You Gotta Hear This: The Infamous Stringdusters, Courtney Hartman, and More

Happy Friday! There’s plenty of new music to enjoy this week in our latest edition of You Gotta Hear This, our regular roundup of upcoming and just-released tracks and videos.

Kicking us off, innovative banjoist Wes Corbett (who currently tours with Sam Bush) shares the second single from his upcoming album, Drift. “Eagle Harbor” was inspired by the vibe and structure of Jackson Browne’s music and the picturesque ferry ride to Bainbridge Island in Washington state, where Corbett grew up. Guitarist, poet, and singer-songwriter Courtney Hartman is returning with new music as well; this time it’s a lush and whimsical neo-folk song co-written with Ana Egge about how being a mother and raising a child transformed the way she saw everything around her. It’s set to an intimate and cozy new music video you’ll love to watch.

New Mexico-based artist and songwriter Michael Rudd will release a new track, “Not Today,” next week and below you can find a preview of the number. It contemplates war, history, loss and their legacies; Rudd was spurred to write “Not Today” by the many wars ongoing today, especially in Gaza, and by his recent travel to Germany, Poland, and to visit monuments of the Holocaust.

Lauren Morse is ready to get you dancing with her new track and music video. “Let that Fiddler Fiddle” is a message we can certainly get behind. Inspired by Nashville’s ever-popular Honky Tonk Tuesday, it’s a two-stepping song sonically found where country and bluegrass meet – and perfect for toe-tapping or hip-swaying (or both). Trey Hedrick brings us a very enjoyable bluegrass track as well; “Passing Through” began to come together while Hedrick was out west and longing for the hills of home. With a talented roster of pickers and musicians on the song, Hedrick says it’s “a self reminder to go, to try, and to not leave the important things undone.”

Rounding us out, a group we’ve loved and collaborated with for a very long time, The Infamous Stringdusters, have a brand new single and a video to go with it. “Dead Man Walking” was written by Jeremy Garrett and Larry Keel. Don’t be fooled by the title, this is a song of uplift and positivity, set to the grooving and gritty style of bluegrass we all know and love from the Dusters.

It’s another stellar collection this week, if we do say so ourselves, and You Gotta Hear This!

Wes Corbett, “Eagle Harbor”

Artist: Wes Corbett
Hometown: Nashville, Tennessee
Song: “Eagle Harbor”
Album: Drift
Release Date: September 15, 2025 (single); October 3, 2025 (album)
Label: Adhyâropa Records

In Their Words: “As a kid, Jackson Browne was playing around the house a lot so that music has always filled me with a sense of warm nostalgia. As an adult I’ve realized how gorgeous his music is and how profound of an impact I think it’s had on me as a musician. ‘Eagle Harbor’ is a reflection of this both in vibe and in structure – wide warm sounds, open space, and what I hope is a strong melody. It’s named after the main harbor on Bainbridge Island where I grew up, which looks particularly beautiful during golden hour as you approach on the ferry with the Olympic Mountains as the backdrop. This group of musicians is an absolute dream to make music with! With so much emotional depth and their masterful touches as a bedrock it has become one of my favorites on Drift. I feel so lucky and honored to have the chance to cut this track with them.” – Wes Corbett


Courtney Hartman, “Bright Eye”

Artist: Courtney Hartman
Hometown: Eau Claire, Wisconsin
Song: “Bright Eye”
Album: With You
Release Date: September 17, 2025 (video); August 27, 2025 (single); November 14, 2025 (album)

In Their Words: “I began writing ‘Bright Eye’ the first summer after my daughter was born. Loving her transformed the way I saw everything around me and I found myself surprised by the joy of seeing our life through her eyes. I believe that this is what love does: love of any kind changes how and what we see. It lets the light in.

“Ana Egge is a favorite songwriter of mine, she has a wonderful way of articulating melodies. I sent her an early version of the song and we finished it together. ‘Bright Eye’ also features harmonies from my dear friend and fellow Eau Claire artist and mother, Sarah Elstran (The Nunnery).

“I wanted the video for the song to give a real sense of the spirit behind With You – the community, the care, and the laughter. The album came about during a season of heaviness, but the women who co-wrote the songs with me, along with the friends who recorded them, truly helped to carry me through.” – Courtney Hartman

Track Credits:
Courtney Hartman – Voice, guitars, songwriter
Ana Egge – songwriter
The Nunnery – Harmony vocals
Ben Lester – Synth, pedal steel
S. Carey – Drums, piano, synth
Shane Leonard – Percussion
Zoe Guigueno – Electric bass

Video Credits: Filmed by Kyle Lehman, edited by Erik Elstran.


Trey Hedrick, “Passing Through”

Artist: Trey Hedrick
Hometown: Wilkesville, Ohio
Song: “Passing Through”
Album: Sing, Appalachia
Release Date: September 19, 2025

In Their Words: “‘Passing Through’ started with my time living out West. I went out there looking for adventure, and I found it – mountains, open skies, and a pace to life that felt more open. But even then there was always a pull toward home, toward the hills. The song is about moving through places and seasons, chasing what you need to see while you can. It’s also about how all of us are just passing through in life, and how easy it is to get stuck only talking about the things we want to do. I’ve never wanted to live that way. That’s where the line ‘I ain’t afraid of dying, just the things I never did’ comes from. It’s a self reminder to go, to try, and to not leave the important things undone.” – Trey Hedrick

Track Credits:
Trey Hedrick – Lead vocal, acoustic guitar, songwriter
John Mailander – Fiddle
Ethan Ballinger – Mandolin
Frank Evans – Banjo
Phillipe Bronchtein – Piano
Jamie Dick – Drums
Rhees Williams – Bass
Maya De Vitry – Harmony vocals


The Infamous Stringdusters, “Dead Man Walking”

Artist: The Infamous Stringdusters
Hometown: Nashville, Tennessee and Colorado
Song: “Dead Man Walking”
Album: 20/20
Release Date: September 19, 2025 (single); January 2026 (album)
Label: Americana Vibes

