It’s 2026 and the world remains deeply shaped by persistent conflicts and social divisions, making songs of peace and love an essential “universal language” for fostering unity. As global tensions in regions like Ukraine and the Middle East continue to create an us-versus-them mentality, music serves as a critical bridge that transcends cultural and linguistic barriers to remind us of our shared humanity.
These songs do more than provide comfort; they act as a tool for disarming hearts and promoting reconciliation in an increasingly polarized landscape. By lowering anxiety and increasing empathy – the emotional foundation for peaceful coexistence – music provides a rare space where diverse groups can connect without prejudice. Now more than ever, these songs are needed to shift the global narrative from division and “moral degradation” toward a future built on compassion, harmony, and collective resilience. The lyrics of these amazing songs epitomize “peace & love” and speak for themselves. – Jason Sinay
“Imagine” – John Lennon
This song still remains a timeless global anthem that serves as a “hymn for peace.” It transcends cultural and political boundaries by challenging listeners to envision a utopian reality free from the divisions of nationality, religion, and material possessions.
“Blowin’ in the Wind” – Bob Dylan
Dylan uses evocative symbols like the “white dove” to represent the enduring human quest for a world without conflict. Its series of rhetorical questions challenges listeners to confront social injustices and the “cannonballs” of war, suggesting that while the answers for global harmony are as ever-present as the wind, they require collective courage to grasp and implement.
“Get Up, Stand Up” – Bob Marley & the Wailers
Marley emphasizes that true harmony can only be achieved through justice and the active defense of human rights. The song challenges listeners to seek fulfillment and equity “on earth,” rather than waiting for divine intervention, serving as a global rallying cry for unity against all forms of oppression.
“Give Me Love (Give Me Peace On Earth)” – George Harrison
This amazing song’s lyrics act as a personal mantra for divine guidance, asking for the “light” and “life” necessary to heal a world filled with conflict and social burdens.
“Ripple” – Grateful Dead
“Ripple” promotes a sense of shared humanity by acknowledging that while every individual must walk their own path, we are all “in the same boat” and should reach out to help one another.
“Heart Of Gold” – Neil Young
Written while Neil was physically vulnerable and recovering from a back injury, he describes himself as a “miner” traveling across oceans and forests. The song emphasizes that the pursuit of a loving and compassionate soul is a lifelong, global journey that connects us all.
“She’s a Rainbow” – The Rolling Stones
This incredible tune captures the vibrant spirit of the Summer of Love through its whimsical, baroque-pop arrangement. It functions as a “pure love song,” departing from the Stones’ typically gritty style to offer a colorful, psychedelic tribute to femininity and universal beauty.
“Ophelia” – The Band
While this song is often interpreted as a lively, Dixieland-style track, it functions as a song of peace and love in exploring the deep emotional bonds and protective concerns shared between friends or lovers.
“Feels Like Home” – Randy Newman
This song truly captures the profound sense of safety and belonging found in a deep connection. The lyrics contrast a harsh external world with the sanctuary of a relationship.
“The Best Part of the Day” – Elton John & Leon Russell
This incredible tune celebrates the simple sanctuary of a deep, lifelong friendship. It portrays a serene “peace of mind” found in the presence of someone who has shared one’s “crazy ways” and provides comfort through life’s trials.
A few years back, we put out an album called Modern Old-Time Sounds for the Bluegrass and Folksong Jamboree. The title was a nod to that 1960s trend of naming records in a way that tried to cover every possible base. It was tongue-in-cheek, but it still sums up what we do – and what you’ll hear on our latest Lonesome Ace Stringband album, Big Wing. We don’t really play old-time music so much as make a modern old-time sound, and that’s exactly what this playlist is all about
Up here in Canada, we have a wealth of traditional music – distinct regional fiddle styles from coast to coast, songs and ballads that reflect the multicultural makeup of our country, and Indigenous music that predates all of it. Even with this abundance of homegrown music to draw from, many of us have found ourselves charmed by the traditional “old-time” sounds of the American South.
Being far away – geographically and culturally – from the source of the music you love presents some challenges, but it also affords a certain freedom. The first step is always to understand where the music comes from and its history; eventually, though, we all need to find our own voice within it. That’s sometimes easier to do when you’re removed from entrenched scenes and long-established communities.
