Artist:Mark Stoffel Hometown: Murphysboro, Illinois Latest Album:True Tones Personal Nicknames (or rejected band names): Dr. Pretzel and recently The Mandolinator
What was the first moment that you knew you wanted to be a musician?
Before I picked up the mandolin, I played the piano, inspired by my mom who was an accomplished classical player. When I was around ten years of age, my parents switched piano teachers and the new one taught me something completely new: blues, boogie, and ragtime. I did appreciate the classical stuff, but the boogie stuff got me really excited. Not too long after that I performed in school – I kicked it off with a fast boogie-woogie piece, then I played a solo on harmonica (probably not the greatest!) while continuing the piano rhythm with my left hand. The audience went nuts and I that’s the first time I felt that my calling was to be a musician!
What has been the best advice you’ve received in your career so far?
Much later in my career I was given a book by Nate Lee, amazing fiddler and mandolinist. The book is entitled Effortless Mastery, penned by a jazz pianist named Kenny Werner. I started reading and from the get-go I was mesmerized. It’s all about embracing yourself – your ideas, your expression, your every musical moment. Do not ever worry about what other people might think of your playing and don’t always compare yourself with others. I’ll never be a Chris Thile, because only Chris Thile can be Chris Thile. I am Mark Stoffel. It’s as easy as that. Kenny Werner writes it in a way that totally spoke to me and it really – to this day – helps me every day. When I compose I no longer dismiss any ideas, when I practice, perform or record, I try to be myself and stay true to it. That was the best advice I received in my career so far.
Genre is dead (long live genre!), but how would you describe the genres and styles your music inhabits?
We’re all just a product what we’ve been exposed to. I grew up listening to lots of classical music. Then my dad, in the ’70s, got into rock, soul, and disco music and he bought tons of records and spun them all the time. Then I got bluegrass, first the more contemporary stuff – which at the time was Tony Rice, New Grass Revival, the Seldom Scene – then I gradually worked myself backwards in time to gain an appreciation for first generation bluegrass.
I think all of that is what informed what I do today. Genres are worthless to me. There are only two categories: Good music and bad music. As long as it has good drive, good melody, compelling lyrics, and a soul, it’s good. I love AC/DC as much as Flatt & Scruggs.
If you didn’t work in music, what would you do instead?
I’d be a baker and make original Bavarian pretzels for my fellow Americans.
What would a perfect day as an artist and creator look like to you?
Get up in the morning, have a cup of coffee, grab my mandolin, and play whatever comes to my mind, most likely come up with some new riff or melody. That will set the tone for everything else that happens that day, and all will be good.
Last night, the International Bluegrass Music Association announced the winners of their 35th Annual Bluegrass Music Awards in Raleigh, North Carolina, the final awards show held in Raleigh before IBMA’s move to Chattanooga, Tennessee next year. The star-studded, three-hour awards show was hosted by bassists John Cowan and Missy Raines and featured performances by many nominees and featured special guests and collaborations.
Billy Strings, Sister Sadie, Authentic Unlimited, and Molly Tuttle & Golden Highway lead the nominations going into the evening. Authentic Unlimited walked away with the most trophies, with the group as a whole landing three awards – including a tie for Music Video of the Year with Special Consensus. Molly Tuttle & Golden Highway took home the honor for Album of the Year, while Billy Strings’ sole win of the night was for his feature on Tony Trischka’s collaborative Earl Jam track, “Brown’s Ferry Blues.”
Also honored during the event were this year’s Bluegrass Music Hall of Fame inductees. Entered into the Hall of Fame – the highest honor awarded by IBMA and its membership – were Jerry Douglas, Katy Daley, and Alan Munde.
Find the full list of winners and recipients of this year’s IBMA Awards below. Congratulations to all of the nominees, bands, artists, labels, and industry stakeholders represented at this year’s awards.
ENTERTAINER OF THE YEAR Billy Strings Molly Tuttle & Golden Highway Del McCoury Band Sister Sadie The Po’ Ramblin’ Boys
VOCAL GROUP OF THE YEAR Authentic Unlimited Sister Sadie Blue Highway Del McCoury Band Molly Tuttle & Golden Highway
INSTRUMENTAL GROUP OF THE YEAR Billy Strings Michael Cleveland & Flamekeeper Travelin’ McCourys East Nash Grass Molly Tuttle & Golden Highway
SONG OF THE YEAR “Fall in Tennessee” – Authentic Unlimited Songwriters: John Meador/Bob Minner Producer: Authentic Unlimited Label: Billy Blue Records
“Too Lonely, Way Too Long” – Rick Faris with Del McCoury Songwriter: Rick Faris Producer: Stephen Mougin Label: Dark Shadow Recording
“Forever Young” – Daniel Grindstaff with Paul Brewster & Dolly Parton Songwriters: Jim Cregan/Kevin Savigar/Bob Dylan/Rod Stewart Producer: Daniel Grindstaff Label: Bonfire Music Group
“Kentucky Gold” – Dale Ann Bradley with Sam Bush Songwriters: Wayne Carson/Ronnie Reno Producer: Dale Ann Bradley Label: Pinecastle
ALBUM OF THE YEAR City of Gold – Molly Tuttle & Golden Highway Producers: Jerry Douglas/Molly Tuttle Label: Nonesuch
Last Chance to Win – East Nash Grass Producer: East Nash Grass Label: Mountain Fever
Jubilation – Appalachian Road Show Producer: Appalachian Road Show Label: Billy Blue Records
No Fear – Sister Sadie Producer: Sister Sadie Label: Mountain Home
So Much for Forever – Authentic Unlimited Producer: Authentic Unlimited Label: Billy Blue Records
GOSPEL RECORDING OF THE YEAR “When I Get There” – Russell Moore & IIIrd Tyme Out Songwriter: Michael Feagan Producer: Russell Moore & IIIrd Tyme Out Label: Independent
“Thank You Lord for Grace” – Authentic Unlimited Songwriter: Jerry Cole Producer: Authentic Unlimited Label: Billy Blue Records
“Just Beyond” – Barry Abernathy with John Meador, Tim Raybon, Bradley Walker Songwriters: Rick Lang/Mike Richards/Windi Robinson Producer: Jerry Salley Label: Billy Blue Records
“God Already Has” – Dale Ann Bradley Songwriter: Mark “Brink” Brinkman/David Stewart Producer: Dale Ann Bradley Label: Pinecastle
“Memories of Home” – Authentic Unlimited Songwriter: Jerry Cole Producer: Authentic Unlimited Label: Billy Blue Records
INSTRUMENTAL RECORDING OF THE YEAR “Rhapsody in Blue(grass)” – Béla Fleck Songwriter: George Gershwin arr. Ferde Grofé/Béla Fleck Producer: Béla Fleck Label: Béla Fleck Productions/Thirty Tigers
“Knee Deep in Bluegrass” – Ashby Frank Songwriter: Terry Baucom Producer: Ashby Frank Label: Mountain Home
“Panhandle Country” – Missy Raines & Allegheny Songwriter: Bill Monroe Producer: Alison Brown Label: Compass Records
“Lloyd’s of Lubbock” – Alan Munde Songwriter: Alan Munde Producer: Billy Bright Label: Patuxent
“Behind the 8 Ball” – Andy Leftwich Songwriter: Andy Leftwich Producer: Andy Leftwich Label: Mountain Home
NEW ARTIST OF THE YEAR East Nash Grass Bronwyn Keith-Hynes AJ Lee & Blue Summit Wyatt Ellis The Kody Norris Show
COLLABORATIVE RECORDING OF THE YEAR “Brown’s Ferry Blues” – Tony Trischka featuring Billy Strings Songwriters: Alton Delmore/Rabon Delmore Producer: Béla Fleck Label: Down the Road
“Fall in Tennessee” – Authentic Unlimited with Jerry Douglas Songwriters: John Meador/Bob Minner Producer: Authentic Unlimited Label: Billy Blue Records
“Forever Young” – Daniel Grindstaff with Paul Brewster, Dolly Parton Songwriters: Jim Cregan/Kevin Savigar/Bob Dylan/Rod Stewart Producer: Daniel Grindstaff Label: Bonfire Music Group
“Bluegrass Radio” – Alison Brown and Steve Martin Songwriters: Steve Martin/Alison Brown Producers: Alison Brown/Garry West Label: Compass Records
“Too Old to Die Young” – Bobby Osborne and CJ Lewandowski Songwriters: Scott Dooley/John Hadley/Kevin Welch Producer: CJ Lewandowski Label: Turnberry Records
