Tag: The Station Inn

Sister Sadie Are
At Their Strongest, Together

Posted on by Justin Hiltner

The last time BGS spoke at length with Sister Sadie, in December 2020, they were two-time IBMA winners, GRAMMY nominees, and clearly on their trailblazing way with two albums to their credit. Fast-forward five years and the group, now in its thirteenth year, is back as BGS Artist of the Month with their new and fourth album, All Will Be Well, following last year’s No Fear.

Sister Sadie 2025 includes founding members Gena Britt (banjo, vocals) and Deanie Richardson (fiddle) with Jaelee Roberts (guitar, lead vocals), Dani Flowers (guitar, vocals), Rainy Miatke (mandolin, vocals), and Katie Blomarz-Kimball (bass, vocals). Along the way to solidifying this lineup, the band notched a few more personal and professional milestones. Since becoming the first all-female band to win IBMA Entertainer of the Year in 2020 they’ve won three Vocal Group of the Year awards from the trade organization as well; performed at The Grand Ole Opry numerous times, fulfilled what they describe as “our ongoing bucket list” of goal festivals and other dates they hoped to play; charted several Number One singles; and were among the artists requested to perform at Patty Loveless’s Country Music Hall of Fame induction.

All Will Be Well is the band’s second project for the Mountain Home Music Company label. It was tracked at Crossroads Recording Studios in Arden, North Carolina, with Clay Miller engineering and Richardson producing. While the band did not set out to write a concept album, All Will Be Well is in many ways just that in its explorations of life lessons, experiences gained, and finding closure – the latter powerfully represented in “Let The Circle Be Broken,” a revealing take on ending the cycle of generational trauma.

Sister Sadie gathered together from various points to speak with BGS. Their six-member Artist of the Month interview, following, has been edited for space and clarity.

How have your many accomplishments to date brought the band to this point?

Deanie Richardson: We never intended to be a full-time band. We were friends who played a one-off at the Station Inn. That went so well that we decided to do another one. Gena started getting phone calls from promoters and we thought, “That might be fun. Let’s do it.” From there, we got a call from a record label and it grew organically, doing everything ourselves, because we weren’t looking to do it a hundred percent.

With every person that’s come into Sister Sadie, the whole band has shifted. The energy changes every time you bring in a new vocalist, a new player. You have to just let this thing guide itself. With each personnel change comes a new sound and you have to rebuild and regroup. I feel like that has happened since the last time we spoke with you guys. With Katie and Rainy here now, the energy feels perfect.

We finally have this team around us – booking agents, management, publicists – helping now and we get to focus more on the music and the amazing women in this band. So, for me, it feels like every step led to where we are right now, and it feels so right.

Gena Britt: With these personnel changes we’ve gained some wonderful songwriters, and they bring this creativity to the band. Like Deanie said, we’ve evolved into what we are today and that has a lot to do with being together, being creative together, growing as a band, and Deanie and I growing as businesswomen. It’s incredible to think of where we were when we first started and had no intention of doing this. And here we are. We have an incredible team behind us and it’s working. All the ingredients are here.

Let’s talk about the theme of All Will Be Well and sequencing the songs to tell that story.

Dani Flowers: When we went in to make the record, we definitely did not go, “This is [the title], this is the theme, and this is what it’s going to be about.” But it almost feels like we did.

We all write songs and send them to each other in Dropbox, an Apple Music playlist, and listen to them over and over. We put our opinions in as to what we might want to sing, what we hear other people singing, what songs we think are a good fit for the band, and it comes together into this thing that we almost never could have planned.

I do feel there is an overarching production style, even a theme, throughout the sequencing. But it wasn’t planned, which is the crazy thing. Deanie did the sequencing, and even outside of the band we’ve had so many folks comment on how it’s such a journey. I think the sequencing on this record is really something.

DR: The title No Fear was about Gena and I facing fears of losing some powerful personnel and deciding, “Do we want to quit? Do we want to keep going?” We decided we wanted to be all in, no fear, let’s get a team around us and do this thing. When Dani brought “All Will Be Well,” the Gabe Dixon song, I thought instantly that would be a great title, coming from No Fear: “We’re going all in on this thing, and whatever happens, all will be well.”