One way I see this playing out in the old-time music coming from Canada is that writing original tunes and songs seems to come naturally and early in the journey. Whether it’s composing new tunes in the tradition or letting the sounds and themes of traditional music color our lyric writing, we’ve developed a wealth of modern old-time sounds up here – and I’m excited to share a few examples in this playlist. – Chris Coole, Lonesome Ace Stringband
“Maggie At The Door” – Arnie Naiman
Arnie Naiman has been playing old-time music longer than anyone else on this list. When I first met him in the early ’90s, he’d already been playing for around 20 years. Back then, he was mostly on fiddle, but sometimes he’d pull out the banjo at the end of the night and share some of the original tunes he always seemed to be writing. This led to us making a couple of albums together – and to me becoming a lifelong fan. “Maggie at the Door” is a great example of how he can write a banjo tune that also works on the fiddle – not as easy as it sounds. It was written for his dog and it’s probably the most badass-sounding tune ever written for a golden retriever.
“Lonesome Song” – Rube & Rake
Rube & Rake are Josh Sandu and Andrew Laite. Both live in St. John’s, Newfoundland, and are writing beautiful songs while touring hard. We ran into them in the UK last year and were instantly taken by their deft playing and the “low lonesome” sound of their harmony singing. “Lonesome Song” is a moody example of all that.
“Platform Four” – The Slocan Ramblers
The Slocan Ramblers are Canada’s bluegrass band – at least as far as I’m concerned. Although Frank Evans no longer plays full-time with the group, I chose this tune to remind everyone that while he’s mostly known for his three-finger bluegrass playing these days, he’s also on another level as a clawhammer player. There are a few licks on “Platform Four” that he’ll probably take to the grave.
“Narrow Line” – Mama’s Broke
Mama’s Broke are another duo from Eastern Canada (Nova Scotia). We crossed paths with Lisa Maria and Amy Lou Keeler at the Baltimore Old-Time Gathering a few years ago. They put on a riveting show and blew us away with their singing and playing. The arrangements on their records are so imaginative – they capture the spaciousness of their live sound while layering on subtle textures. “Narrow Line” is an excellent example of this and one hell of a song.
“White Horse Plains” – The Red River Ramblers
The Red River Ramblers feature the music of Douglas Richard Sinclair, a Red River Métis musician whose last album, Reverie, showcased original tunes inspired by the Métis fiddle tradition. “White Horse Plains” highlights Douglas’ tuneful guitar playing and answers the question: What would Norman Blake have sounded like if he’d been Métis?
“Saint Elizabeth” – Kaia Kater
Kaia Kater’s 2016 album Nine Pin made a lot of folks take notice of this exceptionally talented songwriter. Kaia is a perfect example of someone who’s really tried to get to the roots of the music; she studied Appalachian traditions at Davis & Elkins College in West Virginia. She’s taken what she learned there and carried it to a creative place that defies genre or categorization. “Saint Elizabeth” is a perfect example.
“New Caledonia” – Pharis & Jason Romero
Pharis & Jason Romero probably need no introduction to anyone here. They’re old friends of ours and we’re big fans of their music. It almost seems remiss to share a song that doesn’t feature their beautiful singing and lyrics, but we’re always enchanted by Jason’s tune writing, backed by Pharis’ always-right-on-the-money guitar playing. “New Caledonia” is one of those tunes that instantly takes you somewhere. It manages to say a lot without a single word.
“The Wheels Won’t Go” – Hannah Shira Naiman
Hannah Shira Naiman comes to the music honestly. She grew up learning fiddle and banjo from her dad, Arnie Naiman, while listening to her mom, Kathy Reid-Naiman, sing the songs of Jean Ritchie, the Georgia Sea Island Singers, and the Delmore Brothers. Hannah has taken it all in and made something uniquely her own. “The Wheels Won’t Go” is the title track of her 2022 album.
“Wellington” – Allison de Groot & Tatiana Hargreaves
Allison de Groot is one of our most treasured banjo exports – clean, hard-driving, and full of tone. Best known these days for her work with Tatiana Hargreaves, she’s also a fine composer. “Wellington” is one of her own tunes, a reminder that she’s as creative as she is technical.
“Mama’s Boy” – Lotus Wight
Lotus Wight (AKA Sam Allison) is best known for his work with Sheesham and Lotus & Son. He’s a beautiful banjo player, a lovely jaw-harpist, a rock-solid bassist, and even plays the contrabass harmoniphoneum. I didn’t know until his last album that he’s also a moving songwriter, somewhere between John Hartford and Leon Redbone. “Mama’s Boy” tells the story of the three men who were fathers to Sam over the course of his life. I can’t remember the last time I heard such an honest and tender song.