In Their Words: “I had this idea about a pitiful character that needed to snap out of their life and take a bigger view of everything before it was too late. I kept having Larry Keel’s voice in my mind as I worked through the melody of the song a bit, so I sent him a verse or two and he sent me back some. His lyrics were awesome, uplifting, and on the positive side. In a few sessions, we came up with what feels like a powerful chorus and a cool hook. It felt so natural for Dusters to make this one as country as we could and I just hope it resonates with everyone who listens, as it did with Larry and me as the songwriters.” – Jeremy Garrett

Video Credits: Directed and edited by Jack Gould at Ninja Video Production.
Craig Babineau – Second camera


Lauren Morse, “Let That Fiddler Fiddle”

Artist: Lauren Morse
Hometown: Jackson, Michigan
Song: “Let that Fiddler Fiddle”
Album: The Sweetest Sound (EP)
Release Date: September 12, 2025 (video/single); January 2026 (EP)

In Their Words: “I wrote this song after a Nashville Honky Tonk Tuesday. I was being spun around by a man old enough to be my grandpa at the American Legion and I thought, ‘This is so much more fun than my date was the previous night.’ I immediately wanted to write a song folks could two-step to and that’s what I set out to do. Playing it out around Music City, I was always getting compliments on how it felt like nostalgic country music. It is the best feeling in the world to see the intention for the song to be played out in a music video with the same people who inspired it! I think it’s a real special song people get excited about and can’t help but clap or dance along.” – Lauren Morse

Video Credits: Directed by William Gawley.
Produced by Michelle Robertson, Charlotte Avenue Pictures.
Director of Photography – Wayne Taylor with Giovanni Gotay
Drone pilot – Wayne Taylor
Edited/color – Color Synch Visuals


Michael Rudd, “Not Today”

Artist: Michael Rudd
Hometown: Albuquerque, New Mexico
Song: “Not Today”
Album: Ways of the World
Release Date: September 26, 2025 (single), February 27, 2026 (album)
Label: Invisible Road Records

In Their Words: “‘Not Today’ is about the legacy of war, both for the vanquished and the ‘victor.’ In a time when wars seem to be everywhere, the song considers not just the impact on those fighting now, but also on generations to come. ‘Not Today’ is from the perspective of a man who has lost everything – his family, his home, his land – but not the knowledge of who he is. It was most directly inspired by the war in Gaza and settler violence in the West Bank, as well as my visit last year to Berlin, Warsaw, Krakow, and Auschwitz. As an American Jew who grew up with the cornerstones of Israel, Jewish ethics, a knowledge of historical antisemitism, and the specter of the Holocaust, I wonder how future generations will process the current war and the influence it may have on how they see themselves and the world.” – Michael Rudd

Track Credits:
Michael Rudd – Vocals, electric guitar
Pat Malone – Electric guitar
Mark Clark – Drums
Brant Leeper – Hammond organ
Asher Barreras – Electric bass
Kelly Kuhn – Backing vocals


Photo Credit: The Infamous Stringdusters by Daniel Milchev; Courtney Hartman by Michelle Bennett.

Ethan Setiawan’s Personal Encyclopedia Mandolinnica

A short history of the mandolin in America: The mandolin is essentially a small lute which has been around since the 1300s. Italian immigrants brought bowl-back mandolins to the States in the 1800s. Mandolin orchestras were big in the 19th and 20th centuries, believe it or not. In fact, a whole mandolin family exists with mandolas, mandocellos, and mandobasses out there.

Around the turn of the 20th century, Orville Gibson started to develop flat-backed mandolins constructed more similarly to guitars. Finally, in the 1920s, Lloyd Loar created the F5 mandolin, with its longer neck and F holes. These new instruments were built to project and fill a concert hall, though they were ill-timed – the mandolin orchestra craze was fading and not ’til Bill Monroe picked up one of those instruments from a barbershop in Florida in the ’30s did they come back into their own. Since then, bluegrass mandolinists the world over have played these instruments or copies thereof. I play an instrument by John Monteleone, who started innovating on Lloyd Loar’s design in the 1980s – and so the tradition continues.

My new album, Encyclopedia Mandolinnica, turned into a survey of Western and Northern mandolin styles quite quickly. It’s very much been shaped by these inspiring musicians who were very kindly up for playing a duet with me. We go on a real journey through bluegrass both progressive and traditional, old-time, jazz, classical, and Scottish trad. The chance to get to work with these heroes of mine has been such a pleasure and invoked several “pinch me” moments. One of the most beautiful things was getting to see how everyone approached our little 8-stringed instrument so uniquely. I learned something from playing with and working alongside each of the mandolinists that agreed to be a part of the project!

In putting together this playlist I thought about my personal inspirations as well as the mandolin’s place in musical cultures across the world. It ranges from hardcore bluegrass, to Brazilian choro, over to Scottish trad – with lots of things in the middle. It mostly features folks you can hear on Encyclopedia Mandolinnica. I hope you enjoy my guided tour of the mandolin! – Ethan Setiawan

“Victoria” – Ethan Setiawan & Mike Marshall

Mike is a legend of the mandolin. He was an early member of the David Grisman Quintet and went on to collaborate with Darol Anger, among others. He helped write the book on progressive acoustic music and mandolin styles therein. This tune of mine falls within that realm and Mike was the perfect person to play it with.

“Shoulda Seen It Comin’” – Mike Marshall & Chris Thile

Mike also duetted with this young guy Chris Thile, whom you may have heard of. The live record that this cut is from is one of my very favorite recorded mandolin performances. Both mandolinists are at the top of their game. This tune was in my ear quite a bit when writing the previous tune, which maybe you can hear?

“There Will Never Be Another You” – Don Stiernberg

Don is one of the world’s foremost practitioners of jazz mandolin – a combination of words you might have never thought you’d hear. He studied with the great Jethro Burns of Homer & Jethro before forging his own path forward into a style where few mandolinists have ventured. Don was a teacher of mine during high school and it was great fun to get to be in the studio together for Encyclopedia Mandolinnica.

