PHOTOS: Remembering Bluegrass Hall of Famer Bobby Osborne

The bluegrass community is collectively grieving two major losses as both Jesse McReynolds and Bobby Osborne – two revered and iconic Bluegrass Hall of Fame-inducted mandolinists and Grand Ole Opry members who helmed first-generation bluegrass bands with their brothers – have passed on. McReynolds, who was 94, died on Friday, June 23 at his home in Nashville with his wife, Joy, at his side; Osborne’s death was announced on social media early Tuesday, June 27 – he was 91. Both pickers were two of the sole survivors of bluegrass’s first generation. They leave enormous musical legacies that will live on, surely into infinity.

In 2017, the Bluegrass Situation team had the incredible honor of inviting Bobby Osborne to join our super jam at the world-famous Bonnaroo music festival in Manchester, Tennessee. To our delight, he said yes.

BGS co-founder Ed Helms and Bobby Osborne

Over more than ten years of creating and holding space for roots music in our industry, there are so many moments of which we are so proud. But one of the most memorable and meaningful BGS achievements from the past decade was hearing 20,000+ audience members and fans, packed into That Tent, roar unfathomably loud for the iconoclastic voice that made a hit of “Rocky Top” – and so many others.

That day, Bobby seemed to bask in the limelight. He was kind, down-to-earth, approachable, and seemed genuinely tickled at the fanfare and excitement that orbited him and his sharp, technicolor suit and sparkly hat. After a storied career that landed him and his brother, Sonny, in so many widely variable musical contexts, from the obscure to the mainstream, Bobby was perfectly at home at Bonnaroo. His audience knew it, and they ate it up. We all did.

Bobby Osborne with Casey Campbell (background) and Mike Barnett (foreground)

In light of his passing, the entire BGS team is holding gratitude for his kindness, generosity, and, most of all, for his music. Rest in peace to one of the most important and impactful first generation bluegrass music makers, Bobby Osborne.

We hope you’ll enjoy these back stage and performance photos, shot by Elli Lauren Photography, from Bonnaroo 2017 and the BGS Super Jam at That Tent.

Bobby Osborne, Paul Hoffman, Ed Helms, and members of Greensky Bluegrass and Bryan Sutton’s house band.

 

Lillie Mae and Bobby Osborne share a laugh on stage prior to their duet.

 

Bobby Osborne
Ed Helms, Casey Campbell, Bobby Osborne, and others

 

Bobby Osborne and Casey Campbell (background)

 

Bobby Osborne closes his 2017 Bonnaroo appearance with a bow and a tip of his hat.

 


All photos: Elli Lauren Photography for BGS

MIXTAPE: The Foreign Landers’ Transatlantic Story

Each of us having grown up on either side of the Atlantic, our common interests and musical influences could not have been more similar. All of these tracks hold sweet memories in our years of being a couple, and each artist has definitely influenced our sound as The Foreign Landers. David and I thought we’d share some of our transatlantic story together through a few of our favorite songs. — Tabitha Benedict, The Foreign Landers

Paul Brady – “The Lakes of Pontchartrain”

This is one of our favorite tracks of all time. This version of the popular ballad is from Paul’s album Nobody Knows: The Best of Paul Brady rereleased in 2002. With Paul’s flawless storytelling ability and tasteful guitar playing, it makes it a joy to come back for a re-listen.

Crooked Still – “It’ll End Too Soon”

David and I have been big Crooked Still fans for a long time and they will often be our first choice of car music on any long journeys. Here’s a beautiful song written by banjoist Greg Liszt for Aoife O’Donovan that is just so sweet to the ears. This was one of the last songs they recorded before the band stopped touring in 2012 and it appears on their EP Friends of Fall.

Tatiana Hargreaves – “Foreign Lander”

This is where the inspiration for our band name “The Foreign Landers” was drawn from. Aside from having more of a story behind our name than just that, we both love this old song and especially love this version from Tatiana Hargreaves debut album Started to Ramble released back in 2009.

Alison Brown – “Fair Weather”

This title track of Alison Brown’s album Fair Weather released back in 2000 is a common favorite of ours. Vince Gill features on lead vocals and guitar, Alison on banjo, Stuart Duncan on fiddle, mandolin, and vocals and Gene Libbea on Bass and vocals.

Ron Block – “Ivy”

Well, we knew we had to involve some of Ron’s writing and performing in this mixtape. We love this track, “Ivy,” off his album Walking Song. This is a perfect album for all year round, with guest appearances from a host of our favorite players.

The Weepies – “I Was Made for Sunny Days”

I first was introduced to The Weepies through hearing them on the radio back in Northern Ireland many years ago. My family instantly fell in love with their songs and sound, so I was so delighted to introduce David to their catalog when we were dating. Another favorite for long drives and singing along in the car. Here’s a real feel good song of theirs called “I Was Made for Sunny Days” from their album Be My Thrill released back in 2010.

The Boxcars – “You Took All the Ramblin’ Out of Me”

We just had to stick some good bluegrass in this mix of songs, and we’re so glad we chose this one. When David and I started dating, we would sing this to each other, and it has to be one of our favorites from the Boxcars album It’s Just a Road released in 2013.

Hot Rize – “You Were on My Mind This Morning”

At one of our first-ever performances about three years ago at the well-loved Cantab Lounge in Cambridge, Massachussetts, David sang lead vocals on this track written by Hot Rize. They recorded this on their 2014 release When I’m Free.

