50 Years of Special Consensus

It is positively astounding to me that Special Consensus has been running the road for 50 years. When bass player Marc Edelstein and I decided to make the band a full-time entity, we thought it would be for two or three years and then we would return to “normal life.” Instead of getting the music bug out of my system over the years, traveling throughout our country and around the world only intensified my love of playing bluegrass music.

Been All Around This World is Special C’s 20th band record and our eighth on the Compass Records label. Our wonderful producer Alison Brown has helped raise the bar for the band – resulting in the band receiving eight IBMA Awards and two GRAMMY nominations.

Reflecting on the band’s golden anniversary, I looked back over our body of recordings and selected 15 songs that we are especially proud of – songs that received awards, that did very well on bluegrass music airplay charts, or consistently received (and continue to receive) requests at our live shows.

I appreciate this opportunity to present these songs from every era of the Special Consensus. It has been an honor to play banjo alongside such phenomenal musicians on these songs. I hope you will enjoy! – Greg Cahill, banjo player and founder

“Dream of Me” (1983; not on Spotify)

“Dream of Me” appeared on our Blue Northerns recording, released in 1983, and featured Chris Jones on guitar/lead vocal, Paul Kramer on mandolin/vocals, John Rice on electric bass/vocals and fiddle, and yours truly on banjo. Yes, electric bass! We were quite happy with the band sound for this second band recording – and who would not be happy when hearing Chris Jones sing every time we performed.

“Freight Train Boogie” (originally released 1986, re-recorded for 2000’s 25th Anniversary)

Released in 1986, this title song featured Dennis White on guitar, harmonica, and lead vocals, our honorary band member Ollie O’Shea on fiddle, Tim Wilson on mandolin/vocals, Scott Salak on acoustic bass, and yours truly on banjo/vocals. This song was requested for years, and we were very honored that our friend, the great Jethro Burns, wrote the liner notes for the album.

“Fourteen Carat Mind” (1991, re-recorded for 2010’s 35)

From our Hey, Y’all release, this track featured the fabulous singing of Dallas Wayne and always received a strong response. The song also featured Dallas on bass, Marty Marrone on guitar/vocals, Al Murphy on fiddle, Don Stiernberg on mandolin, and yours truly on banjo/vocals. The folks in Finland admired his voice as much as we did and lured him to their country to record and perform after hearing him on tour there with Special C. He and his wife lived there for seven years.

“Ten Mile Tennessee” (1996)

From our Strong Enough To Bend release in 1996, this featured the smooth lead vocals of guitarist Bobby Burns with Diana Phillips on bass, Colby Maddox on mandolin, and yours truly on banjo. This beautifully written song continues to be requested at our shows to this day and we are always happy to sing it.

“Another Day With The Blues” (1998)

“Another Day With The Blues” was brought to the band by Andrea Roberts, our bass player at the time, and she sang lead on the song that appeared on the 1998 Our Little Town recording. Chris Walz played guitar/vocals, Colby Maddox played mandolin, and I played banjo/vocals. We recorded the song in the key of C and Andrea wanted me to use the capo at 5th fret, but I did not want to do that. She felt it would sound much grassier, given the melody and flow of the song, so I relented, put the capo on the 5th fret, and it was the first Special C song to ever chart on the Bluegrass Unlimited Top 30 songs chart.

“Carolina in the Pines” (2010)

This was a massive “hit” song for Special C, from our 2010 Pinecastle Records release, Route 10. Josh Williams sang lead and played mandolin, Jamie Clifton played guitar/vocals, Tim Dishman played bass/vocals, and I played banjo. This song received so much attention that we are still referred to as the “Route 10 Band” – and we not only keep the song in the band stage repertoire, we recorded it again for the new Been All Around This World release.

“Today Has Been A Lonesome Day” (2005)

This song was always a show-stopper when Ron Spears sang it at the top of his lungs, usually at the end of a set. Although there were several songs on this 2005 Everything’s Alright recording that consistently received requests, Ron’s amazing singing on this song made it an event! Justin Carbone is on guitar, Tres Nugent is on bass, and I played banjo.

“Wild Montana Skies” (2014)

Included on the 2014 Compass Records Country Boy, A Bluegrass Tribute To John Denver recording, this track features mandolin player Rick Faris singing with Claire Lynch. Dustin Benson played guitar/vocals, Dan Eubanks played bass, Rock Ickes played Dobro, and I played banjo. This song became a favorite of our fans and received a lot of airplay. It also won the International Bluegrass Music Association’s Recorded Event of the Year award.

“She Took The Tennessee River” (2018)

This track comes from the 2018 Compass Records recording Rivers and Roads, which won the IBMA Award for Album of the Year and was GRAMMY-nominated for Best Bluegrass Album. Becky Buller and Jon Weisberger wrote the song and Becky played fiddle on the track along with Nick Dumas on mandolin/vocals, Rick Faris on guitar/vocals, Dan Eubanks on bass, and I played banjo. We were honored to have Bobby Osborne join us for a verse on this one.

“Squirrel Hunters” (2018)

Also from our Rivers and Roads album, “Squirrel Hunters” was one of John Hartford’s favorite tunes to play and, with the help of his daughter Katie, our producer Alison Brown, and some technology, John introduces the tune and plays the first fiddle solo on the recording. Rick Faris is featured on guitar, Nick Dumas on mandolin, and Dan Eubanks on bass along with Alison Brown on twin banjo and 10 String Symphony (Christian Sedelmyer and Rachel Baiman) on fiddles. This recording won the IBMA Collaborative Recording of the Year Award.

“Alberta Bound” (2023)

From our Great Blue North Compass Records release, this song spent a few months in the number 1 position on the Bluegrass Unlimited Top 30 Bluegrass Songs chart and shared the very first IBMA Video of the Year Award with Authentic Unlimited. We consistently receive requests for this song that features mandolin player Michael Prewitt on lead vocal with Greg Blake on guitar/ vocals, Dan Eubanks on bass/vocals, me on banjo along with our Canadian friends Ray Legere on fiddle and Pharis and Jason Romero, John Reischman, Patrick Sauber, and Trisha Gagnon on vocals. The song also won the IBMA Collaborative Event of the Year Award.

