Bill Keith, known for revolutionizing the field of banjo playing, passed away last week at the age of 75. For a full obituary, head over to the New York Times.
Other Roots Music News:
• ICYMI: Punch Brothers will release a new EP, out November 20.
• Read Steve Martin's 5-10-15-20 at Pitchfork.
• Alabama Shakes performed "Joe" on Colbert.
• The results for the Grand Masters Fiddler Championship are in.
• Lucinda Williams announced a new album, Ghosts of Highway 20.
The gargantuan, sand-colored Bluegrass Situation banner that formed the backdrop for Saturday’s Greek Theater main stage performances has flown in Tennessee at three Bonnaroo super-jams, but until this weekend, it had never been hoisted in the BGS's home town of Los By God Angeles.
In other hands, very large logos can be obnoxious, as we know. But the inherent whimsy and humor of the BGS’s name, the sly Steve Martin arrow-through-the-head allusion in the design, and the endemic friendliness of the BGS’s mission made this super signage anything but Trumpian. Founder Ed Helms didn’t build this spotlight to shine on himself. For the five years since its founding, the BGS has been about elevating the finest roots/Americana talent and enlarging the audience for those artists.
They certainly succeeded with that this past weekend, attracting the biggest audience yet to the festival. And, this, when nationwide, there were more choices than a roots music fan could quite process: Hardly Strictly Bluegrass in San Francisco, World of Bluegrass in Raleigh, and Austin City Limits Festival in Texas. I swear, I had no advance warning about the deluge in North Carolina that would force IBMA indoors (and a grand time was reported there, in any event). I chose to attend the Bluegrass Situation out of fascination with this one-of-a-kind entity, and I was well-rewarded with an array of astonishing talent, including my favorite set ever by my favorite acoustic band working today. But that’s later.
[The Wild Reeds; photo by Austin Nelson for BGS]
[Dustbowl Revival; photo by Austin Nelson for BGS]
[Sam Outlaw; photo by Austin Nelson for BGS]
The Greek — a 5,800 seat amphitheater — was opened in 1930 in the hills of Griffith Park, so it’s seen and made some history. Just a few miles away and a few hundred feet below, there are palm trees. Up here you’re in the beginnings of the Santa Monica Mountains with oak and walnut and some rugged hilltops visible from the theater seats. The architecturally iconic sentinel that is the Griffith Observatory stands just nearby.
Before they opened the gates to the main theater, the Situation got situated with four sets on a plaza stage as visitors lolled around, queued up at the hipster instant haiku booth (manual typewriters), and played cornhole in the shade. The L.A.-based Wild Reeds got things started with a mix of banjo and Telecaster. Three women carried the floaty harmonies with a two-dude rhythm section lending propulsion. I was taken by the hand pump organ surging behind their sound. Maybe those are the wild reeds they’re talking about.
The Dustbowl Revival, also local, proved it’s one of the best party bands in the country with a super-crisp groove and a spot-on, two-man horn section. Whether lending new lyrics and mod touches to old-time fiddle tunes or playing spanky R&B with trombone/trumpet stabs, they impressed and made people dance. As a closer, they moved their act off stage and down amid the crowd on the plaza to blow horns, shake tambourines, and lead a lusty sing-along of Lead Belly’s “Midnight Special.”
[Spirit Family Reunion; photo by Austin Nelson for BGS]
[Gregory Alan Isakov; photo by Austin Nelson for BGS]
[Della Mae; photo by Austin Nelson for BGS]
Next came Brooklyn’s Spirit Family Reunion (the only non-L.A. act of these opening sets), doing their rambunctious, rollicking thing. Their instruments always sound like tin cans, but their Pete Seeger-ish enthusiasm drowns that out. A rather overflowing crowd had gathered in the sunny plaza by the time Sam Outlaw and his band took the stage. I was able to hear him at AmericanaFest just a couple weeks ago, and his new Angeleno album is now well in my ears. So it was a joy to hear these great, easy-going songs rendered so well. Outlaw is bringing traditional country music back to Los Angeles and, from my limited knowledge, I’d say it’s due for a comeback. He did his wry “Jesus Take the Wheel (And Drive Me to a Bar)” which made good use of pedal steel. Outlaw’s got melodies to spare, as on the lush title track, “Angeleno.” And the set closer, “Keep It Interesting,” sets marriage counseling to an infectious groove.