Dori Freeman – “If I Could Make You My Own”

We are big fans of Virginia-based singer-songwriter Dori Freeman, and especially love this track of hers from her 2017 release Letters Never Read. We recorded a cover of this song on our honeymoon on the Isle of Skye about two years ago now, so it holds a sweet spot in our relationship!

John Reischman – “Little Pine Siskin”

One of our favorite tunes off John’s album Walk Along John! John had been touring with the wonderful Greg Blake in Ireland back in January/February 2018, right when David took his first visit to Northern Ireland, and right when we started dating. We went to see them at a wonderful show at the Red Room in Cookstown. It was just a couple of days prior to making things “official.” I remember David playing this tune on that visit and it brings back happy memories!

The Foreign Landers – “I’m Not Sayin’”

We discovered this Gordon Lightfoot song from the late great Tony Rice on his album Tony Rice Sings Gordon Lightfoot. We have both loved this song for many years, and knew that when he would start a duo we would definitely be covering this one. We recorded this version on our EP Put All Your Troubles Away that we released in May 2021. We’re so thankful we did and hope you enjoy it!

David Benedict – “Colonna & Smalls”

David released this tune on his solo project The Golden Angle in 2018, named after the specialty coffee shop in Bath, England, back when we were dating. He has the amazing David Grier and Mike Barnett playing on this track with him.

Cup O’Joe – “Till I Met You”

David and I also tour and record with my two brothers in Cup O’Joe, our band based out of Northern Ireland. I wrote this song back in 2018, and recorded it on Cup O’Joe’s most recent album, In the Parting. I wrote this one with David in mind, not thinking that he would be playing mandolin on it a few months later!


Photo courtesy of The Foreign Landers

The BGS Radio Hour – Episode 208

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week, we bring you new music from both our Artist of the Month, Allison Russell, off of her brand new album Outside Child, and from the late Tony Joe White, too — plus much more! Remember to check back every week for a new episode of the BGS Radio Hour.

APPLE PODCASTS, SPOTIFY

Maia Sharp – “Things to Fix”

Moving across the country is stressful enough on its own. At the end of a 21-year marriage, Maia Sharp put her energy directly into working on her new Nashville home — painting one room, then another, and another. She took the idea to her co-writer on “Things to Fix,” relating the things that could have been fixed in her relationship to what she was fixing in the house.

Last Year’s Man – “Still Be Here”

Singer-songwriter Last Year’s Man (Tyler Fortier) explained his new track “Still Be Here” to BGS, relating, “I think we’re all eager for life to get back to what it was in some way or another and this is a love song built out of the idea that it will.”

Casey Driessen featuring Taro Inoue – “Little Cabin Home on the Hill”

Casey Driessen’s recent project Otherlands: A Global Music Exploration, is a self-produced travelogue of on-location recordings, short films, and essays that documents collaborations with masters of regional music in Spain, Ireland, Scotland, India, Finland, and Japan, where he recorded this bluegrass standard with his friend and mandolinist Taro Inoue.

Tony Joe White – “Smoke From the Chimney”

Legendary country singer and songwriter Tony Joe White, who penned hits like “Polk Salad Annie” and “Rainy Night in Georgia,” passed away in 2018, leaving behind quite a legacy of music. However, the material didn’t quite stop after he died. His new posthumous record, Smoke From the Chimney, was recorded a year later in 2019, as producer Dan Auerbach built the music around voice and guitar demos that White had left behind.

Carsie Blanton – “Mercy”

Carsie Blanton wrote “Mercy” for her husband Jon, who helped her find out that love can be a gentle force that allows us to become more ourselves: “Once I discovered that, I was able to envision a whole world of love; a world that’s less about control and more about compassion.”

Angela Autumn – “Sowin’ Seeds”

“Sowin’ Seeds,” the latest track from Americana singer-songwriter Angela Autumn, explores the could-be life of a musician, one of imagined ease and free from sacrifice.

Danny Paisley and the Southern Grass – “Date With an Angel”

Up next is Baltimore bluegrass royalty Danny Paisley with a track off of his newest record, Bluegrass Troubadour. Paisley started out performing in the Southern Mountain Boys with his father, Bob Paisley, and Ted Lundy. Years later, Danny formed the Southern Grass and performs with his own son as well as the sons of Ted Lundy. They’re a two-family, three generation band! Paisley is the most recent IBMA Male Vocalist of the Year, an award he’s received more than once. Listening to Bluegrass Troubadour, you can see why.

Beth Whitney – “I Go”

Singer-songwriter Beth Whitney wrote “I Go” inspired by her family’s tradition of taking backpacking trips and her favorite Wendell Berry poem, “The Peace of the Wild Things.” While she’ll be the first to admit that she doesn’t backpack gracefully, though as blisters and bug bites take hold, “as the wilderness takes me in, it starts to heal me somehow and I come into focus.”

Amy Helm – “Sweet Mama”

“Sweet Mama” is a rock and roll track made with love in Woodstock, NY by Amy Helm with one and only Phil Cook on harmonica!

Allison Russell – “Montreal”

Our current Artist of the Month, Allison Russell, has just released her stunning solo debut, Outside Child, an album that delves deeply into the extreme trauma she experienced in her youth spent in Montreal. We recently spoke with Russell about her experience making the record and the relief that songwriting, music and art can bring.