“Snowbird” (2023)

Also from the Great Blue North, this recording is one of our most requested songs and also appeared on the Bluegrass Unlimited Top 30 Bluegrass Songs chart. The recording features IBMA 2023 Male Vocalist of the Year Greg Blake on lead vocals and guitar, Michael Prewitt on mandolin/vocals, Dan Eubanks on bass/vocals, Claire Lynch on harmony vocals, and me on banjo. Beautiful song!

“What Am I Doin’ Hangin’ ‘Round” (2025)

Alison thought this Michael Martin Murphey song made popular by The Monkees would be a great showcase for Chris Jones’ smooth vocals. All of us loved the idea and we had a blast in the studio recording this one with Greg Blake trading lead vocals with Chris, and Rick Faris and Dallas Wayne joining Dan and Brian on harmony vocals.

“I’m Always On A Mountain When I Fall” (2025)

We really wanted to showcase Dallas Wayne’s fabulous vocals on the new project and what better way to do that than by featuring him on a song made popular by Merle Haggard. Dallas sang in country music clubs in Chicago for years before joining Special C and he left the band to lead a country band in Finland. When he stepped up to the mic and launched into the first verse, we all were literally spellbound. It was truly amazing to watch and hear him so effortlessly deliver such an incredible performance.

“Wish We Had Our Time Again” (2025) 

This was the grand finale of sorts for our 50th anniversary album. Even though it’s about a past relationship, the sentiment in this John Hartford-penned song somehow seemed perfect for us. Standing next to former bandmates Chris, Dallas, Robbie, Rick, Josh and Ashby in the studio – people who have remained best friends over so many years – along with my more recent best friends Dan, Greg, and Brian, literally brought tears to my eyes. Made me realize how fortunate I have been to have these phenomenal musicians and producer Alison as best friends forever in my 50 years of making music “all around this world.”


Photo Credit: Karen Murphy

You Gotta Hear This: New Music from Gena Britt, Maia Sharp, and More

Leading up to Father’s Day, we have memories of dear old Dad shared by award-winning bluegrass musician Gena Britt as well as singer-songwriter Maia Sharp. Mike Thomas adds a spiritual approach to his song about being a father to a kid having a rough patch. Meanwhile, Kyle Morgan and Tamar Korn cover a Gillian Welch favorite, and Special Consensus, Alison Brown, and Robbie Fulks put their own spin on a country classic, “King of the Road.” Snap to it because you gotta hear this!

Gena Britt, “He Likes to Fish”

Crossroads Label Group · He Likes To Fish

Artist: Gena Britt
Hometown: Star, North Carolina
Song: “He Likes to Fish”
Label: Mountain Home Music Company

In Their Words: “I lost my dad back in 2009 and my most cherished and vivid memories are of going fishing with him. I had this idea for a song and told my friend Katelyn Ingardia about it. It resonated with her too, and she agreed to co-write it with me. She met me in Nashville one weekend when I was doing an all-star show at the Station Inn. We sat down to write this song and it just started flowing out of us. We wrote it in just a little over an hour or so. There are so many poignant moments in this song, beginning with the opening line talking about dad’s Bronco…My dad actually had an old Bronco that we would take to the coast and fish on the surf. A childhood memory like that is unforgettable. When we finished writing it, Katelyn and I looked at each other and tears were streaming down both our faces. It was in that moment that I knew I had to record this song.

“I miss my dad. He was my best friend and we could talk about anything. I hope this tune will reach out and tug on some heartstrings like it did mine. Once we started recording it, it became even more special. Hearing something like this being brought to life in the studio by some of my favorite people was so heartwarming. Alan Bartram, Jason Carter, John Meador and Johnathan Dillon knew this song meant a lot to me and they helped me arrange it. It turned out beautifully, and I’m grateful to them all for taking such a heartfelt approach. The addition of Tony Creasman on drums and Jeff Partin’s incredible dobro work was icing on the cake. I love it when songs come from such an authentic place and tell a story, and I believe this one does just that. Oh, and I hope you like to fish.” – Gena Britt

Track Credits:
Gena Britt – Lead vocal
John Meador – Acoustic guitar, harmony vocal
Alan Bartram – Upright bass, harmony vocal
Jason Carter – Fiddle
Jonathan Dillon – Mandolin
Jeff Partin – Dobro
Tony Creasman – Drums


Maia Sharp, “Tomboy”

Artist: Maia Sharp
Hometown: Nashville, Tennessee
Song: “Tomboy”
Album: Tomboy
Release Date: September 12, 2025
Label: Crooked Crown Music

In Their Words: I’ve always been a tomboy. Dad says when I was two years old I hit him square in the forehead with a handful of spaghetti from my highchair across the table. He adds, ‘You already had a good arm.’ It came in handy when I played in a local boys’ baseball league for years until music (and girls’ softball) started calling. Athletic, makeup adverse, not afraid to get dirty, seeing boys (then) and men (now) as peers: that’s what the word tomboy means to me. I feel lucky to be those things today but when I was a kid trying to figure out where I fit in, it was an unstable combination of awkwardness and fearlessness. I didn’t want to be a boy. I just liked the clothes that happened to be in their section of the store, the sports they got to play at school and the haircuts designated as theirs. I may or may not have brought a picture of Shaun Cassidy into Supercuts when I was six and said, ‘Like this, please.’

“These memories became a song when a writing day conversation with co-writer and friend Emily Kopp turned into a competition of who looked more like a boy when we were kids. We exchanged photos, a lot of laughter and a celebration of our younger, athletic, singular little selves. It felt good to be proud of something that, at the time, from the inside looking out, I wasn’t ready to be proud of sometimes. But from the vantage point of the grown-up tomboy, I can see now how strong and ruthlessly authentic it was.” — Maia Sharp

Track Credits:
Witten by Maia Sharp & Emily Kopp
Eric Darken – Percussion
Teddie Collinz – Beatbox
Will Honaker – Bass
Maia Sharp – Guitars, keyboards, synths, BG vocals & additional percussion


Mike Thomas, “A Different Story”

Artist: Mike Thomas
Hometown: Nashville, Tennessee (originally from Knoxville, Tennessee)
Song: “A Different Story”
Label: Diamond Hill Music

In Their Words: “It was an early Saturday morning in the summer of 2024. I hadn’t slept well the night before. One of our kids was going through a rough patch, and my wife and I were trying our best to help her get through it all. I headed out to the patio with my morning coffee to read a little scripture, and I started thinking about how God’s grace and mercy have shown up in my own life at exactly the right moments. I had this overwhelming feeling come over me that the same grace and mercy would show up for my child. I picked up a guitar, and ‘A Different Story’ came rather quickly. While I often weave spirituality into my songs, this one is different than anything I have released in the past. It’s a gospel-infused celebration of grace, redemption, and perseverance.” — Mike Thomas

