Tag: Steep Canyon Rangers

BGS 5+5: Clint Roberts

Posted on by Editor

Artist: Clint Roberts
Hometown: Brevard, North Carolina
Latest album: ROSE SONGS (February 26, 2021)

Which elements of nature do you spend the most time with and how do those impact your work?

I always have been, and probably will always be, a mountain boy. I’ve lived in Western North Carolina for 90% of my life, all of that time between Brevard, Asheville, and Boone. Mountains are deeply inspiring and meditative for me, perfect for stewing lyrical ideas or song narratives in my mind. I trail run a fair amount, and that’s always a good time for me to listen to my demos and do lyrical gymnastics with them, or simply listen to other people’s music and try to get lost in it. I’ll never know to what extent my environment informs my process, but I imagine these mountains give me a lot.

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

Prior to finding songwriting in early high school, I wasn’t sure what I really wanted to do with my life. I felt like a fish being asked to climb a tree in the areas of school sports, Boy Scouts, and the various other middle school activities that kids are often herded into. The moment I learned four chords on a ukulele in 9th grade, I started writing songs. And soon after I would decide that performing my songs is what I wanted to do with my life. The process was and still is addicting, and at the time it was one of the first times I can remember hearing validation from other people that I was good at something. So between my own love for it and hearing friends and even strangers tell me that I had a shot, I decided to go that route.

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

There’s a song on my upcoming record (ROSE SONGS) that took roughly five years to finish. That’s not to say that I spent each day of that time slaving away at it, but rather, that I didn’t know what I wanted to do with it until that much time had passed. The first verse and chorus were written in a day, the rest of the song was finished about five years later. It was a song that always hung out in my demos, always reminding me that one day it had to be finished. I’m really glad I did, because it’s one of the songs and recordings on the album that I’m most proud of.

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

Film informs my process a lot. I’ve occasionally written songs from the perspective of different characters in movies that I like. The aesthetic or setting of a given film can very potently reside in my mind, often subconsciously informing my creativity. I particularly like epics that have a lot of different fantastical settings, like The Dark Crystal and The NeverEnding Story. When curating the songs for a record, I try to keep my song choices diverse like the settings of such movies, so that no one given song feels quite like the other.

What’s your favorite memory from being on stage?

This isn’t quite a stage memory but it’s a backstage memory. I’m friends with members of Steep Canyon Rangers, a band that many of your readers are probably aware of. They perform with Steve Martin frequently. My college band had given the guys several copies of our first EP, and it’s now my understanding that they had given Steve one of the copies (maybe they just played it in front of him, I’m not sure). Some months later, our band would be on a festival bill with Steve and the Rangers, and Steve was waiting to shake my hand off stage when we were done performing. “Sounds just like the record,” he said. That was a very confusing and exciting moment for a 19-year-old songwriter.

Photo credit: Daniel Barlow

LISTEN: Anya Hinkle (Feat. Graham Sharp), “What’s It Gonna Take”

Posted on by Editor

Artist: Anya Hinkle featuring Graham Sharp
Hometown: Asheville, North Carolina
Song: “What’s It Gonna Take”
Release Date: February 12, 2021
Label: Organic Records

In Their Words: “On May 26th, 2020, my neighbor Graham Sharp and I had planned to get together to do some songwriting. On that day, we had all woken up to the new reality, the first day without George Floyd in this world. ‘What should we write about?’ we asked each other, and we began to process the horror of his death through a song. We asked, what’s it gonna take? How can we speak to the brokenness of our country and our complicity in that? As we watched the nation convulse, we continued to write, trying to comprehend the pain we saw on display in the soul of our country and in ourselves.

“When we went into the studio to cut the single, we asked a master of the sacred steel, DaShawn Hickman, and gospel singer Wendy Hickman to join us in asking ‘what’s it gonna take?’ Bringing in their voices was an important part of processing the difficult summer, building trust and beauty through song. Only by listening to Black voices are we going to know what it is gonna take. We are still so divided and will remain ignorant until we can absorb what it’s like to be Black in America.” — Anya Hinkle

Photo credit: Rose Kaz

A New Generation of Bluegrass Stars Reflect on ‘O Brother, Where Art Thou?’

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The soundtrack to O Brother Where Art Thou? was a phenomenon in the early 2000s, turning bluegrass musicians into superstars and creating an instant mainstream market for old-time music — from folk to gospel to children’s songs to prison chants to blues and everything in between. To celebrate the twentieth anniversary of its astonishing success and to wrap up our Artist of the Month series, we spoke to several musicians about the impact O Brother and its subsequent tours had on their lives and livelihoods.

Sierra Hull: “I grew up in a little town with maybe 900 people, and there used to be a poster section at the Walmart the next town over. You could flip through the posters and there would be pop stars like Britney Spears and Backstreet Boys. I was always convinced that one day I would find an Alison Krauss poster in there. She was as popular in my little kid brain as Britney Spears. So it was cool when O Brother came out and elevated some of those people who were already giants to me, like Alison and Dan Tyminski and Ralph Stanley.