MALE VOCALIST OF THE YEAR Dan Tyminski Greg Blake Del McCoury Danny Paisley Russell Moore
FEMALE VOCALIST OF THE YEAR Molly Tuttle Jaelee Roberts Dale Ann Bradley AJ Lee Rhonda Vincent
BANJO PLAYER OF THE YEAR Kristin Scott Benson Gena Britt Alison Brown Béla Fleck Rob McCoury
BASS PLAYER OF THE YEAR Missy Raines Mike Bub Vickie Vaughn Todd Phillips Mark Schatz
FIDDLE PLAYER OF THE YEAR Jason Carter Bronwyn Keith-Hynes Michael Cleveland Stuart Duncan Deanie Richardson
RESOPHONIC GUITAR PLAYER OF THE YEAR Justin Moses Rob Ickes Jerry Douglas Andy Hall Gaven Largent
GUITAR PLAYER OF THE YEAR Billy Strings Molly Tuttle Trey Hensley Bryan Sutton Cody Kilby
MANDOLIN PLAYER OF THE YEAR Sierra Hull Sam Bush Ronnie McCoury Jesse Brock Alan Bibey
MUSIC VIDEO OF THE YEAR “Willow” – Sister Sadie Label: Mountain Home
“Fall in Tennessee” – Authentic Unlimited Label: Billy Blue Records (TIE)
“The City of New Orleans” – Rhonda Vincent & The Rage Label: Upper Management Music
“I Call Her Sunshine” – The Kody Norris Show Label: Rebel Records
“Alberta Bound” – Special Consensus with Ray Legere, John Reischman, Patrick Sauber, Trisha Gagnon, Pharis & Jason Romero, and Claire Lynch Label: Compass Records (TIE)
BLUEGRASS MUSIC HALL OF FAME INDUCTEES Alan Munde Jerry Douglas Katy Daley
DISTINGUISHED ACHIEVEMENT AWARD RECIPIENTS Cindy Baucom Laurie Lewis Richard Hurst ArtistWorks Bloomin’ Bluegrass Festival
Photo Credit: Authentic Unlimited with special guest Jerry Douglas perform at the IBMA Awards show. Shot by Dan Schram.
Over the past decade, The Po’ Ramblin’ Boys have established themselves as a modern voice in traditional bluegrass. They are equal parts researchers, archivists, and artists, continually reframing what it means to be “traditional” – with a particular focus on the ways that bluegrass and roots music have always been progressive and boundary breaking.
For BGS, I spoke via video call to mandolinist CJ Lewandowski and fiddler Laura Orshaw around the release of their new album, Wanderers Like Me. We talked about their unique approach and mission for the group, we covered a lot of ground, and I left the conversation feeling inspired to put more thought behind my own mission in music making.
I see that you are coming up on 10 years as a band. Many years ago I had the pleasure of writing a bio for The Po’ Ramblin’ Boys, and I’d love to know a bit about the way the band has developed and changed over the years?
CJ Lewandowski: I think we are all ten years older than when we started, for one, and that’s a lot. It started as four guys working at a distillery, you know, working a day job. … There was no traveling, no planning, no pushing to be something. And it naturally progressed. There were videos coming out and promoters started calling and asking us to come out and play.
A lot of people plan for stuff, and they push and push, and everything we’ve been involved with before this band was like that, plowing through clay. You push and you push and never get anywhere. Then this band just happened. We didn’t think we’d be traveling in a bus and going all over the world, but here we are!
Laura Orshaw: The coolest thing for me is seeing the material and the message of the band start to come together. Everybody is really interested in super regional groups from around where they grew up, or maybe just bands they got interested in, so the members have interesting and diverse listening palates.
For several years, the band was doing a lot of covers that people hadn’t heard before, drawing on that research. Then, for the past five years, we’ve been doing a majority of original material and I think that the conversations that it brings up within the band are new … like, “How did you come up with this?”
For example, a lot of the more recent songs are about traveling. … For me, I spin that from the women’s perspective, a lot of them are about mom or a woman waiting back home and I like to think about, “What if a woman sings this song?” I think a lot about those classic themes but making sure they’re relevant to the modern days.
You’re one of the few bands that has never changed their commitment to traditional bluegrass over the years. Tell me about that interest in maintaining your style and how to you resist the temptation to move in more commercial directions?
CL: We had a manager at one point and we were talking about different material we could cover, and I said, “I don’t know if that’s gonna fit us…” And he said, “Well whatever you play, you’re gonna play it the way you play, so it’s gonna sound like you.” I think about that a lot, because I think he’s right.
I try to stray from the word “traditional” and think more about “authentic.” It’s just the way we play, and the way we learned to play from the mentors in our home regions. Anything we do is going to sound like that. We just play and sing true to ourselves, it’s not a plan or an act, we kind of let it go with the flow
There has been pressure sometimes– maybe the band should push this way or that way, but all in all, it’s like, “Well, if it ain’t broke don’t fix it…” We are all just true to the way we play
LO: What CJ said, “whatever you do is gonna sound like you” – with the current album coming out, it’s the first time we’ve had a really heavily involved producer, Woody Platt (formerly of the Steep Canyon Rangers), working with us from pre- to post-production. I think five people are going to have their own opinion about every suggestion that comes up, but because of Woody we did try a lot of things that I don’t think we would have individually gone for. And after we all did them, we usually liked them.
CL: Woody had our sound in mind, and he said, “The main thing is, I want you guys to be you.” We spread our wings, we got a little more vulnerable. There’s a natural progression to all of this and this record is a great next step.
LO: It was just really refreshing to work with a producer and have that level of focus and excitement, having that external voice that studied and focused is huge.
Since the time I wrote your bio, Laura has formally joined the band, tell me about what she’s added to the group and how that came about? I think it’s such a magical fit, and really rounds out the sound of the band.
CL: Her first show with us was in December 2017 at the Station Inn and after that she did some sporadic shows with us and played on our next couple records. In January 2020, she joined full time and she has officially been with us for four/four and a half years now. We tried a lot of different fiddle players on the road and nothing fit quite like what she had on the table; the attitude, the drive, and the musicianship
I’m a huge fan of triple-stacked harmonies, like Jimmy Martin and Osborne Brothers, so she brought a completely different vocal opportunity to the group. There was us three guys, and we could do some three-part harmonies, but with her we could move to different keys and had a lot more flexibility. … And of course, her fiddle playing is sassy and full of energy.
A lot of people ask about the name, The Po’ Ramblin “Boys,” but there’s a tradition of that in bluegrass, with Bessie Lee playing with The Blue Grass Boys, and Gloria Belle with The Sunny Mountain Boys. I like playing into that. But it’s also the band saying, “Hey we aren’t limiting.” Like, whoever can cut the gig, we love you! We’re very open and try to be as inclusive as possible. There are a lot of demographics in the group and she just added another one. …
Bluegrass Unlimited dubbed us as being “progressively traditional,” and it’s true in that everything that is traditional now, once was progressive. I don’t try to stand on a soapbox, and it took me a long time to figure it out, but I’m a queer artist, and I didn’t have anyone to go to when I was figuring that out and I didn’t feel I had a place. So, a lot of the stuff we do today has an open mind to it. [I’m included in] an exhibit in American Currents at the Country Music Hall of Fame and I put a rainbow guitar strap in there just to say, “Hey we’re out here, and holler at me if you need something.” Because I didn’t have anyone to look up to in that way.