Once we finished the record, I started listening to the tunes. I would go on walks around the neighborhood, listen to the record over and over, and it felt like a journey. It felt like you’re taking a trip or a drive, starting with “Winnebago.” Jaelee’s singing is so powerful – that had to be the first song. You step in this Winnebago, you’re going through your drive, and then “I Wish It Would Rain” just felt like the next thing.

I imagined this person going through … call it a trip or just life in general and that being the case with this sequencing. It’s telling a big story. There’s a lot of personal connections in the writing and the song choices, from “Let The Circle Be Broken” to “First Time Liar” to all of it. This record is a representation of the deepest parts of all of us.

DF: Sister Sadie members had a hand in nine out of these thirteen songs. So there’s a lot of originals here, there’s a lot of our personal stories, our personal feelings and experiences, and it’s not perfect. I love that the record is called All Will Be Well. It’s not “all is well at this very moment.” It’s that even when we make mistakes, when we are in good moods, in bad moods, we have this overall feeling that we are going to get where we want to go. It might not be butterflies and daisies right now, but we know we’re going to get there.

Jaelee Roberts: The sequencing really is quite something, because these songs means so much to all of us individually. Even though I didn’t have a hand in writing them, at the time that I was in my life, some of these songs meant so much to me. The fact that I got to sing some of them, that they trust me to sing their songs, is so cool. I was excited when Deanie sent the sequencing to listen to our final mixes in that order, because it really is like going on a journey. The sequencing is absolutely perfect.

Can you select one track and walk us through the recording process?

DR: We all play acoustic instruments, so from sitting in my kitchen with our instruments, working out arrangements, that’s how we walk into the sessions. We recorded at Crossroads and we trust Clay Miller a lot. He’s great. He sets up the mics, we walk in and record. There’s not a lot of discussion as far as gear and mics.

The song lets you know what it needs. It will arrange itself and produce itself. “Winnebago,” for instance, has dissonant chords. I heard right away a B-3 organ accenting that. So on that song there’s electric guitar, steel guitar, the B-3, some piano. We brought things in that add an incredible amount of texture to our bluegrass instrumentation, our acoustic instruments.

GB: When we got to the studio, I had just acquired a baritone banjo that I hadn’t had an opportunity to play very much. It really lent itself to the sound of “Winnebago” and “Do What You Want.” I don’t know how to explain the feel of that song, but it just fit so well. So I played baritone banjo on a couple of tunes, which was great.

How do your playing styles and backgrounds come together to create the band’s sound?

DF: We are all such music fans, and through our upbringings and our own exploration of music, we’ve all been exposed to the best songs. We have pretty high standards when it comes to writing our lyrics and what we want to sing. We love a good lyric. We love creative harmonies. We have great instrumentalists in this band, so we especially love a melody with a really cool hook.
You can find that in any genre. Onstage we quite often cover rock and roll songs, pop songs, old and new country songs. Katie comes from a jazz background. Rainy comes more from West Coast bluegrass. Gena and Jaelee and Deanie all come from traditional bluegrass. I come strictly from a country background. You can find a good song, good lyrics, good melodies, in any genre.

Katie Blomarz-Kimball: My background is in jazz. I didn’t really grow up with country or bluegrass music. Since I’ve lived in Nashville for about ten years now, I’ve definitely dipped my toe into the genres, but it’s hard when you’re playing with some of the best bluegrass musicians on the scene to come in and not be like, “Am I good enough for this? Can I do this?”

One of the very first things Deanie said to me at the rehearsal two hours before the first show I ever played with them was, “I want you to play like you would play it.” That was important to me, because there is a really interesting perspective that can happen when people from different backgrounds come together in one group. And I think it can change, depending on what naturally migrates as a group. Adding some of my quirky bass playing can influence one way or another for things to have a different feel or vibrancy behind it that maybe shifts the music slightly. It’s definitely a fun part of this experience for me.

DR: We all come from different genres of music that we love, but we have country and bluegrass as a deep-rooted passion. That’s basically why we’re here. Because we are so creatively different, I think that’s a plus. Each of us brings something to the situation that changes it, adds to it, and you have to figure out ways to highlight or bring to the table everyone’s strengths. Once you do that, the sound starts coming together.