“I was already playing, but I was too young to be touring yet. By the time Cold Mountain came out [in 2003], I was part of that tour. Alison was part of both soundtracks, and she invited my brother and me to go on that tour. So we got to help celebrate that second wave. I was 12, and it was really the first time for me to be out on tour, travel to so many different places, and play Red Rocks and the Beacon Theater in New York. Standing at the side of the stage and listening to Alison sing to hundreds of people every night every night was one of my favorite memories.

“It was amazing to watch people go crazy over Ralph Stanley every night. He had this dazzled suit jacket that he wore every night. Sometimes he would sit his banjo down while his band played and take that jacket off and throw it to me at the side of the stage. I would get to wear that dazzled jacket at the end of the show when everybody came out on stage. It’s one of the most special musical experiences I’ve ever had.”

Sara Watkins: “O Brother was something we somehow became affiliated with. Nickel Creek had just released our band’s first record on Sugar Hill, after years of doing just little homemade projects. Alison Krauss produced it, which had been out maybe a year and a half when O Brother came out. She was a big part of that soundtrack, of course, so our band was gaining a little bit of notoriety. I remember reading a huge New York Times spread, and we were listed among the people on that scene. We were part of that conversation, despite not having been part of the soundtrack in any way. We were just at the right place at the right time, and the awareness of the bluegrass scene just exploded. We were able to reach a different level very quickly. It was a huge advantage to our career. We already had some momentum, but the soundtrack really put the wind in our sails.

“T Bone Burnett [who produced the album], one of his brilliant skills is finding the right people for the right song. He brought in some incredible musicians in a way that really showed the musicianship in our community and made everyone really proud of our scene. We saw our heroes up there, and it was gratifying to see them celebrated by a huge audience. I remember feeling a new respect for Ralph Stanley with that vocal [on ‘Oh Death’]. That actually turned me on to shape-note singing. Someone told me his delivery was reminiscent of those old communities that did shape-note singing and those old preachers who used to sing that way. I’d never heard anything like it. And to this day, whenever I see Dan Tyminski, I make a point to stick around until he plays ‘Man of Constant Sorrow.’ No way I’m leaving before then.”

Dave Wilson (Chatham County Line): “I remember going with our old bass player to see O Brother in the theater. We snuck a bottle of whiskey in and sat in the back row and just laughed and drank. I remember thinking, ‘Bluegrass has arrived!’ We were already a band and playing small gigs around town, but we weren’t at a place where we had dedicated our lives to it. So it was kismet for us. That record came out, and the scene just exploded. Suddenly we had this huge advertisement out there in the world for the style of music we were playing. We definitely noticed a change. There were more strangers coming to see us play gigs, and they were really excited about it. One side effect was people would yell out for us to play ‘Man of Constant Sorrow.’ They did it enough to make me wonder if they had heard the soundtrack or just seen the movie. But we never played it. We didn’t know how! It would have probably shut them up if we had!

“I really got into the record. There are some badass arrangements on there. And it’s not corny. It’s not super traditional. I love that they reached out to the right people. It could have been bad. They could have gotten Toby Keith or someone like that. Oh god, I don’t even want to think about that! One of my favorite parts is that blues song by Chris Thomas King [a cover of Skip James’ ‘Hard Time Killing Floor’]. It makes for such a special moment. Later, they booked that concert film [Down from the Mountain, recorded at the Ryman Auditorium] at our old classic movie theater here in town, and I remember the boys going to see it and we were all just floored. That was almost bigger than the movie as far as having an impact in the folk music scene.”

Sam Amidon: “People in the folk world can be very protective of the music, which I think is valid. But my inclination is that if I find something I’m excited about, I want to share it. I want people to know about it. To have grown up in a world knowing a lot of the corners O Brother explores, it was beautiful to think about how many people all of a sudden were going to discover these field recordings and these great musicians. And I was thankful because until then, portrayals of traditional music in the mass media had just been so bad and so clichéd or so simplistic. Nothing had depicted this stuff on this scale before. Before then, if you told somebody you played banjo, they would think Deliverance. That was their frame of reference.

“For O Brother to do it without messing it up was a miracle. To see these different corners of American music — beyond just blues and bluegrass as the two major industry terms — was a very positive thing, especially because ‘folk music’ can be such a heterogeneous category. Nobody would even really know what you were talking about if it wasn’t bluegrass or blues. O Brother pointed to all of these different areas. It’s singing games and banjo songs and all these different things. O Brother is weirdly inclusive. It cast a wide net. Nowadays it’s easy to go to the soundtrack and hear more problematic elements of the whole Americana genre thing, but I think it’s good to remember that when it first came along, it was much more nuanced compared to what had come before.”

Woody Platt (Steep Canyon Rangers): “It’s interesting that the twentieth anniversary of O Brother is fairly parallel to the twentieth anniversary of our band. We formed in Chapel Hill, North Carolina, when we were seniors in college, right when the movie came out. We all had been exposed to bluegrass and old-time just by being Carolinians. We all had that music around when we were growing up, but none of us in the band really dove into it until we were in college. We’d only been following that music a few years when the movie came out. I’m not sure we were aware at the time of the impact that the movie and the tour had on bluegrass, old-time, string band, mountain music, but we could feel some excitement when we were playing bars on Franklin Street, which is the main drag in Chapel Hill. But we didn’t really have anything to compare it to. There was no before or after. It was just what we were doing, and that’s all we knew.