Can you tell me a little bit about the album art for this new record, Wanderers Like Me?
CL: The cover photo is a painting of a cowboy. It plays into the title and many of the songs on the record and goes back to the story of wandering all over the country. But that piece of art was painted by our bass player Jasper’s great-grandfather, who was a North Dakota scene painter born in 1900 who painted all the way until his passing. His artwork is in governors’ mansions, he was a very prominent artist and to include something like that for our album art is also another way of honoring tradition.
LO: The way I see bluegrass, it’s a truly American art form. just like painting scenes, it reflects the culture and the time that it was painted in. In a lot of traditional art forms, there’s a kind of preservationist stance, but I think as a band we don’t like to have that mindset as a way to hold up barriers, or to say we don’t like modern or progressive music. A lot of what is told about American and bluegrass history is through a very particular lens; it’s very easy to see a fuller picture when you start digging. We travel and meet a lot of people, we live in modern society, we all have a lot broader perspectives than the people creating music years ago. So, we just see this mindset as a way to make the music reach its full potential. Preserve and broaden it by being aware of what’s going on around us, thinking about language and thinking about American art forms.
CJ: “Being you” is it’s own art form as well… There’s a lot to just making sure that you’re being yourself.
The people that we learned from, it’s amazing to learn at the knee or the foot of these incredible people, but it’s not a boundary. It’s something that you take and grow from and learn from. Not everyone is perfect or mindful… I learned good and bad from some of these folks. You learn what to do and sometimes you learn what not to do. You take it from spades and grow from that. We want to honor people, but also make this a better realm for everyone. Just because you play traditional music doesn’t mean you have to have a traditional mindset.
I think the fact that this record is coming out on Smithsonian Folkways says a lot about the timeless nature of the music you are creating. What do you hope that folks will get from your music now and also in the future?
LO: I think that one of the most neat things is knowing [Smithsonian’s] mandate around preserving music, knowing that everything that they have and archive will be there for ever. It will always be available.
CL: there’s a lot of good material out there that’s been overlooked. I call listening through it “digging for gems.” As an artist, I hope that one day when we’re gone… someone might find our music like that. I don’t have any kids, so I really think about how my music might be left behind for the next generation. With Smithsonian, we could be dead and gone and someone’s great-grandniece could ask for a copy of our record from the label and even if it’s out of print, they will print one copy and send it to them.
You have a lot of songs about the hardships and joys of travel and touring, do you guys see yourself touring for another 10 years?
CL: There’s a lot of different factors, I think we’d all like to go as long as we can, but within this 10 years we have fiancés, marriages, children, people living in different states. In 2018, when we got Emerging Artist of the Year [award] at IBMA, I looked at everybody and I said, “OK, if you want out, get out now.” And we all put our hands in and said, “We got this.” We all got together about how if one of us going leave, then we’d all let it go.
We never really felt like there was a place for us for a long long time, so when we found success we felt like, “Wow, we did this together…” I think the future is bright, especially with this new album.
It’s our first New Music Friday of August! This week, we’ve got an excellent handful of tracks you simply gotta hear. First, there’s Paula Fong with a “zippy little tune” that’s delightfully old school country. Plus, Danny Roberts brings us a ramblin’ bluegrass track, “The Drifter,” which pays homage both to David “Dawg” Grisman and Roberts’ late brother-in-law, Mike Mullins.
Our penultimate premiere is the title track for Americana duo – and 2024 AmericanaFest Official Showcase artist – A Tale of Two’s upcoming album, Renegade. To finish us off, the impeccable and mystifying guitarist Yasmin Williams calls on indie folk favs Darlingside for “Virga,” a swirling song from her just-announced upcoming album, Acadia.
Listen below, ’cause You Gotta Hear This!
Paula Fong, “A House Is Not A Home”
Artist:Paula Fong Hometown: Los Angeles, California Song: “A House Is Not A Home” Album:Chestnut Mare Release Date: September 6, 2024
In Their Words: “This is hands down the fastest I’ve ever written a song. It took me around 15 minutes to write it top to bottom – chords and lyrics – and felt like it just flew out of my head onto the page. I often write about fairly heavy subjects, but in this case I thought I’d just try out a zippy little tune that puts a smile in your heart and makes you want to tap your feet. I often get compliments that it sounds like an effortlessly classic old country tune.
“When I was in my early 20’s I moved from Los Angeles to North Carolina for a time to work at an outdoor Montessori/Quaker farm school that was located in the foothills of the Appalachian Mountains. Life there was full and busy, but in a different way from LA. Many things were clearer, more simple, more joyful in a way. I feel like this song captures one facet of the simplicity of that time (and some specific NC references – traveling across the mountains, chickens in the garden). Generally speaking, I think love is hardly simple, but there are certainly moments that can feel as easy and carefree as this song.” – Paula Fong
Danny Roberts, “The Drifter”
Artist:Danny Roberts Hometown: Nashville, Tennessee Song: “The Drifter” Release Date: August 2, 2024 Label: Mountain Home Music Company
In Their Words: “When I started writing ‘The Drifter,’ I was inspired to compose something to pay tribute to one of my all-time favorite mandolin players, David Grisman. I feel like this song has that vibe, though nobody can play that style like Dawg. The song title is in honor of my late brother-in-law, Mike Mullins, who wrote a book called The Drifter before he passed away; that title just seemed to fit this song. ‘The Drifter’ was so much fun to record, and it’s always great to have my wife Andrea playing bass with me and the solos that Tony Wray (banjo and guitar) and Jimmy Mattingly (fiddle) played on it are magical. I’m blessed to have such great musicians helping me bring my music to life!” – Danny Roberts
Track Credits: Danny Roberts – Mandolin Andrea Roberts – Bass Tony Wray – Acoustic guitar, banjo Jimmy Mattingly – Fiddle
A Tale of Two, “Renegade”
Artist name:A Tale Of Two Hometown: Nashville, Tennessee Song: “Renegade” Album:Renegade Release Date: October 4, 2024
In Their Words: “‘Renegade’ is a fitting title for both the record and this song. It represents a shift, a changing of the tide. Our aim is to embody an identity that defies the norms of Nashville. Drawing inspiration from fragments of a previously unreleased track, “Renegade” continues the next chapter of our story, infused with the spirit of the Appalachian terrain we know so well.” – A Tale of Two
Track Credits: Aaron Lessard – Guitar and vocals Stephanie Adlington – Vocals Ross McReynolds – Percussion Elizabeth Estes – Fiddle Jon Estes – Bass
Yasmin Williams, “Virga”
Artist:Yasmin Williams Hometown: Woodbridge, Virginia Song: “Virga” Album:Acadia Release Date: October 4, 2024 Label: Nonesuch Records
In Their Words: “A virga occurs when trails of rainfall from a cloud evaporate before they reach the ground. While virga can be beautiful to look at, it can also cause extreme turbulence for aircrafts. I related this phenomenon to how I feel about participating in the music industry. While it’s so fulfilling to create music that I’m proud of and to be able to travel around the world, the industry itself is dangerous to be a part of and doesn’t always value art or artists.
“Instead, the music industry values metrics and other things that are related to business, not art, forcing most artists to think about hitting their next business target instead of putting their energy into their music. I often feel overwhelmed with all of the expectations that the music business puts on artists and the constant need to move on to the next goal post instead of being able to reflect on, and be grateful for, the things I’ve already achieved.
