WATCH: Katie Pruitt, “Normal”

Artist: Katie Pruitt
Hometown: Nashville, Tennessee
Song: “Normal”
Album: Expectations
Release Date: February 21, 2020
Label: Rounder Records

In Their Words: “‘Normal’ was always a concept I fought against… I hated dresses, played with action figures instead of Barbies, I even cut my hair short. Kids aren’t afraid to be themselves, which is something we lose sight of as adults. We all feel this pressure to conform when the truth is… there is no mold we need to fit, no script we have to read from, and no such thing as ‘normal.'” — Katie Pruitt


Photo credit: Alysse Gafkjen

WATCH: The War and Treaty, “Five More Minutes”

Artist: The War and Treaty
Hometown: Nashville, Tennessee
Song: “Five More Minutes”
Album: Hearts Town
Release Date: September 25, 2020
Label: Rounder Records

In Their Words: “[This] song’s saying, ‘If I have five more minutes to love you, it’s going to be the best damn five minutes of my life.’ … After years of falling in and out of financial and mental depression, I had finally had enough. I was ready to take my own life. But in my darkest moment, where I was ready right then and there to end it all, my wife Tanya asked one last thing of me: ‘Just give me five more minutes. Stay with me. Just five more minutes to love you.’ And something in her eyes, something in her hands convinced me to give her that five more minutes.” — Michael Trotter, The War and Treaty


Photo credit: David McClister

The String – Katie Pruitt

Katie Pruitt has been known as a phenom ready for big things in Nashville for a few years now. With patience and enough maturity to get the music exactly as she intended, Pruitt has now made her debut on Rounder Records.


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The album Expectations is a bold, ambitious, and succulent collection, and vividly honest as well, with songs documenting a difficult journey from a conservative family in Georgia to a proud gay woman in Music City. This is a 25-year-old singer, songwriter, and guitarist poised for big things. Also in the hour, the journey of Arkansas born fiddler Jenee Fleenor. She was named CMA Musician of the Year and she’s releasing her first recordings of her own music after years supporting others.

LISTEN: Sarah Jarosz, “Orange and Blue”

Artist: Sarah Jarosz
Hometown: Wimberley, Texas (now living in New York City)
Single: “Orange and Blue”
Album: World on the Ground
Release Date: June 5, 2020
Label: Rounder Records

In Their Words: “I wrote this song with John Leventhal. He had most of the piano melody written and recorded, and within moments of him playing it for me I had this very clear vision of the cypress trees in my hometown of Wimberley, Texas. I rode the subway home from John’s studio that evening with the melody in my inbox and the lyrics just poured out of me. We tweaked the form and a couple of lines the next day. This is one of those songs that feels like it was always a part of me but was waiting for the right time to emerge.” — Sarah Jarosz


Photo credit: Josh Wool

MIXTAPE: Songs That Changed Jon Stickley’s Life and Still Blow His Mind

When I was a senior in high school, my lacrosse teammate Andy Thorn loaned me a couple CDs and a mandolin. The two CDs were the original David Grisman Quintet album and Sam Bush’s Glamour and Grits. I was an angsty teen drummer in a punk band, and when I popped the Grisman album in my Sony Discman and pushed play, my life changed forever.

We started a little band and I started learning mandolin and making weekly trips to the local record store to buy every “newgrass” album I could. I didn’t know anything, so searching through the bluegrass/country section was an adventure of discovery. I learned to recognize the font that Rounder Records used and started using liner notes to find other musicians to listen to.

A lot of the tracks on this list are track #1 on the album, and I think that’s because when I heard them for the first time, they magically seared themselves into my brain. When I hear them today they inspire the same excitement as they did when I first heard them, and they have had an enormous impact on the music that I create for the Jon Stickley Trio. — Jon Stickley

David Grisman – “E.M.D.”

The first track I ever heard in the vein of bluegrass/newgrass. I heard David Count “1,2,3,4…” just like the Ramones! Then they launch into the most indescribable, unbelievable, clean, rockin’ jam I’ve ever heard. Also my first introduction to my guitar hero, Tony Rice. Nothing compares to this track!

Sam Bush – “Whayasay”

Another leading cut. This was my introduction to the one and only Sam Bush. His kickoff tells you everything you need to know about Sam’s music. It’s masterful, tasteful, and it freakin’ ROCKS. Then he goes totally Mark Knopfler at the end. Blew my young mind!