“I really enjoyed the movie, but I was a big fan of the album. Hearing Ralph Stanley’s voice in a film, or Dan Tyminski’s, or just seeing people I admired in that movie was pretty incredible. Looking back on it, it was good timing for us to be getting off the ground, and we were having so much fun and finding so much joy in it. The music we were playing had been a small niche, but all of a sudden it had this national interest. I have no doubt in my mind that the awareness of the music was fueled by the movie. It’s a fascinating phenomenon to think about, because it wasn’t marketed in any significant way. It just happened. It was just this thing where people were suddenly into this music.”

Molly Tuttle: “The movie came out when I was seven years old, and I remember my dad showing it to me when I was in grade school. I loved it, and the music really stuck with me because I already had an affinity for bluegrass and old-time music. Seeing it performed in a movie was new and exciting. My dad teaches bluegrass for a living, and when the movie came out, he had an influx of new students.

“It’s had a lasting impact on the popularity of bluegrass music. But I was so young that I didn’t know many of the musicians on the soundtrack by name, so it introduced me to a lot of artists who later became my favorites. And the Down from the Mountain documentary further familiarized me with people like Emmylou Harris and Alison Krauss. Many of those artists, like Gillian Welch and John Hartford, have been big influences on me, and that was my introduction to their music. I’ve performed ‘I’ll Fly Away’ and ‘Angel Band’ a number of times, and I got to do ‘Man of Constant Sorrow’ with Dan Tyminski at the IBMA awards one year.”

Dom Flemons: “I actually saw Ralph Stanley on the O Brother tour in Flagstaff, Arizona, in the year 2000. It was at this random high school. I saw the poster on a telephone pole when I was going to college there. I’d started playing the banjo by that point — six-string and four-string banjo, guitar, and harmonica. I remember the place was really packed out, and he gave this amazing performance. I just loved watching the man at work. When he sang ‘Oh Death,’ he pulled this piece of paper out of his pocket, put on his glasses, and made a joke about how old he was. And he just sang it off this piece of paper and blew our minds.

“O Brother was very interesting, and I think it’s still a milestone album for several generations. A lot of the old folks who played those old styles and sang those old songs were starting to pass away, so the soundtrack ended up being a perfect vehicle for getting younger people into the music of the ‘20s and ‘30s. It reminded people of the really good old recordings that were available. That’s where I went. I found the old RCA Victor and Columbia recordings, and that was it for me.

“It’s a perfectly structured record, opening with the prisoners on the chain gang and then it goes to that beautiful ‘Big Rock Candy Mountain.’ And then you get into “You Are My Sunshine” with Norman Blake, and then Chris Thomas King presenting ‘Hard Time Killing Floor.’ That in itself was a revival of Skip James. People talk about Ghost World and Devil Got My Woman, but I think O Brother got it going. People just started casually bringing those songs back in at shows and festivals, and it seemed like a lot more people knew them. Of course they would sing them like the recordings on O Brother. Those are just things I observed before I was a professional musician, and it was amazing to see.”

 

The String – Steep Canyon Rangers

Posted on by Chris Jacobs

The Steep Canyon Rangers emerged from the collegiate scene in central North Carolina around 2000 with a traditional sound that started winning them awards.


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Over 20+ years, they’ve broadened and deepened their sound through 13 albums on their own – including a bluegrass Grammy winner – and three with Steve Martin. Now they’ve released three very different albums in a calendar year, displaying range and mastery. In this hour, conversations with singer/guitarist Woody Platt, fiddler Nicky Sanders and banjo player/songwriter Graham Sharp. The new studio album is ‘Arm In Arm.’

BGS & #ComeHearNC Celebrate the Cultural Legacy of North Carolina during #NCMusicMonth

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On the national music scene, North Carolina sets itself apart by blending the heritage of traditional roots music with the innovation of modern indie and Americana sounds. The bluegrass canon of North Carolina encompasses pioneers like Charlie Poole and Earl Scruggs, as well as groundbreaking musicians like Elizabeth Cotten, Alice Gerrard, and Doc Watson. Today’s spectrum of talent spans from modern favorites such as Darin & Brooke Aldridge, Balsam Range, and Steep Canyon Rangers, and the progressive perspective of the Avett Brothers, Rhiannon Giddens, Mandolin Orange, Hiss Golden Messenger, Mipso, and many more.

One example of how the state is merging past with present is the recent opening of North Carolina’s only vinyl pressing plant — Citizen Vinyl in Asheville.

 

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Built over 15 months in 1938-1939, The Asheville Citizen Times Building (@citizentimes) was designed by architect Anthony Lord as the grand center for the city’s two newspapers and radio station WWNC. Located at 14 O’Henry Avenue, the massive three-story building of reinforced concrete, granite and limestone, utilizing 20,000 glass bricks, is considered Asheville’s finest example of Art Moderne design. In 2019, Citizen Vinyl claimed the first floor & mezzanine of this iconic landmark as the future home of a vinyl record pressing plant, as well as a café, bar and record store – and is reviving the historic third floor radio station as a modern recording and post-production facility.

