Tag: Mixtape

Phillip Phillips’ Songs for Curing (or Wallowing in) Homesickness

Posted on by Justin Hiltner

This Mixtape sits in that space between where you came from and where life has taken you, full of memories, change, and longing for home. Songs like “Old Friends” by Ben Rector and “Rivers and Roads” by The Head And The Heart reflect on growing up and holding onto the people who shaped you, while “Fast Car” and “Clocks” capture that pull between escape and comfort.

At the center is my song, “Homesick,” written from the tension of chasing a dream while missing the people I love most. It’s about time passing, love deepening, and the quiet ache of being away from home. I’m excited to be touring later this year and releasing more music, and this playlist feels like a piece of that journey I get to share. – Phillip Phillips

“Old Friends” – Ben Rector

I love how this song connects the dots of those friends you grew up with and where you are as you’re older with them. Things change. Life goes on. But the memories and things you shared growing up with someone you’ll always remember. I love the lyric, “But I’ve never seen their parents’ back porch…” Such a real thing.

“Clocks” – Coldplay

Timeless song. You feel as though you need to be somewhere that gives you comfort if things start to feel uneasy or too much.

“Home” – Phillip Phillips

It’s me. Take it as you will and have your own meaning!

“Fast Car” – Tracy Chapman

Such an emotional song about needing to get out of the place that feels like it’s suffocating you. Sometimes the places we come from can feel that way.

“Rivers and Roads” – The Head And The Heart

For me it’s feels like time passing. Longing for the little moments that made life feel slow. I have kids now and it hits that much harder. To go the distance to see the ones you love just one more time.

“To Build a Home” – The Cinematic Orchestra, Patrick Wilson

I cry every time I listen to this song. So pure and raw. “Emotional” is an understatement for this one. It’s hard to listen to sometimes for me.

“Homesick” – Phillip Phillips

This is my newest song. I love it so much. I travel a lot and I get to do something I love, but I also have to sacrifice, spending time away from the people I love more than anything. I wrote this while my son was napping. Knowing that I was going to leave for another trip soon. I love playing music, but I love to be home to change the dirty diapers and take the trash out. Playing in the mud. I hope you love it as much as I do.

“Danny’s Song” – Loggins & Messina

Love over money. Always the goal. I love this classic song. Makes me think about being with my wife before getting married and having kids. How special those times are when you’re building a foundation in a relationship.

“The Book of Love” – The Magnetic Fields

I didn’t hear this song until later in life and it hit me like a train. Gets me emotional every time. Saying that love is boring and long. Which it really can be at times, and that’s okay. Loving someone is difficult. And for me, this song speaks to all relationships. Not just a husband or wife. I have flashbacks of my life when listening to this song.

“Livers and Onions” – Aaron Espe

My good friend wrote this song and when I first heard it, it made me think of growing up and being with my uncle Joey and my dad and thinking about my relationships as a kid with my cousins and family. Such a great song.

“Father and Son” – Yusuf / Cat Stevens

This song is just everything. I can only dream to write a song half as good as this. Makes me cry. Makes me think of being a father to my son and my relationship with my father.

Photo Credit: Sean O’Halloran

Old Spot’s Transatlantic Old-Time Playlist

Posted on by Justin Hiltner

(Editor’s Note: Below, United Kingdom-based old-time duo Old Spot – Rowan Piggott and Joe Danks – curate a Mixtape for BGS celebrating old-time music of the UK and Ireland. In order to include as many tracks as possible representing the vibrant string band scene in the UK, some selections are shared via Spotify and others via Bandcamp, depending on availability. We hope you enjoy listening and learning about transatlantic old-time – and that you support all roots musicians directly whenever possible.)

This is a Mixtape designed to highlight some of the amazing old-time string band music coming out of the UK and Ireland at the moment. Old Spot is a product of a vibrant scene, with the fiddlers and bands around us just as influential to us as their American counterparts.

This playlist looks to reflect some of the musicians performing string band music today, whilst shining a light on lesser-known gems. In compiling it, we’ve realized how much of the music we love on the old-time scene here isn’t on Spotify – if you love any of this music, buy it from the artists who made it! Anyway… less jawin’ more sawin’… – Old Spot

“Elzick’s Farewell” – Rattle On The Stovepipe

Rattle On The Stovepipe formed in 2003 and have played up and down the UK spreading old-time with band stalwarts Pete Cooper and Dave Arthur joined later by Dan Stewart – probably our favorite banjo player in the UK. This groovy version of “Elzick’s Farewell” is from their first album with Dan, No Use In Cryin’.

“Maggie Mead” – Follywren

Follywren is the brainchild of Bristol musician Kai Carter. We love lots of stuff that Kai does – his old-time trio is great and his original music (Kai & Hollis) is also a tour car staple. We have a real soft spot though for this amazing Follywren album, described as a kind of New Orleans-inspired electric string band. The tuba and electric banjo actually end up landing you somewhere between Clyde Davenport, Ghanaian Highlife, and Captain Beefheart’s Shiny Beast era… a good place to be.

“Rainbow” – Cath & Phil Tyler

Cath & Phil Tyler straddle the traditional and experimental music scenes in the UK and run the Newcastle sacred harp singers. Their albums are a treasure trove of ballads, with Phil’s mesmeric guitar and banjo playing supporting Cath’s one-of-a-kind, transportive voice. In some ways though, they are at their best a cappella where their background in shape note style really shines.

“Shanghai Skyline” – Jeri Foreman & Ruth Eliza

Jeri Foreman & Ruth Eliza are a powerhouse fiddle and banjo duo and you always want to see them on a festival lineup. Where these guys go, good tunes follow and their debut album shows off their musical connection beautifully. Recorded live, we’ve chosen one of Jeri’s tunes to highlight here.

“Chicken & Dumplings” – Ben McManus

Welsh musician Ben McManus is a multi-instrumentalist and promoter of old-time music in the UK. He’s schooled in the history of old-time and has done a number of interesting projects exploring the connections between Wales and Appalachia. He’s also interned at the Smithsonian – absolute dude. This is a laid-back clawhammer guitar and cello version of “Chicken & Dumplings,” a favorite of UK sessions. This record makes us miss Ben, and not just because he makes a mean Negroni.

“Dormae” – Hannah Read

Hannah Read’s first Fungi Sessions album is one of our favorite ever records as a band. We loved the sonics of it so much that we travelled to the studio in Scotland where it was recorded to make our new album. Hannah is now based in the US, but hails from Scotland and comes over frequently to collaborate with the incredible Michael Starkey. Hannah has collaborated with indie royalty Big Thief, Julien Baker, and Lucy Dacus, and you can hear this broader sonic palette across her output. But the real star of these Fungi Sessions albums is her incredible composition and the subtle magic of her bow arm.

“Wolves A’ Howlin'” – Kieran Towers & Charlotte Carrivick

Kieran Towers & Charlotte Carrivick can most often be found in the bluegrass scene in the UK, but came together for this one-off old-time album of absolute rippers. Charlotte, one of the best flatpickers in the UK, reveals herself to be one of the finest clawhammer players, and Kieran, best known for shredding bluegrass solos, turns into prime Bruce Molsky. Being able to just casually drop this album as a side project is outrageous. A frustratingly brilliant album from two undeniable musical geniuses.