Jerry Douglas, Russ Barenburg & Edgar Meyer – “Big Sciota”

I picked this record up at the store because, on the back cover, they are dressed in gorilla suits. I thought, these dudes MUST be cool. Something about the tone of this record is unparalleled. It’s just the nicest-sounding acoustic record I’ve ever heard. Still cook dinner to it almost every night and my wife walked down the aisle to another track from the album called “The Years Between.”

Ricky Skaggs & Kentucky Thunder – “Pig In A Pen”

Holy crap. This is another album I bought blind at the record shop knowing absolute nothing about the music. To this day I have never heard anything rock this hard! Also, my first intro to a big guitar hero, Bryan Sutton.

Bryan Sutton – “Decision At Glady Fork”

Senior year of high school my uncle Pat took me to the Béla Fleck Bluegrass Sessions concert. I knew who Sam Bush and Béla were, but it was my first time hearing Jerry Douglas, Stuart Duncan, and the young Bryan Sutton. They played this song and the audience pooped their pants!

Béla Fleck – “Blue Mountain Hop”

The ultimate supergroup in my opinion. This song got me thinking about composition and arrangement in a new way. It seems like each new part of the song was written with each individual soloist in mind. Also the giggles and growls in the intro remind you that they’re having a ball.

Béla Fleck & the Flecktones – “Sinister Minister”

Two words. Victor Wooten. Blew. My. Young. Mind! I’ve listened to this version of this song more times than I can count, and it’s one of the covers that we do in the trio. The Flecktones probably had more of an impact on our trio than anyone else out there.

The Bluegrass Album Band – “Blue Ridge Cabin Home”

This is another album where I had no idea what I was buying. It wasn’t until I looked at the back of the CD that I realized that Tony Rice was on it. It was my introduction to J.D. Crowe, Doyle Lawson, Bobby Hicks, and Todd Phillips. I fell in love with bluegrass banjo by listening to this song, and I was thrilled to find out there were five more volumes!!!

The Nashville Bluegrass Band – “Dog Remembers Bacon”

Another record store score that I grabbed just because “bluegrass” was in the title. LOL. These guys became my favorite group for years and this was always one of my favorite tracks. I learned about Gillian Welch from this album. Stuart Duncan is the best fiddler in the world!

Acoustic Syndicate – “No Time”

Man, I love these dudes SO much. My Uncle Pat gave this album to my dad around ‘98, and I promptly stole it. The chill energy of this album really spoke to me and I feel like it really embodies the spirit of the North Carolina festival scene. Super sentimental band for me!

Tracks from our new album “Scripting the Flip” that draw heavy on these influences:

Jon Stickley Trio – “Scripting the Flip”

This song is pretty much a bluegrass fiddle tune turned on its head. It reminds me of some of my favorite newgrass instrumentals that take the music somewhere new.

Jon Stickley Trio – “Driver”

Well, given that my buddy Andy Thorn got me into this music waaaaay back in the day, I had to bring it full circle and write a tune for him to come in and play on. This piece definitely draws on the music of the Flecktones and some of the tunes they play in odd meters.

Jon Stickley Trio – “Bluegrass in the Backwoods”

Kenny Baker, Bill Monroe’s longtime fiddler, was surprisingly one of the most innovative of the classic bluegrass pickers! He is thought of as a traditional fiddler, but his music is really anything but. I think this tune was way ahead of its time and we love the elements of gypsy jazz and Latin music in the melody. We HAD to cover this on at some point and it was so much fun!


Photo credit: Sandlin Gaither

LISTEN: Sarah Jarosz, “Johnny”

Artist: Sarah Jarosz
Hometown: Wimberley, Texas; now living in New York City
Song: “Johnny”
Album: World on the Ground
Release Date: June 5, 2020
Label: Rounder Records

In Their Words: “The first time we met to talk about the record, John [Leventhal, who produced the album in his Manhattan home studio,] said he wanted me to try to take a step back and look out at the world in my songwriting, rather than looking inward. It completely opened the gates for me, and I started thinking a lot about growing up in Texas and diving into those memories in a way I’d never really done before. I think it has something to do with being in my late 20s, and starting to enter the phase where I’m looking back at what got me to where I am now — as opposed to constantly looking forward, as you do when you’re younger. It felt like the right time for me to return full circle to my roots and my home.” — Sarah Jarosz


Photo credit: Josh Wool

WATCH: Darin & Brooke Aldridge, “Emmylou”

Artist: Darin & Brooke Aldridge
Hometown: Shelby, North Carolina
Song: “Emmylou” (First Aid Kit cover)
Album: Inner Journey
Label: Rounder Records

In Their Words: “When we were choosing songs for this album project, Brooke and I were poring through YouTube videos looking through Emmylou Harris songs, when this tune popped up. We immediately were drawn to it and decided to record it.” — Darin Aldridge