“Jiguaraña” – Ethan Setiawan & Maurizio Fiore Salas

Venezuela has a rich and beautiful mandolin tradition that not many folks are aware of. This tune is a co-write between myself and Maurizio. We took a jig (a Celtic form in 6/8) that I came up with and Maurizio had the bright idea of putting it over a Venezuelan rhythm called guarana (also in 6/8). It’s always a joy to play with Maurizio, he challenges me in the right ways.

“Wonderful” – Kinnaris Q (Laura-Beth Salter)

Laura-Beth is at the forefront of the Scottish trad revolution in Glasgow, Scotland. This track by her band Kinnaris Q puts the mandolin front and center – when she takes the tune at 1:52 check out the facile right hand triplets! We co-direct the Glasgow Mandolin Retreat as well and it’s always great to get a tune with LB.

“Blue Grass Stomp” – Bill Monroe

This is where it all started for a lot of us. Bill Monroe, along with Earl Scruggs and Lester Flatt, in the ’40s had something electric and powerful, so much so that in large part bluegrass has been unchanged since then.

“New Cimarron” – Matt Flinner

Matt Flinner is one of my favorite mandolinists out there. One of the many things that strikes me about his playing is how good it feels. Everything is placed so precisely and beautifully. He also writes great tunes that beautifully synthesize lots of things we love about bluegrass, old-time, and jazz. This is one of my favorite tunes of his.

“Golden” – Ethan Setiawan

In a similar tradition to the last tune, this is my take on a progressive “new acoustic” tune. Darol Anger on the fiddle here, he produced this album and it was such a joy to work with him on it.

“O Voo Da Mosca” – Jacob Do Bandolim

While bluegrass was developing up north, another mandolinist was fusing styles down south. Way down south. In short, choro is a fusion of classical forms with jazz harmony and Afro-Brazilian rhythms – similar on the page to ragtime. Jacob Do Bandolim (which translates to Jacob the mandolin, amazing) wrote many tunes that became staples of the style and was a virtuosic mandolinist to boot.

“Saint Cecilia Caprice” – Hamilton De Holanda

Hamilton De Holanda is the Chris Thile of Brazil. Amazing technically and a great musical mind. He wrote a double album of caprices and made the music public on his website, as well. Every mandolinist reading this: go download them, now!

“Salt Spring” – John Reischman

The greatest modern jam standard of our time! John is another great tune writer. He also gets the most beautiful sound out of the mandolin.

“Shetland Jigs” – Hildaland (Ethan Setiawan)

My own contribution to the Scottish trad lexicon from my duo with fiddler Louise Bichan, Hildaland. These are a couple nice jigs from Shetland. I’m playing mandola here, but I’ve tuned the highest string down a step and put on a capo so that the strings are tuned DAEA. This is inspired by the fiddle, which is crosstuned – common in old-time but not so common in Great Britain. We thought it was a cool connection to draw for our duo which goes between those styles at will.

“Canon at the Twelfth in Counterpoint at the Fifth” – Caterina Lichtenberg & Mike Marshall

Caterina is one of the greatest classical mandolinists to ever live. There have been vital classical mandolin traditions going on this whole time in Italy and Germany, which is so cool to see. Classical music is being made on the mandolin at very high levels and being taught as well.

“Queen of the Earth, Child of the Stars” – Sharon Gilchrist & John Reischman

A beautiful old-time tune, played so beautifully by Sharon on mandolin, John on mandola, and backed up by Scott Nygaard on guitar. I first heard this tune played late at night by Darol Anger and Bruce Molsky at Freshgrass a bunch of years ago now and it’s stuck with me ever since.

“Big Hill” – Ethan Setiawan & Andrew Marlin

Andrew has taken the mandolin scene by storm over the past several years with beautiful tunes and great trad bluegrass playing. Part of the thing that developed with this project was to write something that I thought might work well for each guest – not to explicitly write something that sounded like theirs, but to draw a little inspiration. I think this tune captured something there and I love the way Andrew accompanies the tune.


Photo Credit: Louise Bichan

Basic Folk: Joe K. Walsh

Joe K. Walsh grew up in Duluth, Minnesota, and became enthralled with the mandolin (his primary focus, currently) after hearing the first David Grisman Quintet record. His dad got the young Joe his own mando. He ended up getting very serious about the instrument and found himself studying at Berklee College of Music in Boston (where he is now on faculty in the string department). Joe, in fact, was the first mandolin student at Berklee in a town that is now flooded with amazing mandolin players. His already strong sense of community and collaboration led him to becoming a main player in the Boston scene with his string band Joy Kills Sorrow, and with the Gibson Brothers. He now resides in Portland, Maine, and plays solo as well as with Mr. Sun, a group led by fiddler Darol Anger.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

In our Basic Folk conversation, we talk about taking over at Berklee after the death of professor John McGann, a beloved trad player who recorded with David Grisman, Mark O’Connor, Tim O’Brien, and the Boston Pops, among others. Joe addresses the question of whether bringing folk music into a college setting is “academizing” it or perhaps “folking” music academia. He also gets into hot button issues like improv, simplicity, and restraint. And, of course, he finally reveals his true feelings about the “other” Joe Walsh. Joe’s new instrumental album, Trust and Love, is a peaceful listen in these wild times. I’m happy to know Joe and have already benefited from his friendship! He and his wife gave my family a ton of baby hand-me-downs that have proved so useful. Everyone has a friend in Joe. K Walsh.


Read our feature interview with Joe K. Walsh on his latest album, Trust and Love, here.

Photo Credit: Natalie Conn

Sierra Hull, Her Mandolin, and Her Band Blow Away NPR’s Tiny Desk

We know we aren’t the only ones addicted to NPR’s fabled Tiny Desk Concert series – especially with all of the excellent roots musicians, country artists, and bluegrassers they’ve had behind the desk lately. We’re obsessed with Gil & Dave’s recent appearance, Sierra Ferrell’s turn from about a year ago, Megan Moroney’s debut, Yasmin Williams wowing the NPR audience, and so many more.