“While writing ‘Virga,’ I realized that it’s totally fine to feel suspended in time, with my career goals, hopes, and dreams suspended in the atmosphere of an environment I have no control over… and I eventually learned how to thrive “in Virga,” through both the beautiful times and the turbulent ones.” – Yasmin Williams
Track Credits: Darlingside – Vocals Rich Ruth – Synth, Yasmin Williams – Harp guitar Jeff Gruber – Recording engineer Mixed by Ken Lewis at thATMOS Studios.
Photo Credit: Yasmin Williams by Ebru Yildiz; Danny Roberts by Sandlin Gaither.
Wyatt Ellis can’t even drive a car, but he’s making waves in the bluegrass community. A prolific tune-writer and a dedicated student of the mandolin, he’s growing and learning at a rate you only find in the under-20 set. I was surprised to find that he’s also humble, articulate, and a total professional. It’s not hard to envision him reaching the highest echelons of acoustic and bluegrass music, and doing it very soon. I was grateful to my friend Jon Stickley for the introduction to this bluegrass wunderkind.
This episode was recorded live at 185 King Street in Brevard, North Carolina on June 11, 2024.
Timestamps:
0:06 – Soundbyte 0:36 – Intro 1:46 – Live show introduction by Bill K 3:07 – “Blue Smoke” 7:04 – On “Blue Smoke” and “Get Lost” 8:16 – “Get Lost” 13:17 – “When My Blue Moon Turns To Gold Again” 16:58 – “Blue Night” 20:00 – Interview 28:09 – “Watson Blues” 31:38 – “Rabbit In A Log” 34:30 – Interview 40:00 – “Whites Creek” 44:40 – “How old are you?” and JAM 46:17 – “Cold On The Shoulder” 49:17 – “Long Lonesome Day” 54:10 – “Rollin’ In My Sweet Baby’s Arms” 58:29 – Outro
Editor’s Note: The Travis Book Happy Hour is hosted by Travis Book of the GRAMMY Award-winning band, The Infamous Stringdusters. The show’s focus is musical collaboration and conversation around matters of being. The podcast includes highlights from Travis’s interviews and music from each live show recorded in Brevard, North Carolina.
The Travis Book Happy Hour is brought to you by Thompson Guitars and is presented by Americana Vibes and The Bluegrass Situation as part of the BGS Podcast Network. You can find the Travis Book Happy Hour on Instagram and Facebook and online at thetravisbookhappyhour.com.
Earlier today, the International Bluegrass Music Association announced their nominees, recipients, and inductees to be honored at the 35th Annual Bluegrass Music Awards show to be held on September 26 in Raleigh, North Carolina. The nominations and honorees were revealed at a radio broadcast at SiriusXM in downtown Nashville, Tennessee that featured live performances by nominees Missy Raines & Allegheny and Authentic Unlimited.
Billy Strings, Sister Sadie, Authentic Unlimited, and Molly Tuttle & Golden Highway lead the nominations. Also announced during the event were this year’s Bluegrass Music Hall of Fame inductees and Distinguished Achievement Awards Recipients. Entering the Hall of Fame – the highest honor awarded by IBMA and its membership – are Jerry Douglas, Katy Daley, and Alan Munde.
Find the full list of nominees, inductees, and recipients below and make plans now to attend the IBMA Bluegrass Music Awards on Thursday, September 26, at the Martin Marietta Center for the Performing Arts in Raleigh, North Carolina during IBMA’s headline event of the year, their World of Bluegrass business conference and Bluegrass Live! festival.
ENTERTAINER OF THE YEAR Billy Strings Molly Tuttle & Golden Highway Del McCoury Band Sister Sadie The Po’ Ramblin’ Boys
VOCAL GROUP OF THE YEAR Authentic Unlimited Sister Sadie Blue Highway Del McCoury Band Molly Tuttle & Golden Highway
INSTRUMENTAL GROUP OF THE YEAR Billy Strings Michael Cleveland & Flamekeeper Travelin’ McCourys East Nash Grass Molly Tuttle & Golden Highway
SONG OF THE YEAR “Fall in Tennessee” – Authentic Unlimited Songwriters: John Meador/Bob Minner Producer: Authentic Unlimited Label: Billy Blue Records
“Too Lonely, Way Too Long” – Rick Faris with Del McCoury Songwriter: Rick Faris Producer: Stephen Mougin Label: Dark Shadow Recording
“Forever Young” – Daniel Grindstaff with Paul Brewster & Dolly Parton Songwriters: Jim Cregan/Kevin Savigar/Bob Dylan/Rod Stewart Producer: Daniel Grindstaff Label: Bonfire Music Group
“Kentucky Gold” – Dale Ann Bradley with Sam Bush Songwriters: Wayne Carson/Ronnie Reno Producer: Dale Ann Bradley Label: Pinecastle
ALBUM OF THE YEAR City of Gold – Molly Tuttle & Golden Highway Producers: Jerry Douglas/Molly Tuttle Label: Nonesuch
Last Chance to Win – East Nash Grass Producer: East Nash Grass Label: Mountain Fever
Jubilation – Appalachian Road Show Producer: Appalachian Road Show Label: Billy Blue Records
No Fear – Sister Sadie Producer: Sister Sadie Label: Mountain Home
So Much for Forever – Authentic Unlimited Producer: Authentic Unlimited Label: Billy Blue Records
GOSPEL RECORDING OF THE YEAR “When I Get There” – Russell Moore & IIIrd Tyme Out Songwriter: Michael Feagan Producer: Russell Moore & IIIrd Tyme Out Label: Independent
“Thank You Lord for Grace” – Authentic Unlimited Songwriter: Jerry Cole Producer: Authentic Unlimited Label: Billy Blue Records
“Just Beyond” – Barry Abernathy with John Meador, Tim Raybon, Bradley Walker Songwriters: Rick Lang/Mike Richards/Windi Robinson Producer: Jerry Salley Label: Billy Blue Records
“God Already Has” – Dale Ann Bradley Songwriter: Mark “Brink” Brinkman/David Stewart Producer: Dale Ann Bradley Label: Pinecastle
“Memories of Home” – Authentic Unlimited Songwriter: Jerry Cole Producer: Authentic Unlimited Label: Billy Blue Records
INSTRUMENTAL RECORDING OF THE YEAR “Rhapsody in Blue(grass)” – Béla Fleck Songwriter: George Gershwin arr. Ferde Grofé/Béla Fleck Producer: Béla Fleck Label: Béla Fleck Productions/Thirty Tigers
“Knee Deep in Bluegrass” – Ashby Frank Songwriter: Terry Baucom Producer: Ashby Frank Label: Mountain Home
“Panhandle Country” – Missy Raines & Allegheny Songwriter: Bill Monroe Producer: Alison Brown Label: Compass Records
“Lloyd’s of Lubbock” – Alan Munde Songwriter: Alan Munde Producer: Billy Bright Label: Patuxent
“Behind the 8 Ball” – Andy Leftwich Songwriter: Andy Leftwich Producer: Andy Leftwich Label: Mountain Home
NEW ARTIST OF THE YEAR East Nash Grass Bronwyn Keith-Hynes AJ Lee & Blue Summit Wyatt Ellis The Kody Norris Show
COLLABORATIVE RECORDING OF THE YEAR “Brown’s Ferry Blues” – Tony Trischka featuring Billy Strings Songwriters: Alton Delmore/Rabon Delmore Producer: Béla Fleck Label: Down the Road
“Fall in Tennessee” – Authentic Unlimited with Jerry Douglas Songwriters: John Meador/Bob Minner Producer: Authentic Unlimited Label: Billy Blue Records
“Forever Young” – Daniel Grindstaff with Paul Brewster, Dolly Parton Songwriters: Jim Cregan/Kevin Savigar/Bob Dylan/Rod Stewart Producer: Daniel Grindstaff Label: Bonfire Music Group
“Bluegrass Radio” – Alison Brown and Steve Martin Songwriters: Steve Martin/Alison Brown Producers: Alison Brown/Garry West Label: Compass Records
“Too Old to Die Young” – Bobby Osborne and CJ Lewandowski Songwriters: Scott Dooley/John Hadley/Kevin Welch Producer: CJ Lewandowski Label: Turnberry Records
MALE VOCALIST OF THE YEAR Dan Tyminski Greg Blake Del McCoury Danny Paisley Russell Moore
FEMALE VOCALIST OF THE YEAR Molly Tuttle Jaelee Roberts Dale Ann Bradley AJ Lee Rhonda Vincent
BANJO PLAYER OF THE YEAR Kristin Scott Benson Gena Britt Alison Brown Béla Fleck Rob McCoury
BASS PLAYER OF THE YEAR Missy Raines Mike Bub Vickie Vaughn Todd Phillips Mark Schatz
FIDDLE PLAYER OF THE YEAR Jason Carter Bronwyn Keith-Hynes Michael Cleveland Stuart Duncan Deanie Richardson
RESOPHONIC GUITAR PLAYER OF THE YEAR Justin Moses Rob Ickes Jerry Douglas Andy Hall Gaven Largent
GUITAR PLAYER OF THE YEAR Billy Strings Molly Tuttle Trey Hensley Bryan Sutton Cody Kilby
MANDOLIN PLAYER OF THE YEAR Sierra Hull Sam Bush Ronnie McCoury Jesse Brock Alan Bibey
MUSIC VIDEO OF THE YEAR “Willow” – Sister Sadie Label: Mountain Home
“Fall in Tennessee” – Authentic Unlimited Label: Billy Blue Records
“The City of New Orleans” – Rhonda Vincent & The Rage Label: Upper Management Music
“I Call Her Sunshine” – The Kody Norris Show Label: Rebel Records
“Alberta Bound” – Special Consensus with Ray Legere, John Reischman, Patrick Sauber, Trisha Gagnon, Pharis & Jason Romero, and Claire Lynch Label: Compass Records
BLUEGRASS MUSIC HALL OF FAME INDUCTEES Alan Munde Jerry Douglas Katy Daley
DISTINGUISHED ACHIEVEMENT AWARD RECIPIENTS Cindy Baucom Laurie Lewis Richard Hurst ArtistWorks Bloomin’ Bluegrass Festival
Photo Credit: Billy Strings by Jesse Faatz; Sister Sadie by Eric Ahlgrim.