Mike Barnett featuring Alex Hargreaves – “Piece O’Shrimp”

Mike Barnett, a Nashville-based fiddle player who recently released +1, an album of duets with friends and heroes, had originally slated the album for release in late summer 2020, but was delayed when he suffered a cerebral hemorrhage, putting his career and life on hold. Undergoing extensive rehabilitation, he posted a welcome update in February on his GoFundMe (support here) that a full recovery is still possible and likely! While we’re wishing Mike the best, and supporting his recovery through his GoFundMe, we’re also enjoying a “Piece O’ Shrimp” from his new album, featuring Alex Hargreaves.

Christina Alden & Alex Patterson – “Hunter”

UK-based folk duo Christina Alden & Alex Patterson wrote “Hunter” inspired by an unlikely friendship between a grey wolf and a brown bear, as captured by Finnish photographer Lassi Rautiainen.

Charlie Marie – “El Paso”

Country singer-songwriter Charlie Marie recently joined BGS for a 5+5, that is 5 questions and 5 songs. She talks growing up listening to Patsy Cline, meditating before “big” shows, listening to Frank Sinatra at old school Italian restaurants, and more.


Photos: (L to R) Amy Helm by Ebru Yildiz; Allison Russell by Marc Baptiste; Tony Joe White by Leann White

With Day Jobs on Hold, These Acoustic Musicians Go Solo (Sort Of)

The widespread shuttering of the music industry during coronavirus has given many musicians, bands, and artists the opportunity to inspect and reconfigure their priorities. In the many months since COVID-19 was declared a pandemic, this phenomenon has been well-documented in writing about music — music released as a result of the coronavirus or released in its all-eclipsing shadow, both. Artists have altered so many of the ways they interact with and create music and watching creatives respond to this worldwide cataclysm has been all at once entrancing and existential. 

Especially in instrumental music. Especially in instrumental music made in the off time — away from the “day job,” the main gig, or perhaps, again the off time afforded by COVID. In the gaps, where life allows, acoustic musicians in bluegrass, Americana, and old-time have been exploring the existential questions brought about by the pandemic — and also often by parenthood, by identity, by health and well being, or simply by the pursuit of self — in endlessly fascinating musical endeavors.

Andrew Marlin, co-frontperson of longtime Americana string duo Watchhouse (formerly known as Mandolin Orange) released not one but two albums of such endeavors this year, ostensible results of introspection of his role as a father, fighting-while-resigning-to the day-to-day beauties and fears within fatherhood. There’s a bleak, beautiful nakedness to “The Jaybird,” off Fable & Fire, an age-old sounding fiddle tune with sleek, modern simplicities that seem to indicate the gorgeousness possible from being still, watching, waiting, and listening. 

On Witching Hour, “Too Hot To Move” isn’t a barn burner, it’s a Musgraves-level slow burn; a tepid, mosquito-laden, languid afternoon on a back porch, the air thick with humidity. Again, striking in its display of the delectable everyday, in not just occupying the same place with the same people daily, but inhabiting that place with intention. Marlin’s backing band of Clint Mullican (bass), Josh Oliver (guitar, piano, and more), Jordan Tice (guitar, bouzouki), and Christian Sedelmeyer (fiddle) is largely consistent between the projects as well, reiterating this point.

Sara Watkins, known for many a “main gig” — whether that be Watkins Family Hour, Nickel Creek, or I’m With Her — released another fantastic solo offering, built on many of the same tenets evident in Marlin’s recordings. Under the Pepper Tree, whose title track is the album’s sole instrumental, is a whimsical, winking collection of near-lullabies and other ageless classics rendered as only Watkins could, with pop underpinnings and gloss, but a worn, charming patina of bluegrass and Americana via the American Songbook and its associated canon. 

“Under the Pepper Tree” listens like a fiddled campfire coda to a day on the trail; or, similarly, as if a goodnight to Watkins’ young daughter, after returning from tour. While the album as a whole carries the movement and adventure of the Wild West, as well as theatre and cinema and gaiety, its sense of place — of rootedness — is remarkable, especially in “Under the Pepper Tree,” oozing of lessons learned and intentions made underneath its boughs through pandemic isolation. 

Continuing on fiddle, Mike Barnett’s non-Ricky Skaggs & Kentucky Thunder project released in 2020, +1, feels like somewhat familiar territory, a collection of duets with friends and musical compatriots that stretches out purposefully and athletically from his tours with the Country Music Hall of Famer (who also appears on the album). “Piece O’ Shrimp,” with guest Alex Hargreaves on twin fiddle, is wonky, newgrassy, orchestral, and sly with old-time baked in and a dash of Darol Anger & Mike Marshall’s duet work. 

The poetry in the tune, and the entire project really, came from a health-related pausing of a different kind, though. While the rest of us felt the world halt due to the coronavirus, Barnett’s record release, as well as his performing career, were unexpectedly paused when Barnett suffered a cerebral hemorrhage in July 2020. This collection of songs gains an entirely new meaning, not only in the context of COVID-19, but also as a waypoint on Barnett’s journey through music, his recovery, and his eventual return to playing. Still in in-patient rehabilitation and therapy, Barnett posted an update via GoFundMe (support here) in February 2021 that closed, “…A full recovery is possible and likely!” 