With that, the main amphitheater opened up and its wild architecture was revealed. It has flights of seats on the wings that float above the rocky hillside. There’s no lawn. But folks were mellow about seating so we could wander a bit and sit and visit as the music got going. And the music grew compelling very fast as Della Mae took the first set. They’ve been part of just about every BGS event I’ve ever seen, and rightly so, since they’re injecting so much visionary, feminine badassery into the old tradition. The material from the new self-titled album drifts a ways from bluegrass, and the quintet opened the set with the opening of the record, the fist-in-the-air feel of “Boston Town” and the soul sway of “Rude Awakening.” But, before long, Kimber Ludiker was leading a pulsing, knockout fiddle tune that led to fiery solos from mandolinist Jenni Lyn Gardner and guitarist Courtney Hartman. Lead vocalist Celia Woodsmith really uncorked on the Rolling Stones cover, “No Expectations,” which suited the California air. She also summed up the whole deal with the proclamation that “We’re in a pretty good spot in the world right now.”
Gregory Alan Isakov, the South African-born, world-traveling songwriter, proved an inspired choice for a sundown set amid wilderness ambience. His quartet was adept at sounding like three times that many musicians, and the experience couldn’t have been any warmer or dreamier. I was struck by “St. Valentine” with its sprightly banjo lines contrasting with a melancholy story and fiddle. Isakov has recently worked up his music with the Colorado Symphony, which he cited as “a mind-blowing experience,” and even without that support, a few tunes built to orchestral peaks that could only be described as gorgeous. A patient, refined poet is Isakov — my friend fell ears over wallet for him and bought his CD on her way home.
[Jonny Fritz; photo by Austin Nelson for BGS]
[The Lone Bellow; photo by Austin Nelson for BGS]
[Punch Brothers; photo by Austin Nelson for BGS]
The Lone Bellow would only up the ante on scale and power. If there’s a better all-around vocal trio in folk-rock than Zach Williams, Kanene Pipkin, and Brian Elmquist, I don’t know of it. Add a powerful rhythm section, steel guitar, and TLB’s cagey, dynamic arrangements, and you’ve got a flood of sound and beauty. Typically rapturous on this lovely evening was “Green Eyes and a Heart of Gold” with its proud stomp- and clap-along feel. And to prove they can move with subtlety, too, the sidemen left and the three voices sang into one mic for “Watch Over Us” from the new Then Came the Morning. It’s hard to hit exact pitches and evoke tears with just humming, but that’s what happened. The place was transfixed even as the women behind me gasped in disbelief at both the blended voices and at Elmquist’s leads. Mumford and who?
Then came the set about which I could — but won’t — write six paragraphs. Punch Brothers put together the finest repertoire of their career as they set out to promote this year’s The Phosphorescent Blues album. And they’ve refined that material over a busy 2015. The vocal parts — dense and complex like Brian Wilson’s greatest work — have been honed to thrilling perfection for up to all five guys. The songs are fascinating art, yet retain a pop hookiness. The tenderness of “My Oh My” flowed into the snark of “Boll Weevil.” The now quite old and classic “Watch ‘at Breakdown” showed dense construction and funky freedom in the breaks. “This Girl” took on a swing I’d never heard that made for some blazing solos. Some of the new material features Gabe Witcher shifting from fiddle to drums and band-wide syncopation so stark and hard core I about came unglued. Then they played classic bluegrass around one mic and segued from that into an arrangement of a Debussy piano movement from 1890 arranged for five of the most complete musicians I’ve ever seen at work.
It was the perfect contrast and spacer between rapturous power folk and the earthy California rock of Dawes.
[Dawes; photo by Austin Nelson for BGS]
[A finale for the ages; photo by Austin Nelson for BGS]
Lead singer Taylor Goldsmith told the crowd ever so nicely that he and his Dawes brothers had grown up seeing their favorite bands play the Greek and that never did they dream their “garage band” would one day play here. Hell, I would have thought they had, given their widespread acclaim and deeply appealing sound. Seated so close to Laurel Canyon, the band’s 1970s Jackson Browne vibes really stood out, but Dawes draws from a lot of wells — from Billy Joel to San Fran Jam. This was my first time catching these guys live and I’m no expert, but I heard an endearing culmination of a Golden State day with catchy tunes and some really fine songwriting. Standing out for me was “A Little Bit of Everything,” the multi-scene epic from the 2011 debut album. And who wouldn’t love the breezy, clean lines of “From a Window Seat.” I see the band had a parting of the ways with its keyboard player just before this show, but I was really struck by this piano man and his interplay with drummer Griffin Goldsmith. This was just tuneful, rocking, and sing-along good.
