, North Carolina. Bluegrass being a technical, virtuosic genre, the awards have always included efforts to note, encourage, and honor instrumental music and instrumentalists. Each year five bands or acts are nominated for Instrumental Group of the Year, as well as individual songs nominated for Instrumental Recording of the Year. Today we’ll spend a little time with each of the nominees in the latter category, a collection of five instrumentals that showcase collaborative, exciting lineups, some acrobatic mandolin picking, and the exciting depth and breadth of the musical talent evident in the bluegrass community. 

Appalachian Road Show — “The Appalachian Road”

Appalachian Road Show is Barry Abernathy, Jim VanCleve, Darrell Webb, Zeb Snyder, and Todd Phillips, kicking off the Instrumental Recording category with our first supergroup of the bunch. Their titular tune, from the 2020 album, Tribulation, feels like an exciting, galloping journey with twists and turns and a slight darkness, like evening creeping over an Appalachian holler. Appalachian Road Show is the second-most nominated band this year at the IBMA awards, also up for New Artist of the Year – but don’t be fooled, this group has been making fiery music like this centered on VanCleve’s signature sawing for several years now.


Bluegrass 2020 — “Foggy Mountain Chimes”

Scott Vestal reprised his Bluegrass ‘95, Bluegrass ‘96, and Bluegrass 2001 records in 2020 with a new generation, filling out the band with IBMA Award winner and fiddler Patrick McAvinue, guitarist Cody Kilby, Hawktail mandolinist Dominick Leslie, and his brother Curtis Vestal on bass. His ‘95 edition included Wayne Benson, Adam Steffey, Aubrey Haynie, Barry Bales, and Clay Jones, while the ‘96 record featured Mark Schatz, Jeff Autry, and Rob Ickes – in addition to Haynie and Benson. In 2001, Autry and Benson were joined by John Cowan, Randy Kohrs, and Jim VanCleve. 

It’s easy to tell, from this 2020 rendition of “Foggy Mountain Chimes” or from any sample taken from this series of recordings helmed by Vestal, that his commitment to traditional bluegrass, that constantly pushes the envelope, is matched only by his commitment to crafting recordings such as these, where the most tangible throughline – perhaps the only throughline, besides Vestal himself – is the community and the music-making first and foremost.


Bluegrass at the Crossroads — “Ground Speed”

And, another supergroup! Mountain Home Music Company, an imprint of Crossroads Label Group in Arden, North Carolina, has been releasing a series of recordings featuring crackerjack bands of artists and musicians from across their label community and friends. This lineup includes Kristin Scott Benson of the Grascals, Darren Nicholson of Balsam Range, Jeremy Garrett of the Infamous Stringdusters,  Skip Cherryholmes of Sideline (and yes, Cherryholmes), and professor, bassist, and musicologist Kevin Kehrberg. 

It’s not uncommon for this IBMA Awards category to include traditional numbers from the bluegrass canon but it’s certainly a treat to have two such thoughtful – and downright fun – Earl Scruggs numbers up for the trophy this year.


Industrial Strength Bluegrass — “Mountain Strings”

If you haven’t had the good fortune to stumble upon it yet, scholar Neil V. Rosenberg has been taking BGS readers down memory lane, describing the 1989 Dayton Bluegrass Reunion that went on to inspire not only a book, Industrial Strength Bluegrass, but this new Joe Mullins-produced Smithsonian Folkways compilation album by various artists, too. This track features Sierra Hull with a band including Ben Isaacs, Kristin Scott Benson, Glen Duncan, Josh Williams, and the rarest of rare, bluegrass drums by Phil Paul. “Mountain Strings” was originally recorded by Red Allen and its composer, mandolinist Frank Wakefield. The album’s in-depth and museum-like liner notes get it right when they describe Hull’s rendering of the tune as inhabiting “rock and roll swagger,” much like the song’s originators. The ear-puckering cross tuning will stick in your craw, executed with a precision Hull accomplishes universally and deftly.


Justin Moses with Sierra Hull — “Taxland”

The Instrumental Recording of the Year category is always great at showcasing bluegrass’s endemic talent, but this year it really confirms and reconfirms the skill of many pickers, several of whom are nominated on more than one recording in this category, as you will have read already! Sierra Hull appears once again, this time on a track with her husband and musical compatriot Justin Moses, who assembled yet another Instrumental Recording supergroup on his Fall Like Rain project released in January of 2021. “Taxland” – a Tunesday Tuesday feature when it was released as a single in October 2020 – was inspired by all self-employed musicians’ least favorite time of year and features some of Hull and Moses’ signature double mandolin stylings, backed by Michael Cleveland’s jaw-dropping fiddle, Bryan Sutton on guitar, and Barry Bales on bass. It’s a tune that feels rollicking and impressive, but entirely musical, too – a quality not all bluegrass instrumentals share.

Congratulations goes to all of this year’s Instrumental Recording nominees, every one a deserving finalist for the award.