Finally, to conclude our foray into solo instrumental explorations, Sam Armstrong-Zickefoose, multi-instrumentalist and songwriter of Meadow Mountain, considers ideas of place, identity, and belonging on his upcoming crowdfunded release, Spark in Your Smile. Decidedly forsaking tradition-adjacency, perhaps more than might be expected if a listener’s entry point is Meadow Mountain, the album is a testament to Armstrong-Zickefoose’s commitment to community building; he’s utilizing music and creative expression for that purpose. The expansive quality of the project’s lack of genre conjures joy first and foremost, especially on “Mona,” and globe-crossing communities as a near second, each instrument, texture, and tone evidence of what’s possible when roots music allows folks to be and to belong. A priority high on everyone’s list, but especially queer folks in bluegrass, old-time, and Americana like Armstrong-Zickefoose.

As touring bands return to the road, it will continue to be fascinating to watch musicians navigate the reconfiguration of their priorities — and how they will continue to carve out the time to express themselves, instrumentally and otherwise, while life, and the music industry, charges on ahead.


Photo credit: Sara Watkins by Jacob Boll; Andrew Marlin by Lindsey Rome.

The BGS Radio Hour – Episode 197

Welcome to the BGS Radio Hour! Since 2017, the show has been a weekly recap of all the great music, new and old, featured on BGS. This week we’ve got new releases from so many amazing artists on the roots scene today, from Luke Combs to Langhorne Slim to Sierra Hull! Remember to check back every Monday for a new episode of the BGS Radio Hour. 

APPLE PODCASTS, SPOTIFY

Luke Combs and Billy Strings – “The Great Divide”

Luke Combs, of country radio stardom, teams up with bluegrass-favorite Billy Strings this week for a new single. “The Great Divide” was written by the duo for Combs’s bluegrass album, one that he hasn’t completed yet. However, both artists agreed that the time to release this song was now, attempting to shine a light of hope in this tough time.

Allison Russell – “By Your Side”

Singer/frontwoman of the Birds of Chicago, Montréal-based Allison Russell brings this Sade cover to the show this week. What she calls an “endlessly expansive and inclusive song of love,” this song brings comfort to Russell – as it does to us, as well.

Jaelee Roberts – “Something You Didn’t Count On”

Nashville-based Jaelee Roberts is one of the quickest rising stars in bluegrass music. Her first single on Mountain Home Music Company, an original song co-written with Theo MacMillan (of Theo and Brenna), brings big promises of more great music to come.

Twisted Pine – “Amadeus Party”

A 5+5 guest this week is none other than Jim Olsen, president of Massachusetts record label Signature Sounds. Celebrating 25 years of the label, and the so many great artists presented by it, Olsen brings us the Golden Age playlist – which includes this jam from Twisted Pine.

Dale Ann Bradley – “Yellow Creek”

Kentucky-based Dale Ann Bradley brought us a new album this weekend! While you may remember her from former BGS Artist of the Month Sister Sadie – an all-female bluegrass supergroup – Bradley is stepping away from the band in 2021 to celebrate this new solo album, just one of so many in her extensive catalog.

Karen Matheson – “Glory Demon”

“Glory Demon” comes from Brewers Dictionary of Phrase and Fable. “It means war,” Matheson tells BGS. But, this is an anti-war song from the Scottish artist, one about how we never learn and life just keeps endlessly repeating itself.

Black Pumas – “Colors”

The Black Pumas are our February Artist of the Month here at BGS! You may recognize them from the Biden inauguration, where they performed this song from their 2019 self-titled album. Stayed tuned all month long, where we’ll be featuring exclusive content on the Black Pumas!

Langhorne Slim – “Mighty Soul”

This week on The Show On The Road podcast brings us a conversation with Sean Scolnick – known mostly by his alter-ego, Langhorne Slim. Host Z. Lupetin caught up with Slim to talk about his new album, Strawberry Mansion, creative funk, mental health, and more.

FRETLAND – “Could Have Loved You”

From Snohomish, Washington, Hillary Grace Fretland (of FRETLAND) catches up with BGS this week on a 5+5 segment – that is 5 questions, 5 songs. We talked favorite memories from being on stage, influences, and songwriting techniques.

Valerie June feat. Carla Thomas – “Call Me A Fool”

From her upcoming The Moon and the Stars: Prescriptions for Dreamers, Valerie June brings us this song that she dedicates to us all. Produced by June and Jack Splash – whose resume includes Kendrick Lamar, Alicia Keys, and John Legend – this album makes it clear to June why she makes music.

Mike Barnett feat. Cory Walker – “Hybrid Hoss”

Nashville-based fiddler Mike Barnett brings us this Bill Monroe twist-up from his upcoming duets album, +1. The record was slated for a fall 2020 release, until Barnett suffered from an unexpected brain hemmorage. After multiple successful surgeries, he is doing well and recovering in extensive rehab where he is reconnecting his brain and fingers. So in listening to this piece of amazing music, let’s all send our best wishes to Mike Barnett and his family. You can support Mike Barnett’s recovery here.

Sierra Hull – “King of Anything (Live)”

From last year’s Whiskey Sour Happy Hour, this week we’re featuring Sierra Hull’s performance of this Sara Bareilles pop-hit. The Nashville-based singer and songwriter just released Weighted Mind (The Original Sessions), an EP made up of the demos for her 2016 release, Weighted Mind. 

Fort Frances – “Fits and Starts”

“Time traveled on a superhighway,” Chicago-based singer and songwriter tells BGS of the world before the pandemic, “but since March, we’ve all been in a traffic jam.” David McMillin of the group suggests that getting a break from all that movement is actually a good thing, however. This song is all about hitting that pause button.