“From Silence” – Daniel Koulack
Daniel Koulack hails from Winnipeg, Manitoba, where he’s been making music and teaching banjo for many years. (Allison de Groot is one of his students.) Daniel has always been game to take the clawhammer banjo to new and unexpected places – which might explain “From Silence,” possibly the only clawhammer banjo and saxophone duet in the known universe.
“At the Airport” – Old Man Luedecke
Old Man Luedecke is one of the crown jewels of Canadian singer-songwriters and he also happens to be one hell of a clawhammer banjo player. He’s written most of his songs on the banjo (at least the early ones), which gives them those unmistakable twists and turns – in both phrase and melody. And he has that rare gift for putting a bit of hope into everything he writes, whether the song is sad, funny, or introspective. “At the Airport” is a perfect example.
“May Day” – The Andrew Collins Trio with The Lonesome Ace Stringband
The Andrew Collins Trio (Andrew Collins, James McEleney, Adam Shire) collaborated with us on “May Day,” a tune Andrew and I wrote together many years ago. These three are next-level players who are always pushing the boundaries of what’s possible on their instruments. Known for mixing new acoustic bluegrass with classical and jazz influences, we had fun diving into some weird old-time with them on this track from our new album.
Artist:Lauren Lovelle Hometown: Newton, Kansas Latest Album: My EP, Other Dreams, released September 9! Personal Nicknames (or rejected band names): Lolo or Lo. I really liked the band name “Lauren Lovelle and the Matter Babies,” too.
Which artist has influenced you the most – and how?
I’ve always been mesmerized by Linda Ronstadt’s voice, and the passion she channels when singing. She pours her entire heart out. Every song she ever sang felt like it was completely her own.
What’s your favorite memory from being on stage?
My favorite memories onstage are with my dad’s band as a child. There is something supernaturally special about making music with kin. I started playing with him when I was four. The memories of my father and grandpa teaching me to play and perform pass through my mind to the soundtrack of that ABBA song, “Thank You For the Music.”
“Thank you for the music, the songs I’m singing/ Thanks for all the joy they’re bringing… Thank you for the music, for giving it to me.”
What other art forms – literature, film, dance, painting, etc. – inform your music?
I absolutely love to dance. It’s so necessary and healing. Just like my therapist would tell me to do with emotions, I like to identify where exactly I feel the song in my body. It can be powerful to share the emotional embodiments of the songs with the band to help us communicate and feel it as a unit. Sometimes, I write something that I feel in my legs and feet and it makes me want to stomp and strut around the stage. Sometimes I write something in my shoulders and chest and it makes me feel like I’m floating. Sometimes the song springs from my gut or hips where it feels more natural to dig my feet in, staying planted and upright.
If you didn’t work in music, what would you do instead?
I’m a nursing school dropout. I was a CNA for awhile, so I could’ve likely continued down that path. I always told my mom I’d be a truck driver so I could listen to music and sing in the car as loud as I want all day. But when I was old enough to find out they can’t smoke weed, I decided that was no longer in the cards for me.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
It’s simple, but listening to Hank Williams and eating beans or chili and cornbread feels right. I have done it before on purpose and by accident. Real cowboy meal. Makes me feel close to my grandpas.
My gourd banjo journey began on a crisp, winter day in downtown Ithaca, New York. While an undergrad at Ithaca College early in my banjo-playing days, I stopped by the local acoustic instrument store and saw a peculiar banjo-like creature hanging high up on the wall. I was instantly hooked. It had five strings and a short drone string just like my banjo. I could play the same clawhammer style I was familiar with, but everything felt and sounded different. The instrument had an earthy, plunky, and rich tone. Besides being completely fretless and tuned a few steps low, the head was made of a gourd that smelled like dirt. Flash forward 15 years and here I’ve just released an album of solo, unaccompanied gourd banjo music called Old Growth.
These days, I play a gourd banjo built by Pete Ross, an immensely talented banjo maker who lives in my hometown of Baltimore, Maryland, a town full of banjo history. The first professional banjo maker in the world, William Boucher, set up shop in Baltimore in the mid-19th century. The neck of this banjo, notably the scroll-shaped headstock, is modeled after the Boucher style. In addition to being a tool for creative exploration, the gourd banjo serves as a prism into the complex history of the banjo. It’s a reliable conversation-starter everywhere I go. For more on banjo history, I encourage you to read Well of Souls by Kristina Gaddy.