“The song seemed perfect for us as a couple that makes music together. There’s not a day that goes by that Darin and I don’t share a smile and wonder how we got lucky enough to find each other. Years of searching and praying for that exact moment when love would find us. Little did we know what started out as the same musical goals and ambitions would bring our hearts together in a marriage and a career of music.” — Brooke Aldridge


Photo courtesy of Darin & Brooke Aldridge

Alison Krauss Marks Silver Anniversary of This Classic Album

Twenty-five years ago this month, Alison Krauss glided into the mainstream with Now That I’ve Found You: A Collection. Did you wear out your copy, too?

Envisioned as a way to highlight the songwriters who were important to Krauss, according to a Billboard article published a few weeks before release, the project included what many would consider her signature song: “When You Say Nothing at All.” Originally recorded for a Keith Whitley tribute album, Krauss’ version positioned her as one of the finest ballad singers of her generation, a skill that wasn’t quite on full display on her bluegrass albums with Union Station.

She told Billboard that, as a producer, Now That I’ve Found You gave her “the chance to record material we do that doesn’t necessarily fit within the structure of our [other] records.” Along with “When You Say Nothing at All,” the double-platinum project offered “Oh, Atlanta,” “Broadway,” and “Baby, Now That I’ve Found You,” as well as exquisite selections from her prior Rounder albums.

In the article, Krauss explained that she turned down a chance to open for Garth Brooks because the arenas “were just too loud for me,” although she thought it was “pretty neat” that he would ask a bluegrass band to open his shows. She also reiterated that the album “is not a representation. It’s missing the other half of what I do with Union Station.”

Taking the music business perspective into account, the article addressed the anticipation for “When You Say Nothing at All” at country radio and CMT, as well as the label rollout and the expected sales of the album. In some ways, it’s still the same conversation surrounding any critically-acclaimed artist poised for crossover appeal: How do you retain the core audience without being “too commercial”? Or in this case, how do you market an artist that Billboard describes as having “soft, lush ballads on one side and her bluegrass band work on the other”?

At the end, Krauss offered her own opinion among all the industry input: “We just try to do whatever fits the song,” she said. “I don’t think selling out either way is good.”

Della Mae, “Peg Monster”

Time and again Della Mae demonstrates that of their indisputable strengths as a dynamic, powerhouse string band, a conglomeration of some of the most talented musicians and writers in bluegrass and roots music, their most impressive trait must surely be their unrelenting taunting of every convention handed down to them by those genres. Even now, as they make what some would call “the pivot to Americana,” they laugh off that very idea on Headlight, the record tasked with the brunt of that rebrand. The subtle, crooked smile of self awareness makes appearances throughout this collection of songs, but is flaunted outright on “Peg Monster,” the record’s sole instrumental. 

Written by fiddler Kimber Ludiker, “Peg Monster” is an impressively ancient-sounding tune, drawing on Ludiker’s deep fiddling pedigree and the expansive musical vocabularies that have won her two Grand Master Fiddle Championships. The melody strikes listeners as haunting, as if emanating from a shady holler or a decades-old campsite at a fiddle convention. It builds like a campsite jam, too, with a dash of Jenni Lyn on mandolin and a ripple of Avril Smith’s flatpicking. Then, as seamless as the rest, through the crack left in tradition’s door by that haunting vibe — and beckoned through by the Dellas’ virtuosic irreverence — organic, campfire percussion and low rumbling organ pads fill in the spaces artfully left by each instrumentalist. 

Pigeonholing and “recommended if you like” habits will always attempt to relegate Della Mae to countless ones versus others, but, as they consistently and artfully remind us, this band refuses to give up their autonomy and self-expression for the sake of tidiness and clean labels. “Peg Monster” shows it — hell, their entire catalog does; Della Mae loves living in the spaces in the middle, and with Headlight that’s exactly where they’ve made their home.

The String – Shawn Colvin

In 1989 the album Steady On marked a pivot in Shawn Colvin’s life from playing bars to make the rent to being a leader in the singer/songwriter movement.


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Through a string of albums, including the hit-producing A Few Small Repairs, Colvin became a multi Grammy winner and an Americana Lifetime Achievement Award winner. This year, she’s revisited Steady On, recording and performing it in her signature, solo acoustic guitar style. Stripped to its essence, the songs speak as clearly now as they did 30 years ago. Also, an introduction to new Rounder Records artist Logan Ledger, a Nashville transplant with a voice so arresting his demo led to a production deal with T Bone Burnett.