Deanie, you produced All Will Be Well. What does the term “producer” mean to you? Is it a democratic process?

DR: It is democratic up to pushing the red button. Everybody has input, but there comes a time when you have to call it, when you have to say, “That’s brilliant. I’m sure you think you could do it better, but I don’t need better. I need feel; I need it to feel a certain way.” This is a killer band, and they don’t need me to tell them how to play or sing. But there has to be some person that says, “You just wrecked me, you just turned me into a puddle on the floor, and I’m not going let you do it again because of that.” That’s what a producer is for me.

We all arrange these songs, pick these songs, write these songs, and at the end of the day, we’re making great records that I am so proud of. That’s not because of something I did. That’s because of something this band did. It’s a group effort. It is six very talented, capable women who I respect and value tremendously. It’s just that there has to be someone calling the shots, if you will.

Could we talk about writing “Let The Circle Be Broken” and presenting it to the band?

DR: We spend a lot of time in the car together, riding up and down the road, so we talk about everything. We know each other’s deepest, darkest secrets. We know the pain we’ve been through, the love we’ve been through, the relationships we’ve been in. We know everything about each other. I love being with a group of people you’re that connected to and that close with, and getting to be creative with them and make music together. That’s the ultimate thing for me. That’s honestly why I stay in tears all the time – because I love these women so much.

Dani, Erin Enderlin, and I got together right after my dad died. We were talking about all the shit I went through as a child growing up with him and all that Dani went through having an abusive mother. Each of the women in this band has experienced some form of generational trauma or abuse from someone in our lives. When we brought the song to the band, everyone knew my story and Dani’s, so it wasn’t a surprise.

Everyone was very supportive about telling the story and getting the song out, and it felt like the right time to do it. Once he passed away, I was ready to finally talk about it. It’s a very personal story, but it doesn’t say anything specific about what I went through. The song hopefully relates to anyone who’s experienced any sort of abuse.

We didn’t write it to make a statement. We wrote it because that’s where we all were, having that conversation that day. The more we talked, the more the song came to life. It was a beautiful thing and very therapeutic to write. I am extremely proud of how it came out, what each girl brought to this tune, and how they supported and loved me through it.

How do you protect yourself, mentally and emotionally, when performing the song live?

DR: Sometimes I don’t. Sometimes I cry, sometimes I get upset. I just want to feel the song as I feel it every night. Some nights it’s just a song for me, some nights I just want to get through it, some nights I feel so much peace with it, and some nights I feel like he’s there. We played in Ogden, Utah, recently, and I could feel his presence and I got very upset.

One night in a theater I looked over at the girls while we were playing the song and I thought about each of them individually and how I know all these things about them. I know the struggles they’ve been through, the people who’ve hurt them, all the things they’ve felt, and struggled with, and beat, and have experienced in their lives.

At that moment, the song was theirs too. It was their experience as well. That night, walking across the stage as I’m playing that play-out at the end, I looked at each of them and told them I loved them as I walked by them. I’ve been doing that every night since, because I don’t feel like it’s just my song. I feel like it represents each of us. These are strong, amazing, talented women, and I’m so grateful to be in their presence every day.

DF: For me, this song is about the fact that we are in control now. We have the ability to stop the cycle that’s happened through our families and could very well carry on to our own children, if we didn’t take accountability, stand up, and say, “This goes no further.” So, for me, there’s not really a need for protection. It’s more letting it all out. Watching the crowd’s reaction every time we perform it is so therapeutic because you can tell there’s always somebody that really needed to hear what we had to say.

You both used the word “therapeutic.” What part does music play in your healing, in your mental health?

DR: It’s the only reason I’m still alive.

DF: To put it in perspective, imagine going through one of the worst things a person could go through, then to live your life and get to a place where … like, for Deanie, her dad passing away … to be able to sit down with two other women that are going, “I know almost exactly what you’re talking about. I have been through this as well. We are going to get it all out through the thing we all love the most.” And then to take that song you wrote that’s so honest and so vulnerable, play it for the people you’re in a band with, and have them all react with such compassion, saying, “Yeah, we have to do this.” And not only record the song, but there also was a conversation about how much we’re going to say about what the song is about, because some of us are really ready to talk about the things that happened to us, and we know that affects the entire band.