While compiling this list, I was struck by the sheer variety in tone and texture possible with the gourd banjo. While the instrument connects to the early roots of old-time music, it continues to serve as a platform for innovation. Every player is unique. This list features gourd banjoists from around the world playing traditional and original material. Let’s go on a deep dive into the gourd banjo! – Brad Kolodner
“Josie-O” – Adam Hurt
Arguably the most influential gourd banjo album of our time, Adam Hurt’s Earth Tones is sublime. Cover to cover, this is a dreamy album of solo gourd banjo pieces and it’s on regular rotation at my house. Adam is one of today’s most influential clawhammer banjo players and there’s no question his gourd banjo playing, and this album specifically, introduced the gourd banjo to much wider audiences inspiring countless musicians along the way.
“Old Growth” – Brad Kolodner
The title track of my new album Old Growth is a dark, spooky tune I wrote in the depths of winter, yearning for those sun-filled summer days in the vibrant forests just north of town. I tuned my banjo extra low on this track, hence the extra mellow vibes. The title speaks to the seemingly ancient sound of the gourd while nodding to how this music continues to evolve.
“Julie” – Rhiannon Giddens
A song inspired by a conversation between an enslaved woman and her mistress during the Civil War, Rhiannon Giddens’ use of the gourd banjo is particularly poignant on “Julie.” Rhiannon is a tremendous ambassador for the banjo. She’s reframing the conversation around the history of the instrument and the role Black folks have played and continue to play in American Roots music. The early incarnations of the banjo made by enslaved Africans were gourd banjos.
“Rolling Mills” – Pharis & Jason Romero
Based in Horsefly, British Columbia, Pharis & Jason Romero build some of the most gorgeous (gourd-geous?) banjos in the world. Jason Romero built the gourd banjo he’s playing on this track. Both are immensely talented musicians who take great care in their instrument building and songcraft.
“Darling Cora” – Nora Brown
One of the most exciting young banjo players on the scene today, Nora has a deep reverence for the roots of old-time music. Her playing is absolutely sublime. She plays a gourd banjo very similar to mine also built by Pete Ross in Baltimore. All gourd banjos are handmade, which gives each one a unique sound.
“Long Hot Summer Days” – John Showman & Chris Coole
Chris Coole is a banjo hero of mine and his gourd banjo playing on this John Hartford track fits perfectly. The slinky nature of the fretless gourd truly embodies those sluggish long, hot summer days.
“Gourdness” – Arnie Naiman
Arnie is one of Canada’s finest banjo players and a clever tunesmith to boot. I first heard his playing on the compilation album The Old Time Banjo Festival produced by Cathy Fink & Marcy Marxer.
“Goodbye, Honey, You Call That Gone” – Jake Blount
Ok so, technically, Jake isn’t playing a gourd banjo on this track. He’s playing a fretless banjo with nylon strings which sounds an awful lot like a gourd banjo. The next incarnation of the banjo in the mid-19th century after the gourd banjo was along the lines of what you’re hearing on this track.
“Four and Twenty Blackbirds Dancing on a Deer Skin / Twin Sisters” – Teilhard Frost
Teilhard Frost resides on Wolfe Island in Ontario and is a longtime member of the band Sheesham, Lotus & Son. He set out to build gourd fiddles many years ago and now specializes in gourd and tackhead banjos.
“The Rain Done Fell on Me, Pt. 1” – Justin Golden
Primarily known as a blues guitarist and songwriter, Justin Golden plays a mean gourd banjo. Based in Richmond, Virginia, Justin is a gem of a human – and he’s been going through a real challenging time as he’s currently battling stage 4 cancer. There’s a GoFundMe for him here.
“Wild Bill Jones” – Ken & Brad Kolodner
When my father Ken and I first started making music together nearly 15 years ago, we figured the fiddle and banjo would be the core focus of our music. We soon realized the percussive nature of the hammered dulcimer and the drive of clawhammer mesh together beautifully. The gourd banjo adds yet another dimension to this unusual texture, especially when cranked up to the tempo of “fast.” That’s Ken Kolodner on hammered dulcimer, Rachel Eddy on guitar, Alex Lacquement on bass, and myself on gourd banjo.
“Western Pine” – Talise
In compiling material for this list, I came across this lovely original song by the Canadian artist Talise featuring gourd banjo. I’m excited to dig more into her work!
“Jagged Mountain Is on Fire (Gourd Banjo)” – Andrea Verga
Born and raised in Italy, Andrea Verga is one of today’s most inventive and creative clawhammer banjo players. He writes adventurous melodies; this tune is inspired by the jagged peaks of the Dolomite Mountains in Andrea’s home country.