Track Credits:
Written by Mike Thomas
Mike Thomas – Acoustic & electric guitar, vocal
Joanna Cotten – Vocal
Tres Sasser – Bass
Sten Nisswandt – Drums
Michael Webb – piano & organ
Produced by Tres Sasser
Engineered & Mixed by Joe Costa
Mastered by Pete Lyman
Recorded at Tresland Studios – Franklin, Tennessee


Kyle Morgan & Tamar Korn, “Everything Is Free”

Artists: Kyle Morgan & Tamar Korn Featuring Wyndham Baird
Hometown: Brooklyn, New York
Song: “Everything is Free” (written by Gillian Welch)
Album: Darkening Green
Release Date: August 15, 2025
Label: Jalopy Records

In Their Words: “Sifting through songs one day with our friend and cohort Wyndham Baird, he went into playing the emblematic Gillian Welch tune. As we found harmonies above Wyndham’s beautiful baritone, it was so satisfying that we begged him to record it with us. ‘Everything is Free’ is the working musician’s anthem, a digital-age dirge acknowledging, lamenting, and perhaps transcending the modern entanglement of music-making & monetization, creative expression & intellectual exploitation. As musicians and songwriters, movers & makers of sound & story, we live the conundrum & partake in the work of dealing spiritual currency within a materialist economy. Our sovereignty seems to lay in valuing & ‘listen[ing] to the words in [our] heads,’ regardless who’s paying… attention.” — Kyle Morgan & Tamar Korn

Track Credits:
Kyle Morgan – Guitar, harmony vocals
Tamar Korn – Tenor guitar, vocals (lead chorus)
Wyndham Baird – Mandolin, lead vocals on verses
Jared Engel – Upright bass


Special Consensus, “King of the Road” (Feat. Robbie Fulks)

Artist: Special Consensus
Hometown: Chicago
Song: “King of the Road” (Feat. Robbie Fulks)
Album: Been All Around This World
Release Date: June 20, 2025
Label: Compass Records

In Their Words: “This year is Special Consensus’ 50th anniversary. To celebrate, we invited six of our past lead singers to join us on a new album project. We came up with a list of songs with each of them in mind: some covers, a few new songs and a couple fan favorites from older records. Once we were together in the studio, we worked out each song around the coffee table with Alison [Brown, our producer], scratching out an arrangement on the spot before heading into the tracking room. As soon as we put on the headphones and got behind the mics, we felt a wonderful sense of joy to be making Special C music again together.

“In the middle of the two-week stretch of sessions while Robbie Fulks was in town, Alison spontaneously came up with the idea to try a version of ‘King of the Road.’ She thought it would be a perfect fit for Robbie to sing and, of course, he already knew it. Just a few minutes later, he was in the tracking room singing the song with Dan Eubanks playing the perfect bass lines – it was magical. We all jumped back in front of the mics and tracked the song: Greg Blake on harmony vocals, Ashby Frank on guitar, Brian McCarty and me copping the piano riffs on mandolin and banjo and all of us on the all-important finger snaps. I hope the thrill we felt making this music together comes through to the listener on this unplanned addition to the album!” – Greg Cahill, Special Consensus

Track Credits:
Special Consensus featuring Robbie Fulks. Music produced by Alison Brown


Photo Credit: Mike Carter (Gena Britt); Emma-Lee Photography (Maia Sharp)

See the Full Winners List from the 2023 IBMA Bluegrass Music Awards

The unofficial theme of the “Biggest Night in Bluegrass” – the 34th Annual IBMA Bluegrass Music Awards, held tonight at the Martin Marietta Center for the Performing Arts in Raleigh, North Carolina – was “Bluegrass Prom,” the colloquial and affectionate nickname given to the awards ceremony by its attendees, honorees, and nominees.

Hosted by Molly Tuttle, who took home three trophies, and Ketch Secor of Old Crow Medicine Show, the three-hour production featured a performance by Bluegrass Music Hall of Fame inductee Sam Bush, songs from each of the night’s Entertainer of the Year nominees – including Sister Sadie paying tribute to Wilma Lee Cooper, another Hall of Fame inductee – touching remembrances of bluegrass forebears Bobby Osborne and Jesse McReynolds, and culminated with Secor, Tuttle and her band Golden Highway, Del McCoury Band, and more leading the crowd in a rousing rendition of “Wagon Wheel.”

In the instrumentalist categories, there were notable first-time wins in two categories, Trey Hensley taking home Guitar Player of the Year – in a field that included both Molly Tuttle and Billy Strings – and Vickie Vaughn, of Della Mae, High Fidelity, and more, receiving the Bass Player of the Year trophy. Kristin Scott Benson took home her sixth Banjo Player of the Year Award, Greg Blake of Special Consensus won his first IBMA award for Male Vocalist of the Year, and the night’s final and most prestigious recognition, Entertainer of the Year, went to Billy Strings, a well-deserved third consecutive win in the category.

See the full list of winners (in bold) from tonight’s IBMA Bluegrass Music Awards, presented by our friends at Yamaha, below:

ENTERTAINER OF THE YEAR:

Appalachian Road Show
Billy Strings
Del McCoury Band
Molly Tuttle & Golden Highway
The Po’ Ramblin’ Boys

VOCAL GROUP OF THE YEAR:

Authentic Unlimited
Balsam Range
Blue Highway
Del McCoury Band
Sister Sadie

INSTRUMENTAL GROUP OF THE YEAR:

Billy Strings
Michael Cleveland & Flamekeeper
The Infamous Stringdusters
Molly Tuttle & Golden Highway
The Travelin’ McCourys

SONG OF THE YEAR:

“Blue Ridge Mountain Baby”

Artist: Appalachian Road Show
Songwriters: Barry Abernathy/Jim VanCleve
Label: Billy Blue Records
Producer: Appalachian Road Show

“Crooked Tree”
Artist: Molly Tuttle & Golden Highway
Songwriters: Molly Tuttle/Melody Walker
Label: Nonesuch Records
Producers: Jerry Douglas and Molly Tuttle

“Diane”
Artist: Sister Sadie
Songwriters: Jeffrey Nath Bhasker/Samuel Tyler Johnson/Cameron Marvel Ochs
Label: Mountain Home
Producer: Sister Sadie