Now, one of our longest-running and most beloved Friends & Neighbors has brought her band and her new album to NPR’s headquarters in Washington, D.C. for her very first Tiny Desk Concert. IBMA Award winner and GRAMMY nominee Sierra Hull – accompanied by her touring band of Erik Coveney (bass), Avery Merritt (fiddle), Mark Raudabaugh (drums), and Shaun Richardson (guitar) – performed four songs from her latest album, A Tip Toe High Wire, from behind the iconic desk.

“Well you guys, this is truly a ‘pinch me’ moment,” Hull exclaims while introducing her second song. “I can’t believe we’re at Tiny Desk!” And that grateful, excited energy remained front and center through the group’s beautiful mini set.

From the grooving “Boom,” to the burnin’ and acrobatic instrumental “Lord, That’s A Long Way,” to the homage to her grandmother, “Spitfire,” to the wise and poetic “Muddy Waters,” the Americana, newgrass, and jamgrass textures of the studio recordings are present, but somewhat subdued in the acoustic, pared down Tiny Desk environment. This is the exact band and these are the exact arrangements you’ll hear at a Sierra Hull headline show or on the album itself, but this setting more immediately demonstrates how her bluegrass and string band upbringing in rural Tennessee is a foundation for everything she makes. Hull is always innovative and cutting edge, yes, but she accomplishes this not by forsaking bluegrass but by bringing it with her wherever she goes, from tours with Cory Wong or Béla Fleck to NPR Music.

Another stellar Tiny Desk Concert by another incredible bluegrass, string band, and Americana musician. If you haven’t yet enjoyed Sierra Hull’s Tiny Desk appearance, watch now above.


Read our recent Cover Story interview with Hull all about A Tip Toe High Wire here.

You Gotta Hear This: New Music From Tray Wellington, Dallas Burrow, and More

Country and folk, bluegrass and new acoustic music all come together in this week’s edition of our new music and premiere roundup!

First up, country singer-songwriter Dallas Burrow is joined by Ray Wylie Hubbard on a brand new music video for their duo track, “Read ‘Em and Weep,” from Burrow’s upcoming September release. The song was inspired by classic gambling songs, so of course Ray Wylie was the perfect special guest to tap for the track and the country & western-styled video. Also bringing a new music video this week are Americana/folk trio The Last Revel, of Minneapolis. “Static” is about the overwhelm and confusion of new love.

In bluegrass, Chris Jones & the Night Drivers tap Jim Lauderdale for a new track, “How Small of Me.” Despite knowing each other for decades, it’s the first time Jones and Lauderdale have collaborated in the studio. Jones’ labelmates Deanie Richardson & Kimber Ludiker debut another new twin fiddle tune, this time offering their take on a Frank Wakefield classic, “New Camptown Races,” with a mighty backing band.

From experimental string band fringes we have a few stellar selections, as well. Award-winning banjoist Tray Wellington readies a new EP – set for release August 8 – with a performance video of an original song, “Man on the Moon,” continuing his creative relationship and fascination with the earth’s celestial relative. It’s jammy, expressive, and contemplative and shows a blend of many of the different styles of ‘grass he often employs. Mandolinist and composer Ethan Setiawan has new music on the way, too. His next project, Encyclopedia Mandolinnicaarrives mid-August and to celebrate, he’s shared a track featuring Joe K. Walsh called “Mount Holly.”

Finally, you won’t want to miss the return of Thompson the Fox, Tokyo’s quartet of mind-bending pickers who combine jazz, bebop, new acoustic, bluegrass, and so much more. Volume 2 of The Fox In Tiger’s Clothing – entitled TIGER – drops next month, so we’re sharing “Minute Waltz Rag,” the group’s reimagination of Chopin’s quintessential composition that’s ragtime, bluegrass, classical, and jazz altogether. Still, it’s incredibly easy to listen to – and impressive in technique and artfulness, both.

It’s all right here on BGS and, truly, You Gotta Hear This!

Dallas Burrow, “Read ‘Em and Weep” featuring Ray Wylie Hubbard

Artist: Dallas Burrow
Hometown: New Braunfels, Texas
Song: “Read ‘Em & Weep” featuring Ray Wylie Hubbard
Album: The Way The West Was Won
Release Date: July 18, 2025 (video); September 26, 2025 (album)
Label: Forty Below Records

In Their Words: “This song, which serves as the opening track of the album, is actually a musical sequel to a song I wrote with my good friend Charley Crockett called ‘The Only Game in Town,’ which I wrote all the verses for after he brought me a chorus and a chord progression. In that song’s third verse the narrator tells us, ‘The dealer is [his] friend and the house always wins.’ This song you might say serves as a challenge to its prequel, with the opening verse declaring, ‘I heard the dealer was your friend, I heard you know him well.’ Both, stylistically, were inspired by great gambling songs like ‘Mr. Mudd and Mr. Gold’ by Townes Van Zandt and ‘Dust of the Chase’ by Ray Wylie Hubbard. It was only fitting then that Ray Wylie would sing on this tune. I gave him the whole record to listen to and this was the one he picked out to sing on. It was quite the honor to have him sing the entire second verse, since he’s always been one of my biggest inspirations and heroes. The tune opens with producer Lloyd Maines counting it off and playing a striking harmonic guitar part. As the track continues to build it is further brought to life by Lloyd’s legendary Dobro playing, and Katie Shore’s immaculate fiddle work.” – Dallas Burrow

Track Credits:
Ray Wylie Hubbard – Vocals
Dallas Burrow – Vocals, acoustic guitar, songwriter
Katie Shore – Fiddle
Lloyd Maines – Dobro, bass, acoustic guitar, producer
Pat Manske – percussion


Chris Jones & the Night Drivers, “How Small of Me” featuring Jim Lauderdale

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “How Small of Me”
Release Date: July 18, 2025
Label: Mountain Home Music Company

In Their Words: “Jim Lauderdale and I have been friends for decades now, but this is the first time we have ever sung together on a recording, so I’m really happy about this. Meanwhile I co-wrote the song with John McCutcheon, somebody I first met when I was a teenager, and though more recently, he’s somebody who the band and I have performed with a few times at the Walnut Valley Festival in Kansas, we had never written a song together until last year, and ‘How Small of Me’ is one of our first results.” – Chris Jones