“Glory In The Meeting House” – Ben Paley & Tab Hunter

In our opinion, Ben Paley is the jewel in the crown of British old-time music. He’s performed in loads of different lineups with musicians from the South of England – probably most notably The Long Hill Ramblers and with his dad Tom Paley of The New Lost City Ramblers. His fiddling is just as good as it gets, full of character, groove, and skill. On this record from 1999, he’s backed by Tab Hunter who is an old-time backer with taste, power, and pocket.

“Pterodactyl” – One Night Stringband (Old Spot, Jeri Foreman, Ruth Eliza)

We recorded this collaborative album with Jeri Foreman and Ruth Eliza over the course of one night and a bottle of whisky. We put it out the following day after some hungover mixing and now we perform sporadically as The One Night Stringband for square dances and concerts. We’ve got our seventh and eighth gigs together this summer!

There’s a kind of exploratory madness in these recordings and we all chose tunes we couldn’t get to hang quite right in our duos. There’s a raging version of Rhys Jones’ “I’ll Reap What I’ve Sown,” a version of “Josie-O,” and this, Ruth’s prog-y old-time wig-out “Pterodactyl.”

“Benton’s Dream” – High Strung Trio

From Cork, Ireland, this is one of our favorite old-time records of the last few years. From ex-members of the Grits & Gravy Stringband comes a new trio record of uncompromising ragers. Fiddle player (and luthier) Ian is an absolute machine on this record, laying down danceable bangers like it’s nothing. A great record to pick up new tunes or to power a long car journey, we can’t stop listening.

 “Two Little Sisters” – Sugarwell Hill

Sugarwell Hill is a trio from Leeds in Yorkshire. This is a new record from them that the scene has been anticipating for a while. Recorded confidently and simply, it’s a great snapshot of what is so magical about this laid-back band. “Two Little Sisters” features Simon’s relaxed vocal delivery and groovy banjo playing set against Mick’s gritty fiddle playing. We’re so lucky to have these three in the scene over here, and can’t think of a bad time to stick this beautiful new record on.

“Walk Me Round” – Rhona Dalling

Rhona is another Bristol-based fiddler, singer, and banjo player. This record is, so far, her only recorded output, but like so many of the best trad musicians, her best music happens in sessions and muddy fields. She has an incredible fiddle style, full of poise and effortless technique, and a beautiful voice. This quietly beloved record features a great waltz and her tune “Balfour Road,” which is played in trad sessions up and down the country and has really transcended the old-time scene, thanks to a recording by bal folk band Topette!. Perfect for a rainy day.

“Bear Creek” – Lankum

Whilst most of their repertoire is drawn from Irish folk, experimental trad behemoths Lankum often close their sets with this old-time tune. We couldn’t not include it after watching 20,000 people bouncing up and down to it at Glastonbury!

“Bowling Green” – Joe Mansfield & The Temperance Two

Bristol-based Joe Mansfield is another person you love to see walk through the door at a jam. He’s got an amazing repertoire and is a great hang. He’s got a new duo called The Low Line (watch that space), but he gigs out all the time with the Temperance Two. This is a great version of “Bowling Green.”

“The Roustabout Song” – Old Spot

We heard “The Roustabout Song” sung at a Morris Dance festival singing session. The song sounded distinctly American – a bit of digging led us to English folklorist Sandy Paton and, in turn, the songwriter Dillon Bustin. The song was written at Pinewoods Camp and according to Paton presented both a cappella and with a “lazy river” banjo accompaniment. We’ve done a new joyful fiddle-singing version, bringing out the song’s subtle political undertones. Unfortunately the parasols are twirling faster than ever.

“June Apple” – The Firecrackers

The Firecrackers are five of the UK old-time scene’s stalwarts, and they whip up a frenzy wherever they go. This album of field recordings is a good snapshot of them doing their thing and Benton Flippen’s “June Apple” is their signature tune.

One of the band’s fiddle players, Dave Proctor, edits Old Time News, the quarterly old-time magazine published by FOAOTMAD (Friends of American Old Time Music and Dance), a grassroots organization that has supported the growth of old-time in the UK so much over many years.

Photo courtesy of the artist.

Andy Hedges’ Favorite Cowboy Poems Turned Into Songs

Posted on by Justin Hiltner

Since the very beginning of the cowboy genre, cowboy songs and cowboy poetry have been closely related. Many of the best-known traditional cowboy songs started out as poems and many cowboys have recited song lyrics as poetry. The first man to collect cowboy songs was a New York-bred cowpuncher named Jack Thorp. As Thorp observed in his book, Pardner of the Wind: “Cowboy songs were always sung by one person, never by a group. I never did hear a cowboy with a real good voice; if he had one to start with, he always lost it bawling at cattle, or sleeping out in the open, or tellin’ the judge that he didn’t steal that horse.”

That old-time cowboy singing was mostly done a cappella, as there were not many guitars to be found on the trail drives or in the cow camps. It also seems that there was a fine line between “singing” and “reciting.”

This tradition of setting cowboy poems to music has continued to the present day. My old friend and mentor Don Edwards was master of this. He taught me that if you find an old poem or a set of lyrics with no music, then you just make up your own tune and make your own song out of it. That’s part of the cowboy songster tradition. – Andy Hedges

“The Strawberry Roan” – Harry Jackson

This is the most famous of all bronc ridin’ songs and one of the most famous of all cowboy songs. It was originally written as a poem by Curley Fletcher in 1914. The original title was “The Outlaw Broncho.” Rumor has it that Fletcher wrote the poem about a bronc ride made by the legendary cowboy artist and writer Will James.

Even though the poem became one of the most recorded cowboy songs of all time, Curley Fletcher never made a dime off of it due to unscrupulous copyrighters and publishers. This recording by Harry Jackson is a great example of the old-time unaccompanied style of cowboy singing.

“Sierry Petes” – Gail Steiger

“Sierry Petes” was written as a poem by Arizona cowboy Gail Gardner in 1917. It’s been set to music many times and is better known as “Tying Knots in the Devil’s Tail.” Many folks have failed to give proper credit to Gail Gardner and have also failed to get the words right. This is the original version recited by Gail Gardner’s grandson, Gail Steiger.

“Sierra Peaks” – Ian Tyson

A fun version by the great Ian Tyson with a corrupted title, some incorrect words, and a modern beat. Ian Tyson revitalized cowboy music in the 1980s with both his versions of traditional cowboy songs and his original compositions.

“The Dixie Cowboy” – Taylor’s Kentucky Boys

Montana cowboy D.J. O’Malley published a poem entitled “After the Roundup” in the Miles City Stock Grower’s Journal in 1893. It became known as “When the Work’s All Done this Fall” and a 1925 recording by Carl T. Sprague sold over 900,000 copies. I’ve always loved this obscure version by Taylor’s Kentucky Boys with an alternate melody.

“The Long Road West” – Don Edwards

Henry Herbert Knibbs was a poet, novelist, hobo, and owner of a violin repair shop. He never earned a dime as a working cowboy, but his poetry entered the oral tradition of working cowboys. “The Long Road West” speaks to the kinship between cowboys, hobos, and sailors. It was set to music by the great Don Edwards.