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According to press materials, the building’s third floor played host to Asheville’s historic WWNC (“Wonderful Western North Carolina”) which was once considered the most popular radio station in the United States. In 1927, the station hosted live performances by Jimmie Rodgers and made his first recordings shortly before he went to Bristol, Tennessee.  In 1939, the station featured  the first ever live performance by Bill Monroe and the Bluegrass Boys during its Mountain Music Time segment.  Citizen Vinyl expects to keep the live music tradition alive in this former newspaper building, too.

Here at BGS, we’ve been committed to North Carolina music from our launch, notably with our Merlefest Late Night Jams, which are always worth staying up for. And how much do we love the IBMA World of Bluegrass week in Raleigh? Looking back on our archive, we gathered these songs from the artists we’ve covered over the years — and looking ahead, you’ll see all-new interviews with the Avett Brothers and Mipso, examine the classic country stars with roots in North Carolina, and spotlight some rising talent with video performances at the state’s most scenic destinations.

In the meantime, you can discover more about the North Carolina music scene through their website and on Instagram at @comehearnc

Editor’s note: This content brought to you in part by our partners at Crossroads Label Group.

With ‘Arm in Arm,’ Steep Canyon Rangers Give Everyone Time to Shine (Part 2 of 2)

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Steep Canyon Rangers’ Arm in Arm, their first collection of all-new material in two years, is a set of highly grown-up songs, some with storylines that you’d expect from the likes of Drive-By Truckers or Bruce Springsteen. It’s more loose-limbed and less traditional than past Rangers albums, with fine ensemble playing throughout.

BGS caught up with co-leaders Woody Platt and Graham Sharp in separate conversations leading up to the release of Arm in Arm. After starting with Platt yesterday, here is the conversation with Sharp.

BGS: With the band off the road, have you been able to do any songwriting during this time?

Sharp: I started off writing on a real tear the first few months. But then I slacked off a bit, in part because that coincided with me starting to make an album of my own. Switching from writing to recording slowed down that end of it, but working on my own stuff is kind of out of necessity. For the band to survive this and come back when it’s time, we’ve all got to look out for ourselves a little more.

It’s a strange new hustle, but we’re holding up pretty good. We’ve all been forced to sort of pivot, after having not stopped moving in 20 years. This is the longest any of us have stayed put that whole time. It takes a moment to settle, but it’s been eye-opening. Forced me into some new directions that have been good and ought to pay dividends once we can get the band back together. I’m trying to pull out as many silver linings as I can.

That’s a bit of news, about the solo album. What can you tell us about that?

I don’t know where or when it will ever come out, but the solo album is close to done. I’ve been working with Seth Kaufman from Floating Action in his little basement studio here in Black Mountain. It’s mostly new songs, and a handful of tunes the Rangers have been kicking around a while without getting to them. Nothing bluegrassy about it, mostly country to country-soul, because I have definite tendencies in that direction and a deep love for country music of the ’60s, ’70s, ’50s. That’s still among my favorites.

After Charles Humphreys III left the Rangers in 2017, this is the first album where you’ve written all the songs, not just most of them. Was there more pressure on you?

Not necessarily. It did not change my process much, anyway. I always just try to compile as much good material as I can. It is neat that with a band as organic as this one, a song can kick around for years where we’ll never find a place for it and then suddenly it’s revived. The last song on the album “Crystal Ship” was like that. I had that one for a long time and then backstage one day, [Mike] Ashworth just started playing that melody because he remembered it from a year or two earlier. It’s cool to have the band’s collective memory to draw on, where everybody is part of the process.

The first song “One Drop of Rain” is another. I probably wrote that one six or seven years ago and I’d just never taken the time to find the right groove and place for it. Then one night Woody and I were backstage, I had this little banjo roll, he had the phrasing to go with that and we put it together. A lot of songs come together over time like that. The process is more cumulative than me bringing something in, “Hey, I’ve got this new song.”

Do you have any particular favorite songs on this one?

Probably “One Drop of Rain” and “Honey on My Tongue,” for different reasons. I can remember exactly where I was and the situation I was trying to capture with “One Drop,” just shortly after my father-in-law had died very unexpectedly — 64 years old. What it gets at for me is, try to love your way through the hardest situations. And “Honey” is one I wrote with my daughter in mind. She was giving me a hard time, saying I never write songs for her — not true! But yeah, okay, that was written specifically for her. There are several songs about resilience, dealing with loss, setbacks. All to different degrees, tied to different moments in time.

This record sounds very, dare I say it, mature and grown up.

Well, we’re all passing into the point in our lives where we see a lot of past decisions come to fruition as everyone’s lives play out, our own as well as others. That perspective figures into it. As a songwriter, I’m maturing and trying to hone in on the emotional center of a song – and trying not to write about fluff. We were all very aware while making this album that a lot of the songs aren’t necessarily sad, but a little bit heavier.

And on this record, you’ve also got the first lead vocal from new bassist Barrett Smith.

It’s been cool, having him take on a bigger vocal role. With Woody or myself, it’s just us singing songs at this point. But with Barrett, there’s this ability to tailor songs to a new voice in the band. The song he sings, “Everything You Know,” we talked through the lyrics and the story. Woody and I have always done that, gone through songs in detail. Although sometimes, I don’t necessarily want to influence the pictures anybody else sees in their head while singing.