“Ard Aoibhinn / The Hunter’s Purse” – Steve Baughman
Steve is one of today’s most influential Celtic fingerstyle guitar players – he’s also one of the most creative banjo players out there. He even plays clawhammer on guitar! This medley features a pair of Celtic tunes played on gourd and mandolin.
“Pompey Ran Away” – Clarke Buehling
Considered to be the first banjo melody officially documented, “Pompey Ran Away” dates back to the 18th century. Hailing from Fayetteville, Arkansas, Clarke Buehling is a renowned banjo player and historian who has long been an advocate for the gourd banjo.
Artist:The Wildmans Hometown: Floyd, Virginia Latest Album:Longtime Friend (out July 11, 2025)
Which elements of nature do you spend the most time with and how do those impact your work?
Growing up in the rich and vibrant region of the Appalachian mountains, nature has always been extremely influential to everything we do. Hearing the frogs sing in the evening or when the cicadas come out and fill the air with their hypnotic mantra every few years. Nature perseveres out here and if you want to live in it you are always battling one element or another. We don’t have AC, so in the summer all of our instruments are inundated with humidity, of course bringing them outside adds to this which we do often too. Dehumidifiers help. But it’s that soft humid atmosphere that makes the forest so lush and dense out here. I think it has always taught us a lot too living in such a rural area. And I would say the musical culture of these mountains and this region of America is possibly the most impactful aspect in our work today.
What’s your favorite memory from being on stage?
Every year as kids we got to attend the local music festival in our home town, Floydfest. We discovered so much music throughout those years and specifically it was an experience we shared at Jon Lohman’s workshop porch stage when this band The Boston Boys, along with Danny Knicely and Nate Leath, invited us up to play a couple tunes on stage. It was our first time being on stage in front of a real audience and it’s one of those quintessential moments in our lives that is significant to where we are and what we are pursuing today. I think that the relaxed and inviting atmosphere that both the musicians and the audience gave to us in that moment is something that we take with us into every show we play now.
What is a genre, album, artist, musician, or song that you adore that would surprise people?
Ever since Mk.gee dropped Two Star & The Dream Police in the beginning of 2024, it has stayed on rotation. Whether in the tour van, headphones, or home stereo. I also have a serious soft spot for 90s R&B like SWV and Soul For Real. And D’angelo always. – Aila
Since food and music go so well together, what is your dream pairing of a meal and a musician?
This is such a great question and immediately it makes me think of this scene of Leon Russell playing “Jambalaya on the Bayou” in 1972 filmed by Les Blank for his film, A Poem Is A Naked Person. This is the dream pairing right here, Leon is onstage with a plate of what appears to be half-eaten ribs sitting in front of him on his piano, full of soul and groove singing this old Hank Williams song. I mean did he wipe his hands before starting the song? It’s rock and roll, it’s Leon Russell with southern bbq. – Eli
What would a perfect day as an artist and creator look like to you?
Waking up in the morning and having a hot beverage of some sort. Tea or coffee. This is a good time to write freely, reflect. Even sing a new song. Then going outside to sit in the sun for a half hour before making a really good breakfast. We are serious about breakfast as a band, sometimes all other meals can feel like a failure while on tour, especially with dietary restrictions and what not. But we always make sure breakfast is accomplished and done right.
After breakfast, we might play some music by ourselves or with each other. Giving time and space into the day for creativity and practice. Exercise is also really important to us, this would come next as we are easing into the afternoon. Into the evening we love to have friends over to share music and food, cooking together or grilling out. Good food, good people, and good music make the world go round. All of these things are what make up a “perfect day as an artist” to us. General simplicity and grounding.
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.”
Artist:The Last Revel Hometown: Minneapolis, Minnesota Latest Album:Gone For Good (out July 18, 2025)
Which elements of nature do you spend the most time with and how do those impact your work?
I grew up fly fishing, hunting, and camping in my home state of Wisconsin. Those experiences have turned into passions of mine in my adult life and are about the only other thing in my life that I feel a hyper-focused mental clarity like I do when I’m performing onstage. I cherish them both equally and I wholeheartedly feel that one informs the other. I began writing “Go On,” a song on our forthcoming record, while on a solo mule deer hunt near my current home of Livingston, Montana. The verses seemed to pop up fully formed. I still have a voice memo on my phone of me humming lines from the song while hiking down a mountain in the dark. For me, there is a clear path between being deeply immersed in an outdoor experience and being able to hear ideas and inspiration from my subconscious mind. I feel lucky to now live in a state like Montana where the opportunities for great outdoor experiences are endless. – Ryan Acker
What has been the best advice you’ve received in your career so far?