“The Old Cowman” – Andy Hedges & Brenn Hill

In his book Classic Cowboy Songs, Don Edwards tells the story of how he fell asleep reciting this poem one night and woke with the melody in his head. This song is more relevant now than when it was written, over 100 years ago. I recorded this version with my pard Brenn Hill for my 2023 album of cowboy duets entitled Roll On, Cowboys.

“Spanish is the Lovin’ Tongue” – Michael Martin Murphey

Originally written as a poem entitled “A Border Affair” by Charles Badger Clark. I think that Michael Martin Murphey plays the definitive version of this song. And it was also the first song that Murph sang onstage at the National Cowboy Poetry Gathering in Elko, Nevada, when he showed up at one of the early gatherings. It always reminds me of All the Pretty Horses by Cormac McCarthy.

“The Westerner” – Andy Hedges

I found the “The Westerner” in Charles Badger Clark’s 1915 book Sun & Saddle Leather. The poem speaks to the values of folks who live in the rural West. I hope that my melody does it justice. It is the title track of my new album.

“Shadow on the Cutbank” – Trinity Seely

This is a modern-day poem set to music – the poem by horseman, cowboy, and poet Joel Nelson, and the melody by horsewoman and singer-songwriter Trinity Seely. The poem is Joel Nelson’s answer to the historians who have written the cowboy off as a vanishing breed.

“Hitting the Trail Tonight” – Buck Ramsey

“Hittin’ the Trail Tonight” was a signature song for the late great Texas cowboy singer and poet Buck Ramsey. Originally written as a poem by classic cowpuncher poet Bruce Kiskaddon, folklorist and musician Hal Cannon set this one to music sometime in the mid-1980s. I asked Hal about this piece and he told me that he “always felt there is something about Kiskaddon’s words that feel good in the mouth as they come out.” This one will have you singin’ along.

Photo Credit: Gabrielle Watson

Dale Watson’s Ameripolitan Today Playlist

Posted on by Justin Hiltner

Ameripolitan music can be best defined as original music with prominent roots influence, and it has four categories: honky tonk, Western swing, rockabilly, and outlaw. My Mixtape features a song by an artist that represents the roots and then I’ll play a new artist that directly was influenced by them. You can hear the natural growth of country music when you listen to Lefty Frizzell and Merle Haggard or Kitty Wells and Loretta Lynn back to back. (Many of the roots artists had nicknames, I miss that.)

While some may hear an artist’s influence and say they are copying them, I’m of the opinion that John Lennon shared when asked about The Beatles’ influences. He said, and I paraphrase here, “One’s originality comes out in their inability to imitate their influences.” Very well said. – Dale Watson

“Who’s Gonna Take The Garbage Out” – Loretta Lynn, Ernest Tubb

Ernest Tubb had a distinctive voice as you hear on this song he sings with Loretta Lynn. Here’s the Texas Troubadour with the Coal Miner’s Daughter.

“My Wife Thinks You’re Dead” – Junior Brown

And no one is more evidently influenced by him than Junior Brown.

“Undo the Right” – Johnny Bush

Johnny Bush, otherwise known as the “Country Caruso,” was a drummer for Ray Price, the Cherokee Cowboy, before going out on his own. You would definitely hear that influence if you back-to-back Ray Price to Johnny Bush. Both are huge influences to every singer that grew up in Texas.

“Texas Honky Tonk” – Justin Trevino

This young man from Texas is carrying the Bush torch.

“D-I-V-O-R-C-E” – Tammy Wynette

The First Lady of Country Music, Tammy Wynette was married to the Possum, George Jones. She is easily at the top of women that influenced the newer singers.

“Houston Belongs To Me” – Sunny Sweeney

Singing her own divorce song, here’s Sunny Sweeney!

“Big Balls in Cowtown” – Bob Wills & His Texas Playboys

In the Western swing category this is the master, Bob Wills & His Texas Playboys.

“Riding High in Texas” – Asleep at the Wheel, Billy Strings

Though they’ve been around a while, they still burn up the road and proudly wear Bob Wills as their biggest influence. Ian Stewart sings as guest picker Billy Strings shines.

“Here in Frisco” – Merle Haggard

The Hag has influenced generations and even in death he still does. He once told me he forgot he wrote this song and was glad I brought it up so he can add it to his playlist again.

“This Highway” – Zephaniah OHora

Zephaniah OHora is now based in Nashville and he’s got a lot of great original songs. On this song you can hear the Hag in him.

“Bob Wills Is Still the King” – Waylon Jennings

In the outlaw world there is none more influential than Waylon, and in Texas we were all influenced by Bob Wills.

“Long White Line” – Sturgill Simpson

This particular song draws heavily on Waylon’s influence. And I like it.

“Ramblin’ Man” – Hank Williams

Hank Williams’ voice is one of the most recognizable in music. His songs are timeless and still inspire singers and songwriters alike.

“Thunderstorms and Neon Signs” – Wayne Hancock

You can definitely hear Hank in Wayne Hancock, but his own voice is definitely original, too – as well as his great songwriting.

“Guitars, Cadillacs” – Dwight Yoakam

Dwight Yoakam has influenced many a newcomer. Just as he was obviously influenced by Buck Owens. He came along when Nashville needed reminded of its roots.

“Lost in the City Lights” – Johnny Falstaff

Though not well known as of yet, Johnny Falstaff is picking up Dwight’s hat.

“Blue Kentucky Girl” – Loretta Lynn

The Coal Miner’s Daughter definitely left big shoes to fill, but her sassy songs inspired many women artists.

“Don’t You Ever Give Up On Love” – Brennen Leigh

That inspiration can be traced right to Brennen Leigh.

“Good Hearted Woman” – Waylon Jennings, Willie Nelson

Here’s the quintessential outlaw song by the most famously influential artists, the Red Headed Stranger, Willie Nelson, and Waymore, sometimes called Wautawsha, Waylon Jennings.

“Willie Waylon and Whiskey” – Dale Watson

The last song I’ll put in here’s is mine, because with pride I will state, yes, I am heavily influenced by Willie and Waylon. And sometimes whiskey.

Photo Credit: Jacob Blinkenstaff

Vaiano’s Paisanos Valsa Continental Playlist

Posted on by Justin Hiltner

Honestly, I think the reason I am a nerd about string band music is that it offers a beautiful way of thinking about how music moves – not just through instruments traveling, but also through melodies, rhythms, and ideas making their way through people and place and time.

Maybe that means across the globe, but it could mean between a dining room and a basement, whatever the dialogue. The tracks in this playlist are a winding path through a tiny subsection of this sonic world. – Rachel Meirs, fiddle, Vaiano’s Paisanos

“Rosa Negra Vals Venezolano” – Orquesta De Lionel Belasco

“Rosa Negra Vals Venezolano” comes from Lionel Belasco, a Trinidadian-Venezuelan pianist and composer whose recording career spanned five decades. This waltz is a really joyous piece recorded by Belasco’s orchestra, who recorded an incredible number of sides for Columbia Records in New York City in the late ’20s and early ’30s. An iteration of a calypso band with piano, woodwinds, strings, and syncopated rhythms that all give a hint to which version of the journey this waltz form took to arrive.