There was a two-part finale, in which Dawes brought a few guests/friends out for their sardonic anthem that prays that “all your favorite bands stay together.” That included song co-writer Jonny Fritz, who did a kind of backward stroll then a fair amount of ballroom dancing with the Lone Bellow’s Elmquist. So as not to end the night with irony, a dozen more of the evening’s musicians came back for a solid, benedictory of “Knocking on Heaven’s Door.” I was then extremely amused that the first track of recorded walkout music was Randy Newman’s “I Love L.A.” — not because that was in any way an odd choice, but because it was the walkout music I’d heard exactly 24 hours prior after my first-ever Dodgers game. And while I wouldn’t have said it five years ago in my ignorance and inexperience, I think now I do love L.A., and the Bluegrass Situation is one very big reason.
Lede photo by Elli Papayanopoulos for BGS
The Americana Music Festival & Conference is, as its name would imply, a festival, but it's also something of a family reunion. For music industry folks, journalists, and especially, artists, the annual Nashville festival can serve as one of the only times of year the gang is all together, and as such is one of the year's biggest parties.
Spirits were high at The Basement, a music venue beneath famed record shop Grimey's, for The BGS's Late Night Windup, one of the festival's first official events, where attendees could pick up their badges before going inside to enjoy a stacked night of music.
[The BGS's Amy Reitnouer with the house band]
Della Mae and the Wood Brothers kicked off the event with their own solo sets, before taking their spots in the crowd to await the jam. Both played to a packed room, treating the audience to tunes new and old.
Our own Amy Reitnouer introduced Punch Brothers' banjo extraordinaire Noam "Pickles" Pikelny as the evening's master of ceremonies. Pikelny was joined by a house band consisting of fiddle player Christian Sedelmyer, Casey Campbell, Mike Bub and fellow Punch Brother (and newly bearded) Chris "Critter" Eldridge. Together, they provided a backdrop for a long list of special guest and surprise artists over the course of the next couple hours.
The first guest was Sedelmyer's own project 10 String Symphony, a duo with fellow Nashville musician Rachel Baiman. It ended up being a mostly covers affair, with Eddie Berman following with a cover of Paul Simon's "You Can Call Me Al," trailed by Caitlin Canty paying homage to Dolly with her own take on "Wildflowers."
One of the highlights of the night was what Pikelny dubbed "Mandolin Armageddon," in which all of the musicians on stage packed up their instruments, hopped on a space ship and saved us all from an asteroid. Just kidding — it was cooler. Sierra Hull, Casey Campbell and Della Mae's Jenni Lyn Gardner joined forces for an incendiary performance of Bill Monroe's "Big Mon," and we think that, had an asteroid been headed our way, it would have stopped in its tracks so those talented kids could finish their tune.
After Mando-geddon came shuitar time, when The Wood Brothers returned to the stage to cover Bob Marley's "Stop That Train." Kelsey Waldon then schooled the audience on lesser-known country singers when she performed a Vern Gosdin tune. Rayland Baxter, a self-described "super stoner" who only rememebers the lyrics to his own songs, required a little audience help for his take on Graham Nash's "I Used to Be King," and the audience happily obliged.
As the night wore on, guest after guest, including Leigh Nash, Shakey Graves, and Della Mae, joined the house band for jam after jam, each one rowdier than the last. We couldn't think of a better way to kick off one of our favorite events of the year. If you joined us for last week's jam, we hope you enjoyed it as much as we did. Sorry about that hangover.
Photos courtesy of Kim Jameson
Our second Mixtape comes by way of Punch Brothers’ guitarist and all around great guy Chris ‘Critter’ Eldridge. Chris has some pretty refined tastes and, while on a short break from PB’s extensive touring schedule, sent The Bluegrass Situation the top five songs he’s listening to right now…
ARTIST: Andy Irvine and Paul Brady
TRACK: Plains of Kildare
ALBUM: Andy Irvine and Paul Brady
‘I only just recently discovered Andy Irvine’s music and I have to say, he is surely one of the all time great creative minds in folk. Irish music is new to me, but this record has to be as good a place to start as any.’
ARTIST: Jimmie Rivers and Vance Terry
TRACK: Jimmie’s Blues
ALBUM: Brisbane Bop
‘Vance Terry on pedal steel is one of the most exciting, amazing improvisers I’ve ever heard on any instrument. His second solo on this song is one of my favorite instrumental solos of all time. Also, the rhythm section is laying it down!’