“Heyday”
Artist: Lonesome River Band
Songwriters: Barry Huchens/Will Huchens
Label: Mountain Home Music Company
Producer: Lonesome River Band

“Power of Love”
Artist: Rick Faris
Songwriters: Johnny Colla/Huey Lewis/Christopher Hayes
Label: Dark Shadow Recording
Producer: Stephen Mougin

ALBUM OF THE YEAR:

Crooked Tree
Artist: Molly Tuttle & Golden Highway
Label: Nonesuch Records
Producer: Jerry Douglas and Molly Tuttle

Lovin’ of the Game
Artist: Michael Cleveland
Label: Compass Records
Producers: Jeff White, Michael Cleveland, and Sean Sullivan

Lowdown Hoedown
Artist: Jason Carter
Label: Fiddle Man Records
Producers: Jason Carter and Brent Truitt

Me/And/Dad
Artist: Billy Strings and Terry Barber
Label: Rounder Records
Producers: Billy Strings and Gary Paczosa

Radio John: The Songs of John Hartford
Artist: Sam Bush
Label: Smithsonian Folkways
Producer: Sam Bush

GOSPEL RECORDING OF THE YEAR:

“The Glory Road”

Artist: Joe Mullins & The Radio Ramblers
Songwriters: Paul Martin/Harry Stinson/Marty Stuart
Label: Billy Blue Records
Producers: Joe Mullins and Adam McIntosh

“Jordan”
Artist: Darin & Brooke Aldridge with Ricky Skaggs, Mo Pitney and Mark Fain
Songwriter: Fred Rich
Label: Billy Blue Records
Producer: Darin Aldridge and Mark Fain

“The Scarlet Red Lines”
Artist: Larry Sparks
Songwriter: Daniel Crabtree
Label: Rebel Records
Producer: Larry Sparks

“Take a Little Time for Jesus”
Artist: Junior Sisk
Songwriter: David Marshall
Label: Mountain Fever Records
Producers: Junior Sisk and Aaron Ramsey

“Tell Me the Story of Jesus”
Artist: Becky Buller with Vince Gill and Ricky Skaggs
Songwriter: Fanny Crosby, arrangement by Becky Buller
Label: Dark Shadow Recording
Producer: Stephen Mougin

INSTRUMENTAL RECORDING OF THE YEAR:

“Contact”
Artist: Michael Cleveland with Cody Kilby, Barry Bales, and Béla Fleck
Songwriter: Michael Cleveland
Label: Compass Records
Producer: Jeff White, Michael Cleveland, and Sean Sullivan

“Foggy Morning Breaking”
Artist: Alison Brown with Steve Martin
Songwriters: Alison Brown/Steve Martin
Label: Compass Records
Producers: Alison Brown and Garry West

“Gold Rush”
Artist: Scott Vestal’s Bluegrass 2022
Songwriter: Bill Monroe
Label: Pinecastle Records
Producer: Scott Vestal

“Kissimmee Kid”
Artist: Jason Carter
Songwriter: Vassar Clements
Label: Fiddle Man Records
Producers: Jason Carter and Brent Truitt

“Scorchin’ the Gravy”
Artist: Frank Solivan & Dirty Kitchen
Songwriter: Frank Solivan
Label: Compass Records
Producer: Frank Solivan

NEW ARTIST OF THE YEAR:

Authentic Unlimited
East Nash Grass
Henhouse Prowlers
The Tennessee Bluegrass Band
Tray Wellington

COLLABORATIVE RECORDING OF THE YEAR:

“Alberta Bound”
Artist: Special Consensus with Ray Legere, John Reischman, Tisha Gagnon, Claire Lynch, Pharis & Jason Romero, Patrick Sauber
Songwriter: Gordon Lightfoot
Label: Compass Records
Producer: Alison Brown

“Big Mon”
Artist: Andy Leftwich with Sierra Hull
Songwriter: Bill Monroe
Label: Mountain Home Music Company
Producer: Andy Leftwich

“Foggy Morning Breaking”
Artist: Alison Brown with Steve Martin
Songwriter: Alison Brown/Steve Martin
Label: Compass Records
Producer: Alison Brown and Garry West

“For Your Love”
Artist: Michael Cleveland with Billy Strings and Jeff White
Songwriter: Joe Ely
Label: Compass Records
Producer: Jeff White, Michael Cleveland, and Sean Sullivan

“From My Mountain (Calling You)”
Artist: Peter Rowan with Molly Tuttle and Lindsay Lou
Songwriter: Peter Rowan
Label: Rebel Records
Producer: Peter Rowan

MALE VOCALIST OF THE YEAR:

Greg Blake
Del McCoury
Danny Paisley
Larry Sparks
Dan Tyminski

FEMALE VOCALIST OF THE YEAR:

Brooke Aldridge
Dale Ann Bradley
Jaelee Roberts
Molly Tuttle
Rhonda Vincent

BANJO PLAYER OF THE YEAR:

Kristin Scott Benson
Alison Brown
Béla Fleck
Ned Luberecki
Scott Vestal

BASS PLAYER OF THE YEAR:

Mike Bub
Todd Phillips
Missy Raines
Mark Schatz
Vickie Vaughn

FIDDLE PLAYER OF THE YEAR:

Jason Carter
Michael Cleveland
Stuart Duncan
Bronwyn Keith-Hynes
Deanie Richardson

RESOPHONIC GUITAR PLAYER OF THE YEAR:

Jerry Douglas
Andy Hall
Rob Ickes
Matt Leadbetter
Justin Moses

GUITAR PLAYER OF THE YEAR:

Chris Eldridge
Trey Hensley
Billy Strings
Bryan Sutton
Molly Tuttle

MANDOLIN PLAYER OF THE YEAR:

Alan Bibey
Jesse Brock
Sam Bush
Sierra Hull
Ronnie McCoury


Photo Credit: Molly Tuttle & Golden Highway by Chelsea Rochelle

First & Latest: Special Consensus’ 40+ Year Career

(Editor’s Note: BGS is excited to debut a brand new column and feature series, First & Latest, which examines the discographies of artists, musicians, and bands by comparing and contrasting their first album against their latest album.)