At 26, the prodigy phase of AJ Lee’s music career has passed. It might take a little more time for the tendency to confuse her with a professional wrestler using the same name to fade away.
“I think I could take her!” Lee — the singing one — gamely pronounces at the conclusion of an interview on the third album by AJ Lee & Blue Summit, City of Glass (out July 19 on Signature Sounds), prompting laughter from the band’s Scott Gates, who asserts himself on the new album writing three songs on which he sings lead.
Rounding out Santa Cruz, California-based Blue Summit are fiddler Jan Purat and guitarist Sullivan Tuttle, one of the children of educator-musician Jack Tuttle and brother of breakout star Molly Tuttle. Lee also got her start with “The Tuttles with AJ Lee.”
A keen sense of humor dots City of Glass, which was produced by Lech Wierzynski of “retro-soul” band The California Honeydrops. It was Wierzynski who suggested Harlan Howard’s “He Called Me Baby,” on which Lee delivers a notably sultry lead vocal. The reference point for her version of “He Called Me Baby” is soul singer Candi Stanton, rather than Patsy Cline or Charlie Rich.
“I was raised to sing pretty straightforward. I wanted to remove as much ego as I could, because I just wanted to sing and have fun,” Lee said. “I’ve learned to put a little bit more of my personality into it and that, I think, is making me a better singer overall, which is why we wanted to work with Lech in the first place, because he’s such a powerful singer.
“That really resonated with me and I’m trying to move more in that direction.”
Gates pipes up at this point: “AJ’s not going to say this, but Lech brought ‘He Called Me Baby’ to the table because he had the foresight, coming from that soul world, he recognizes in AJ’s voice the ability to do this kind of thing.
“The cross-pollination of these American roots, is a smart move from Lech, I think,” he said.
BGS caught up with Lee and Gates as they rehearsed in Nashville, Tennessee, and prepared to do some lip synching for a video. As a seasoned bandleader, Lee takes pains to spread the credit for her success around and steers some questions toward Gates to try and ensure she doesn’t dominate the conversation.
City of Glass is AJ Lee & Blue Summit’s third album. How do you view the progression that got you to this point?
AJ Lee: The first album, [Like I Used To], we were looking for what kind of sound we wanted as a band. Because at that time, it was only four members without a fiddle player. So on that one, we had some more electric instruments and more drums. The second album, [I’ll Come Back], we went more acoustic roots, because we just wanted to play more bluegrass, because that’s what we grew up on and that’s what we do best. For this third album, we’re confident doing bluegrass, roots, and country, sticking with more stringed instruments, but also branching out. With Lech’s involvement, we’re leaning a little bit towards soul, R&B, and keeping it interesting, but still showcasing ourselves and what we like to play and what we like to do.
Several songs on City of Glass are funny. There’s one, “Toys,” making fun of a men who act like boys, another about getting “Sick on a Plane” and a humorous take on busking, “Solicitor Man.” Why so lighthearted this time around?
Scott Gates: I grew up playing bluegrass with a lot of silly guys. There’s a bouncy kind of lighthearted feel in a lot of traditional stuff. … I noticed that a lot of songs that I had written were kind of getting down into my feelings and whatnot, and I wanted to write one that I knew would be fun for my friends to play.
Are there models in bluegrass you’re following with the humor?
SG: There is a history of fun stuff like The Louvin Brothers. I’m also influenced by Jimmy Martin. Jimmy Martin is one of the pillars of bluegrass music, and he’s hilarious.
“Toys” is about a young guy or maybe an immature man. Is it about yourself, Scott?
SG: A little bit, yeah, probably as a teenager noticing the involuntary methods by which young, dumb boys go about thinking of themselves. It was mostly born out of that phrase, “The man who dies with the most toys wins.”
The title cut, “City of Glass,” is about leaving an artistic legacy. Aren’t you guys a little young to be concerned about that?
AJ: Yeah, I’m pretty young. I’m 26 now, but I have been doing music since I was really young. Collectively, we figured out that the band has about 90 years worth of experience. I’ve been playing on stage since I was about four or five years old. So I’m young, but I have been doing it for a long time. Legacy is having something that you’ve made be around even when you’re not doing it anymore. That’s a big theme of “City of Glass.”
As you say, you got started very young as musicians and Jack Tuttle was a common mentor. How did that develop?
SG: I met AJ when she was four. I knew her older sister Molly, ‘cause she’s my age. So I knew her more. But [Sullivan Tuttle] was around, and Sully and AJ had known each other since back then. I was probably about seven or eight when I first started going to the Father’s Day Festival and the music camp. So I got an opportunity to learn and play from people like John Reischman and Mike Compton and see musicians like The Osborne Brothers and Earl Scruggs. The picking scene is incredibly high quality.
AJ, you were the only non-Tuttle in the Tuttle family band when you were very young. What was that like?
AJ: I loved it. As a young kid, it’s kind of hard to be in the moment and really appreciate what you’re doing. As a seven-year-old to fifteen-year-old, I went about it as like, “OK, we’re playing a gig, I’m going to practice here and I’m going to sing my song. I’m hanging out with my friends, and that’s it.” But being in that band was definitely instrumental in my progress as a bluegrass musician, because I got to work directly with Jack Tuttle. Everyone loves Jack because he’s such a renowned teacher in the community and obviously all of his kids are talented beyond measure. So I was able to play with people who were better than me and also equal to me. My mom, growing up, she always said, “You always want to play with people who are better than you, because that’s how you’re going to get better.” And so I got to have that opportunity for many years.
Is there any competition now between yourself, Molly Tuttle and Bronwyn Keith-Hynes now that you all are competing musicians in the marketplace?