[You can purchase Brisbane Bop on Amazon]
ARTIST: Jody Stecher
TRACK: Wild Bill Jones
ALBUM: Going Up On the Mountain
‘This is such a cool version of an old tune that we all know. Jody Stecher is an amazing singer has a brilliant mind for songs and arrangements. Y’all need to go and buy this record.’
ARTIST: Bill Frisell
TRACK: Nature’s Symphony
ALBUM: Gone, Just Like a Train
‘This track is a beautiful meditation on space in music. I love how it’s mostly just a collection of a few themes that he repeats over and over, but somehow it never gets old.’
ARTIST: John Hartford
TRACK: Old Joe Clark
ALBUM: Morning Bugle
‘Quite simply, John Hartford is my hero. In the best way possible he was simultaneously reverent and irreverent toward tradition. Despite the title being the same as the old fiddle tune, this is an original song that’s funky and wild and beautiful, just like John Hartford was.’
You can hear Chris on the latest Punch Brothers album, Who’s Feeling Young Now?
Photo by Rachel Fox
It is difficult even to discuss Punch Brothers. Best attempts at classifying the band by genre result in multi-hyphenated neologisms. Try hyperbolically overstating their proficiency, merely for effect, and you’ll still come up short. They’ve quite literally outgrown their instruments’ traditional sonic capacities, and often resort to banging around on all manner of unintended parts of the things to recreate the sounds in their heads. They’ve turned the traditional into a powerful and moving spectacle. They are masters, educators, and inventors. We would all do well to pay heed.
But this winter we found Punch Brothers at the end of their collective rope. They’d been hanging on to it for the best part of 18 months, touring constantly since before the release of their latest full-length, the rhetorically titled, Who’s Feeling Young Now? They, clearly, were not. And ‘Brothers’ had become a more apt descriptor by Thanksgiving of 2012 than they could ever have intended when they assigned themselves the moniker five years earlier. I have a brother. I have a wife. I even have a band mate. I have not spent as much time with any of them as the Punch Brothers have spent with each other, as they put it, ‘living in a hallway.’
The hallway is, of course, a tour bus. There are televisions, leather couches, game consoles, dvd players, a kitchen. As hallways go, it’s the top of the line. Musicians (like me) idealize the prospect of some day touring in a bus. But make no mistake, it is merely a top of the line hallway. At least eight people live in it 24 hours a day and there is nothing ideal about it at all. More than once, more than one of the band members volunteered that our joining the tour had offered a needed respite from the physical and emotional claustrophobia they’d grown weary of (I took it as a compliment). All of them spoke with a distant longing about the opportunity to pursue their vast other musical interests between the end of this Punch Brothers album cycle and the start of the next. They love each other deeply and desperately needed to be apart, finally.
It is no small feat, then, that all 5 members summoned nightly the genuine inspiration, indeed the revelation, necessary and intrinsic to their performance. A good deal of their show is improvised – actual real-life creativity happening before our eyes. Those parts never fell flat. Not ever. Neither did the well-orchestrated sections. Even the songs they played every night, ‘Flippen’, ‘Movement and Location’, ‘Rye Whiskey’, felt as though they’d only just been invented, yet somehow already perfected. I shared the audiences’ astonishment at the depth of the achievement unfolding before us.
What I was happy not to share, to keep all for myself (until now, I suppose), were those times before our own opening set when Chris or Critter would trade songs with us, ready to let us lead or follow as the moment asked; the end of each night when we’d share in a fine rye or wine, and they seemed more interested to know our story than in sharing their own; the moment after soundcheck when Chris, after declaring his love of late-night cocktail-driven critique sessions with those musicians he considers his peers, invited my critiques and then offered up his own in return – both of us alternating our blunt criticisms with effusive points of praise, of course; the moment in the airport before the flight home when I found Gabe eating the ‘best airport food in the country’ (he would know) and ready to share his disappointment in, and resolve in the face of, criticism that their ‘bluegrass’ group doesn’t adhere enough to the tradition it draws upon – he’s not interested in building a museum, thank god; and the moment when Critter privately proclaimed that virtuosity is a means, not an end, and that in the end, we’re all humbly aiming for what’s true and beautiful and you don’t have to play that fast to get there.
They didn’t have to invite us onstage to perform together during their encore, but they did. They didn’t have to go out of their way to praise our songs and our show the way they did, but they did. And they sure as hell didn’t have to invite us to crowd onto their fancy ‘hallway’ to celebrate after each show. But they did.