Once a song is written and out there, it belongs as much to the listener as the singer or the writer. Sometimes they come up with something different, too. “Can’t Get Home” from the last record, Woody thought I wrote that for soldiers coming home and he wasn’t the only one. I had not necessarily meant it that way, but I talked to enough other people about it that it kind of changed the song’s meaning for me, which was cool.

Did taking on the production yourself make Arm in Arm more collaborative than past albums?

I feel like what we do on stage is try to give everybody in the band moments to shine while keeping things moving. Producing this record ourselves was like that, more so than us playing while someone else producers. There are songs where I remember, so and so arranged this part, so and so suggested this harmony, so and so came up with the idea for this mix. So many different pieces where I can see everybody’s fingerprints. I’m proud of that.

I’m just psyched to have something to roll out into the world, reach out a little bit. You know, it’s not the best time to be releasing a record because we can’t tour. So I hope this will reach and touch people. I’m definitely prouder of this record than anything we’ve ever done.

Read part one of our Steep Canyon Rangers Artist of the Month interviews here.

Editor’s Note: David Menconi’s Step It Up and Go: The Story of North Carolina Popular Music, from Blind Boy Fuller and Doc Watson to Nina Simone and Superchunk will be published in October by University of North Carolina Press.

Photo credit: David Simchock

Steep Canyon Rangers Carry On, Without the Suits, ‘Arm in Arm’ (Part 1 of 2)

Posted on by Editor

The COVID-19 virus has pretty much shut down the music industry, with nightclubs and concert venues shuttered across the world. And yet the Steep Canyon Rangers have had their most productive year ever in the midst of it all. October will see the release of their new studio album, Arm in Arm, the Rangers’ third record in less than a year.

Arm in Arm follows last December’s North Carolina Songbook, a live recording taped on the main Watson Stage at the 2019 MerleFest and featuring iconic North Carolina songs by Elizabeth Cotten, James Taylor, Ben E. King, Ola Belle Reed and even jazzman Thelonious Monk. And then early in 2020 came Be Still Moses, another quirky live recording — this one with the Rangers’ hometown Asheville Symphony Orchestra, featuring a memorable vocal cameo from Boyz II Men.

BGS caught up with co-leaders Woody Platt and Graham Sharp (Read part two here.) in separate conversations leading up to the release of Arm in Arm, starting with Platt.

BGS: Since touring can’t happen these days, you’ve had to make do with livestreams and also drive-in shows around your home territory. How have those gone?

Platt: The drive-in shows went great, but they were a lot of work for us. It’s not like there’s a model or handbook: “Here’s what you do for live music in the middle of a pandemic.” So we tried to keep it simple. Since we really wanted people to stay in their cars, we had a short-range FM transmitter and no live PA, trying to keep everybody tethered to their cars.

We were lucky that, through our work with Steve Martin, we know someone who is a leading AV guy. He developed a truck with stage bolts, transmitter and LED screen popped out the top — a mobile rig he’ll keep using all over the country. Sonically, it was like being in the studio. And instead of applause, there’s horns and windshield wipers and headlights, which was amusing. For the encore, they called us back with horns. Ultimately, I think it was joyful — a unique bit of fun for an audience that hadn’t experienced any live music for a long time.

It also appears you’ve had a change in direction, not musically so much as in terms of style. You’re not wearing suits on stage anymore?

I don’t know how to explain that other than that the music evolved, so we did, too. Presentation has always been a constantly evolving thing. We didn’t wear suits at the beginning, then we did for a long time in the middle — and we still do when we work with Steve Martin. But hey, we’re the Rangers and we’re still looking nice even if we don’t regularly dress up in suits anymore. And much like the music, it’s an evolution that was not calculated or contrived. We’ve kind of gone more upper-casual, I guess. Bluegrass business casual.

Was putting out three albums in less than a year part of a master plan?

We never would have planned anything like that, but these three records were all basically done not too far apart. Arm in Arm was all but mixed when the shutdown hit, and that part of it was something we didn’t have to get together for. We could send that around, work on tracks remotely and share them back and forth. The other two were both already in the can, fortunately.

Watching all this come out, you’d almost think it’s just life as usual. If nothing else, it’s been great to be able to continue sharing music with the world. And it’s also kept us productive and in touch with each other and also the idea of pushing forward. Without these projects to focus on, we could have drifted away from each other. But we’ve had things to focus on day in and day out, to stay creative and in communication.

How did you wind up collaborating with Boyz II Men on the Be Still Moses title track?

All credit for that goes to our producer Michael Selverne, a cat from New York who is also an attorney and musician himself. He’s got a lot of connections and he works them all. He called me up one day and said, “You guys are an all-male singing quartet, and I consider you a vocal group. Well, I know another great vocal group for this song, too.” “Oh yeah,” I said, “who?” He said Boyz II Men and my jaw just dropped. But I never want to discourage or squash any idea that seems unobtainable, so all I said was, “Sounds great. If you can pull that off, we’re game.”