 

As Banjo Players and Friends, These Women Set the Tone in Bluegrass

It’s always an honor to be nominated, as they often say, and even more special when you share a category with close friends. Achieving nominations once again for the 2021 IBMA Bluegrass Music Awards, Kristin Scott Benson, Gena Britt and Gina Furtado are competing for Banjo Player of the Year — and cheering each other on at the same time.

In a nod to the growing prominence of women who play one of bluegrass’s most iconic instruments, Benson and Furtado found themselves collaborating as producer and artist respectively on the latter’s most recent recording session, resulting in the release of “Made Up My Mind” and “Kansas City Railroad Blues” by the Gina Furtado Project.

Each also picked up additional IBMA Award nominations — the Project qualifying in the organization’s bellwether New Artist category, while Benson, already a five-time Banjo Player of the Year recipient, Steve Martin Banjo Prize winner, and a member of Grammy-nominated band The Grascals, earned an additional nomination in the Instrumental Recording field for her lead role in “Ground Speed,” released as one of a series of special in-studio collaborations for the Mountain Home label’s Bluegrass at the Crossroads series.

Furtado says, “Sometime last year during COVID, Kristin contacted me and said, ‘Hey, we’re so similar! We both play for Mountain Home. We both played with Chris Jones for a while. We both love dogs… we’re mothers… we play the banjo, and we’re not men! Why don’t we combine forces in some way and record a tune or something?’ Our busy lives prevented that from ever happening, but many months later I really needed to think of the perfect person to ask to produce my new batch of singles, and Kristin was exactly the right person.”

She adds, “I was really needing someone who brought not only brilliant musical ideas, but positive, feminine energy. Studios can be such man caves! I guess that’s not PC, but it is completely true. Kristin has motivated and inspired me so very much as a banjo player and human; from her sparkling solos, to formidable tone and timing… and yes, as a young woman learning to play the banjo, I was inspired in a unique way by this amazing woman out there shredding the best into the ground. Being nominated alongside her is super fun and above all extremely humbling!!”

As a producer, Benson brought out the best in Furtado’s recordings. “Gina can stand on her own as an artist,” she says. “My goal wasn’t to change anything about who she is as a writer, singer, or banjo player. I wanted to facilitate and shepherd her and the band through the recording process, from arranging to mixing, to hopefully help her achieve her goals in how she presents her music.”

Benson continues, “I think the ultimate success for women in bluegrass, or any other field, will be when we don’t pause to celebrate it because it’s so normal. That’s when we’ll know that women have seamlessly integrated into whatever we’re doing. Until then, I think we encourage and help each other as much as possible along the way..”

Attesting to the long-standing friendships that bluegrass nurtures, Benson adds, “I first met Gena Britt when I was in high school. She was already out-and-about, playing with an all-female group called Petticoat Junction, though she played bass in that band. She was always so kind and inviting to me. I’ll forever appreciate that.”

In addition, Britt shared an IBMA win with Sister Sadie last year as the Entertainer of the Year. Composed wholly of female musicians, the ensemble has picked up Vocal Group of the Year trophies for the last two years — and they’re back in that category this year, too. “I’m honored to be included in the final nominations for this year’s IBMA awards,” Britt concludes. “There are many incredible women nominated this year. But mostly… there are many amazing musicians that I’m proud to accompany.”


Photo courtesy of BGS sponsors, Crossroads Label Group. Pictured L-R: Gena Britt, Kristin Scott Benson, Gina Furtado

The BGS Radio Hour – Episode 204

Welcome to the BGS Radio Hour! Since 2017, the weekly show has been a recap of all the great music, new and old, featured on BGS. This week, we bring you old bluegrass newly recorded by the Infamous Stringdusters, music from our Artist of the Month, Peggy Seeger, and so much more! Remember to check back every Monday for a new episode of the BGS Radio Hour.

The Brother Brothers – “Circles”

Celebrating their upcoming Calla Lily (available April 16), Adam and David Moss of the Brother Brothers joined us on a recent 5+5. We talked John Hartford, writing music for dance, and the inspirations and songwriting techniques behind these two brothers and their new album.

Johnny Chops – “Trouble With the Truth”

Austin-based Johnny Chops brings us a song this week from his upcoming Yours, Mine and the Truth EP. This song pretty much fell out of the sky and onto Chops’ paper in his writing room one morning. The video continues to tell the story of the song, building a dark and bleak vibe through dramatic and abandoned filming locations.

Sinner Friends – “Unforgivable You”

Sinner Friends don’t just sound like vintage bluegrass: they record like it too, down to just a few microphones, no editing, everything done right then and there. Recorded and released by Bigtone Records, the result is on par with those early bluegrass recordings that defined the genre. This week, they bring us a song from their newly released Sinner Friends Miss You (The Quarantine EP). 