“Para Mi y Para Mi Novia (Vals Foxtrot)” – El Ciego Melquiades

“Para Mi y Para Mi Novia (Vals Foxtrot)” comes from El Ciego Melquiades, “The Blind Fiddler,” who recorded in San Antonio. It sounds like a Tex-Mex fiddle tune, since that’s the way he plays it, but the most compelling thing about it is how unintuitive it is. I could never figure out why its form and melody were so strange, but a friend recently tipped me off that it’s his take on “For Me and My Gal,” a 1917 pop song (later popularized by Judy Garland), which also made the song title make more sense.

“Rolling Mill Blues” – Peg Leg Howell

Discovering the origins of “For Me and My Gal” brought to mind this Peg Leg Howell recording from 1927. I loved his recordings with Eddie Anthony on fiddle, but when I heard “Rolling Mill Blues” I remember thinking it was beautiful and strange. Instead of Eddie Anthony’s driving country-blues style fiddle, the violin’s counter-melody takes on an almost ethereal tone. I don’t know if it is a coincidence or not how much that melody calls to mind the pop song, “Tonight You Belong to Me,” which was first recorded in 1926.

“Smart (Tango Argentino)” – Kostas Bezos, Loudiana, Aspra Poulia

On the theme of the crazy routes music takes, I think saying that this next one, “Smart (Tango Argentino)” comes from Kostas Bezos, who led a Hawaiian band in 1930s Athens, is sufficient!

“Cariño” – Cuarteto de Cuerdo de F. Facio

Orquestas de cuerdas were small string bands that played for dances and social functions in Northern Mexico. The entire Arhoolie compilation Orquestas de Cuerdas: The String Bands: The End of a Tradition 1926-1938 is worth listening to, but “Cariño” from Cuarteto de Cuerdo de F. Facio has always stood out to me for what I think is a cello or bowed bass in addition to violins and bajo sexto. This adds a significant low-end to an already dramatic song – this one goes through a lot of emotions.

“Valsa Continental” – Abrew’s Portuguese String Trio

This next one comes from another compilation series I recommend for anyone looking to deep dive into this music across even more territory. Check out Pat Conte’s anthology series, The Secret Museum of Mankind (now on our label, Jalopy Records, since 2021.) Another waltz, which I named this playlist for, “Valsa Continental” comes from Abrew’s Portuguese String Trio. Composer, violinist, and bandleader Augusto Abreu led this Cape Verdean trio from New England who recorded four discs for Columbia Records in 1931.

“Abrew’s Portuguese Jazz” – Vaiano’s Paisanos

It’s hard to say, but since Abrew’s Portuguese String Trio is one of my favorite bands, and because the recordings are still hard to find digitized, this next one is our band Vaiano’s Paisanos take on “Abrew’s Portuguese Jazz.” Our version keeps the violin part, but instead of guitar and cavaquinho, we have mandolin adding harmonies and rhythm, and tenor guitar playing the melodic runs that make up the tune’s backbone and bass line.

“Quisiera Olvidarte” – Pastorita Huaracina

This style of melodic accompaniment reminds me of the relationship between a country-blues fiddle line and a song’s vocal melody (for instance “Rolling Mill Blues,” on this playlist) is one of my favorite things to hear. Maybe that’s why I have listened to “Quisiera Olvidarte” by Pastorita Huaracina so many times in a row. This track comes from another great Arhoolie compilation, Huayno Music of Peru, Vol. 1.

“Il Mio Cuore E Tuo” – Giovanni Gioviale

I knew I wanted to include a track to represent some of the Italian-American music of the era. For many of the tracks on this playlist, I have been trying to decide between polkas, mazurkas, waltzes, foxtrots, and tangos, a reminder many of these groups were dance bands. The mazurka form comes from Poland, a dance in 3/4 or 6/8. This mazurka comes from Giovanni Gioviale, a mandolin virtuoso from Sicily who recorded in New York between 1926 and 1929. “Il Mio Cuore E Tuo” features Gioviale on the tenor banjo– another marker of combined musical histories.

“Black Mountain Mazurka” – Gu-Achi Fiddlers

The next tracks have us following mazurkas to the Southwest. “Black Mountain Mazurka” is Gu-Achi fiddle from the Tohono O’odham people of Southern Arizona. This Southwest fiddle sound is made even more distinct with the addition of drums and very sweet harmonies.

“Bailando en Phoenix” – Lone Piñon

Staying nearby but jumping ahead into this century, Lone Piñon (also on our label, Jalopy Records), plays New Mexican string band or “orquesta típica” music. “Bailando en Phoenix” shows both the amazing energy and musicianship of the whole band. Their whole album is a beautiful tribute to their attention to learning, playing, and performing this musical style.

“Tarantella” – Magic Tuber Stringband

One more modern band, to remind ourselves that we are all participating in the process of reimagining music across time and space. And we will be for as long as we engage with these old traditions and continue to make music. The cross-tuned fiddle on North Carolina-based Magic Tuber Stringband’s “Tarantella” so effectively calls to mind the droning sound of a zampogna (an ancient bagpipe played in southern and central Italy), and the track fades to a fitting end for this playlist.

Photo Credit: Brian Geltner

Laura Bryna’s Lipstick & Lightning Playlist

Posted on by Justin Hiltner

“Lightning & Lipstick” is exactly what it sounds like – strength with sparkle, power with personality. This is a Mixtape full of songs that remind us we can be fierce and feminine, gritty and glamorous all at the same time. These are the anthems that shaped me – the ones that say you don’t have to shrink, you don’t have to apologize, and you definitely don’t have to choose between softness and strength. That duality is who I am, and it’s woven into everything I’m creating right now, from the fire and fight in “Warrior” to the swagger of “Beauty Queen” to the passion of “Hearts On Fire.”

As I gear up for shows at Sturgis Motorcycle Rally, The Cutting Room in NYC, Vanish Hall in Maryland, CMA Fest, and beyond, this Mixtape feels like the heartbeat behind it all – loud, fearless, and unapologetically alive. – Laura Bryna

“Rise” – Laura Bryna

I believe my song “Rise” resonates so deeply with women because it speaks to that quiet strength so many of us carry. It’s about pushing through the moments that try to break you – the doubts, the setbacks, the heartbreak – and choosing to stand up anyway. I’ve heard from so many women who see their own story in that song and to me that’s everything. It’s not about being fearless, it’s about being brave enough to rise even when you’re scared.

“Queen Of The Night” – Whitney Houston

This one resonates so powerfully because it’s pure confidence. There’s no shrinking, no second guessing – just a woman standing fully in her power and daring the world to keep up. That kind of boldness is contagious. For so many female listeners, it’s not just a song, it’s a reminder that you’re allowed to take up space, own your presence, and rule your own night without asking for permission.