Track Credits:
Chris Jones – Acoustic guitar, lead vocal
Jim Lauderdale – Harmony vocal
Mark Stoffel – Mandolin
Grace van’t Hof – Ukelele
Jon Weisberger – Bass
Tony Creasman – Drums
Chris Scruggs – Steel guitar


The Last Revel, “Static”

Artist: The Last Revel
Hometown: Minneapolis, Minnesota
Song: “Static”
Album: Gone For Good
Release Date: July 18, 2025
Label: Thirty Tigers

In Their Words: “It’s a simple little song about how overwhelming and confusing love can feel especially in the beginning. It’s about losing yourself and everything you have just to spend time with the only person that seems to be vibrating at the same frantic frequency while everything else seems still and static.” – Lee Henke


Deanie Richardson & Kimber Ludiker, “New Camptown Races”

Artist: Deanie Richardson & Kimber Ludiker
Song: “New Camptown Races”
Release Date: July 18, 2025
Label: Mountain Home Music Company

In Their Words: “‘New Camptown Races’ is a song that Kimber and I played together last year and it went so well we knew it was one we wanted on this record. I went to a recording from one of my fiddle heroes, Randy Howard, on this. I will admit, I did steal a few licks from Randy on this one. Love that my dear friend is with us on this track.” – Deanie Richardson

“We have long loved Frank Wakefield’s great mandolin tune ‘New Camptown Races,’ which quickly became part of the bluegrass canon when he first recorded it in 1957. We set out to create a twin fiddle reimagining of this classic Bb tune with the spirit of a high-energy late-night jam with phenomenal playing by Tristan Scroggins on mandolin, Kristin Scott Benson on banjo, Cody Kilby on guitar, and Hasee Ciaccio on bass.” – Kimber Ludiker

Track Credits:
Deanie Richardson – Fiddle
Kimber Ludiker – Fiddle
Cody Kilby – Acoustic guitar
Hasee Ciaccio – Upright bass
Tristan Scroggins – Mandolin
Kristin Scott Benson – Banjo


Ethan Setiawan, “Mount Holly” featuring Joe K. Walsh

(Click to listen)

Artist name: Ethan Setiawan
Hometown: Cornish, Maine
Song: “Mount Holly” featuring Joe K. Walsh
Album: Encyclopedia Mandolinnica
Release Date: July 23, 2025 (single); August 15, 2025 (album)
Label: Adhyâropa Records

In Their Words: “This one’s for the Fogels, at whose cabin in Vermont I spent a couple of great New Years, and who smoke the most delicious meat at all hours at festivals in the Northeast. I started to work on the tune in 2022 or 2023 up in Vermont and then finished it soon before tracking with Joe in early 2024. I finished it without a mandolin in hand, which lately has been a good exercise in letting my ear rather than my hands guide the composition. I’m playing mandola and Joe is playing octave mandolin, because we had to get in those low mandolins!” – Ethan Setiawan


Thompson the Fox, “Minute Waltz Rag”

Artist: Thompson the Fox
Hometown: Tokyo, Japan
Song: “Minute Waltz Rag”
Album: The Fox In Tiger’s Clothing, Vol.2: TIGER
Release Date: August 9, 2025
Label: Prefab Records

In Their Words: “Following our May release of The Fox In Tiger’s Clothing, Vol.1: FOX, we’re excited to announce the upcoming release of its sister album, Vol.2: TIGER, coming out on August 9.

“The album title is a play on two phrases from different cultures: the Japanese proverb, ‘The fox borrowing the tiger’s authority’ and the English idiom, ‘A wolf in sheep’s clothing.’

“While Vol.1: FOX consisted entirely of our original compositions, Vol.2: TIGER is a collection of cover tunes. Ahead of the album’s release, we’ve just shared a music video for ‘Minute Waltz Rag.’ It’s a reimagining of Chopin’s beautiful waltz, which I arranged in two-time for this quartet. We hope you enjoy it!” – Takumi Kodera

Track Credits:
Rie Koyama – Xylophone
Takumi Kodera – Banjo
Akihide Teshima – Bass
Tomohito Yoshijima – Drums

Video Credit: Takumi Kodera


Tray Wellington, “Man on the Moon”

Artist: Tray Wellington
Hometown: Raleigh, North Carolina
Song: Man on the Moon
Album: Spatial Awareness (EP)
Release Date: July 18, 2025 (single); August 8, 2025 (EP)
Label: Free Dirt Records

In Their Words: “‘Man on the Moon’ is one of the most personal songs I’ve ever written. I wanted to capture how easy it is to hide struggle behind a smile and how many of us carry that weight silently. Writing has always helped me process things I hadn’t fully acknowledged and I hope it can do the same for someone else. This track was also one of my favorites for production as it’s one of the songs I feel like we really captured the feelings of the song throughout.” – Tray Wellington

Video Credit: Rob Laughter


Photo Credit: Tray Wellington by Heidi Holloway; Dallas Burrow by Melissa Payne.

This Faux Paws Playlist Includes ‘No Bad Ideas’

Growing up with access to all of recorded music, it’s hard to imagine not enjoying a wide range of styles. When we all met around fifteen years ago, it was fun to see where our backgrounds overlapped and where they didn’t. Eventually, after lots of road testing, we ended up with some kind of sound to our band that is pretty unique. Our new album, No Bad Ideas, is an expression of that. It’s all over the place, but somehow not.