The best advice I ever received was kind of in passing on a long drive between a few tough shows on tour in the early days. We were all talking about how hard some shows can be, especially when there’s very few people there. It can be difficult to put your whole heart into it and when you do, it can feel exhausting. So we were all talking about it. Vinnie’s family owned a restaurant when he was young and his mom used to say, “You win people over one plate of pasta at a time.” I have thought about this phrase on a regular basis for years to stay inspired about the shows and the songs regardless of turnout or enthusiasm from the crowd. It helps to remember that at least one person there is enjoying our version of pasta. And it helps me stay passionate about what we are sharing rather than worrying about how it will be received. – Lee Henke
If you didn’t work in music, what would you do instead?
If I didn’t work in music, I think I would be an excavator. I think in order to move dirt, dig holes, and grade slopes all day everyday you would almost have to achieve a Buddha-level zen to sustain your well being. It would also give me time to focus on something simple and seemingly endless, which can be soothing for my brain. There is also something mystical about making something beautiful out of dirt. We always talk about the magic of making something out of nothing in the band so I guess that’s maybe why I think I would be a good excavator in another life. Or maybe retirement. – Lee Henke
Since food and music go so well together, what is your dream pairing of a meal and a musician?
Italian tavern food with Nick Cave and the Bad Seeds in the corner.
There is a little tiny village called Compello Monti at the end of the road, way up in the mountains on the border of Italy and Switzerland. It is just at the edge of the tree line and built around a waterfall that drops through the middle of several blocks of stacked buildings, because of that everything is covered in dew. It is a place that is shrouded in moss and held together by benevolent ghosts. In the center of the town there is a little tavern that will serve you a five-course dinner in striking Italian fashion – that is to say, simple, robust, and perfect – with libations to match for an extraordinarily modest price. I recall having the most incredible antipasti, followed by a simple plate of linguine al pomodoro, and porchetta, the last time I was there. I would love to enjoy that meal with a great heaping portion of Nick Cave and the Bad Seeds playing in the corner mostly for themselves, serving up deep, dark, lovely sorrow for us all to enjoy. – Vinnie Donatelle
What rituals do you have, either in the studio or before a show?
There is often a lot of time to kill backstage and at a certain point I started randomly making up nonsensical and sometimes libidinous songs to kill the time, have fun, and try to get my guys laughing. Ryan pointed out recently that when I do that I get all the yips out and tend to play better sets. Since then I’ve tried doing that before anything important, like interviews or studio time, and it actually does seem to make a world of difference. – Vinnie Donatelle
I’ve been enamored by the West since I first set a dusty boot down in Marathon, Texas – a town that would be my spiritual hometown, if such things existed.
I made my last record, Marathon, with my incredibly talented friend Davis Naish in a tiny adobe house in that little town. For the new record, we camped out in his Los Angeles studio, so I figured, “Hey, let me put together a playlist that I think captures the way I feel about the vast stretch of land that lies between Marathon and LA.” Road trip! – Drew Kennedy
“Desperados Waiting For A Train” – Guy Clark
Guy was born in Monahans, Texas, not too far from Marathon, so this feels like a natural starting point. To me, there are few artists who are able to capture the spirit of Far West Texas like Guy Clark. With equal parts romance, unflinching honesty, and those trademark turns of phrase that make him a hero to songwriters who know, Guy can always make me feel like I’m standing beside him in the little movies that are his songs.
“Levelland” – James McMurtry
If you trekked due north and just a little east out of Monahans, eventually those sand hills and mesas play out into plains so flat and wide open it can make the uninitiated feel uncomfortable. A friend once told me a buddy of his said he didn’t like it because “there was no place to hide.” From what or whom didn’t matter. You’re just out there, totally exposed–the only thing breaking the perfect line between land and sky. Those McMurtrys sure know how to tell a good story. Anyway, if we kept going north we’d be getting farther away from California, so let’s hang a left.
“Watch It Shine” – Walt Wilkins
Walt Wilkins is another songwriting hero and I’m lucky to call him a friend, as well. The Poet Laureate of the Hill Country teams up with Owen Temple to take you on a ride following the Rio Grande as it snakes south from Taos towards Santa Fe. It also features one of my favorite lines I’ve ever heard in a song: “They say there’s iron in these mountains, and in bone and skin and mud/ They say that iron only comes from stars, so stars are in my blood.” Goosebumps every time.
“Low Sun” – Hermanos Gutiérrez
Put a ranch water in my hand, fire up this album, and cue a good sunset. The only three ingredients I need to find my favorite places inside my mind no matter where on earth I am. Doubly effective if I’m already in one of my favorite places.