“Miss Me More” – Kelsea Ballerini

I love “Miss Me More” because it flips the breakup narrative in such a smart way. It’s not about missing him, it’s about rediscovering yourself. That’s such a powerful shift. It reminds women that sometimes the biggest glow-up isn’t finding someone new, it’s remembering who you were before you started shrinking. It’s confident, catchy, and such a great reminder that losing someone can actually mean getting yourself back.

“Stronger” – Kelly Clarkson

“Stronger” is one of those songs that just hits you in the chest in the best way. It takes heartbreak and turns it into fuel. I love how it doesn’t pretend pain doesn’t exist, it just refuses to let it win. For women especially, it’s such a powerful reminder that the thing that knocked you down might actually be the thing that builds you back braver, louder, and more yourself.

“Jawbreaker” – Laura Bryna

My song “Jawbreaker” is that no-filter energy I think every woman deserves to tap into. It’s about being bold, a little dangerous, and not watering yourself down to make anyone else comfortable. I wanted it to feel playful but powerful – like, yes, she’s sweet… but she’s also not someone you mess with. For female listeners, it’s a reminder that you can be soft and strong at the same time, and that confidence looks really good on you.

“Survivor” – Destiny’s Child

This track hits because it turns every setback into a statement. It’s not about pretending things didn’t hurt, it’s about saying, “You didn’t break me.” That kind of energy is so powerful for women. It reminds us that resilience isn’t quiet; sometimes it’s loud, proud, and sung at the top of your lungs. It’s the ultimate glow-up anthem: strength with rhythm and attitude.

“I Will Survive” – Gloria Gaynor

“I Will Survive” is the blueprint. It’s the original standing-ovation moment for every woman who’s ever been underestimated. What I love about it is that it doesn’t just move on from heartbreak, it rises above it with dignity and fire. It’s strength wrapped in melody. For female listeners, it’s a reminder that resilience is timeless, and sometimes the most powerful thing you can say is, I’m still here and I’m stronger than ever.

“Before He Cheats” – Carrie Underwood

“Before He Cheats” is just fun. It taps into that dramatic, slightly unhinged energy we’ve all joked about at some point, and Carrie delivers it with such sass and power that you can’t help but sing along. It’s not about actually keying a car (please don’t), it’s about reclaiming your power in a moment where you felt disrespected. It’s fiery, bold, and the ultimate girls’ night, windows-down anthem.

“Strong Enough” – Cher

This song is such a timeless empowerment anthem because it’s strength wrapped in attitude. I love how the production carries that steady, almost defiant pulse; the groove feels grounded and unshakeable, like the confidence the lyrics are claiming. Cher’s vocal delivery is cool and controlled, which somehow makes the message even more powerful. For female listeners, it’s that reminder that independence isn’t loud for the sake of it – it’s steady, self-assured, and completely unbothered.

“Pink Pony Club” – Chappell Roan

“Pink Pony Club” feels like freedom in glitter form. It’s about choosing the life that lights you up, even if it doesn’t look like what everyone expected for you. I think that’s why it resonates so deeply with female and LGBTQ+ listeners – it celebrates self-expression without apology. The production is big, theatrical, and dramatic in the best way, like stepping into your own spotlight. It’s not just a song, it’s a permission slip to be fully, fabulously yourself

“Over Being Under You” – Laura Bryna

This song came from a really honest place for me. I wrote it during a season where I realized I was bending over backwards trying to keep the peace, trying to make everything work and slowly losing myself in the process. The song is about that turning point, when you decide you’re not going to shrink or overextend just to be chosen. For female listeners, I think it resonates because so many of us have been taught to over-give. This song is the reminder that you don’t have to over-bring anything to be enough – you already are.

“Unstoppable” – Sia

“Unstoppable” is that anthem you blast when you need to borrow a little courage. What I love about it is how the production builds — those pounding drums and cinematic layers make it feel larger than life, like you’re stepping into your own movie moment. Sia’s vocal has that mix of vulnerability and steel, which makes the message hit even harder. For women especially, it’s a reminder that even if you don’t always feel unstoppable, you can choose to show up like you are.

“My Strongest Suit” – Sherie Rene Scott

This one is a little out of left field but it’s such a clever, empowering anthem because it flips the idea of vanity into self-confidence. On the surface it’s playful and glamorous, but underneath it’s about owning your presence and knowing your worth. The production is theatrical and bold – bright brass, dramatic builds, and that larger-than-life Broadway energy – which makes it feel like you’re stepping into your power with every beat. For us women, it’s a reminder that confidence isn’t shallow… it’s strength dressed up and shining.

“Born This Way” – Lady Gaga

“Born This Way” is one of those songs that feels bigger than music, it feels like a movement. Gaga wrote it as a direct celebration of identity and self-acceptance, inspired by conversations around equality and the idea that we’re all designed exactly as we’re meant to be. I love how the production is bold, anthemic, and loud – it doesn’t tiptoe around the message that you were born powerful

“Time To Say Goodbye” – Laura Bryna

This is one of the most personal songs I’ve written because it’s about that breaking point. The moment you realize love shouldn’t feel like walking on glass. I wrote it thinking about anyone who feels stuck in something that’s slowly dimming their light. The production builds intentionally. It starts restrained and vulnerable, almost fragile, then opens up into this powerful, emotional lift that mirrors the courage it takes to finally choose yourself. For listeners in toxic relationships, it’s not just a goodbye to someone else – it’s a hello to your own strength.

“Espresso” – Sabrina Carpenter

“Espresso” just has that effortless, confident sparkle to it. It’s playful but self-assured, like she knows exactly the effect she has and isn’t apologizing for it. It’s flirty without being desperate, powerful without being preachy. The production is slick and minimal in the best way – that tight groove, the punchy bass, the airy vocal stacks – it feels cool, modern, and addictive. It’s the kind of song you put on when you want to walk a little taller and remember you’re the energy in the room.

“Beautiful” – Christina Aguilera

One of those rare songs that meets people exactly where they are. The lyrics are so direct and vulnerable – there’s no metaphor to hide behind, it just says what so many people are afraid to admit: I don’t feel enough sometimes. That honesty is universal. Production-wise it’s intentionally stripped back at first, soft piano, space around the vocal, which make Christina’s performance feel intimate and raw. Then it swells just enough to feel like a release. It’s not flashy, it’s sincere. And that sincerity is why it resonates across every background, identity, and experience.

Photo Credit: Fernando Salazar

The Steel Wheels’ Songs for Humans, by Humans

Posted on by Justin Hiltner

It’s common these days to wring hands over the many ways powerful tech companies have meddled, without permission, in how we discover and listen to music (among other things). It’s just as common to fearfully declare that music’s good old days are past and gone. But after 20 years as a working band, we know that the strength of community through music is much more enduring; and we see it all the time.

There is no greater force than a group of people who are ready to share a joyful experience. It doesn’t matter if they’re gathering to jam, attend a concert, or anything else. People in community can create strong connections in a heartbeat, under almost any circumstances, and music is a powerful vehicle for it. Some days it feels harder than others to find that spark, but it’s always there if we come together and dig for it. Every day the pressure grows to strip the things we all have made and love for parts, but collectively we can raise our voices and push back. As a band, we’re choosing to resist that force and to keep building things. Together.