To have everybody embrace that, and then to get onstage and perform that with those people every night, to look at these women and tell them you love them — I can’t think of anything more therapeutic than to be able to say, “This happened to me,” and have so many people — the people that you wrote the song with, the people in the band with you, the people who made the record with you, and the people in the crowd listening and buying the record and all the comments we get on this song … I cannot think of anything more therapeutic for a person who has gone through something so traumatic. Other than actual therapy — I’m an advocate for actual therapy!

Rainy Miatke: Music plays such a huge role in my mental health and my healing journey. At times in my life when I’m not playing as much music, I can really feel the difference. Since I was a little kid, I’ve used music, writing melodies, writing songs, playing, and singing as a way to process the emotions I was going through. Now, being part of a band that is on a similar journey and path as I am, in my life and musically, and playing these powerful songs that the band has written about very personal subjects, it feels like we’re all in this together and here for each other, and it feels so healing.

When Deanie’s up there playing that part at the end of “Circle,” I sometimes find myself feeling really emotional and having to almost compartmentalize it, but also sometimes just letting it happen and processing some of the things that I’ve been through, too. I’ve found these people that I can do that with, and that I can process that stuff with through music, so it feels really special.

Read more on our Artist of the Month, Sister Sadie, here.

Photos courtesy of the artist.

The SteelDrivers Celebrate 20 Years, Usher in New Chapter With ‘Outrun’

Posted on by Justin Hiltner

With four lead vocalists, seven studio albums, one GRAMMY Award to their name, and countless fans won over, The SteelDrivers have been one of this century’s most consistent and trailblazing bluegrass bands. That longevity can be credited to three things – the strength of their catalog of all-original songs, their collective precision picking, and the family atmosphere the band has cultivated together since forming in 2005.

Despite not joining forces until then, banjoist Richard Bailey says he’s known bandmates Tammy Rogers (fiddle) and Brent Truitt (mandolin from 2012 to present) since they were teenagers. His first run in with Mike Fleming (bass) and Mike Henderson (mandolin 2007 to 2011) came not long after during a college ski trip, with the group remaining close ever since. In the early 2000s Bailey relocated to Nashville from Memphis and reconnected with Henderson, regularly joining him at the Station Inn during Sunday night bluegrass jams and setting the foundation for what would eventually become The SteelDrivers. Then one day Henderson rang him up and was glowing about a young kid he’d just started writing with named Chris Stapleton who was wanting to play a little bluegrass.

“We eventually got together at his house and nobody knew Chris except for Henderson,” Bailey tells BGS. “We rehearsed a few bluegrass standards and then Chris began singing and Tammy, Mike, and I all looked at each other and went, ‘damn!’ I remember asking if the song he sang was an old Stanley Brothers tune and he said that it was actually one that he wrote.”

By that point, Henderson and Stapleton had already been penning songs together for a few years, with one of their most notable co-writes to that point being “Higher Than The Wall” from Patty Loveless on 2003’s On Your Way Home – a full seven years before The SteelDrivers eventually cut it on 2010’s Reckless. With their songwriting prowess already well established, the band opted to lean all the way in, keeping to the pattern of only recording songs crafted by them. Early on that mostly consisted of songs from Stapleton and Henderson, but has extended to all of the band in the years that followed, with Rogers writing the entirety of 2020’s Bad For You and the band’s newest member, Matt Dame, contributing songs for the first time ever on the group’s latest effort, Outrun.

“Starting with our very first record we determined that we were only going to play original music and we’ve never wavered from that,” explains Rogers. “It’s always been when you come to see The SteelDrivers that you’re not going to hear an updated version of ‘Little Cabin Home On The Hill’ or a modern country song done bluegrass style. There’s nothing wrong with any of that, but the whole point of the band originally was two songwriters coming together – Chris Stapleton and Mike Henderson – and everything else grew around that.”

That persistence of sticking with original material doesn’t only extend to The SteelDrivers recorded catalog, though. As Rogers points out, you’ll also be hard-pressed to hear any covers during the band’s live show. Per Bailey, the only such instance came during their televised Grand Ole Opry debut in 2008 when Charlie Daniels joined them on stage for a sing along to Flatt & Scruggs’ “I’m Gonna Sleep With One Eye Open.”