He not only pulled it off, he incorporated them and our band and the symphony in a way that worked. It was pretty unusual company for us, but we’re used to that. First time we met, we were set up onstage with the symphony at Schermerhorn [Symphony Center] in Nashville, just milling around, and here they come. Once we started, I had to kick that song off with a little guitar run and sing the first verse — a tall order when a bunch of singers like that are staring at you. But it turned out great.

Since Arm in Arm was the first album you guys produced yourself, without an outside producer, what was that like?

There are a lot of good reasons for using a producer, especially the fact that we’re a democracy and everybody in the band has equal weight in discussions and decisions. I love that, but it can take longer to get from point A to point B while keeping everybody happy. It can help to have an outside person to mediate and help with decisions when time is of the essence. But this record came together very quickly, and we had a lot of faith in our engineer’s skill and his ear.

What’s next after this? Are more live dates with Steve Martin and Martin Short on the docket?

I was talking to Steve recently and he told me they have picked up every date that was on the books. All the shows that were canceled, they’re already rescheduled. We were overseas when the lights went out from the pandemic, supposed to play in London, and it’s been a day-by-day experience ever since. So there’s a lot of optimism in rebooking everything and I hope it all turns out. But I have to admit, I kind of chuckled to myself about already rescheduling. I just don’t know.

It’s been more than 20 years since you guys first got together at the University of North Carolina. Ever think Steep Canyon Rangers would still be going two decades later?

Since we’ve been around for so long, it’s easy to think we should be bigger or more successful by now. But taking a step back and looking at the things we’ve actually accomplished, it all adds up. We’ve had a lot of good things happen, good music and shows and records, and we’ve been recognized in some great ways. I never thought we’d win a Grammy award!

Read part two of our Steep Canyon Rangers Artist of the Month interviews here.

Editor’s Note: David Menconi’s book, Step It Up and Go: The Story of North Carolina Popular Music, from Blind Boy Fuller and Doc Watson to Nina Simone and Superchunk, will be published in October by University of North Carolina Press.

Photo credit: Shelly Swanger

Artist of the Month: Steep Canyon Rangers

Posted on by Editor

In a state with no shortage of bluegrass bands, North Carolina’s Steep Canyon Rangers have always set themselves apart with compelling songwriting and a camaraderie that feels authentic, whether they’re up on stage headlining Merlefest or at a performing arts center supporting Steve Martin. (The band shared IBMA Entertainer off the Year honors with Martin in 2011.) These guys have integrity, sure, but they also have an adventurous spirit, a subtle sense of humor, and a keen perspective that reflects where they are in life.

On their upcoming album, Arm in Arm, bluegrass fans will find a lot to like, but so will those listeners who pay attention to songwriting. It happens to be the first time they’ve recorded an album outside of North Carolina, opting to work at Southern Ground studio in Nashville, and to produce the album with Brandon Bell. Some of the sonic textures may sound different, but the emotions in their music remain intact.

“We’re not trying to sound like a style or genre,” says Graham Sharp, the band’s banjo player, frequent songwriter, and occasional lead singer. “We’re not trying to fit into a certain mold. For a long time, we were a traditional bluegrass band, and that meant the themes would have to fit into that mold: work songs, heartbreak songs, train songs. But we’ve evolved to play any groove, any style, and it has opened us up to so many more possibilities.”

BGS will spotlight Steep Canyon Rangers as our Artist of the Month with back-to-back interviews with two of its founding band members, Woody Platt and Graham Sharp, conducted by noted North Carolina author and journalist David Menconi. (Read part one with Woody Platt here. Read part two with Graham Sharp here.) Arm in Arm arrives on October 16, but we’ve include a few of its early tracks below in our BGS Essentials Playlist for Steep Canyon Rangers.

Photo credit: David Simchock

IBMA Virtual Business Conference: Who’s Taking Part, How to Watch, and More

Posted on by Editor

J.D. Crowe, Jerry Douglas, Sarah Jarosz, and Ronnie McCoury are just a few of the artists taking part in the IBMA Virtual World of Bluegrass, which begins today, Monday, September 28. Kristin Scott Benson, Doyle Lawson, and Mumford & Sons’ Winston Marshall are also confirmed to participate.

IBMA Virtual World of Bluegrass is an annual bluegrass music homecoming and convention that takes place online this year, encompassing the IBMA Business Conference, IBMA Bluegrass Ramble, the 31st Annual IBMA Bluegrass Music Awards, and music festival IBMA Bluegrass Live! powered by PNC running through October 3. See the full schedule.

Check out our General Information page regarding IBMA Virtual World of Bluegrass. You’ll find our full-week schedule…

Posted by International Bluegrass Music Association on Thursday, September 24, 2020

Conference registration is available at a lower price point than in years past: $99 for IBMA members, and $149 for non-members. Register here.

To stream the following sessions, as well as many others, IBMA Business Conference registration is required. Business Conference registration also allows access to other valuable content: an online version of the Gig Fair (one of the most popular conference events each year) the Songwriter Showcase, two virtual in-the-round Song Circles, the Annual IBMA Town Hall Meeting, the IBMA Virtual Exhibit Hall, and much more.