This playlist features artists that we feel musical and professional kinship with, bands that have been around and are well into their careers. The songs we chose come from albums that are worth spending time with over and over again. These folks have played lots and lots of gigs and revel in the energy of a great show as much as we do. You’ll also find some music from our 9th studio album, The Steel Wheels, too. Music that we made together in a room. – The Steel Wheels

“Easy” – The Steel Wheels

A breezy song with a swirling fiddle intro and a big question at its heart. We live in the future now, with the entire world available to us on the other side of our screens. So why are we lonelier than ever? If everything is supposed to be easy, why does it all feel so hard?

“Talk Is Cheap” – Dr. Dog

Because they inspired me with one incredible Bristol Rhythm & Roots Reunion set probably 15 years ago. Their old amps, their confident trailblazing of their sound that was clearly referential and respectful – but not chasing what a lot of other bands were chasing.

“Los Angeles” – Big Thief

An artist’s job is to remain open and soft to the world and to distill all that pain and joy into work that transmits emotion across space and time. Somehow, Big Thief seems to only become less jaded with time, maintaining curiosity and exploration as part of their creative process.

“Go Back” – The Steel Wheels

All deep relationships come with joy and with pain. To be rid of one you would also lose the other. It’s part of lived experience, this is a reminder to embrace all of it. True connection is worth it.

“Waiting For The Sun” – The Jayhawks

The Jayhawks are a band that prove you can continue to forge your own way and make it through the highs and lows. I was still really just a kid when I discovered them through some older cats I was playing with at the time. Son Volt and Wilco were very much in the alt-country scene and the Jayhawks just had something a bit different going on.

“Worried About The Weather” – Greensky Bluegrass

I love the way this song pivots between the anxiety of pushing forward through uncertainty and the breezy delight of taking a moment to enjoy the journey. There’s momentum to both things and “Weather” has tons of it.

“Keep On Dancing” – The Steel Wheels

Let’s take a break from responsibilities to just see ourselves and each other. Don’t forget to breathe and to appreciate the unadorned peace that can fill the spaces between us.

“I And Love And You” – The Avett Brothers

Even a track like this, one full of solitary stillness, shows the Avetts’ songs are packed with other people. They always remind me that I’m not as alone as I often feel. You can sense the presence of old partners and family throughout this song even though the speaker is alone in their car.

“Valerie” – The Brothers Comatose

These guys are everybody’s friends. Maybe the acoustic Dawes? I don’t know. We’ve known them a long time and they keep bringing joy and fun with warmth and grounded songs that don’t rely too heavily on bluegrass tropes.

“Sway / Endless Highway (Pt. 2)” – Watchhouse

Watchhouse invest deep thought into every lyric and intention into every note without ever seeming to overthink their process or get held back by previous work. “Sway / Endless Highway (Pt. 2)” demonstrates how the band is constantly in conversation, transitioning between tempos and driving down into a deep groove with a breeziness that belies the technical mastery of their acoustic instruments. At a Watchhouse show, the crowd will hang on every note and every silence, sharing a reverence for the song with the band.

“Slow Rise (to the middle)” – The Wood Brothers

Oliver, Chris, and Jano seem to be propelled forward by some groove force that penetrates everything they do and they invite listeners to join in on the funky joy. Their track “Slow Rise (to the middle)” tips a hat to their musical journey. To be in an audience is to get lost in the moment, only to occasionally remind yourself how wild it is that all the sounds coming from the stage emanate from just three musicians.

“Way Down Yonder ” – Chatham County Line

I first heard Chatham County Line when I opened for them at The Livery in Benton Harbor, Michigan, with a jamgrass band I was in, probably 20 years ago. They were tight and had their act together. I was blown away by their professionalism and it made a big impact on me. I will never forget that moment and I’m still inspired by their creativity and longevity as a band.

Photo Credit: Monik Geisel

FARHOF’s Roots That Built the Hall Playlist

Posted on by Justin Hiltner

Located inside the historic Wang Theatre and founded by the Boch Center, the Folk Americana Roots Hall of Fame is Boston’s premier cultural and educational initiative dedicated to celebrating America’s rich musical heritage. Since its launch in 2019, FARHOF has honored the artists, songs, and movements that have shaped folk, Americana, and roots music while creating immersive exhibits, educational programming, and live experiences that connect audiences to the stories behind the sound. Guided by iconic artists and industry leaders, the Hall exists to honor the past, celebrate the present, and nurture the future of these genres.

On March 24, 2026, FARHOF will host its 2026 Induction Celebration at the Wang Theatre, an unforgettable evening recognizing the artists and industry leaders who helped build the foundation of folk, Americana, and roots music. This year’s honorees, whose collective achievements include 30 GRAMMY Awards and countless other accolades, represent the influence and ongoing evolution of the genres we preserve.

Our playlist theme, Roots That Built the Hall, celebrates the legacy and influence of this year’s inductees. Each song reflects the innovation and cultural impact of the artists who shaped Folk and Roots music, reminding us why this music endures and continues to inspire. – Denise Arellano, The Boch Center

“(I’m Your) Hoochie Coochie Man” – Muddy Waters

Muddy Waters electrified the Delta blues and carried it into the urban North, shaping the sound of modern roots music. This track demonstrates that blues roots continue to inspire folk and Americana, exemplifying the music and legacy the Folk Americana Roots Hall of Fame celebrates.

“Chain of Fools” – Aretha Franklin

Aretha’s voice bridges gospel, soul, and rhythm & blues, reminding us that roots music is inseparable from the Black musical traditions that shaped America. Her artistry embodies FARHOF’s mission to celebrate music as both cultural expression and social force.

“Suzanne” – Leonard Cohen

With poetic lyricism and folk instrumentation, Cohen represents the storytelling tradition central to folk music. His work highlights how intimate songwriting can shape national culture and influence generations to come.

“Make Me A Pallet On Your Floor” – Mississippi John Hurt

Hurt’s fingerpicking style and oral storytelling roots in this country blues standard echo the preserved histories and rare artifacts celebrated within FARHOF’s exhibits.

“My Journey To The Sky” – Sister Rosetta Tharpe

Blending gospel and the electric guitar, Sister Rosetta Tharpe helped lay the groundwork for rock ‘n’ roll. Her inclusion reflects FARHOF’s commitment to honoring artists whose innovations continue to ripple across genres.

“Running on Empty” – Jackson Browne

A pillar of folk and Americana, Browne captures the restless spirit of life on the road. His songs blend roots traditions with raw, lived experience, shaping the sound and soul of a generation.

“Both Sides Now” – Judy Collins

A defining voice of the 1960s folk revival, Collins helped bring reflective and socially aware songwriting to the mainstream. Her work showcases the genre’s power to spark dialogue and deepen cultural understanding.

“Harvest Moon” – Neil Young

Young’s blending of folk intimacy and country influence illustrates the fluid evolution of roots music. Songs like this show how tradition can feel timeless while still speaking to contemporary audiences.

“The Last Thing on My Mind” – Tom Paxton

Paxton’s songwriting embodies the heart of the folk process, simple melodies carrying profound emotional truth. His legacy reinforces FARHOF’s mission to preserve the craft of storytelling through song.