SG: Absolutely! [Laughs]
AJ: No, no, no, definitely not. For me and Molly, we’re branching off and doing our own thing. We were in a band for however many years, and now we’re off doing our own projects. And Bronwyn is branching off and doing her own projects in a similar way.
So, it’s the same in any community or genre of music, you played together and now you’re doing your own thing. Molly’s singing on our album as well, on a song [“I Can’t Find You at All”] that her dad wrote.
AJ, you could pursue a solo career, why do you prefer a band situation?
AJ: It makes me happy. I like playing with other people. I don’t really like performing by myself. I feel like I have a lot to offer, but I also like playing with people who also have a lot to offer and are amazing talents. And, you know, people compliment our band on how many singers there are. I always think that the more singers the better, the more talent you can showcase the better.
Pretty much anyone in the band could peel off and do a solo career. But I think what makes us really unique and strong as a band is that we all can be individual musicians, but we choose to play together, because it just makes the creative juices flow more and it makes us want to even continue on more than I would as a solo musician.
SG: At some point, I’ll probably do my own project. But right now, all I care about is playing music with AJ and the boys and see where this goes. I try not to plan too much. I don’t really scheme. I probably should scheme a little bit more, but I just don’t.
How does the California bluegrass scene differ from the South?
SG: A lot of people think of California as the jammy stuff, the Deadhead stuff that comes out of there. But even to this day, the California Bluegrass Association is very traditional. It’s one of the most traditional associations out there and there’s also a huge focus on singing. The singers that come out of a place like Tennessee are extremely good at blending. There’s a school of singing, and a lot of them sound very similar. Their harmonies are incredibly perfect. But California tends to reward individuality and uniqueness. The unique voices are kind of put on a pedestal.
AJ, your singing style is more subtle than showy. Why?
AJ: I agree with you. I’ve always really appreciated the subtlety of singing to where it’s not, “Look at me. Look at how well I can sing.”
“Hillside” uses the metaphor of a hill that aspires to be a mountain. What does the metaphor represent?
AJ: “Hillside” is about women empowerment. The metaphor is that you are this hill that is bombarded by all these outside elements trying to knock you down. But your foundation has become so strong and nothing’s really going to topple you over.
Have you experienced a lot of sexism in your career?
AJ: I’ve experienced some, of course. Especially after shows, you know a lot of older gentleman say things to me that obviously they mean well, but it just turns out to be very sexist. I get a lot of the, “If I was 20-years, 30-years younger” sort of statements, and it’s just like, “Ooh, gosh.”
How about general discrimination?
AJ: Yeah, especially jamming in the bluegrass community, as a woman sometimes you’ll just get into those circles that have that male energy so present and it’s really hard for women to join a jam sometimes. But I’ve learned to try to just get myself in there over the years with support from my mom and other strong women who are also in the community.
Are you on the record on where the “Blue Summit” band name originates?
AJ: Our first festival we played was a Kate Wolf festival. We actually didn’t really have a band name yet that we were happy with. The original name we hated. Our original bass player at the time, Isaac Cornelius, came up with The Highway 17 Savages, which doesn’t really resonate with our band at all. We totally needed to change this name. So we made these recordings to send in to Kate Wolf at Isaac’s house, which he grew up on the summit in Santa Cruz. So we were like bluegrass on the summit. So we became Blue Summit.
It’s a serendipitously Canada-filled day on You Gotta Hear This, where singer-songwriter Rose Cousins brings us a brand new track, “Forget Me Not,” with a beautiful accompanying visualizer, plus Alex Mason impressively performs “Broken Bottles” live from a canoe, and Bob Sumner and posse line-dance it up in a new video for “Motel Room.”
That’s not all, though, as we’ve got alt-country, bluegrass, and more from the southern side of that border, too. Don’t miss Reckless Kelly performing “Keep Lookin’ Down The Road” in a brand new, self-shot video that features gorgeous landscapes and stunning drone footage. Derek Vanderhorst brings us the title track to his upcoming album, Be Kind, as well, with a ringer cast of collaborators including Steve Poltz.
To round out our collection this week, we’re re-sharing two premieres from earlier in the week on the site. The Doohickeys brought us zombie-fied Good Country with “Rein It In Cowboy” and virtuosic pickers Steven Moore and Jed Clark paid tribute to what would have been Frank Wakefield’s 90th birthday with their rendition of “New Camptown Races.”
It’s all right here on BGS and, to be perfectly honest, You Gotta Hear This!
Rose Cousins, “Forget Me Not”
Artist:Rose Cousins Hometown: Halifax, Nova Scotia, Canada Song: “Forget Me Not” Release Date: June 28, 2024 (single) Label: Nettwerk Music Group
In Their Words: “‘Forget Me Not’ is the romance of spring unfolding into summer as it pulls us into its presence. Nature asking us to pay attention and come along. Spring is my favourite season and I’ve now gotten to see it four times in a row in the same place which touring kept me from doing for years. It’s been like falling in love in a new way with an old flame.” – Rose Cousins
Reckless Kelly, “Keep Lookin’ Down The Road”
Artist:Reckless Kelly Hometown: Austin, Texas Song: “Keep Lookin’ Down The Road” Album:The Last Frontier Release Date: September 13, 2024 (album) Label: No Big Deal Records
In Their Words: “‘Keep Lookin’ Down The Road’ is a reflection of the past and an appreciation for the present, but most importantly, it’s an optimistic look ahead. I wrote it with my brother Gary and our buddy Jeff Crosby during our annual songwriting retreat that we jokingly refer to as the ‘hitscation.’ I came up with the line on the way there. sang a few lines into my voice recorder, and we worked out the rest over the next couple of days. Once we were in the studio, I chopped up a couple of verses and used the best lines to shorten it up a bit to match the theme of the record, which is, in a nutshell, ‘Don’t bore us, get to the chorus.’
“As technology advances by the second, I’ve wondered for a while how close to a pro-shot music video I could film using just an iPhone and a drone. Since the expense of filming a music video can sometimes outweigh its visibility, I decided to find out. Using the limited videography and editing skills I’d picked up filming the pandemic-inspired ‘Music from the Mountains’ and ‘Quarantine Kitchen’ shows, I set up time lapses of sunsets, sent the drone up to capture areal views of the mountains in my high desert backyard, and tried to time sunrises and sunsets for the cringiest part – standing in a field of sagebrush all alone, Uncle Rico style, filming myself singing and playing the song in front of a tripod. Luckily, my locations were so remote that nobody drove by and saw this old man making selfie videos like some 14-year-old influencer.
“I shot a lot of B roll road scenes, filmed at an old junkyard in the woods, waterfalls, national monuments, and in huge valleys surrounded by mountains on all sides. I tried to use the scenery as the main focus and also borrowed my brother Gary’s old Dodge truck to match the timeless vibe I was going for. It was a lot of work and took a lot more time than I thought it would, but it was fun and it turned out pretty cool, and I have a newfound appreciation for why these things cost so much. I’m not sure if I matched the quality of a high-end production, but for the cost of a tank of gas or two it’s close enough for RK!” – Willy Braun
Track Credits: Written by Willy Braun, Gary Braun (Micky & The Motorcars) and Jeff Crosby.
Wily Braun – Lead vocals, rhythm guitar, harmonica, percussion Cody Braun – Fiddle, harmony vocals, mandolin, tenor guitar, synth, percussion Jay Nazz – Drums, percussion Joe Miller – Bass guitar Geoff Queen – Lead electric guitar, pedal steel guitar Bukka Allen – Hammond B3 organ, piano, harmonium Kelley Mickwee – Harmony vocals
Produced by Jonathan Tyler, Cody Braun, Willy Braun. Engineered by Joseph Holguin. Mixed by Jacob Sciba, Cody Braun, Jonathan Tyler. Mastered by Jacob Sciba. Recorded at Arlyn Studios, Austin, Texas. Additional recording at Clyde’s VIP Room, Austin, Texas.