Before we met them, I wondered how on earth Kenneth and I, brothers by now in our own right, could presume to take a stage before Punch Brothers and attempt something resembling a flatpicking folk show. Who would dare? But the members that make up their band are, above all, powerfully generous musicians and people. That is what has held them together these months and years. That is what held us all together this winter. That, in the end, is the most impressive thing about Punch Brothers.
Photo by Brendan Pattengale
Joey Ryan is one half of The Milk Carton Kids. Their new album, The Ash & Clay, is out March 26. You can learn more about the troubadours at their website themilkcartonkids.com.
I still can’t believe this weekend actually happened.
But it did.
This past Thursday through Sunday, May 3 – 6, the best in bluegrass, folk, roots and Americana gathered in Los Angeles, first at Largo on La Cienega, then amongst the trees of the Santa Monica mountains above the city at Tree People’s Mulholland/Coldwater park.
With the recent launch of the new site, things were already in a rather surreal state. The site response alone has been overwhelming (not to mention all the great coverage via Ed’s Funny or Die video or the multiple articles that have been popping up). But this weekend took things to another level.
Next, the Steep Canyon Rangers joined, along with the one and only Steve Martin on Saturday night. I would say it’s hard to believe I was seeing the SCR guys only a few years back at The Cave in Chapel Hill, playing to a small but devoted crowd, and yet it’s not that hard to believe at all because they’re so damn good.
And as if anything could possibly top all of that, Sunday was a magical night under the stars, with acts from the three previous nights brought together on an outdoor stage, jamming to Foggy Mountain Breakdown for an encore.
To call it a Situation doesn’t even begin to cover it.
Since then, it’s been all about recovering, catching up on sleep (ha!), and getting back to work (be patient, we’ll have a brand new, updated cal available very soon).
If you were able to join us for the festival, I want to hear all about your favorite parts and any other comments you might have. If you weren’t, well, we’re just getting started, and if this weekend was any indication, we’re on to something BIG, with plenty in store for you to join us next year. I can’t wait.
(don’t worry… more festival photos to come soon….)
Two months ago, we told you the big news: WE’RE HEADED TO BONNAROO.
But DUH you already knew that. Now it’s time for the announcement we’re REALLY excited about: who’s playing the Sitch stage! For an announcement this big, we have none other than our own ED HELMS to give you the scoop on what’s coming your way June 15 and 16 (black tie optional)
There are plenty of other Bonnaroo-related surprises in store for both those attending and folks who can’t make it to Manchester this year. But one thing is for sure….
…it’s going to be quite the Situation.
For those of you in the LA area, perennial favorite and friends of The Sitch, the PUNCH BROTHERS, make their return to our fair city this Saturday, December 1 at the Luckman Fine Arts Complex at Cal State’s LA campus, marking their third appearance in the city this year (including our own LA Bluegrass Situation festival this past May). It’s been a busy year for the band. After releasing their latest album ‘Who’s Feeling Young Now’ last February, the guys have been on the road almost nonstop throughout 2012.
As they begin to wrap up the fall leg of their tour, The Sitch spoke with PB bass player Paul Kowert about life on the road, favorite moments, and upcoming dates…..
‘We’ve been touring ‘Who’s Feeling Young Now?’ since January, and from the outset we noticed a more favorable response than we’ve seen for previous albums. We played in
Europe quite a bit this year for the first time, which was hard, slow work since we’re pretty new there.
Some of my highlights from the year include playing Whelan’s in Dublin, because it was my first time to Ireland, and the people were very welcoming, enthusiastic, and gave me many pints; Boone, North Carolina, where we played our largest indoor headlining show to date, and The Roskilde Festival in Denmark, where we truly felt like rock stars. Memories of great coffee, food, and bars in places like Copenhagen, Melbourne, and London flood my mind when I think of the nearly full year of touring behind us on this record. Also, memories of the inside of a Sprinter van, all of us acting like idiots or insane people, and turkey sandwiches made from ingredients on the rider every day (load on the hot sauce, it fixes everything).
After some [recently announced] February dates in 2013, we’ll be taking some much needed time off to be at home and do other things (I’ll be touring with Jordan Tice and Brittany Haas for a bit, and working on music at home somehow). And we’ll continue getting together monthly to write the next Punch Brothers record.’
Want to see the PUNCH BROTHERS for free this weekend? Simply email [email protected] and tell us the song you can’t wait to hear them play live, and a pair of tickets could be yours.