“Urge for Going” – Tom Rush

Rush played a pivotal role in championing emerging songwriters and expanding the Boston folk scene. His work connects directly to FARHOF’s educational spirit by nurturing future generations while honoring those who paved the way.

“Go Down Sunshine” – Odetta

Odetta’s commanding voice became a soundtrack to the Civil Rights Movement, proving music’s power to inspire social change. Her artistry ties directly to FARHOF’s belief that folk and roots music are not just entertainment, but vessels for justice, unity, and cultural preservation.

“All I Want” – Joni Mitchell

Joni Mitchell’s intricate songwriting and emotional clarity helped redefine the possibilities of folk music in the 1970s. “All I Want” is built upon the deeply personal storytelling that continues to influence generations of artists, embodying FARHOF’s commitment to honoring innovation within tradition.

“Tear the Fascists Down” – Woody Guthrie

Woody Guthrie stands as one of the foundational voices of American folk music, using song as a vehicle for social conscience and collective resilience. This track underscores how roots music has amplified the voices of working people and movements for justice, a legacy FARHOF preserves.

“Black Betty” – Lead Belly

Lead Belly’s recordings carried traditional work songs and prison chants into the American mainstream, ensuring these stories were not lost to time. “Black Betty” represents the oral traditions and lived histories that form the foundation of roots music and the cultural preservation FARHOF continues to strive for.

“It Ain’t Me Babe” – Joan Baez

Joan Baez helped bring folk music into the national spotlight during a pivotal era of cultural change. Her interpretation of this song reflects the genre’s spirit of independence and social awareness, qualities that continue to shape the folk and Americana traditions celebrated within the Hall.

Graphics courtesy of the Folk Americana Roots Hall of Fame.

Obejváci’s Bluegrass of Czechia Playlist

Posted on by Justin Hiltner

Bluegrass in Czechia has unusual roots. It didn’t arrive as a passing trend, but as music people shared with one another – at festivals, in pubs, around campfires, and at home in the kitchen or living room. And that’s still how it’s played today, bringing lovers of this music together into an amazing community.

We even took our name from that living room spirit. Obejváci – something like “the ones from the living room” or “living room pickers.” A band that grew out of playing at home, we still hold onto that foundation. Rehearsals by the couch, more voices than cables, and songs that stand strong even without amplification.

We see our Mixtape of the bluegrass of Czechia as a small cross-section of a scene that is surprisingly vibrant and diverse. There are bands that keep the traditional sound alive and others that naturally bend it in their own direction. We’re sometimes surprised, ourselves – and very proud – of how many wonderful musicians in this genre our small country has.

A chapter of its own could be written about Czech bluegrass instrument makers: Krishot, Vláďa Ptáček, Průcha, Zdeněk Roh, Jaromír Jahoda, Čapek, Karel Začal, Stanislav Štol, Ondřej Holoubek… the list would probably be very long. Our guitarist and frontman Luboš Barchini took his love of bluegrass so far that just a short distance from that original living room he started building his own bluegrass guitars.

This year we released a new EP, Tisíc let. It’s our current chapter – a handful of new songs about time, relationships, and the landscape we know so well. We’re adding tracks from the EP to the playlist as a natural part of this theme. Because in our view, the best way to understand Czech bluegrass is by simply pressing play. – Obejváci

“Spring in the Old Country” – Slávek Hanzlík with Béla Fleck, Stuart Duncan, Mark Schatz

Slávek Hanzlík is one of the most prominent Czech acoustic guitarists and composers whose musical life has been closely connected with the bluegrass and instrumental scene both abroad and at home. Born in Prague, he spent many years in Canada and the United States, recorded several original albums with leading international players, and was shortlisted for the GRAMMYs twice in the Instrumental Album of the Year category. For us, though, Slávek is, above all, a good friend and a great inspiration. His approach to melody, his playing, and the way he connects tradition with his own experience have opened new horizons for us in how we think about acoustic music.

“Letní romance” (“Summer Romance”) – Robert Křesťan a Druhá Tráva

Deep lyrics, beautiful vocals, and masterful musicianship. Robert Křesťan and Druhá Tráva are among the most popular Czech bands and in recent years have been reaching far beyond the boundaries of bluegrass. They are definitely a Czech band worth knowing. This year, they are celebrating 35 years together with a special tour in the Czech Republic joined by Tim O’Brien.

“Ty víš” (“You Know”) – Obejváci

One of the songs from our new EP. We recorded it at SONO Records, one of the best recording studios in Europe. We recorded it live, almost the same way we play at home in our living room.

“Už se blíží svítání” (“Dawn Is Coming”) – Petr Kůs a Fámy

Songwriter, musician, and singer Petr Kůs has long been one of the leading figures of the Czech (not only) bluegrass scene. He has always surrounded himself with outstanding musicians and his songs are a must at any bluegrass jam session.

“Twin Peaks/ Happygrass Medley” – Radim Zenkl & Ondra Kozák

A duo of musicians with a strong cross-genre reach. In their program, they present original instrumental pieces and songs written by both players and complemented by bluegrass, Celtic, and world music traditional tunes in distinctive, personal arrangements. They began their collaboration in 2020 and have since performed a number of successful concerts around the world.

“Ještě ne” (“Not Yet”) – Pavlína Braunová & Minesengři

Minnesengři were a progressive folk band from České Budějovice, founded as early as 1968. They quickly became one of the most distinctive folk groups of their time. Their early recordings of South Bohemian folk songs, as well as their later original material, are still regarded as legends of Czech folk music. For anyone who knows Minnesengři, listening to their music carries a special meaning – not only because of the songs themselves, but also because of the mysterious disappearance of their singer Pavlína Braunová. Although the band disbanded in 1989, their legacy and the inspiration they drew from South Bohemia continue to live on.

“Tisíc let” (“A Thousand Years”) – Obejváci 

The song “A Thousand Years” captures a moment when a person pauses and tries to take a breath even in the middle of chaos. It speaks about closeness that can keep you afloat, yet also hurt, and about the hope that even after darkness, light can be found again.

“Signal Jammer” – New Aliquot

In our view, New Aliquot are currently at the very top of the Czech acoustic scene. Instrumentally, they are among the finest bands you can hear in the country. They play bluegrass, new acoustic, and folk music, combining original songs, instrumental pieces, and distinctive arrangements of roots music. The band was formed in 2016 on the foundations of the group Křeni and has since toured across the Czech Republic and Europe — from Germany to Sweden to France.

“If You Break My Heart” – Fragment

Fragment were one of the jewels of the Czechoslovak and later Czech bluegrass scene – a band that recorded numerous albums in the 1990s and toured across Europe and the United States. Their sound blended bluegrass with new acoustic influences, highlighted by strong instrumental passages and distinctive vocals, especially thanks to Jana Mougin Doláková. Although Fragment are no longer active, their legacy lives on in their recordings, in the memories of fans, and in the generations of musicians they inspired. Jana later moved to the United States, where she and her husband Stephen Mougin run a studio and label and continue to devote themselves to music.