As previously announced, Sarah Jarosz will deliver the Keynote Address on Monday, September 28 to kick off this year’s virtual IBMA Business Conference. “Having attended IBMA as a young kid just getting into bluegrass, and having returned more recently as a performer at their Raleigh conference, I’m deeply honored to have been asked to be this year’s keynote speaker. I look forward to helping kick things off!” said Jarosz.

Organizers have added three presentations to lead each day’s conference activities, Tuesday through Thursday:

Tuesday at 11 AM ET: Artist-2-Artist with J.D. Crowe, Winston Marshall, and Jerry Douglas

Hall of Famer J.D. Crowe’s infusion of new ideas into bluegrass banjo took the music to a decidedly younger and more diverse crowd, inspiring a new generation of pickers and fans. His music would influence a young banjo player across the Atlantic named Winston Marshall, who would take the banjo to millions of fans worldwide. As a member of Mumford & Sons, Winston has helped completely transform the image of the banjo in popular culture. Jerry Douglas has used his dobro to build musical bridges throughout his storied career. He has shared both the stage and the studio with J.D. Crowe and Winston Marshall, and he invites you to join him and these two groundbreaking banjo players for a fun conversation about how music unites.

We just announced special feature presentations to kick off each day of the IBMA Business Conference:

Monday – Keynote…

Posted by International Bluegrass Music Association on Friday, September 18, 2020


Wednesday at 11 AM ET: Artist-2-Artist with Doyle Lawson and Kristin Scott Benson

Doyle Lawson has been a leader in bluegrass music for decades. He and Quicksilver played at a festival in Dahlonega, Georgia in the mid-eighties, and it changed the life of a young girl in the audience named Kristin. Three and a half decades later, Kristin Scott Benson is one the most celebrated banjo players of her generation and is the reigning IBMA Banjo Player of the Year. She sits down with Bluegrass Hall of Fame member, Doyle Lawson, to talk about the impact he and his music have had on her and on the bluegrass community at large.

Thursday at 11 AM ET: From the Bay, to Bean Blossom, and Back

Jerry Garcia is unquestionably a towering figure in American culture, and one of the most influential musicians of the 20th century. He and the Grateful Dead set the template for a new style of music that would inspire generations, much as Bill Monroe, The Father of Bluegrass himself, had done. What’s less known about Jerry, is that long before, during, and after the Grateful Dead, he was a banjo player, a bluegrass musician, even an aspiring Bluegrass Boy. Join Ronnie McCoury, filmmaker Brian Miklis and others in a conversation diving deep into the relationship of a true giant of American music, and the music that inspired him.

The Bluegrass Situation will proudly present our fifth annual Shout & Shine Online on Saturday, October 3rd at 2pm ET. And at press time, 30 artists have also been confirmed for a series of showcases known as the Bluegrass Ramble.

The virtual music festival IBMA Bluegrass Live! powered by PNC, will take place Oct. 2-3. Special performances by The Travelin’ McCourys with special guest Del McCoury; Steep Canyon Rangers; Jerry Douglas & Odessa Settles; Sierra Hull & Molly Tuttle are just some of the highlights that bluegrass fans can look forward to.

 

In addition, PNC Bank is boosting its support for the IBMA and bluegrass artists experiencing financial hardship due to pandemic-related performance cancellations. PNC Bank, the presenting sponsor of IBMA Bluegrass Live! powered by PNC, has announced it will match all 2020 donations made to the IBMA organization and the IBMA Trust Fund, for a total up to $50,000. (Donate now.)

IBMA is the nonprofit professional organization for the global bluegrass music community — connecting, educating and empowering bluegrass professionals and enthusiasts while honoring tradition and encouraging innovation worldwide. The organization has suffered financially this year due to pandemic-related health precautions that are preventing the IBMA World of Bluegrass event from being held in Raleigh, N.C. The IBMA Trust Fund, which is administered by IBMA, was established in 1987 as a means to offer emergency financial assistance to bluegrass music professionals. In 2020, requests for assistance have increased tenfold due in large part to COVID-19.

As the presenting sponsor of IBMA Bluegrass Live! powered by PNC since 2013, PNC Bank has helped bring bluegrass music and culture to Raleigh for what has become one of the city’s most beloved live, free events. While IBMA Bluegrass Live! powered by PNC cannot be presented as an in-person event in 2020, PNC remains committed to supporting this event and community tradition by helping deliver bluegrass programming in a virtual setting, Oct. 2-3.

Donations may be made online; additionally, those registering for the free IBMA Virtual World of Bluegrass Music Pass have the opportunity to make a donation during the online registration process. The Music Pass includes access to all music performances during the week, including IBMA Bluegrass Live! powered by PNC, the IBMA Bluegrass Music Awards presented by Count On Me NC, and IBMA Bluegrass Ramble presented by Count On Me NC.

 

Celebrate Black History Month with These 15 Artists

Posted on by Justin Hiltner

American roots music wouldn’t exist if not for the voices, stories, and musical traditions of Black Americans. Full stop. Celebrating the Black forebears of Americana, bluegrass, country, and string band music, pointing out their importance and their essential contributions to these genres we all know and love today needs to happen year-round, not just February. 

The BGS editorial team believes strongly in this idea, and though readers will be able to find several Black History Month features and articles in the coming weeks, we encourage you all to also take a dive back into our archives for stories that highlight Black creators and artists from all points across the last year. 