“Don’t Worry” – Marty Robbins (single, 1961)
We’re getting out into the type of landscape most people who’ve never visited the desert picture in their heads when someone mentions it. Saguaros, red rocks. We’re well beyond El Paso now, so we’ll go with this beauty from Marty Robbins. Yes, that is the coolest guitar solo of all time. I’ve heard several different stories about how they got that sound, but however they came by that tone, hell yeah.
“Willin'” – Little Feat
We’ve covered a lot of ground… maybe we’re dragging a little bit after all of those miles. The boys in Little Feat know how we feel, and they’ve got our back.
“Queen of California” – John Mayer
Now that we’re pulling into town we need something we can nod along to with our Wayfarers on and our hair blowing in the sweet California breeze, as we take in the sights. This song is a badass way to kick off a record, too.
“Beautiful World” – Colin Hay
I mean, when we get there one of the first things we’re gonna do is jump into the Pacific, right? I love that Colin Hay sounds like Colin Hay and nobody else and man, do I love the way he writes a song.
“It Never Rains In Southern California” – Trent Summar & The New Row Mob
I love their version of this song. It’s not all sunshine and roses out there, you know.
“California Poppy” – Theo Lawrence
I was shocked when I found out this guy was from France. Sometimes people in Texas are shocked when they find out I’m from Pennsylvania. Point is, if it’s in you, it’s in you. I would believe it if you told me the ghosts of Buck Owens and Don Rich were sprinkling a little of that Bakersfield dust around the studio the day they laid this one down.
“Mama Told Me Not To Come” – Randy Newman
I’ve aged out of today’s version of this kind of party, but that doesn’t mean I don’t expect to see some unexpected things whenever I’m out in LA. Another one-of-one, Randy Newman.
“Texas Time” – Explorer Tapes
And with that, let’s turn this big baby blue Cadillac convertible around and head back home. I assume that’s the kind of ride we’d want for this road trip. Thanks for tagging along.
We’re figuring it out, one day at a time. Sometimes life can go by so fast, one can forget to savor the moment.
These songs keep us present and feeling alive. Our new album, Growing Pains, talks about the highs and lows of life and the emotions that come along with balancing your career and mental health. This collection of songs is what we’re currently listening to as it’s all happening. – Trousdale
“There’s A Rhythm” – Bon Iver
“Can I really still complain” just hits me so hard. The chord progression, the tempo, the production– everything about this song gets me into a meditative zone of presence and reflection. – Georgia Greene
“Sapling” – Foy Vance
“I wished I could go back in time, but all I could do was apologize. Right then, your eyes were healing…” I mean come on. – GG
“Molly I’m Coming Around” – Annika Bennett
This song just feels like a warm blanket of truth – being honest with yourself and others. – GG
“Don’t Stop” – Fleetwood Mac
This one was definitely a sonic inspiration for the album. It has such a positive vibe and message and helps remind us that there’s always another day to try again. – GG, Quinn D’Andrea, Lauren Jones
“Green Light” – Darlingside
This song just feels like a meditation, the chord progression feels like it’s existed forever, and the lyrics feel like they could be spoken as a prayer. Could listen to this song on loop forever. – QD
“Let’s Be Still” – The Head And The Heart
I need a constant reminder to move slower. This song is perfect for that. – LJ
“My Love For You Is A Straight Line” – Ken Yates
This song feels like coming home to myself. – LJ
“Never Been Better” – Ben Abraham
Coming from an artist who also understands the grind of this life we’ve chosen, I feel like Ben puts this feeling perfectly. Sometimes when we’re overwhelmed it’s just helpful to hear that exact feeling validated and put into words. – QD
“Look Up” – Joy Oladokun
I love this song when I need a reminder to zoom out. We can get so caught up in the everyday stress, and the words of this song coupled with the arrangement is the perfect opportunity to remember that this life is so much more than that. – QD
“You Make Me Feel Like Dancing” – Leo Sayer
Listen to this song for an immediate dose of serotonin. – LJ
I left home (a sleepy market town in middle England) the day after high school finished and traveled around the world with just a guitar and a backpack. I paid my way by teaching English and singing songs in cafes. Five years, 36 countries, and two unfinished degrees later, I moved to Canada to marry a girl I’d once met at a party in Beijing and started my new career as a street performer.
Since then, I’ve played about 3000 gigs, from street corners to stadiums, successfully avoided getting a real job, and raised three amazing ginger kids. I love meeting and singing with people of all walks of life, especially the ordinary, humble folks who are often overlooked. I’m not really interested in finding a niche or a scene – I’m much more keen on finding ways to bridge the gaps between them.