For this Mixtape, we set out to include music that’s influenced us as a band, inspired our playing and songwriting, or otherwise shaped us as people. Some of these are tunes that have been with us a long time, some of them we just listened to in the van while we’ve been on tour. It’s all over the place, but there’s a through line as well. No Bad Ideas in a playlist! – The Faux Paws

“TSA” – Danny Barnes

Just banjo, drums, and voice. It’s weird, sparse, beautiful, and one of those songs I’ve been coming back to for years. – Andrew VanNorstrand

“Rockingham” – The Faux Paws

This song is all about the excitement and uncertainty of moving to a new place and finding community, even if you aren’t necessarily ready for it. – AV

“Backstep Cindy” – The Freight Hoppers

July 1998. I am ten years old. I wander into the dance tent at the Grey Fox Bluegrass Festival and my tiny little mind is blown into a thousand pieces as I experience the absolutely insane energy of The Freight Hoppers. I’ve been chasing that feeling ever since. This. Tune. F-ing. Rocks. – AV

“Odds of Getting Even” – Maya de Vitry

I can’t get enough of this album. Maya sounds great. Her band sounds great. The material is great. This song has a subtle message of patience and perspective that really speaks to me. Play it again. – AV

“He’s Gone” – Caleb Klauder & Reeb Willms

Caleb and Reeb played for my wedding! They are true cornerstones of the amazing Pacific Northwest Americana scene and are launching a new festival this week, Orcasfest. Caleb wrote this song about his childhood dentist, who was also his best friend’s dad/second dad. – Chris Miller

“Jesus Was a Cross Maker” – Judee Sill

I am always telling people about this singular artist and I feel like her music is still pretty underground in my circles! She had a wild childhood and was caught up in the Laurel Canyon California music scene, experimenting with psychedelics and reflecting on her Christianity. The result is music that doesn’t sound like anything else I’ve ever heard. – CM

“For Me It’s You” – Jobi Riccio

I heard Jobi play this song in a hotel room in Kansas City during Folk Alliance and it broke me. Like, truly deeply broke me the way only a great song can. Everyone has a dream they know probably won’t come true. I needed this song. Maybe you do, too. – AV

“15 Below” – The Faux Paws

Every time we play this, Noah makes my jaw drop – and we captured some of that on the record. This tune came to life when we were quarantined in Newport, Rhode Island, January 2022. We went to try and find a bird on the beach and it was insanely cold. – CM

“Artificial Intelligence” – Jim Lauderdale

Most of the time we spend in the van is actually listening to terrifying podcasts about the seemingly inevitable AI future. I grew up seeing Jim Lauderdale play and I appreciate how he can remain frozen in a time of “real country” while still plundering the depths of current philosophical issues. – CM

“the 1” – Taylor Swift

Noah really, really, really likes Taylor Swift. And he picked this song. And that’s all. Hope you like it. Noah really likes it. A lot. Contact Noah directly for more details on how much he likes Taylor Swift. – AV

“Straight Back” – Taylor Ashton

I love the way this song slips and slides. Smooth groove, clever lyrics, ooo-eee-ooo-eeyoo hook in the chorus.  It’s impossible to pin down. And why would you want to pin it down anyway? Just let it do its thing. Don’t worry about it. – AV

“You Are Also Them” – Jenny Ritter

I came across Jenny Ritter randomly around fifteen years ago and have been obsessed with her music ever since. We actually recorded our Backburner EP with the same engineer (Adam Iredale) on tiny Mayne Island, British Columbia. This track coincidentally has Zoe Guigueno on bass! – CM

“Unknowing” – Busman’s Holiday

I don’t have a long history with this song, but we were recently on tour in Nashville and Zoe played it for us. I just can’t shake it. You ever get the sense that a song is perceiving you just as much or more so than you are able to perceive it? I hope this song likes me. – AV

“I Didn’t Realize” – Buddy Spicher & Vassar Clements

The first music I learned to play was a mix of classic country, western swing, and contest-style fiddling from Ontario. I fell in love with twin fiddle harmonies and a tight rhythm section. Listening to these two fiddle legends riffing off of each other is such a joy. – AV

“I Just Wanna Listen to the Band Play” – Freddy & Francine

These guys (Bianca and Lee) are some of my idols, both in the way they make music and live with intention. As it seems we can’t beat the robots in the great war coming, I think the only hope for music and art is if we decide to be a little more intentional about … everything. This song is from 2020, but more relevant than ever! – CM


Photo Credit: Dylan Ladds

BGS 5+5: Thompson the Fox

Artist: Thompson the Fox
Hometown:
Tokyo, Japan
Latest Album: The Fox In Tiger’s Clothing, vol.1: FOX

Which artist has influenced you the most – and how?

Takero Sekijima. I first encountered his music about 15 years ago, back when I was playing marimba and aiming to become a classical performer. At the time, I was unsure whether to continue pursuing that path. Until then, I had mostly performed solo, but his music taught me how powerful it can be to create music with others. After discovering his work, I came to believe that simple, warm music has the ability to speak directly to the heart. – Rie Koyama, xylophone

Earl Scruggs. When I started playing banjo at age 11, I was blown away by Foggy Mountain Jamboree by Flatt & Scruggs. I couldn’t read English at the time, but I began studying banjo on my own using Earl’s instruction book that my parents bought for me. He’s the most creative figure in the history of the banjo and he has always been the player I respect the most. – Takumi Kodera, banjo

Dennis Crouch. His bass lines are precise and never excessive, and the tone he creates with gut strings is truly unique. – Akihide Teshima, bass

Paul Motian. As a drummer, his playing opened my eyes to the idea that rhythm can have a three-dimensional structure – almost like cubism in sound. He also composed many brilliant pieces and constantly explored new musical possibilities through innovative work in trios and combos. – Tomohito Yoshijima, drums

What’s the toughest time you ever had writing a song?

There was a time when a tune I came up with seemed to call for many different characters or voices and I felt that Thompson the Fox alone didn’t have enough sound to fully express it. That was a real challenge. On our new album, we layered toy piano and percussion to expand the sound. For live shows, we do our best to recreate that lively atmosphere by ourselves. – RK

My goal in composing and arranging is to make the most of each member’s abilities through the ensemble. Writing for a band like ours – with its unusual and unprecedented instrumentation – is always challenging, but deeply rewarding. Since there’s no model to follow, I try to understand each instrument’s unique qualities as well as each member’s playing style. – TK

For me, every tune needs a story – like a short piece of fiction. The hardest part is crafting a story that’s compelling on its own, then figuring out how to express it through music in a way that evokes that narrative. Communicating that idea clearly to the other members is also part of the challenge. – TY

Genre is dead (long live genre!), but how would you describe the genres and styles your music inhabits?