Mavis Staples on Live From Here

Ceaselessly relevant, Mavis Staples recently gave a keynote presentation at Folk Alliance International in New Orleans where she once again gleefully assured the audience she wouldn’t be done singing ‘til she didn’t have anything else to say. And she has plenty left to say! Watch Mavis Staples on Live From Here with Chris Thile. 

Yola’s Year of Debuts

Yola’s debut album, Walk Through Fire, landed on our BGS Class of 2019 lists for Top Albums and Top Songs — and nearly every other year-end list across the industry, too. Naturally she popped up a few times in our pages: In our in-depth interview, when she made her Opry debut, and when she dropped an blazing Elton John cover.

Liz Vice on The Show On The Road

Liz Vice is a Portland born, Brooklyn-based gospel/folk firebrand who is bringing her own vision of social justice and the powerful, playful bounce of soul back to modern religious music. She is following a rich tradition that goes back generations to powerful advocates like Sister Rosetta Tharpe, Sam Cooke, the Staples Singers, the Ward Sisters, Aretha Franklin, and especially Mahalia Jackson, who was the soundtrack to the civil rights movement. Listen to the Liz Vice episode of The Show On The Road.

Brittany Howard, Artist of the Month and More

Our November 2019 Artist of the Month stunned in a stripped down duet with Alicia Keys at the Grammy Awards last weekend, her well-earned musical stardom solidified by her debut solo album, Jaime. Our Artist of the Month interview anchored our coverage of Howard’s new music, but her Tiny Desk Concert really captured readers’ attention!

Steep Canyon Rangers with Boyz II Men

Yes, you read that correctly. A combination none of us knew we needed that now we can never go without. The Asheville Symphony backs up the two groups collaboration on “Be Still Moses,” a moment transcending different musical worlds and genre designations. You can watch that performance here.

Rhiannon Giddens: Booked, Busy, and Blessed

How much can an artist really accomplish in a year? A quick scroll through the BGS halls shows a Grammy-nominated album, being named Artist of the Month, scoring a ballet, playing the Tiny Desk, debuting a supergroup, and oh so much more. We are more than happy trying to keep up with Rhiannon Giddens’ prolificacy.

Ashleigh Shanti on The Shift List

The Shift List is a podcast about chefs, their kitchens, their food, and the music that powers all of it. On an episode from September we interviewed Chef Ashleigh Shanti of Benne on Eagle, an Appalachian soul food restaurant in Asheville, North Carolina. Her Shift List includes Kendrick Lamar, Nina Simone, and more.

Grammy Winners, Ranky Tanky! 

 

We spoke to Ranky Tanky about their album Good Time in August, less than six months before it would win the Grammy for Best Regional Roots Album. If you aren’t familiar with Gullah music, our interview will help you out.

Americana’s Sweethearts, The War and Treaty

Rapidly-rising folk/soul duo of  husband and wife Michael and Tanya Trotter, The War and Treaty have had a year chocked full of smashing successes. Of course the best way to catch up with them was on the road, so Z. Lupetin set up the mics for an episode of The Show On The Road.

Tui’s Old-time Tunes

Jake Blount, one half of old-time duo Tui with fiddler Libby Weitnauer, is a scholar of Black, Indigenous, and otherwise forgotten, erased, or marginalized American fiddlers in old-time and string band music. His work specifically spotlights the source musicians whenever possible, undoing generations of revisionist history in roots music. Tui’s recording of “Cookhouse Joe” was featured in Tunesday Tuesday.

A Sitch Session with Birds of Chicago

A song with a message well-timed for almost any era, “Try a Little Harder” seems especially perfect for this very moment. Birds of Chicago do an excellent job bringing that message to the world. A suitably stunning Sitch Session.

Dom Flemons Talks Black Cowboys

If you haven’t heard Dom Flemons talk about his album, Black Cowboys, and the narratives and traditions that inspired it, this episode of The Show On The Road is essential. The music is captivating on its own, a perfect demonstration of Flemons’ uncanny ability to capture timelessness and raw authenticity, but with his scholarly takes and his depth of knowledge the songs take on even more meaning and power. It’s worth a deep dive — check out our print interview, too.

Gangstagrass Set the Standard

When you read Gangstagrass’s Mixtape of standard setters the parallels that emerge between foundational bluegrass and hip-hop are certainly surprising, but they also make perfect sense. It speaks to the longevity of this boundary-pushing, genre-defying group — that has been setting their own standard as they go.

Jontavious Willis Goes Back to the Country

“Take Me to the Country” is Willis’ paean to his homeland: “No matter where I go in the world, I can’t wait to go back to the country,” He told BGS in April of last year. “For me, that special place is a rural southern town in Georgia where I grew up. It’s such a quiet and calm place, and somewhere I crave when I’m far from it.” You can hear that truth woven into the music.

Octogenarian Bluesman, Bobby Rush

At 85 years old, Bobby Rush has been playing his brand of lovably raunchy, acoustically crunchy, and soulfully rowdy blues for over six decades. After winning his first Grammy at the humble age of 83, he has no plans of slowing down. We caught up with Rush on The Show On The Road.

Photo of Yola: Daniel Jackson