However, the band has regularly employed and worked with writers outside the group to craft songs centered around what Fleming describes as “uneasy listening music where bad things happen to good people.” This includes the likes of the venerable Verlon Thompson (“Booze And Cigarettes”), George Strait, Martina McBride, and Pam Tillis collaborator Leslie Satcher (“Outrun,” “Bad For You”); and German-born Thomm Jutz (“I Choose You,” “Cut You Down”), with whom Rogers has written over 140 songs (and counting).

“We’re fortunate to have always had wonderful songwriters in the band no matter who the membership was,” clarifies Fleming. “As it’s morphed through different CDs and personnel the strength of the songwriting has never wavered. Our goal has always been to serve the song, no matter who is singing it.”

Regardless of who’s been writing – or singing the songs for that matter – the band’s impeccable storytelling and bluesy grit has never faltered, even when lineup changes shook the band to its core. The first of those came in 2010 when Stapleton left to begin pursuing his solo career – a move that has resulted in him becoming not just one of the most well known country singers, but one of the most renowned vocalists of any genre globally. Henderson followed a year later, with Gary Nichols and Truitt stepping in to fill each of their shoes, respectively.

“I would’ve loved it had Stapleton never left the band – I mean who doesn’t want to be in a band with Chris Stapleton?” Rogers continues, “But when he left we had to make the decision of do we keep going or do we stop, because it wasn’t going to continue the same way that it had before. It wasn’t even a choice to me, though – I wanted to keep playing. To me that was better than no SteelDrivers at all.”

With two of their founding members gone, the band set out to prove they could still create bluegrass bangers and it didn’t take long for their efforts to pay off. Five years into their new look lineup The SteelDrivers won their first GRAMMY Award, taking home the honor for Best Bluegrass Album with The Muscle Shoals Recordings at the Academy’s 58th annual gathering in 2015. According to Rogers, the GRAMMY completely changed the band’s trajectory and continues to have a positive impact over a decade later.

“There’s been a lot of discussion in recent years about the validity of the GRAMMYs, but for us the recognition from the Academy has been a game changer,” states Rogers. “There’s a huge difference between being GRAMMY-nominated and a GRAMMY winner. For us, we were suddenly validated and were able to play bigger shows and venues that wouldn’t have considered or booked us prior to winning.”

In addition to validating their decision to keep pushing on, the band’s success post-Stapleton has also proven that they excel at finding new vocalists with their own distinct styles and vibrant storytelling to fill the void. First it was the funky, bluesy, and soulful sensibilities of Nichols. After him came the rock ‘n’ roll energy and piercing holler of Kelvin Damrell – who Rogers described as “the highest pitched singer of anyone we’ve had in the band.” He’s the only Kentuckian other than Stapleton to ever be in the band and sang lead for over three years – including on 2020’s Bad For You – prior to stepping aside in the summer of 2021.

It was then that the band recruited Matt Dame, solidifying the lineup they still have today. While each of the four singers have their own sounds, Rogers says there’s also plenty of characteristics that tie each of their eras together. “We figured out early on that it’s not about finding someone who sounds like Chris, but finding someone with a soulful, gravely, raspy and bluesy quality and letting them put their own spin on things,” says Rogers. “Aside from looking for those attributes we’ve never asked anyone to sing a certain way. Even though they sound similar, within two seconds of listening to a song I can tell whether it’s Kelvin, Chris, Gary, or Matt singing. They’re all distinct in my mind.”

Arguably even more impressive than the band’s success and consistency in sound through its different chapters has been their knack for continuing to make cutting edge bluegrass music with singers not steeped in bluegrass history with voices that generally “don’t fit” the traditional blueprint. From Stapleton on, the band has gravitated toward gritty blues and southern rock more than anything else. They’re comfortable at the confluence of electric and acoustic sounds, with one foot firmly planted in the past and the other stirring up dust and turning heads as it propels string band music into a completely new dimension.