Opening for the band are phenomenally talented LA-natives The Milk Carton Kids. Tickets are still available for purchase here. With such a lineup, Saturday’s show is sure to be a memorable one.
You can learn more about Paul and the rest of the band at punchbrothers.com.
For as long as I’ve been involved in the bluegrass world, people have been telling me of the transformative powers of Telluride Bluegrass Festival.
Every time festivals would get discussed, one of the first questions inevitably was ‘well have you been to Telluride?’ to which I would mumble some lame excuse about not having the time or money or anything else that would come to mind.
But this year, with the launch of the new site (and a complete lack of excuses), I booked my ticket and headed east.
I arrived in the valley early Thursday evening, the peaks of the Rockies surrounding me, after a gorgeous two and a half hour drive from Durango. After settling in to the house, my group and I walked over to catch the last of John Prine on stage. The sun was setting, casting an amazing, warm light on everything around us, and I knew I was already in love with this place.
We all headed over to my first Nightgrass show at the auditorium of the local high school, where one of my current favorites, Joy Kills Sorrow, took to the stage prior to Laura Marling (who, despite being a phenomenal singer and songwriter, was a bit too mellow for a set that started at 12am).
Friday, I awoke to the sounds of Edgar Meyer and Mike Marshall on the main stage (the entire festival is conveniently simulcast on local radio station KOTO) and spent the morning wandering the main street in town, eventually settling at Elks Park stage to see Bryan Sutton, Sam Bush, Jerry Douglas, and Luke Bulla perform a tribute to the late Doc Watson. The woman introducing the set summed it up best: ‘We’re proposing a toast to our good fortune: to being human, healthy, and happy, right here.’ Right here. For these few days. Everyone together, collectively sharing in such amazing music. Telluride’s mysterious and magical spell was beginning to weave itself around me.
After watching Doc’s tribute, we headed to the main stage to catch Del McCoury. If you haven’t seen Del live, YOU NEED TO DO IT. The man is a legend, and a showman to the greatest degree. Just… ugh, seriously promise me you’ll see him. It’s unlike anything else.
John Fogerty wrapped up the night. Do you realize how many Fogerty songs you know?? Probably not, because the man played for over two hours and we all knew EVERY WORD. Apparently it’s just something that’s built in to the American subconscious: they lyrics of John Fogerty.
Despite a laaaaate evening the night before (the jams around town tend to last til the wee hours), I was up on Saturday for an early morning gondola ride up the mountain, but not before catching the last few songs in Bela Fleck and Edgar Meyer‘s workshop ‘How to Play Badly Without Anyone Noticing’ (with special appearance by Chris Thile), which is one hell of a way to kick off any day.
Spent the majority of my day at Elks Park stage, with new favorites Della Mae showing off their impressive and catchy musical prowess (seriously, go listen to these ferociously talented ladies right now…), followed by a Woody Guthrie tribute show featuring Tim O’Brien (Hot Rize), Emma Beaton (Joy Kills Sorrow), Peter Rowan (Peter Rowan Band), Kristin Andreassen (Uncle Earl) and Vince Herman (Leftover Salmon). The Guthrie show was really something…. as the voice of the audience swelled during a rousing rendition of ‘I Ain’t Got No Home,’ it was pretty clear just how relevant Woody’s lyrics remain.
Later that night we all headed over to see Bruce Hornsby (where Bela Fleck and Chris Thile made guest appearances!), and the 1987 version of me was secretly [not-so-secretly] thrilled with the swell of the opening chords to ‘Mandolin Rain’ (admit it you totally love that song too…).
Sunday was a day to end all days. From Peter Rowan to Brett Dennan to the Punch Brothers (in one of their best performances I have ever seen, only to be surpassed later that evening when they played Nightgrass), to Glen Hansard (of The Swell Season), and eventually the Telluride House Band with Bela, Sam, Stuart, Edgar, Bryan and Luke, it was a pretty remarkable meeting of the minds on one stage.
Sunday night wrapped with a post-show Nightgrass performance with the Punch Brothers (they played til almost 2am), followed by a late night on the porch, waiting for the sun to rise, incredibly resistant to the inevitable return to reality we all faced the next day.
People aren’t kidding when they say that Telluride is transformative. It was unlike any festival event I’d attended prior (so clean! so nice! so organized!) and left me feeling more inspired than I’d been in a long time. You’ll just have to check it out for yourself next year [no excuses].