One thing we all have in common is hard times and a need to hold on to hope through our grief and disappointment. Songs have always helped me, and do that, and I feel that I’m not alone. These tunes have inspired and comforted me over the years, and a couple of my own can do the same for you. – Martin Kerr
“Love More, Care Less” – Martin Kerr
I recorded this live in one take, because it’s a song about honesty and acceptance, and because there’s already enough airbrushing and auto-tuning in the world. ‘Love more, care less’ is how I’m trying to live my life now.
“Better, Still” – 100 mile house
This gem of a song beautifully encapsulates the feeling of being a young couple trying to find your place in a senseless world. 100 mile house have disbanded now, and they never got the recognition they deserved, but to me this song is timeless.
“Sometimes” – James
I still remember the first time I heard this song, wedged into the middle seat of an old car with new friends on a dark country road in northern England as the rain poured down. It’s an ecstatic, defiant celebration of song, storms, death, and the meaning of life.
“Big Bird In A Small Cage” – Patrick Watson
The softness of this song’s beginning is so inviting. It grows, line by line, with new instruments and harmonies, the song spreading its wings like the bird in the title. I love a song that grows and lifts and takes you on an unexpected journey. Plus, it’s my wife’s favorite, so I always get extra points for playing it.
“Re: Stacks” – Bon Iver
Usually I favor narrative songwriting with a clear story. But this abstract work of genius somehow immerses me in a world, a heart, and a feeling without making any outward sense. It’s the perfect end to a mind-blowing album, carrying the listener from anguish through acceptance to a new day.
“Feather On The Clyde” – Passenger
Passenger was a street performer when he made this record, busking on the streets of Sydney to pay for the recording and sleeping on the studio couch at night. I love the vulnerability and honesty in this simple song with its intricate fingerpicking that ebbs and flows like the titular river. I remember listening to this 20 times in a row on a long flight home and resolving to allow myself to be carried by the flow of life like the feather he sings about.
“A Case of You” – Joni Mitchell
Possibly the greatest vocal performance on any record ever. I’ve always wanted to cover this song, but never felt I could do it justice. Joni paints vivid pictures of heartbreak with her words and illuminates them with the glow of her perfect voice over a lonely dulcimer. The peak of confessional singer-songwriting. I listened to it endlessly in my first apartment in Beijing when I owned nothing but a sofa, a Discman, and a handful of pirated CDs bought from the street market.
“Fast Car” – Tracy Chapman
I love that this song was rediscovered by a new generation recently, but the original version can never be beaten. As a 5-year-old hearing this for the first time, I’m not sure I understood the whole story at first, but I pored over the lyrics on the back of the vinyl dust-cover in my sister’s room until I knew every word and every note of this young woman’s story from half the world away. The lift into the chorus captures the bittersweet exhilaration of escaping something that was once beautiful, but now has turned dark and needs to be left behind.
“Can’t Unsee It” – Martin Kerr
Unspeakable things are happening in the world at the moment and we’re told to look the other way, to pretend it’s not happening. I made this song to try and express the grief in my heart at witnessing the genocide in Gaza, while being powerless to stop it. The melody is inspired by “Here Comes The Sun,” in the hope that there could yet be some light at the end of this long darkness for the children of war.
“Guiding Light” – Foy Vance
My parents used to sing me to sleep with old Scots lullabies that I only half understood. Foy Vance manages to bridge the gap between Gaelic traditions and the modern world in his music and this song gives me a timeless feeling of home and belonging.
“Innocence and Sadness” – Dermot Kennedy
Hearing Dermot sing this solo for a whole stadium every night was magical. I got to open for him on his cross-Canada tour last year and it was unforgettable. His songs are so nostalgic and so fresh at the same time, ancient and modern, so personal yet universal. I try to reach for that in my own songwriting and performing.
“Farewell And Goodnight” – Smashing Pumpkins
I used to fall asleep to this song every night when I was 16 and 17, when I was trying to figure out who I was, where I belonged, and why the girls I fell for never fell for me. Listening now I can hear it starts with a brush on a snare drum, but I always thought it was the waves lapping on the shore. The song is a calm and wistful end to a chaotic album full of angst and confusion (Mellon Collie And The Infinite Sadness). I think it taught me the value of simplicity and comfort, of contrast and context. I can still hear the click of the stop mechanism that would almost wake me up as the tape ended on my cheap plastic boombox.
Photo Credit: Shaun Scade
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRejectRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