Chicago-based, long-running bluegrass outfit Special Consensus have been making records since 1979, when they released their debut, self-titled album. Since then, they’ve put out about 20 records – and they’ve criss-crossed the country and the globe spreading their modern-yet-traditional, hard-driving sound. Banjo player Greg Cahill, who is also a bluegrass industry leader and community builder, is the band’s sole remaining original member and, across those decades, has been the linchpin, the keystone of what has become a true legacy act.

To mark the occasion of their latest release, Great Blue North (released May 12 on Compass Records), we compare and contrast the band’s debut record with this new project with Cahill – it’s First & Latest, from BGS.

What goes through your mind when you hear a song from that first record, like “Like a Train?”

Greg Cahill: I cannot believe it was so long ago! This was our first time in a recording studio and we knew nothing about the process of making a record. It was truly a complete learning experience and we had a wonderful engineer who was a master at finding the exact place to punch in, and he even manually lined up and spliced the ¾” tape on one of the songs so we could use the first part of the one pass and the second part of a later pass. The album is pretty basic and far from top notch, but we did our best and actually sold a good number of that vinyl record.

At that point, did you ever think this band would have such longevity?

We had no idea about where our journey would take us. Special C actually formed sometime in 1973 – two of us were grad students and two had full time jobs. By 1975, I had finished my masters degree and was playing in local pubs and venues while working a full time job in social work, and all I wanted to do was play the banjo. It was 1975 when bass player Marc Edelstein and I decided we wanted to try playing full time – to play and tour as much as possible to get this bluegrass bug out of our system and go back to “real” jobs/life in a couple years. The other two members decided not to join us for this ride, so we found a guitar player and a mandolin player and quit our day jobs to devote full time to playing music. Marc left the band a few years later but the plan didn’t work for me – the bluegrass “addiction” only became stronger. I just “kept on keepin’ on” with no set time limit on my musical journey and now here I am today, never dreaming I would still be going strong with no set end time.

What do you think has been the key to your spanning the decades in bluegrass – besides yourself, that is!

I have been most fortunate to have had some great musicians/people in the band over the years – and still do have wonderful bandmates. Of course I have experienced the ups and downs of playing full time – it was always worrisome when a band member left or when there were slow times but we always found side jobs and teaching opportunities to keep us moving forward. I guess I am just too stubborn to even think about not playing because I love making music so much.

There’s an energy, a drive, even in this earliest recording that you’ve continued to carry with you. Where do you think that comes from? It reminds me of classic Seldom Scene and Johnson Mountain Boys, like you’re always leaning a bit forward into the groove.

I found bluegrass music through folk music (Kingston Trio; Peter, Paul and Mary; Limelighters, etc.) and eventually Pete Seeger – whose music prompted me to buy a long-neck 5-string banjo and then a 6-string guitar and then a 12-string guitar. I played in a folk trio with friends in college, and one day I heard “The Ballad of Jed Clampett” and immediately knew I had to learn how to play the bluegrass banjo. I found the Earl Scruggs book and was obsessed with playing the banjo every free moment of my life and it was his drive and perfect tone and timing that overwhelmed me. Then I heard J.D. Crowe and he became my model and eventually my mentor of sorts, even before I ever met him. This was in the early 1970s. New Grass Revival also grabbed my ear, and I spent hours trying to learn J.D. solos but also Courtney Johnson licks, determined to not lose the drive when playing non-Scruggs/Crowe licks because at that time many folks felt that Scruggs style playing was the only “right” way to play the 5-string. It has always been about the drive for me – and I learned that from J.D. as well – he always had drive, even on slow songs that he played with superb finesse.

“The Singer” feels like that classic move of a bluegrass band playing a country song, can you talk a bit about what you remember about choosing that track and recording it?

We were city boys playing in big city pubs and venues where the general public had no idea what bluegrass music was. Although we always loved the traditional bluegrass songs and tunes, we felt we had to play some material that the general public might recognize and eventually really like our brand of bluegrass music. So we included old rock songs, country songs, and jazzy swing songs in the repertoire along with the traditional songs. I would say we actually became more traditional over the years, because we were building a local and then national and then international audience while maintaining a varied repertoire.

When I heard “The Singer” I immediately wanted to include that song in our repertoire – the song is so well written, the words are so poignant, especially knowing that Neal Allen wrote the song about his father Red Allen and also that Neal died of pneumonia while on the road. As Bill Monroe would say, “It’s a powerful number.”

Now, about the latest album, Great Blue North, what inspired you to cross the Great Lakes for this album and do Canadian bluegrass?

We are so fortunate to be on the Compass Records label and especially to have Alison Brown as our producer. When we begin preparations to record, the four of us and Alison begin our search for new material. We are basically on a bi-annual release schedule with the label and one of the songs Alison thought would be a good song for us to include on our 2020 release was “Blackbird,” written by the great Canadian songwriter/singer/guitar player J.P. Cormier. We loved the song but as we gathered material for that release the theme shifted to featuring a nod to Chicago, where the band has been based since beginning in 1975, because 2020 was the 45th band anniversary. Hence the 2020 “Chicago Barn Dance” release. We knew we would record “Blackbird” at some point, and after the pandemic shut-down we wanted to let folks know we were still alive and well and anxious to get back on the road, so we recorded “Blackbird” and Compass released it as a single. As we began the search for material for a new recording, Alison mentioned that it might be a good time to give a nod to our Canadian friends — since we have played there so much over the past three decades — and we all agreed. We then decided to include only songs written by Canadian writers and also to ask many of our Canadian musician friends to perform with us on some of the tracks.

Do you think being such a long-running Midwestern-based group informed the new album for you? And your connections to this material?

I think we may have had more opportunities to tour in Canada because of our Midwestern base. We did not play the big festivals when we first began touring there – we played shows for bluegrass associations and community centers in Toronto, Ontario (only an 8+ hour drive from Chicago), Winnipeg, Manitoba (13+ hour drive) and Calgary, Alberta (25-hour drive). We would head directly to Toronto or work our way through Minnesota to the Canadian gigs, which helped us get invited to the festivals. We also learned about the Canadian songwriters through so many of the great Canadian musicians whom we met and became friends with through this networking.

To me, a throughline between your first and latest albums is the arrangements, the way your band is always playing as a tight-knit ensemble, not just a handful of instruments sounding simultaneously. Where do you get the inspiration for the way your individual parts play off of and dialogue with each other?