I’ve always approached music freely, without confining myself to specific genres. It’s all about expressing myself authentically. – AT

Rie comes from a background of classical and contemporary music, Tomohito from jazz, and Akihide and I from bluegrass. We’re a band made up of four people with completely different musical backgrounds. We’ve been searching for the common ground between us and expanding on that as we create music. As a result, I believe we naturally developed a unique sound that’s difficult to categorize into any specific genre. – TK

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Grilled samma (Pacific saury) with Bones Jugs. – RK

On a cold winter day, sipping hot sake and enjoying oden at a cozy izakaya while listening to Amos Milburn. – TK

Yakitori with modern jazz. – AT

Spicy food so hot it makes you sweat, paired with Miles Davis’ Bitches Brew. – TY

What would a perfect day as an artist and creator look like to you?

A day with no urgent deadlines. I’d practice the xylophone, take a nap, go for a run, drink some beer, eat fish, read a sci-fi book in the bath, and go to bed. – RK

A day when I can play the banjo not to prepare for anything, but purely out of interest and curiosity. – TK

A day when I can play without mistakes and enjoy a drink afterward. – AT

A day when I can spend as long as I want trying to beat an insanely difficult video game. – TY


Photo Credit: Koichi Wakui

Mandolinist Joe K. Walsh on Building ‘Trust and Love’

On April 4, Joe K. Walsh released his latest album, Trust and Love. The project is an utterly gorgeous take on minimalism within music. It combines a unique instrumentation of Joe (on the mandolin family instruments), Rich Hinman (guitar, lap steel, pedal steel), Zachariah Hickman (bass), Dave Brophy (drums and percussion), John Mailander (fiddle, except track 2) and Bobby Britt (fiddle, track 2).

I’ve been very fortunate to get to study mandolin with Joe as my teacher for the last four years at Berklee College of Music. In talking with him about Trust and Love, what stood out to me in a significant way was the excitement he has in making music with his friends and finding music that brings a great amount of joy. Often as musicians, we lose track of the point of playing music–to bring joy to ourselves and those who are listening to it. Joe has always emphasized this and in listening to his new album, it brings home this powerful message.

What was the inspiration of the album and when did you start writing it?

Joe K. Walsh: Well, I’m always writing. Every day I try to write, I think it’s a good goal. I like the concept of not waiting for inspiration and there’s that line Bill Frisell had in his notebook which was, if you want to learn how to write, pick up a piece of paper and a pencil or something like that, just start doing it. So I try to write every day and most of it’s garbage, but I believe in the numbers game. This wasn’t really a batch of tunes written all together. Some of the tunes are older, probably as old as six or seven years. As for the inspiration for the album, the music I need at the moment and have [needed] for about five or six years is peaceful music. Music that has a restorative quality, as opposed to exciting or some sort of impressive stuff. I’m trying to write stuff that fills a room with beauty as opposed to stuff that’s just like, “Oh man, kick ass bro!” That was the idea with this collection of tunes.

Let’s say I have 30 or 40 tunes. In a moment where I’m like, “These might be worth giving some air to in public,” then you look for some sort of theme that ties some of them together. That was the theme here. There was a while when I was making records that I believed in, but were also partially about what I thought the mandolin was supposed to do. There was a disconnect between what I listened to and what I played, and I think it’s weird that there was a disconnect. I just became really aware I was listening to these spare and peaceful records that are entirely about interaction and trying to find beautiful melodies as a composer, but also as an improviser with the group. That’s not totally distinct from bluegrass, but it’s also not the same.

In your album description, you write that this body of work is “showcasing the power of musicians listening and reacting to each other, sensitive improvisors sharing a musical conversation and following the threads.” When you’re writing something like this and give it to the band, was there more or less an arrangement idea that you had? Or was it just you all playing with each other and experimenting with it as you went?

I think it’s a little of both. I think in situations like this record, the hiring is probably as important as the writing. Finding people whose musical instincts I completely trust and don’t want to direct was really important. I’ve been privileged to be in situations like that with people where I don’t want to give them all the answers. I know that if I do, the end result will not be as good as if I bring in some ingredients and see what collectively we come up with. I’m not saying a person wouldn’t come in with some arrangements, I like to come in with ideas and try things out. I like the phrase “remain open to revelation.”

You also say that a big concept of this album is “less is more” and that, now more than ever, we need to be thinking about that. Can you talk about how you would take those life concepts and apply them to your music and how you practice?

There’s a lot there! [Laughs] Well, first of all, I am kind of a little disenchanted with the approach to playing the mandolin or the approach to playing improvised music that is centered around technical fireworks. I think that that can be exciting, but it’s also not where I’m at emotionally these days, with the state of the world and the state of my family and everything. I do think I’m finding myself preferring music that leaves space and that doesn’t have to state everything, that has faith in its listener, where you can hear a connection without it being explicit or made insultingly explicit. I think all those things would fall into the category of less is more.

But the main thing for me, and this is not a “hot take,” this is not my solitary opinion, but obviously we’re living in a maximalist moment with just an unstopping onslaught of information and stimuli. I really need music now where we have an attention span and patience for something unfurling slowly. Obviously that’s not everybody, everybody doesn’t need that, but I do. I need a longer form. You know there’s longer form journalism, I’m drawn to that of course, and I think there’s an argument that there’s a connection with music for longer form and longer amounts of patience.

Yeah, I definitely hear that.

I feel like many people know you for your more bluegrass-adjacent mandolin playing. You also play in a not-so-bluegrass, bluegrass-related band, Mr. Sun, which sounds pretty different from this album. You talk about the idea of minimalism in a time of maximalism, do you feel like that is a newer concept that you are playing with in this album, or is that something that you are thinking about often, even when you’re playing a lot of straight ahead bluegrass? Are these concepts and feelings still in your mind?

Yeah, you know how the version that one friend knows of us is different than the version somebody else knows? Both of those versions can be true and I feel like the same thing happens with going from one musical relationship to another. What comes out may be dramatically different, and hopefully you focus on the shared value system of whomever you’re playing with. That may end up being a distinctly different sound. I guess that is to say, I feel like all these things are reflecting a similar value system; it just comes out differently with different people.