Jon Stickley Trio – “Future Ghost”

The Jon Stickley Trio is one of the most exciting instrumental, “jamgrass” groups on the scene today. Made up of drums, flatpick guitar, and fiddle, they continue to push the boundaries of instrumental roots music, while being a festival favorite across the nation. This week, they bring us this new single on Organic Records.

Langhorne Slim – “Morning Prayer”

At the end of the Show On The Road podcast episode with Langhorne, he graced us with a performance of this song, accompanied by his cat, Mr. Beautiful. What better way to end this week’s show?


Photos: (L to R) Allison Russell by Francesca Cepero; Sierra Hull by Gina Binkley; Valerie June by Renata Raksha

LISTEN: Mike Barnett, “Hybrid Hoss”

Artist: Mike Barnett
Hometown: Nashville, Tennessee
Song: “Hybrid Hoss”
Album: + 1
Release Date: March 19, 2021
Label: Compass Records

Editor’s Note: Fiddle player Mike Barnett’s collaborative album, + 1, was slated for a late summer 2020 release, but plans were derailed when he suffered a cerebral hemorrhage at his home in Nashville in July. He underwent two successful surgeries and an initial round of rehabilitation in Atlanta, and will soon begin intensive rehabilitation in Chicago. There, accompanied by his wife, fiddler Annalise Ohse, he will work to “reconnect his brain to his fingers.” In the midst of continuing his recovery, Barnett is very excited about getting the music on + 1 to the fans and community that have offered him so much support. Go to Mike Barnett’s GoFundMe page to contribute to his recovery fund.

In Their Words: “Here’s a good old Bill Monroe classic… oh wait, except for the ‘A’ part. I put one note per ping pong ball and played lottery bingo for that part… just kidding, though it might sound that way. I sometimes enjoy taking tunes outside the box, but still maintain some semblance of where it came from. This is a hybrid of ‘outside’ and ‘in’ based on Bill Monroe’s ‘Wheel Hoss.’ Grounding this in the tradition of banjo/fiddle seemed appropriate. Cory Walker’s instincts and diverse musical pallet make him one of very few people who could tackle this.” — Mike Barnett


Photo credit: Stacie Huckeba

LISTEN: Mike Barnett, “Righteous Bell” (Featuring Sarah Jarosz)

Artist: Mike Barnett
Hometown: Nashville, Tennessee
Song: “Righteous Bell” (featuring Sarah Jarosz)
Album: + 1
Release Date: September 11, 2020
Label: Compass Records

In Their Words: “I wrote this just before the 2016 presidential election. Looking back, there is much work to be done before any ‘righteous bell’ is rung. The juxtaposition of the propelling, changing instrumental and the grounding, unchanging vocal melody creates a sort of galvanizing tension that hopefully inspires the listener to take action — voting, conversing, learning, protesting, etc. Just like in an old-time jam, the vocal melody and lyric fuels the fiddles and banjos, and everyone feeds off each other’s energy. Sarah Jarosz’s powerful singing and driving clawhammer banjo brought this song to life.” — Mike Barnett


Photo credit: Stacie Huckeba

Hear Six of Our Favorite Instrumentals on IBMA’s Second-Round Ballot

We debuted Tunesday Tuesday in January 2018 for a pretty simple reason. Roots music has a world-class stable of talented pickers, and unlike other more commercial genres, that talent is something of a prerequisite. Whether blues or bluegrass or country or folk, there’s something about American roots music that goes hand in hand with virtuosic playing ability. It’s one of the main reasons BGS loves string band music. 

The 20 tunes that advanced to this year’s second-round IBMA ballot in the Instrumental Recording of the Year category showcase a wide range of the talent that draws us to instrumentals, so why not go through a half-dozen of our favorites? Some of these folks have been featured in their own Tunesday Tuesday before, some are newcomers, but two things unite all of them: You’ll be tapping a toe and looking up whether your IBMA membership has lapsed or not after listening to any of the following instrumentals. 

“Bish Bash Bosh” – David Benedict

An outlier in this category for more than one reason, mandolinist David Benedict’s “Bish Bash Bosh” is a breath of fresh air thanks to its tender intro, its languid tempo, and the musical wiggle room afforded to the track by each. Fiddler Mike Barnett and IBMA Award-winning veterans Missy Raines (bass) and David Grier (guitar) are each sensitive, empathetic sounding boards for Benedict’s themes, unspooling and embellishing them expertly. More tender-yet-gritty instrumentals in this category going forward, please!


“Big Country” – Gena Britt

Can’t get much more bluegrass than a tune like “Big Country” and Gena Britt’s right hand! The Sister Sadie banjo player’s solo album, Chronicle: Friends and Music, showcases not only her spotlessly crisp, bread-and-butter approach to Scruggs-style banjo, but her singing voice and her sparkly group of musical friends, too. It’s refreshing to hear banjo playing that’s truly unconcerned with ego, while remaining happily in a pretty much traditional lane. If it ain’t broke, after all… 


“Princess and the Pea” – The Gina Furtado Project

Two incredible, banjo-playing Ginas/Genas back to back! Gina Furtado’s debut record with her band, the Gina Furtado Project, features this delightfully medieval, fairy tale tune with a more-joyful-than-most minor-key motif. Furtado reminds all of us that her playing contains many more influences than we often assume, with subtle call backs to Tony Rice and John Carlini-tinged eras in bluegrass’s new acoustic circles. Even the tune’s production guides listeners’ ears in this direction. It’s another excellent sonic “ear break” on the ballot.