Video Credit: Produced, directed, filmed, and edited by Willy Braun. Filmed on location in Idaho.
In Their Words: “‘Broken Bottles’ is a song about how when memories form, especially when we’re younger, they can take on an almost mythical quality in our imaginations and dreams. Then as we grow older and that spell of innocence is broken, we leave them behind, only to return to them again later when they likely don’t resemble anything like what they originally looked like. After losing my mom, writing songs became a way to preserve memories, even painful ones from when I was a kid. Sometimes even difficult memories can sweeten and soften with time. I was exploring a lot of open tunings with this new album, and felt a bit like Dylan on Blood On The Tracks – something about playing in open D on this Martin opened up a new space and new ideas for me and reminded me of being a teenager exploring the same tunings. It’s funny how things make their way back around.” – Alex Mason
Video Credit: Bradley Pearson, Don River Music
Bob Sumner, “Motel Room”
Artist:Bob Sumner Hometown: Vancouver, British Columbia, Canada Song: “Motel Room” Album:Some Place to Rest Easy Release Date: September 6, 2024 Label: Fluff and Gravy Records
In Their Words: “There is a rapper/DJ named Channel Tres. Everything Channel does is cool. He drips cool. I’m a big fan of his music, his aesthetic, and his videos. He has a video for a tune called ‘Weedman.’ It’s Channel and his homies hanging out in a home ordering weed from their dealer. Throughout the video they break into dance routines. It’s chill af. It’s funny. It’s joyous. It doesn’t take itself too seriously. I wanted that for ‘Motel Room.’
“I wrangled two of my close friends, Logan Wolff & Matty Beans. I knew they’d be down. My partner Mica Kayde choreographed a dance routine for us. With my director Dana Bontempo and his partner Zara, we loaded into my pickup truck, brought Endo my tripod dog (and best friend), and spent three days on a road trip messing around. We danced in front of a motel called El Rancho in the interior of B.C. We went to the Armstrong Fair & Rodeo. We laughed a lot, mostly at ourselves, and we had the time of our lives doing it. It’s no Channel Tres, but I think we did what we set out to do. The video turned out to be a joy. It’s fun. It’s funny. It encapsulates those magical carefree years I spent with my friend. At the end of the video the character ends up alone in a motel room wantonly gazing out the window. We felt that was a part of the story we couldn’t leave out.” – Bob Sumner
Derek Vanderhorst, “Be Kind” (featuring Steve Poltz)
Artist:Derek Vanderhorst Hometown: Golden, Colorado but moving to Nice, France in September Song: “Be Kind” Album:Be Kind Release Date: July 12, 2024
In Their Words: “I wrote ‘Be Kind’ in a fun, humorous way to address serious issues that are dividing friends and family and loved ones. Racism and intolerance are making their way into our everyday experience and becoming somewhat normalized. The divisiveness is becoming so overwhelming that it’s now hard to have these serious conversations and I wanted to send the simple message of acceptance, love, and kindness – as well as [pointing out] differences are what makes life so great and worth living.
“As Gen Xers, we need to be open, aware, and embrace all the progress and change, not forgetting our generation’s great changes. We sometimes need to remember that we need change to have stagnant waters.” – Derek Vanderhorst
Track Credits: Derek Vanderhorst – Music, lyrics, guitar, vocals Steve Poltz – Vocals, guitar John Mailander – Fiddle, mandolin Frank Evans – Banjo Brook Sutton – Bass Jamie Dick – Percussion
The Doohickeys, “Rein It In Cowboy”
Artist:The Doohickeys Hometown: Los Angeles, California Song: “Rein It In Cowboy” Album:All Hat No Cattle Release Date: January 24, 2025 Label: Forty Below Records
In Their Words: “We wrote ‘Rein It In Cowboy’ after Haley got her butt grabbed in a bar… He copped a feel and we copped a song. The unsettling vibe you get from a creepy guy groping you is eerily similar to the feeling zombies evoke, which is why our video draws inspiration from our love of classic zombie films like Night of the Living Dead and Dawn of the Dead. We had a blast coming up with t-shirt pick-up lines and other visual jokes throughout the video. With the help of our friends, we crafted a visual narrative we’re truly proud of and can stand behind (and grab).” – Jack Hackett, The Doohickeys
Artist:Steven Moore & Jed Clark Hometown: Jed Clark lives in Nashville, Tennessee, originally from Searcy, Arkansas; Steven Moore lives in Saint Clairsville, Ohio, originally from Bethesda, Ohio. Song: “New Camptown Races” (by Frank Wakefield) Release Date: June 26, 2024
In Their Words: “We are very excited to share our music video of ‘New Camptown Races,’ a tune by the late Frank Wakefield (June 26, 1934 – April 26, 2024) that has become a bluegrass standard. The idea for this video began at SPBGMA 2023, when we jammed to ‘New Camptown Races’ with both of us playing it in B-flat without using capos. We laughed and agreed that we needed to record it and maybe do a video shoot of it someday. It wasn’t until a year later at SPBGMA 2024, when we met up again, that we really solidified plans to make the video happen. Our hopes were to record the video and put it out on June 26, 2024 in honor of Frank’s 90th birthday. Unfortunately, the world lost Frank two months before he turned 90, but we decided to still aim to put out the video on what would have been Frank’s 90th birthday, in his memory…” – Steven Moore
Artist:Steven Moore & Jed Clark Hometown: Jed Clark lives in Nashville, Tennessee, originally from Searcy, Arkansas; Steven Moore lives in Saint Clairsville, Ohio, originally from Bethesda, Ohio. Song: “New Camptown Races” (by Frank Wakefield) Release Date: June 26, 2024 (video)
In Their Words: “We are very excited to share our music video of ‘New Camptown Races,’ a tune by the late Frank Wakefield (June 26, 1934 – April 26, 2024) that has become a bluegrass standard. The idea for this video began at SPBGMA 2023, when we jammed to ‘New Camptown Races’ with both of us playing it in B-flat without using capos. We laughed and agreed that we needed to record it and maybe do a video shoot of it someday. It wasn’t until a year later at SPBGMA 2024, when we met up again, that we really solidified plans to make the video happen. Our hopes were to record the video and put it out on June 26, 2024 in honor of Frank’s 90th birthday. Unfortunately, the world lost Frank two months before he turned 90, but we decided to still aim to put out the video on what would have been Frank’s 90th birthday, in his memory.
“Frank’s prowess on mandolin, evident by his years performing with bluegrass legends like Red Allen and The Kentuckians, Jimmy Martin, the Stanley Brothers, and Don Reno, is often not discussed nearly as much as his personality. Frank was known for having an off-kilter approach to everything, from how he talked to how he approached the mandolin. Stories about Frank spray painting his mandolin red (an irreplaceable 1923 Lloyd Loar signed Gibson F-5) as well as baking that very mandolin in an oven in an attempt to enhance its tone are just a couple examples of his unconventional character. Our attempt to play this tune in B-flat without capos on guitar and banjo is a bit unconventional as well, and we hope that Frank would have liked it. Thanks, Frank, for the music, the stories, and this great tune!” – Steven Moore
Video, Audio, and Video Still Credits: Daniel Kelley and Bethany Kelley of Octopus Garden Studios.
To welcome you to the end of the week, we’ve got a slate of superlative premieres from across the roots music landscape.
Below, find new tracks from singer-songwriters – Maya de Vitry, who sings a song from her upcoming co-written with Caitlin Canty, as well as Lucy Isabel bringing “A Hero’s Welcome.” We’ve also got a few Western North Carolinians in our round-up, including bluegrass mandolinist Darren Nicholson playing a song about a true mountain man, John Colter, and Amanda Anne Platt & the Honeycutters offering “Big Year.”