“Osud nikdo nezmění” (“No One Can Change Fate”) – Monogram 

Monogram are a Prague-based bluegrass band active on the Czech and European scene for more than 30 years. Acoustic music fans associate them with quality and instrumental precision. Their repertoire consists mainly of original songs and instrumentals, which they regularly perform at festivals at home and abroad – from Porto to IBMA in Nashville.

“Balada pro čistou duši” (“Ballad for a Pure Soul”) – Obejváci 

This song is dedicated to a friend who chose to leave this world. It is not about tragedy, but about a quiet passage and the peace the soul finds. Images of nature – darkness, flowers, cold, snow – underline the fragility of life while also reminding us of its beauty. It is more a gentle celebration of life than a mourning elegy.

“America” – Milkeaters

Until recently, Milkeaters were one of the distinctive names on the Czech bluegrass scene. Formed in 2014, their common denominator was bluegrass, energy, and humor. They played both covers and original songs, always bringing drive and joy to the stage. For us, Milkeaters have an even more personal meaning – it was at their musicians’ camp that Obejváci first came together. The band ended its activity in 2024, but its members, songs, and spirit continue in new projects and in the people they inspired.

“Stokrát” (“A Hundred Times”) – COP 

COP are one of the most essential names in Czech bluegrass – and there is probably no bluegrass fan in the country who doesn’t know them. The band was founded in 1978 and despite the emigration of most members in the early 1980s, they found new life thanks to frontman Míša Leicht and continued on. Over time, they became festival mainstays; in 2023 they celebrated 45 years, still playing with their characteristic energy. For our guitarist Luboš, this band is an especially personal chapter – as a teenager, it was COP who led him to bluegrass and indirectly to today’s Obejváci.

“Až Uslyším Hvízdání” (“When I Hear the Whistle”) – Poutníci

The more banjo, the more happiness! Poutníci were founded in 1970 and their sound and approach influenced an entire generation of musicians. Their most distinctive era came between 1979 and 1991, when Robert Křesťan was a member along with banjo player Luboš Malina, considered one of the best Czech banjo players.

“Deeper than the Holler” – G-runs ‘n Roses 

The name G-runs ‘n Roses might suggest tough guys with tattoos and long hair. The reality is a bit different – but the energy is definitely there. They are a distinctive Czech bluegrass band built on a solid rhythm section, tight vocal harmonies, and expressive instrumental solos. They perform both original songs and covers, all in thoughtful arrangements with respect for traditional bluegrass.

“Traveling Shoes” – Loes van Schaijk

Originally from the Netherlands, van Schaijk has put down roots in Prague. She is a singer, songwriter, and instrumentalist appreciated on the European bluegrass and folk scene for her sincere vocals, natural sound, and sensitive playing on bass, guitar, and bodhrán. She performs in many different musical projects.

“Every Breath You Take” – The Jumper Cables

The Jumper Cables came together simply to make music. With their acoustic instruments, they create convincing and powerful arrangements of both original compositions and cover songs.

Photo Credit: Gwendoleena – Vendula Koloušková

The Foreign Landers Celebrate the Banjo in Ireland & Northern Ireland

Posted on by Justin Hiltner

The five-string banjo is often associated with Appalachian music, but its reach has always extended beyond one place. In Ireland, the banjo is traditionally heard as the four-string tenor banjo, a cornerstone of Irish folk music. This playlist celebrates the banjo in Ireland and Northern Ireland, but focuses instead on five-string banjo players, highlighting Irish and Northern Irish artists who are bringing bluegrass banjo into folk, Americana, and contemporary acoustic settings. The tracks here feature musicians working across traditions and genres, using the banjo as a bridge rather than a boundary.

For us, The Foreign Landers, this playlist is closely tied to our own story. Our songs, woven throughout the playlist, reflect life lived between Northern Ireland and the U.S., and the relationships, faith, and sense of distance that shape that experience. In a small way, that mirrors the five-string banjo’s own journey across time and place. Our new album, Made to Wonder, is our expression of these ideas; including our music alongside these other innovative artists helps frame our transatlantic sound within a much larger conversation.

Alongside our music, you’ll hear boundary-pushing banjo work from artists like Flook, JigJam, Damien O’Kane, Ron Block, I Draw Slow, Brian Finnegan, and NÁVA, each offering a different answer to the same question: What does bluegrass banjo become when it’s rooted in Irish soil?

The result is a playlist that honors tradition while continuing to move forward. We hope you enjoy. – The Foreign Landers

“Made to Wonder” – The Foreign Landers

The title track from our new album, this banjo-centric song is about stepping away from noise and busy-ness to find true rest and belonging in Christ, whose yoke is easy and burden light. Featuring Tristan Clarridge (Crooked Still) on cello, adding depth and resonance.

“Road to Errogie” – Flook

There’s something infectious about Flook’s craftsmanship and energy – especially when five-string banjo enters the mix, played by the incredible Leon Hunt of the UK. A major influence on our sound.

“Gold Mine” – I Draw Slow

Irish-based and deeply rooted in both Appalachian and Irish traditions, this clawhammer-driven track blends heritage with heart.

“Johnny’s Peacock / The Red-Tailed Hawk” – The Foreign Landers

Two original tunes deeply informed by Tabitha’s heritage, joined by John Doyle, Brian Finnegan, and Cathal Murphy, bringing Irish tradition and bluegrass energy together.

“John D. McGurk’s (The Heartbeat of St. Louis)” – JigJam

JigJam seamlessly bridge U.S. and Irish folk scenes. Irish banjoist Daithí Melia delivers powerful five-string work on this fun, high-energy track.

“Mario Kart Rides Again” – Ron Block & Damien O’Kane

Two banjos – five-string and four-string – done right. Ron Block of Alison Krauss & Union Station and Damien O’Kane of the Kate Rusby band make for an unxpected delightful pairing. Here is a playful, virtuosic track from their album Banjovial that’s near to Mario Kart-loving hearts.

“Pictures” – The Foreign Landers

Led vocally by David with Tabitha on banjo, this original song draws on our own experience of long-distance dating. “Pictures” captures the quiet weight of distance – and how old photographs can briefly collapse time and place. The unconventional role of banjo on this track is one of our favorite sounds on the new album.

“Marga’s” – Brian Finnegan

A must-include from the County Armagh master himself, featuring Crooked Still with Greg Lizst on five-string banjo. Both four-string and five-string banjo shine in this expansive, genre-blurring piece.

“The Thrifty Wife” – Ron Block & Damien O’Kane

Another Ron and Damien double-banjo banger. Their three collaboration albums are essential listening when talking about banjo in Irish music. Bonus mando moments from Sierra Hull seal the deal.

“Traveler”– The Foreign Landers

Narrated from the perspective of Tabitha’s parents back in Northern Ireland, “Traveler” reflects on growing older, separation, and the tenderness of loving someone from afar. Another unconventional banjo track that we loved making.

“Magic Box” – Nava

Irish Americana and folk meet Persian influences, led by Ireland’s Paddy Kiernan on five-string banjo. A rich example of cross-cultural musical exploration.

“Hope” – Cup O’Joe

Featuring Tabitha’s two brothers (alongside David and Tabitha), this title track from Why Live Without blends Northern Irish roots with progressive Americana.

Photo Credit: Nicole Davis, Storied Artisan Photography