“Soldier’s Joy” – Jesse McReynolds (Feat. Michael Cleveland)

A Bluegrass Hall of Fame inductee and the oldest living member of the Grand Ole Opry, Jesse McReynolds epitomizes what it means to be a bluegrass legend and forebear — and he’s still picking. On a recording with umpteen-time IBMA Award-winning fiddler Michael Cleveland, McReynolds shows his audience exactly why he deserves every accolade he’s received and more. Given his age (McReynolds will turn 91 this year) and inevitable decline in mobility and dexterity, you’d expect a gracious caveat herein to allow for the recordings “warts” and “raw moments,” but damn if his playing isn’t as clean as ever! An award-winning, award-deserving mandolinist, no doubt.


“Chickens in the House” – Deanie Richardson

That fiddler, educator, and multi-instrumentalist Deanie Richardson does not have an IBMA Award unto herself yet is a true injustice. Also a member of Sister Sadie with Gena Britt, Richardson has been a lifelong presence in bluegrass and fiddle contest scenes around the US, and has toured with Vince Gill, Patty Loveless, Bob Seger, and been house fiddler on the Grand Ole Opry. “Chickens in the House” features some timeless fiddling chicken imitations, as well as a languid backstep feel that clicks up a few BPM as the band goes, so watch your feet should they get to shufflin’ without your say-so.


“Guitar Peace” – Billy Strings

Until snagging his first proper IBMA Awards just last year for Best New Artist and Guitar Player of the Year, flatpicking phenomenon Billy Strings has gone generally underappreciated by voting members. His crowds, his shows, and his fans are extraordinary in bluegrass, jamgrass, and similar communities – the roots music sphere continues to watch his ascent with something like a slack jaw. Though it’s unlikely he’ll dominate this year’s IBMA Awards, this trance, solo acoustic guitar track, “Guitar Peace,” which features a calming, buzzing drone and plenty of Strings’ trademark six-string acrobatics, deserves the nod. 


Photo credits: David Benedict by Louise Bichan; Gena Britt courtesy of the artist; Gina Furtado Project by Sandlin Gaither; Jesse McReynolds still; Deanie Richardson by Kerrie Richardson; Billy Strings by Shane Timm. 

MIXTAPE: Wood & Wire’s Grammy-Nominated Faves

Welcome to our guide to The Grammys! You may (or may not) be surprised to learn that our musical tastes span far beyond the beautiful world of bluegrass music. Below you’ll find some of our favorite tracks from the Bluegrass category along with many other tracks from various nominees. This took us a while and was nearly impossible to narrow down. We could have easily made this list a lot longer. For now, enjoy some highlights and we’ll see you in L.A.! — Tony Kamel, Wood & Wire

(Editor’s Note: Wood & Wire’s
North of Despair is nominated for a Grammy in the Best Bluegrass Album category.)

The Travelin’ McCourys – “Southbound”

We’ve been fortunate to get to play some shows with these guys over the last few years. They’re great people and awesome bluegrass pickers but this album showcases their versatility beyond just bluegrass while remaining undeniably true to the bluegrass style.

Kacey Musgraves – “Slow Burn”

Kacey received four nominations, including Album of the Year, for her album Golden Hour. Whether you consider it country or not it doesn’t really matter. From front to back the album is absolutely flawless.

Kendrick Lamar & SZA – “All the Stars”

This song is so catchy and so good you’ll want to start it over again once it ends. It also has landed four nominations including Record of the Year.

Brandi Carlile – “The Joke”

A poignant and powerful song by an incredible singer/songwriter. Don’t stop with this song because the entire album is amazing.

Zedd, Maren Morris & Grey – “The Middle”

Are you someone who doesn’t listen to pop songs that much? Forget about all of that and give this song a listen. It’s a perfect pop song.

Marcus Miller: “Trip Trap”

Bassist Marcus Miller is the Boss, the GOAT and a very bad boy. His unbelievable album Laid Black (up for best Contemporary Instrumental Album) is Marcus in peak form, start to finish. Don’t take our word for it, listen to the opening (live) track “Trip Trap.” You’ll find that Marcus is talking to you on that bass. Turn it up.

Mike Barnett: “Mary and the Soldier”

When we saw this title on Mike’s album, we were eager to listen to his interpretation. His fiddle playing is so tasteful, and his arrangement is so musical, we truly feel that the purity and passion of this traditional music has been understood, matched and advanced. And who better to sing than Tim O’Brien? Mike joins us in the Best Bluegrass Album category with his record, Portraits in Fiddles.

Margo Price (Feat. Willie Nelson) – “Learning to Lose”

By now, you all know who Margo Price is. It’s funny that she’s up for Best New Artist considering how long she’s been doing her thing–and what a wonderful thing it is. Willie Nelson is also up for a few and we figured it would be nice to share this beautiful song they recorded together, featuring a classic Willie guitar solo on his beloved classical guitar Trigger.

Julian Lage – “Splendor Riot”

Known for his guitar chops and background in jazz this album is truly unique. At times country or R&B it also sometimes sounds like a rockin’ indie album…Only instrumental.

Childish Gambino – “This is America”

The song alone is a monumental work and a powerful commentary on American society. It is also nominated for best music video for a good reason. Go watch the video.