I think we have always been focused on the power of tight and interesting arrangements. This again goes back to the fact that because we are from Chicago – not a bluegrass hub in the eyes of the general public – we had to make sure to keep the attention of the audience and not have songs begin to all sound alike. The arrangements give the band the opportunity to be more creative and to showcase the tight vocal and instrumental harmonies. I have always wanted an outside/non-band member producer to give us an objective opinion about the sound, the material and the performance. We have always had very good producers and I must say that Alison Brown is a phenomenal producer who has brought the band to another level. From our perspective, she basically considers each song on our recording to be unique and “special” – there are no “filler” tracks, and we spend however much time necessary to make each track stand out.

“Snowbird” will go down as one of Special C’s tastiest cover songs, do you have favorite covers from across the years? It’s kind of a hallmark of your band!

Although we try not to be seen as a cover band, we have chosen to cover some songs from artists that we feel we can make sound like a bluegrass song, and especially sound like a Special C song. We have been most fortunate to have been given some great songs by many great songwriters over the years and we have also chosen some songs from other genres that we thought we could have fun recording and that our fans would enjoy hearing. “Snowbird” was one of the first songs on our list once we decided on the Canadian theme after recording “Blackbird” – my wife had suggested that song many times and now it seemed like the perfect song to feature Greg Blake’s fabulous voice. Some of the covers we have done on past recordings include “Viva Las Vegas,” “Ramblin’ Fever,” “Dream of Me,” “I Cried Myself Awake,” “Big River,” “Sea of Heartbreak,” “Looking Out My Back Door,” “Sweet Home Chicago,” “City of New Orleans,” our entire Country Boy: A Tribute to John Denver recording, “Alberta Bound” and several other songs on the Great Blue North release.

I must say, that as the years pass so quickly and the time between the first record and the current recording becomes so long I realize how fortunate and blessed I have been to be able to keep making music with so many wonderful musicians/people/friends. At times I have felt that the first recording was below the professional level but because of this interview and going back to listen to it, I now truly understand that we can only do our best throughout this journey, be thankful that we are able to keep growing and learning and appreciate our accomplishments no matter how insignificant they may seem at any given time.


Photo Credit: Jamey Guy

WATCH: Special Consensus, “Pretty Kate and the Rabbit” Featuring April Verch, Darol Anger and Alison Brown

Artist: Special Consensus featuring April Verch, Darol Anger and Alison Brown
Hometown: Chicago, Illinois
Song: “Pretty Kate and the Rabbit (La Belle Catherine/Jack Rabbit Jump)”
Album: Great Blue North
Release Date: May 12, 2023
Label: Compass Records

In Their Words: “In our 47 years as a band, Special Consensus has played countless festivals and venues north of the border and we count many Canadian pickers and singers among our dearest friends. On our new project Great Blue North we wanted to offer a tip of the hat to the immense talent in Canada by recording all Canadian songs and featuring Canadian guests on the record. We always include an instrumental on our records and really wanted to collaborate with Ontario-born fiddler April Verch. Our producer Alison Brown knew the tune ‘La Belle Catherine’ from the great Québécois fiddler André Brunet and April suggested that the Métis fiddle tune ‘Jack Rabbit Jump’ would pair well with it to round out a medley. Et voilà, ‘Pretty Kate and the Rabbit’ was born! We asked Darol Anger to join us on twin fiddle and Alison to jump in on twin banjo and we had an absolute blast shooting the video for this track. Keep an eye out for the interplay of the fiddles and banjos on the second tune — I’m not sure I’ve ever laughed harder! We hope you have as much fun watching this video as we did making it.” — Greg Cahill, Special Consensus


Photo Credit: Stacie Huckeba

WATCH: Special Consensus and Friends, “Blackbird”

Artist: Special Consensus and Friends (feat. Dale Ann Bradley, Alison Brown, Rob Ickes and Amanda Smith)
Hometown: Chicago, Illinois
Song: “Blackbird”
Label: Compass Records

In Their Words: “We are super excited to be premiering the video for our new single ‘Blackbird’ with our friends at The Bluegrass Situation. This song has been a favorite of our producer Alison Brown for a long time and, when she suggested it to us, we thought it would be the perfect way to introduce our newest members Greg Blake and Michael Prewitt to the fans. We released the single in early spring on Compass Records and are thrilled to be sharing the new video this week. A big shout-out to our special guests Rob Ickes, Dale Ann Bradley and Alison for joining in on the video shoot, and to Hannah West for standing in for Amanda Smith who was out of town when we filmed. (Be on the lookout for a cameo from Amanda in the video.) ‘Blackbird’ is the first single from our 21st band record which is scheduled for release in early 2023. We are thoroughly enjoying being back to touring and recording with our new lineup and we can’t wait to share our new music with everyone!” — Greg Cahill


Photo Credit: Jamey Guy

BGS 5+5: Alison Brown

Artist: Alison Brown
Hometown: La Jolla, California
Latest album: The Song of the Banjo
Personal nicknames (or rejected band names): Mom (currently trending)

From the Artist: “‘Here Comes the Sun’ is a song I’ve loved for years. But I never thought about playing it on the banjo until I was inspired by stories of hospitals playing it over their PA systems to encourage staff and patients in their battle against COVID. As I started working on it I realized that the tune has a lot in common rhythmically and harmonically with ‘Águas de Março’ (‘Waters of March’), a Tom Jobim classic that’s one of my favorite melodies and recordings. So I put the two together and came up with this mash-up — setting the low banjo against a tapestry of piano and jazz flute.” — Alison Brown


What was the first moment that you knew you wanted to be a musician?

I didn’t become a musician in one lightning rod moment. It was really more a series of baby steps. When I was really getting into the banjo in the late ’70s there weren’t a lot of successful role models that pointed the way to how you could make a career as an instrumentalist. As much as I loved playing the banjo I really thought it would be a hobby that I would talk about at cocktail parties in my real life as a doctor, lawyer, or another respectable white collar professional. As it happened, I had to spend several years as an investment banker before I got up the nerve to try being a banjo player.

What’s your favorite memory from being on stage?

I have so many great memories it’s hard to pick just one. Collaborating with a skratji band on stage at the Opera House in Paramaribo, Suriname, during a State Department tour is one that has stayed with me. Guesting on Brandi Carlile’s collaboration set with the First Ladies of Bluegrass at the Newport Folk Festival last summer with Dolly Parton singing “9 to 5” is definitely another. Playing on the Banjo Stage at Hardly Strictly Bluegrass in front of a crowd that reaches all the way down Speedway Meadows never fails to blow me away and is one that always validates my decision to leave my investment banking job in San Francisco’s financial district to play the banjo.