How did you come up with the instrumentation for this group?

That’s a good question. It’s unusual to have a record with mandolin and pedal steel on it together.

I love it!

Nice, awesome! You know, when I came out of Berklee, I used to think, “OK, I found a banjo player, now I need to find a fiddler.” You know, thinking about it from these “recipes” we’re getting acquainted with and understand. It took me a little while to shift to thinking about personalities that I connect with more so than instruments. I just felt a strong intuition that all the things I’m articulating were values that Rich shared, but also I knew it was the case with John, Bobby, and Zach. I knew Dave less, but I felt safe guessing. But specifically with Rich, I really felt that all the things I was trying to do were based on values that he shared and I didn’t even have to particularly discuss it. That’s always the best, when you just know that someone gets your goals and you don’t have to describe them; they’re already sharing the same goals.

I feel very grateful to have the opportunity to work with musicians that I find very inspiring and beautiful. It’s a great privilege to get to share some days with musicians like that and have them be willing to share their personalities that way. It’s not something to take for granted.

That’s pretty beautiful, especially with an album that’s just so much about time and space and overall has a sweetness to it.

I appreciate that. Like I said, I realized the things I was listening to just sometimes felt distinctly different than what I was sometimes playing. Both are great, and I’m definitely not trying to say I don’t like playing bluegrass or listening to it. I absolutely love it. It’s great and definitely a big part of my musical diet, but also, for years – decades even – I’ve been listening to these really quiet, understated records. I always think, “What’s the thing that ties Martin Hayes and Bill Frisell together?” They are very different, but they sustain my attention in a way that doesn’t use the tools that many other people do with maximalism is really what I mean.

That’s a great way to put it, because I never really thought of music as being minimal or maximal. But after listening to your album and reading what you wrote about it, I started thinking about it and it’s interesting to go back and observe things that you thought were just so sweet, realizing that actually there is so much happening.

Music, for me, is about trying to create beauty and trying to create a feeling and a shared connection through those things. I’m really adverse to the idea of music as a tool for ramping up our own egos, which is a challenge. I feel like there are choices you can make, and I’ve become more aware of the choices that I feel are serving my ego versus serving the music or moving towards a feeling. It’s not always either/or, but I’m trying to be more suspicious and adverse to the things that feel like they’re serving my ego.

On this album, you go between different members of the mandolin family–

Yeah, mandola, octave mandolin, and the mandolin of course.

How did you find the right instrument for each song?

[Laughs] It’s an experiment! They’re all tuned in fifths, so in a sense you could just argue they all feel the same, but I think when you try and write, even picking up different mandolins, even just one mandolin to another, may inspire different thoughts. Certainly switching from the mandolin to the mandola leads to me paying attention to different things and, if I’m lucky, catching inspiration to chase an idea. Some of these tunes were written specifically on the mandola and stayed there, and the same is true with the octave mandolin.

I also think, [thinking about] sustain, the octave mandolin, bizarrely enough, feels to me like it does that in the mandolin family. Sometimes I feel like playing the octave mandolin you can’t be as athletic, because of the physical challenges of the instrument, but also it can sometimes have a little more sustain. Again, you can be nudged in a nice, positive, “less is more” direction trying to be musical with a smaller collection of what’s possible.

Let’s talk about some of the tunes on the album! I feel like throughout the whole project there is this really solid vibe that you build and it’s just gorgeous. Then you get to “Cold City” and it feels to me like a different vibe. Did it feel that way to you?

I think that’s fair.

I can see what you mean with the minimalism in this song, but it also has that kind of rocking “oomph” vibe going.

No, you’re totally right. You know, part of the whole thing with this arc – of trying to just crack the code on how to make quieter music that sustains interest – is just being afraid of letting go of some of these things that I know sustain interest. I like that tune, and I think it turned out good, although I think I also could have saved it for a more bluegrass record and that maybe would have made more sense. [Laughs]

I think it works in such a cool way on this album, because it lends this new lens to what you’re already seeing through the other songs.

I also think contrast is one of the most important things in music and that song certainly is contrasting. Basically, I never walk away from a record feeling like I will no longer doubt the decisions I made. That’s not how it works for me. You kind of just get used to the idea that there won’t be a full resolution on some of these decisions you wrestle with. That’s just how it is and you move forward anyway.

The pedal and lap steel on this album are really awesome and amazing. I feel like a lot of musicians don’t seem to mess around with those sorts of textures. There is a moment in the steel solo on “Closer, Still” where it feels like the other instruments drop out a little bit and it’s just the mandolin and steel. That spot feels really special to me and feels like there is this little conversation that the mandolin and steel are having. What it evoked to me was that they are sharing a little secret. How do you think about those two instruments intertwining in general and with music on this album?

Well, one thing that is distinctly different playing with a pedal steel – and again, I really feel like it’s about personalities you can connect with. But in a more tangible way, sustain changes everything. It’s not like we don’t have sustain on the mandolin, but it’s not like a fiddle or a pedal steel. I think with sustain, you’re able to do less and I think that’s probably true for what Rich can do or doesn’t have to do. I think it’s also true that when he is sustaining something, I don’t feel as compelled to, “Quick! Do something!” I think there’s a sense that things can wait a little bit.

I also think that’s true having the drums. That buys a little space, in a sense. There’s more going on, but somehow I can do less or it feels like there’s less going on.

As I recall, there isn’t steel on the whole album. There are some songs where Rich plays other instruments. I like that, in that moment coming out of the steel solo, or still kind of in there, it’s just such a different texture and it was really cool to hear it.

One of my favorite things is listening to people who really listen to each other and for whom the next thing that’s gonna happen is not predetermined. That’s the thing that kind of ties together the people that I was excited to hire for this particular record!

You can do that, obviously, with jazz language and that’s a beautiful thing, but I also think it’s really beautiful and under-explored to do that without requiring jazz language. So often that approach, mentally, goes with advanced and more complicated harmony that some people would call “jazzier” harmony. It’s a really beautiful thing to have that mindset, but not necessarily move in a more harmonically complicated direction.


Photo Credit: Natalie Conn