Keb’ Mo’ – Yamaha x BGS Artist Session

For 2021’s Folk Alliance International and SXSW conferencesBGS teamed up with Yamaha to film performances from some of the artists we’re most excited about. Our first segment is from none other than Keb’ Mo’, playing a Yamaha FGX5 – modeled after the vintage FG180, Keb’s first guitar which he unfortunately lost in the Nashville flood of 2010. Aren’t we all just waiting on the medicine man these days? Keb’ performs two songs for us, “Every Morning” and “The Action.”

The Gina Furtado Project – “Kansas City Railroad Blues”

Gina Furtado brings us the “magic fire” of the banjo on this new single, finding the sound that first made her fall in love with the instrument. It’s the latest single in an exciting and excellent batch from Furtado and Mountain Home Music Company, produced by banjo phenom Kristin Scott Benson, and accompanied by Drew Matulich, Wayne Benson, and siblings Malia and Lu Furtado.

Ervin Stellar – “Nothing to Prove”

From Grand Rapids, Michigan, Ervin Stellars joined us on a 5+5 last week – that is, 5 questions, 5 songs. We talked everything from Wes Anderson and the Coen Brothers to waves and mountains. And let’s not forget his new album, Nothing to Prove.

Mimi Naja – “All You Know of Me”

Known for her work with Fruition, Mimi Naja recently dropped Nothing Has Changed, her first solo release since 2014. We caught up with Naja to talk about songwriting, inspirations, and a dream meal pairing of Thai with Khruangbin.

Peggy Seeger – “The Invisible Woman”

Peggy Seeger is our Artist of the Month for April here at BGS! Her just-released First Farewell is a goodbye to recording and the road, but she is not leaving that lineage behind. Coming from a musical family including the likes of Pete and Mike Seeger, the traditional continues, as Seeger enlists her sons Neill and Callum MacColl on the new album. Stay tuned all month long where we’ll be featuring Peggy Seeger!

The Alex Leach Band – “The Turntable”

Alex Leach has been adored by the Eastern Tennessee bluegrass community since he first started appearing at the WDVX radio station in Knoxville as a small child. Through the years, he’s played with Ralph Stanley, hosts a weekly show on WDVX, and now has his newest endeavor, The Alex Leach Band, who just released their latest album (produced by Jim Lauderdale), I’m the Happiest When I’m Moving. 

Acoustic Syndicate – “Sunny”

Acoustic Syndicate has been making music in Western North Carolina’s jamband scene for over two decades, but their latest studio endeavor is the first in seven years. “Sunny” is a promising first release with Organic Records, the band joined by Brian Felix on piano and Lyndsay Pruett on violin.

Elizabeth King – “Living in the Last Days”

Memphis-based Elizabeth King brings us this deeply thought number this week from her latest album of the same title. “Living in the Last Days” is about the trouble that so casually surrounds our current days, and King sings about it with a lot of conviction. The song should inspire us all to look a little more closely at what surrounds us, and what we can do to make this world a better place for all.

Bobby Osborne – “White Line Fever”

“White Line Fever” was a hit for Merle Haggard in the 60s, but had never been cut as a bluegrass song. That is, until Alison Brown and Bobby Osborne got a hold of it. One thing leading to another, and Jeff Tweedy wrote a second verse about Bobby (being the voice of Rocky Top) and his 60 years on the road as a musician. Mixing all of this with some A-list bluegrass musicians like Sierra Hull and Stuart Duncan, well… this is the result! As Brown says, “it was hard to believe the song hadn’t been a bluegrass standard all along.”

Cha Wa – “My People”

Joseph Boudreaux Jr, vocalist for Cha Wa, teaches us about ‘ancestral recall’ with this song, a phenomenon where people consciously or subconsciously draw on the experiences and lives of their ancestors to perpetuate a certain lifestyle or culture. “‘My People’ reminds us that no matter who you are — rich or poor, big or small — we’re all in this together as humans,” Boudreaux told BGS. “Cause one day we gon’ all be in the same boat.”


Photos: (L to R) Keb’ Mo’; Gina Furtado by Sandlin Gaither; Peggy Seeger by Vicki Sharp

LISTEN: The Gina Furtado Project, “Kansas City Railroad Blues”

Artist: The Gina Furtado Project
Hometown: Winchester, Virginia
Song: “Kansas City Railroad Blues”
Release Date: April 9, 2021
Label: Mountain Home Music Company

In Their Words: “How in the world I made it all these years as a banjo player and not heard of ‘Kansas City Railroad Blues,’ I have no idea. Nonetheless, I heard this tune for the very first time last year and it quickly became my new favorite. This tune has the magic fire that drew me to the banjo as a kid and hasn’t let me put it down since. I chose it knowing it would be a great way to show off the hot pickers in the band. It provides a perfect template for Drew and Malia to exhibit their pristine swing style chops. This is also the first single of ours that includes our newest band member, Lu Furtado. And boy, does she make a grand entrance with her stellar bass playing! Lastly, Wayne Benson and Kristin Scott Benson, joining us on mandolin and from the producer’s chair, respectively, made this a super special recording. I hope you enjoy listening to it as much as we enjoyed recording it!” — Gina Furtado


Photo credit: Sandlin Gaither