If you had to write a mission statement for your career, what would it be?

Since launching Compass Records 25 years ago, my career has had two parallel tracks: one as an artist and the other as the co-founder of a roots-based indie label. When Garry West and I started the label in 1995, literally at the kitchen table, we felt there was a keen need in the market for a record company that was run by musicians. We were driven by the idea that our perspective gained from years of touring would position Compass uniquely in the market. Our goal was to create an artist friendly home for other artists; at the time I was halfway into a multi-album contract with Vanguard Records. Garry and I were, and are still, extremely passionate about discovering new artists and helping to bring their music to a wider audience.

Over the past two and a half decades, we’ve had a chance to help further the careers of an amazing roster of artists across the roots music spectrum and also have had the privilege of carrying the torch forward for some great label imprints through catalog acquisitions. One thing that I didn’t really anticipate when we started Compass was how running a label would inform my own creativity as an artist and producer. Knowing the challenges in the market has been very much of a double-edged sword: sometimes it makes it difficult to get motivated to create new music but, at the end of the day, having a handle on current challenges and opportunities on the business side has made it more natural for me to create music with specific target results in mind.

What rituals do you have, either in the studio or before a show?

For me, studio = food:) When I’m producing, or leading a session, I like to arrive with warm scones or banana bread to start the morning and then make sure there’s a kitchen full of interesting snacks on hand throughout the day. I know it’s not great for the waistline, but for me it adds to the fun of the creative process. I’m also a fan of having slow TV, sound off, running on the monitor in the control room. When I was producing Special Consensus’ record Chicago Barn Dance, we had a Norwegian winter train journey from Oslo to Bergen on a loop while we worked and it complemented our musical journey in a perfect way.

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

Hmmm, perhaps not your typical banjo player’s dream, but how about a simple dinner with Tom Jobim on a garden terrace in La Jolla, California, overlooking the Cove and a menu that includes Jacques Pepin’s roast chicken, haricots verts, and a bottle of Cakebread Chardonnay?


Photo credit: Stacie Huckeba.
“Here Comes the Sun” credits: Low Banjo: Alison Brown; Piano: Chris Walters; Flute: John Ragusa; Bass: Garry West; Drums and Percussion: Jordan Perlson

Stay On Your Ass: If Days Still Mean Anything to You, It’s a Long Weekend!

Our plans: GET. OFF. YOUR. ASS. 2020: Nope, lol.

In the past, supporting musicians, writers, and creators meant going out to shows, buying drinks at venues, volunteering at festivals, and so much more. But music fans and supporters around the globe are finding new ways to show up for the folks who supply the soundtracks to our lives.

States and local jurisdictions may be loosening coronavirus lockdown restrictions, but the numbers are still very clear. Memorial Day or not, the healthy, safe choice is to just stay distanced, stay apart, and stay on your ass! We’ll continue to bring you a few of our favorite events, livestreams, and COVID-19 coping resources that we’ve scrolled by on our feeds or found in our inboxes each week until that reality changes.

Did we miss something? (We probably did.) Let us know in the comments or on social media!

Rhiannon Giddens Honors Bill Withers, Aids COVID-19 Relief Efforts

In early May, Rhiannon Giddens released a gem from her vault of B-sides and outtakes. Recorded in what she refers to as a “very un-socially distanced time,” Giddens and co. perform a lively tribute to an icon of American music. The release of this cover and music video celebrate the life and music of Bill Withers, while also portraying life in quarantine and raising funds for Global Giving’s Coronavirus Relief Fund.

Like many of his other hits, Withers’ “Just the Two of Us” has an infectious cheerfulness that, especially when juxtaposed with images of quarantine and sheltering in place, can brighten any day. Giddens explains, “When Bill Withers passed, we suddenly remembered we had made this beautiful [cover]… So whether it’s just the two of us, or just a few of us; whether the lockdown has been for months or it’s about to be lifted; COVID-19 is here for the foreseeable future, and the more we can be alone together now, the better the future will be.” 


Whiskey Sour Happy Hour Concludes

Our month-long online variety show came to a close last night with a surprise bonus episode featuring performances from past WSHH performers like Billy Strings, Valerie June, Rodney Crowell, and more. Last week, for the superjam of our final “official” episode, our cast of pickers pulled off this incredible cover of “The Weight,” a perfect finale for the series.

It’s been an incredible journey building and sharing these shows with all of you over the past few weeks, but the fun isn’t quite over yet. We’ve left all episodes of Whiskey Sour Happy Hour online so we can continue raising money for MusiCares and Direct Relief, two organizations leading the charge with critical support for musicians and front line responders facing this crisis.

Over your Memorial Day weekend, why not binge the whole show, enjoy world-class songs and comedy, and if you can, give a little to support the cause, too? Watch all episodes and donate here.Our friends at Direct Relief have been working ceaselessly since the advent of this pandemic to supply personal protective equipment to front line responders. Watch this brief video that captures the importance and the magnitude of the work they’re accomplishing.


California Bluegrass Association Says to “Turn Your Radio OnLINE”

Founded in 1974, the California Bluegrass Association is one of the oldest and largest bluegrass associations in the world, with over 2,700 members. They produce events throughout the year, including the jewel in their bluegrassy crown, Father’s Day Bluegrass Festival, held every Father’s Day weekend in Grass Valley, CA since just a year after the organization’s inception.

This year, the festival has canceled all in-person programming, asking bluegrass fans in California and around the world to turn their radios “OnLine” to take part in music performances, live interviews, online interaction, and so much more, featuring artists such as Tim O’Brien, Laurie Lewis, Molly Tuttle, Lonesome River Band, Special Consensus, Joe Newberry & April Verch, and others.

The webcasts will be accompanied by an online auction to raise funds for the CBA’s newly announced COVID Artist Relief Fund. Items being auctioned include fine acoustic instruments, books, music lessons, historic bluegrass memorabilia, and items of interest from popular musicians.

Get all of the information, full performance schedules, and more right here.


Music Maker Relief Foundation’s Freight Train Blues 2020

Our friends at the Music Maker Relief Foundation, the Hillsborough, N.C. based nonprofit whose mission is to promote and preserve American musical traditions by partnering directly with elderly musicians, have announced their 2020 music series, Freight Train Blues. The event, which ordinarly takes place at Carrboro Town Commons in Carrboro, NC, will now be broadcasted on Facebook, YouTube, and by WCHL 97.9FM out of Chapel Hill.