Cedric Burnside – “Death Bell Blues”

Start to finish, this record is incredible. This guy has channeled some of the absolute greats in his delivery and recording style, including his father (blues drummer Calvin Jackson) and grandfather (the great R.L. Burnside). But make no mistake, Cedric has his own groove and own style. Benton County Relic is up for Best Traditional Blues Record and man it’s a doozie.

Special Consensus (w/ 10 String Symphony, Alison Brown, & John Hartford) – “Squirrel Hunters”

Greg Cahill and crew really crafted a gem of a record with Rivers & Roads. It’s chock full of some of the best playing we’ve heard. However, it’s hard to resist choosing this version of one of our favorite fiddle tunes, in which the band (plus our friends Rachel Baiman & Christian Sedlemeyer, as well as Alison Brown) built the recording around a previously unreleased track of our one of our favorite musicians of all time, John Hartford. Just awesome to hear it brought to life this way.

Sister Sadie – “Raleigh’s Ride”

Aside from being amazing singers, these ladies sure can pick. This is one kick-ass instrumental! We’re thrilled to share this category with them.

Los Texmaniacs – “Mexico Americano”

Shout out to some of our fellow Austinites. This heartfelt song speaks for itself. Their record Cruzando Brothers is up for Best Regional Mexican Music Album and it’s awesome.

Lady Gaga – “Shallow”

Not much to say here. We love Lady Gaga. Quite the vocal performance.

Brad Mehldau Trio – “De-Dah”

This trio has achieved acclaim in the jazz world and beyond for their compositions and performances. Though Brad himself is nominated for his solo on this song the band is jammin’ right there with him the entire time.

Punch Brothers – “All Ashore”

Of course Punch Brothers are amazing musicians but what’s more impressive is their limitless ability to take the bluegrass quintet to new realms.

Post Malone – “Psycho”

Post Malone grew up in Grapevine, Texas, and released his first major hit on SoundCloud. This is his second album which showcases his vast blending of musical styles and influences.

Others that we love: Mary Gauthier, Loretta Lynn, John Prine, Fantastic Negrito, Travis Scott, St. Vincent, Loretta Lynn, Leon Bridges, The Wood Brothers… so, so many more.

2018: The Year of Ricky Skaggs

Though he’s just now hitting nominal retirement age, Ricky Skaggs has been a virtuosic presence in the worlds of bluegrass, country, and Americana music for close to 50 years. With his childhood friend, Keith Whitley, he began touring and recording with Ralph Stanley while still in high school; by the time he turned 21, he had done a stint with the Country Gentlemen and become a member of the J. D. Crowe & The New South lineup whose eponymous 1975 album was (and is!) so influential that it’s been known for more than 40 years simply by its catalog number, Rounder 0044.

From there he moved on to intensive studio work; partnering with Jerry Douglas in Boone Creek; a stretch with Emmylou Harris’s Hot Band; and then, in 1981, launching a country career so meteoric that he earned, within four years of his debut recording, the Country Music Association’s top Entertainer of the Year award. Fifteen years later, he returned to bluegrass in spectacular fashion with the album Bluegrass Rules!

It’s no wonder, then, that he’s a newly minted member of the Country Music Hall of Fame and the Bluegrass Music Hall of Fame, though it’s a nifty kind of surprise that he was inducted into both this year — and, while it’s less widely known, he hit the trifecta when he was inducted into the Fiddlers Hall of Fame, too. In short, if you were to call 2018 the Year of Ricky Skaggs, it would be hard to mount a real counter-argument.

A conversation with Skaggs is always a journey through a myriad of subjects, and this one was no exception; we touched on many topics, from his nearly complete recovery from shoulder troubles to his recollection of a conversation with Art Satherly, the legendary producer who worked with Bob Wills, Bill Monroe, and many others. Still, a couple of themes emerged, and it’s fitting that one began with an examination of his under-appreciated role as a fiddle player.

It occurred to me that there are fiddle players in the Bluegrass Hall of Fame already—Chubby Wise, Paul Warren, Kenny Baker, Benny Martin, Bobby Hicks—but there are some other members, like John Hartford, who folks might not think of first as a fiddler but who were players, and that led me to you. I think there’s a whole generation of fans and musicians who might not realize how much you’ve done on the fiddle. Is that something you still do from time to time?

When we went out on the Cooder-White-Skaggs tour, I played quite a bit of fiddle, because we were doing so many country things, like Hank Snow’s “Now And Then (There’s A Fool Such As I),” that Chubby Wise played on, and Ry wanted that fiddle. Sharon did songs that I’d play on, and I played swing fiddle on “Sweet Temptation.” So I played quite a bit on that tour. But I haven’t taken it as seriously as I should have, especially in the last 20 years; I just haven’t kept up on it. And you know, when you do pick one up and it sounds like a cat killing, you start thinking, maybe my days are over on this.

But I’ll tell you, when I was just a kid, and I decided I wanted to play another instrument besides the mandolin, my dad got a guy named Santford Kelly to come over to our house, and he recorded him playing—because especially when it came to playing fiddle, he wanted me to sit at the feet of some old cats that he knew. And now, I’ll play something by Santford Kelly for Andy [Leftwich], or now for Mike [Barnett], and their eyes are as big as silver dollars, and they say, “Oh, my god, will you please teach me how to play that? That doesn’t need to die with you—that sound and that bowing style, and that stuff from the mountains of Appalachia, that’s got to live on.”