Plus, guitarist Jacob Johnson is joined by Willie Nelson & Family harmonica player Mickey Raphael on an acoustic Allman Brothers cover and Tommy Emmanuel pays tribute to Chet Atkins’ 100th birthday with a video BGS premiered earlier this week.
It’s all right here on BGS – and You Gotta Hear This!
Maya de Vitry, “Odds of Getting Even”
Artist:Maya de Vitry Hometown: Lancaster, Pennsylvania Song: “Odds of Getting Even” Album:The Only Moment Release Date: July 12th, 2024 Label: Mad Maker Studio
In Their Words: “I wrote ‘Odds of Getting Even’ with my dear friend Caitlin Canty at a kitchen table in Nashville, several years ago. I was borrowing a friend’s snare drum at the time and having so much fun just grooving on that drum and singing. We were really moved by an article laying on my table, it was about the late Sharon Jones. Her story is powerful – her devotion to music in spite of so many years of rejection and really outright dismissal by the music industry – and then her battle with cancer, and performing in the midst of treatment… Against so many odds, she persisted in making her music. And singing was the only thing that could take her pain away.
“The band Della Mae made the first recording of this song on their 2020 Headlight album. It’s a real honor and thrill to hear another band bring your song to life. Then, Caitlin recorded her own version on Quiet Flame, which came out last summer. One of the things I love most about making records is making a collection of songs that feel like they magnetically want to live alongside each other, like companion plants or something – and this one just absolutely belongs in the song garden of The Only Moment. And to hear Phoebe Hunt on harmony vocals… well I just think Phoebe is an absolute legend. I’m so lucky to get to sing with her.” – Maya de Vitry
Track Credits: Maya de Vitry – Vocals, acoustic guitar, synth Phoebe Hunt – Harmony vocals Anthony da Costa – Electric guitar Ethan Jodziewicz – Bowed upright bass Dominic Billett – Drums
Lucy Isabel, “A Hero’s Welcome”
Artist:Lucy Isabel Hometown: Nashville, Tennessee Song: “A Hero’s Welcome” Album:All The Light Release Date: June 28, 2024 (single); October 11, 2024 (album)
In Their Words: “‘A Hero’s Welcome’ is the only song on the album that wasn’t written specifically for the album. I taught myself to play guitar in college and started writing music pretty much right away. ‘A Hero’s Welcome’ was the first song that I ever felt proud of writing; I felt like I had found my voice. While I was in the process of writing the bulk of this album, I hung out with a college friend who reminded me of ‘A Hero’s Welcome.’ I suddenly realized that it was a perfect fit for All The Light and I added it to the track list. It’s been really fun to revisit this song that I wrote as a 21-year-old and hear how it’s transformed through the production process.” – Lucy Isabel
Track Credits: Written by Lucy Isabel Fortune-Cabrera. Produced/mixed by Jared Anderson. Mastered by Preston Cochran. Lucy Isabel – Vocals, BGVs Jared Anderson – Guitar, bass, pianos, percussion Andy Ellison – Pedal Steel
Jacob Johnson, “Jessica” featuring Mickey Raphael
Artist:Jacob Johnson Hometown: Greenville, SC Song: “Jessica” feat. Mickey Raphael Release Date: June 21, 2024
In Their Words: “It’s an unwritten rule for musicians that if your darlin’ (that’s how we say “significant other” or “partner” in the South) is named after a famous song, you must learn the song and you must use it to serenade them. Unfortunately, my wife was named after a 7-minute Allman Brothers jam. Eventually, I got serious and put together a solo/acoustic version of ‘Jessica’ that I later played as she danced with her dad at our wedding reception on May 31, 2019. It’s been knocking around in my head since then and earlier this year I decided it was time to flesh out the arrangement with some collaborators.
“Jack Ryan and Stephen Campbell from the dangerously hot Marcus King Band laid down a groovy, breathing foundation on drums and bass respectively, and Aaron Bowen supplied tasty keyboard lines throughout. In addition to the main melody, I played the second solo on my trusty Takamine acoustic guitar, but I knew I wanted to feature another special guest for the first solo section. I was completely blown away when my first choice, Mickey Raphael, legendary harmonica player for Willie Nelson and Family, agreed to participate. Mickey has played on some of my favorite albums of all time, and his lyrical, melodic style was just what the track was asking for. Having part of his magic on one of my tracks has been on my musical bucket list for many years.
“Of course, this entire project was created with lots of love and respect for its composer, the great Dickey Betts, who we lost not long after production was completed. If you know Southern music, you know he was one of the greats. Though I never had the opportunity to meet the man, I hope that my arrangement and attention to the details of this composition can honor his legacy in some small way.” – Jacob Johnson
Track Credits: Jacob Johnson – Guitars Mickey Raphael – Harmonica Jack Ryan – Drums Stephen Campbell – Bass Aaron Bowen – Keyboards Produced by Jacob Johnson. Recorded by Shane Nelson at Asaph Studios & Mike McCarthy in Jack Ryan’s Garage. Mixed by Shane Nelson at Asaph Studios, Greenville, South Carolina. Mastered by Anna Frick at Ally Sound.
Darren Nicholson, “Big Sky”
Artist:Darren Nicholson Hometown: Canton, North Carolina Song: “Big Sky” Release Date: June 21, 2024 Label: Mountain Home Music Company
In Their Words: “This is one of my favorite cuts of my entire recording career. I feel there’s a special spirit in the song and the way it turned out. It’s based on the true story of early American explorer, John Colter. He was a member of the Lewis and Clark Expedition and became the first known person of European descent to enter the region which became Yellowstone National Park. There’s several fascinating periods of his life and career. I became aware of him through a fabulous book about his survival and harrowing adventures called Colter’s Run. He was one of the first true mountain men. This was the inspiration for the song when Charles Humphrey and myself set out to write it. I also think it would make a great film. I feel the musicians knocked it out of the park in regard to capturing the mood and old-time essence. Hope you enjoy!” – Darren Nicholson
Track Credits: Darren Nicholson – Mandolin, octave mandolin, lead vocal, harmony vocal Tony Creasman – Drums Kristin Scott Benson – Banjo Zach Smith – Upright bass; Colby Laney – Acoustic guitar Deanie Richardson – Fiddle David Johnson – Dobro Kevin Sluder – Harmony vocal Jennifer Nicholson – Harmony vocal
Amanda Anne Platt & the Honeycutters, “Big Year”
Artist: Amanda Anne Platt & The Honeycutters Hometown: Asheville, North Carolina Song: “Big Year” Album:The Ones That Stay Release Date: August 9, 2024 Label: Mule Kick Records
In Their Words:“I wrote the first line of this song in 2018, after what felt like a really big year. I would revisit it from time to time, trying to find the rest of the words. And while I was doing that, the years just kept getting bigger and bigger. Good stuff, bad stuff, life just gets overwhelming at times. And of course there was a global pandemic. I’m still waiting on a smaller year, but maybe I’m also learning how to ride the wave a little better.” – Amanda Anne Platt
Track Credits: Amanda Anne Platt – Acoustic guitar, lead vocal Matt Smith – Dobro Rick Cooper – Electric guitar, vocal harmony Kevin Williams – Piano, vocal harmony Evan Martin – Bass, drums, percussion, vocal harmony
Produced by Scott McMicken and Greg Cartwright, FrogHouse Productions, and Amanda Anne Platt.
In Their Words: “The one and only Chet Atkins would be celebrating his 100th year if he were still here in body. We miss him. We love his playing, we remember all the great lessons and wisdom he handed out freely to us. We always use his example as the one written in stone. My fellow CGPs, John Knowles and Steve Wariner, have their own experiences and memories to share, and they have lived a different life to me. Yet, because of our love for Chet’s music, we are forever joined, like family…” – Tommy Emmanuel
Photo Credit: Maya de Vitry by Kaitlyn Raitz; Darren Nicholson by Jeff Smith.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRejectRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