Featuring performances from Phil Cook, Mandolin Orange, Thomas Rhyant, and more, Freight Train Blues celebrates the life and legacy of Piedmont blues legend Elizabeth “Libba” Cotten, a pioneer in bluegrass, old-time, and blues and whose songs have left an indelible mark on all of American roots music.

You can tune in all through May and June! Get more information from MMRF here.


Reinventing a Broken Wheel – Frank Conversations, Future Opportunities


BGS co-founder and executive director Amy Reitnouer Jacobs will moderate the sixth session in Folk Alliance International’s “CommUNITY Online” series of sessions and panels on Friday, May 22 at 2pm CDT / 12pm PDT. Joined by David Macias (Thirty Tigers), Erin Benjamin (President/CEO Canadian Live Music Association), Enrique Chi (artist/activist), and Megan West (Facebook/Instagram) this group of industry experts will discuss, identify, and explore opportunities to innovate, pivot, and move the industry along in new directions. We each have a role to play in constructing our “new normal” — from immediate action to big picture initiatives, this conversation promises to be inspiring, provocative, and realistic.

Register for free, inform the conversation, and participate here.


Justin Hiltner and Jonny Therrien contributed to this article.

BGS 5+5: Special Consensus

Artist: Greg Cahill of Special Consensus
Hometown: Oak Lawn, Illinois
Latest album: Chicago Barn Dance
Personal nicknames (or rejected band names): Special C

What other art forms — literature, film, dance, painting, etc — inform your music?

I actually enjoy and appreciate all the forms listed here. I have always been a history buff and read a good bit of American history books as well as books about country and bluegrass music. I also enjoyed the Carlos Castenada books of the 1970s, which actually inspired our band name, Special Consensus. I very much enjoy live theater (Hamilton was unbelievably superb) as well as seeing movies in movie theaters and I am a fan of Cirque du Soleil dance troupe. Living in Chicago provides access to fantastic museums and of course the Art Institute, where I thoroughly enjoy spending an afternoon any time.

What was the first moment that you knew you wanted to be a musician?

My mother’s mother was a fabulous piano player who played for silent movies and gave piano lessons throughout my mother’s childhood so my mom also became a great piano player. My father’s father was a great harmonica player who would give me his old harmonicas whenever he got a new one (usually a Christmas present from my grandmother) and he began teaching me to play when I was 5 years old. My father was a great tenor singer in the church choir. By the time I was 7 or 8 I began taking accordion lessons, which I continued until I was about 15.

By senior year of high school I became interested in string instruments and went off to college with guitar and long-neck banjo (a la Pete Seeger and Dave Guard of the Kingston Trio) in hand and played in a folk group until graduation. I first actually heard bluegrass music around junior year of college and dabbled with playing 3-finger style on the banjo, went into the Army for two years after graduation and came back to Chicago after living in Georgia for a bit and seriously began to try and play the five-string (around 1970-71). I have always had music in my heart and in my bones and I still absolutely love to play the banjo!

If you had to write a mission statement for your career, what would it be?

I think the most important thing about playing music professionally is to decide what you really want to do and set some goals. A mission statement might be something like practice your music to hone your skills, decide what type of music you really want to play and set goals for creating musical situations for yourself (like finding other people to play with) and be willing to continually work on improving. One has to create opportunities for oneself in the world of music.

It is vital to attend concerts to hear the music you want to play, to practice a lot and to seek those opportunities to play with others. Audition for bands you would like to play with whenever there is an opening. Once you are in a band or are gigging as a solo or duo/trio artist or in any configuration, take it seriously — it is very enjoyable but it is also now your job. Most importantly, don’t give up if this is what you really want to do. There will always and forever be huge ups and downs — keep the faith, believe in yourself and keep on keepin’ on!

What’s your favorite memory from being on stage?

I would have to say it was the first time Special C ever played the Grand Ole Opry. It was in I think 2003 and the Opryland venue was under renovation so we played at the Ryman Auditorium. My bandmates at the time were Josh Williams, Jamie Clifton, and Tim Dishman. We had been together for a few years and gone through some wonderful times and some difficult times, including being in a bus wreck (fortunately, none of us were seriously injured).

Our individual and collective dream was always to play the Grand Ole Opry and that night we were truly living the dream. After being instructed backstage to play one and only one song, Jeannie Seely introduced us and we went out and played our hearts out. The audience went wild and the whole house was standing and cheering — Jeannie had no choice but to give us an encore. I will never forget that night.

Which artist has influenced you the most … and how?

There are many artists who have influenced me. My parents’ love of music was instilled in me as a young child and they appreciated the “old standards” of the day and Dixieland music — family gatherings always included everyone around the piano singing and then my sisters and I would be asked to play. I was of course influenced by the master Earl Scruggs but then I would say J.D. Crowe became my mentor, even before I ever met him, because I loved his way of creating new licks and ways of playing with the drive and clarity and beauty of Earl’s playing.

Then there are so many great banjo player influences (Munde, Keith, Trischka, Vestal, Bela, Pikelny, Shelor, Shelton, Luberecki, Brown, Kruger, Munford, Benson, etc.). Other musicians whom I admire and listen to include Jethro Burns, Benny Goodman, Louis Armstrong, Buddy Guy, Don Stiernberg and many more. I believe it is the brilliance of these players, this gestalt that has and always will continue to influence me and keep me growing.


Photo Credit: David K. Cupp

MIXTAPE: Wood & Wire’s Grammy-Nominated Faves

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

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

The Travelin’ McCourys – “Southbound”

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

Kacey Musgraves – “Slow Burn”

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

Kendrick Lamar & SZA – “All the Stars”

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

Brandi Carlile – “The Joke”

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

Zedd, Maren Morris & Grey – “The Middle”

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

Marcus Miller: “Trip Trap”

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

Mike Barnett: “Mary and the Soldier”

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

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

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

Julian Lage – “Splendor Riot”

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

Childish Gambino – “This is America”

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

Cedric Burnside – “Death Bell Blues”

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

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

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

Sister Sadie – “Raleigh’s Ride”

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

Los Texmaniacs – “Mexico Americano”

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

Lady Gaga – “Shallow”

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

Brad Mehldau Trio – “De-Dah”

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

Punch Brothers – “All Ashore”

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

Post Malone – “Psycho”

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

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