When that happened a couple of times, I started really seeing how important it was. I’m always thinking maybe too much about perfection, and I’ve gotta tell you, when I heard Santford Kelly—he was 84 or 85 at the time, and he was scratchy. But it didn’t bother me that he was a little flat and sharp here and there, and a little scratchy on the bow. It was what was coming out of him that went into my heart, that moved me deeply. I thought, this is like Elijah coming off the mountain. This man is carrying something.

So I’ve kind of been saying, well, I’m not really up on it, but I need to shut that crap up. I just do need to play more of that.

You’ve entered three halls of fame this year, so maybe this is a good time to look back. One of the things I’d like to get your impression on is the idea that tradition is not a style, but a way of learning. And you did that, learning directly from older guys like Santford Kelly and Ralph Stanley, but it seems like there’s less of that these days. From the beginning of your return to bluegrass, you’ve made having young people in your band a priority. When you talk about Mike or [banjo player] Russ [Carson] hearing these things, is that something you feel is important — to mentor young musicians, be an active transmitter?

It absolutely is. To me, it’s vital — it’s necessary for the journey, it truly is. It’s manna, it’s food. In the tabernacle of David, where there were four thousand musicians and two thousand singers, you didn’t just fall off a turnip truck and then decide, hey, I’m going to be a musician. No! King David said, “My fingers are trained for battle.” To me, there is training that goes into perfection, goes into your craft. There is something that is really spiritual about this; it’s part of our spirit, it’s part of our nature to be trained.

And that’s truly part of what makes my heart beat, is to train up and to pour into young musicians — and not just men. Like Sarah Jarosz told me one time, “Thank you for letting me get up on stage and play with you when I was 12 years old in Austin.” Or Sierra Hull, or how my music affected Alison [Krauss] in her teenaged years — listening to J. D. [Crowe]’s records, and Boone Creek, and my early country stuff, the harmony singing and just the musicianship, how that encouraged her. I was talking to Becky Buller at the IBMA Red Hat [Amphitheatre], and she talked about how influential the music has been, too.

One of the things that I learned from Ralph was to play it like it was recorded. I remember one time, I’d been listening to Jimmy Gaudreau and some of the other mandolin players of that time a little bit, and one night I played a solo that was a little bit out of the ballpark for the Stanley sound. And I caught Ralph’s face move just slightly over toward me. He didn’t eyeball me, he just kind of turned to the right and listened to me. And when we got off he said, “Rick, you know what I do, when I take breaks, I play it just like I sing it. I want them people to know that when I played that break, they didn’t have to hear me sing, they knowed what that song was. That’s the way I do it.” He didn’t say, the way you did it was not cool, or out of bounds. He did not teach that way; it was so soft, and so nurturing.

And now, I’m always showing Mike stuff — even from the first time I met him, when he auditioned. We sat down and I played him the Stanley Brothers’ Starday recording of “Little Maggie”— one lick, one phrase, after [fiddler] Ralph Mayo’s first solo. Ralph kicks it off, sings one verse, and then Ralph Mayo takes a solo. Well, it’s that next verse, on the line “pretty women are made for lovin’,” on the word “lovin,” Mayo plays this counter-note that’s not even in B, where Ralph’s at. That thing came out of him, and that one note just spoke so loudly right there for me. When I really heard that, I thought “What did he just play!?” and it just lifted my heart to such a place. It was something. And I played it for Mike, and he said “play it again,” and I thought, all right, he’s going to get this job, I know. He’s hearing what I heard, so I knew he was the right one for the job. He heard what Mayo was playing, and he heard my passion for it. And those are the kind of things I want to teach.

Looking at your career, the frequency of your record releases seems to have slowed down. And it seems to me that the recorded end of the business is almost going back to the 50s. Are you just too busy to get into the studio, or is it a lower priority because the business is heading away from that?

Well, as a record company owner, it’s become a financial issue. Having a studio of my own, you’d think that I could do records so much cheaper, but it’s just a fact that the numbers just don’t work when I look at putting $30,00 or $40,000 into a CD and the chances of getting it back in the next three or four years. And I’ve got a big name! I don’t know how, well I guess I do know how, a lot of these record companies do them for $10,000. I would feel really bad about having to do a Kickstarter for Ricky Skaggs. But there’s so much music in my heart that I really want to go in the studio and make, and make it with this incredible band.

But here’s what we’re thinking: I guess I’ve probably got nearly every show that I’ve done in the last four or five years—and recorded on separate tracks, where they could be remixed. So I’ve got a ton of stuff. We’ve got Cooder-White-Skaggs, we’ve got Skaggs and Hornsby stuff, we’ve got Ricky Skaggs with Cody Kilby, Bryan Sutton, all kinds of guests that we’ve had. We’ve got all that recorded. So I really do believe there’s ways of doing it, and I don’t have to own everything; I could just have part ownership.

And I just want to get the music out. I want the world to be able to hear Mike Barnett and Jake Workman, Jeff Picker and Russ Carson. And of course Andy, or hearing Jake playing mandolin or banjo. We’ve got all that stuff, and maybe perfection doesn’t matter so much. I can get stuck in thinking about what used to happen in my life, and what used to be—and here again, I’m figuring out it doesn’t have to be that way. There’s a feel thing that we can miss by having endless tracks on ProTools, endless chances to go back and get another take; usually the first thought that comes into your mind on almost anything is the right one. It’s our stinking thinking that gets involved, and we get to overanalyzing stuff when the spirit is saying, “This is the right way, this is what I put in your mind at that time.” Sometimes you’re better off to just go with that.