“Chris Stapleton was not a bluegrass singer,” insists Fleming. “He was more of a blues singer, but the arrangements were always with bluegrass instruments. As a result, our propensity was to go toward playing bluegrass, but we never shied away from a song we thought we might not be able to play. For instance, ‘Midnight Train To Memphis’ from our first album was a bluesy rock ‘n’ roll number that Richard Bailey messed around on with on banjo one day. We have these bluegrass instruments, but we’re not confined to exclusively playing that way as long as we’re serving the song.”

Much like they’ve always served the song, The SteelDrivers’ fans have served them well in return, sticking by their side and continuing to buy tickets and albums through the years as the group has weathered changes in their lineup and sound. It’s led to an unprecedented run of success that Rogers jokingly compared to another bluegrass great.

“It’s almost the Ralph Stanley model,” she jokes. “After Carter [Stanley] passed away he had Larry Sparks, Roy Lee Centers, and Keith Whitley join him. It was a great line of singers that followed, all of whom embodied that Carter Stanley sound. We’ve also had several incredible vocalists with their own styles come through the band that we’ve been able to have success with by honing in on a singular sound together.”

The latest person the band brought in to hone in on that sound, Matt Dame, is a longtime Nashville songwriter and session player who joined in 2021 after a referral by friend and esteemed writer Gary Baker (John Michael Montgomery, Alabama, Lonestar). A couple rehearsals followed and by the end of July he was out on the road playing his first shows with the group. Having worked behind the scenes in the music industry for nearly as long as The SteelDrivers had been around, the move to performing in front of large crowds night in and night out was a big adjustment for Dame, but one he quickly found himself falling in love with.

“You do anything for 15 or 20 years and it becomes your comfort zone,” admits Dame. “I really enjoyed the session world, but it’s a lot different. Now I get a realtime reaction to what I do – there’s no stopping to go live again because you were flat. What I’ve loved most from our shows is the crowd singing the songs back to us, which can really carry you along.”

“There’s never a spot where you lose the audience or feel the need to kick into ‘Wagon Wheel’ to get everyone singing again, because the body of original work is so strong. It stands tall on its own,” he continues. “That speaks more to the power of the song than of any one vocalist, which says a lot because the band has had some incredible singers through the years. I’m just hanging on and trying to put my own spin on things.

“We’re all different, but one way we’re all the same is we all can deliver the songs in our own way that’s very believable. It sounds like somebody’s really living what they’re singing, not just going through the motions.” Even having been on the outside looking in for so long, Dame says that it’s hard to ignore the formidable nature of The SteelDrivers’ songwriting catalog, one that he’s thrilled to finally be a part of on Outrun – the band’s first project on the famed Sun Records (and also the label’s first bluegrass album). The record is his second with the band following 2023’s gospel project, Tougher Than Nails, that saw him only singing and playing guitar. Now, on his second go-round, he integrates himself even further, helping to write the songs “On My Way,” “Emma Lee,” and “Rosanna.”

“It was a really cool feather in my hat to be able to write some songs for this album and getting to do it on Sun Records is like the icing on the cake,” he exclaims. “I’m a huge Elvis fan and growing up in Arkansas listened to Johnny Cash all the time, so my eyes lit up when I heard we’d be their first bluegrass album ever.”

In addition to featuring the co-writes from Dame, Outrun also sees the band paying tribute to Henderson, who died unexpectedly from a pulmonary embolism in September 2023 – mere weeks after the release of Tougher Than Nails – with cuts of his songs “Prisoner’s Tears” and “Painted And Poison.” Although he hadn’t played with The SteelDrivers since 2011, his loss shook the band, which Rogers calls him the architect of, along with the entire bluegrass and country worlds.

“We knew we wanted to honor him in some way, which is what kickstarted talks for this new record and led to our shortest cycle between records yet,” confides Rogers. “In addition to recording two of his songs on it we’re also planning to have a slideshow commemorating him and 20 years of the band on some of our tour dates later this year.”

It’s tough enough to survive as a band for two decades when everything is going right, so it speaks volumes for The SteelDrivers making it as long as they have with all the obstacles that have gotten in their way. At the same time, the group’s unrivaled level of talent – both on their respective instruments and with their insatiable songwriting – have more than cemented their place in the bluegrass and American roots music zeitgeist for generations to come. For Dame, it’s a legacy that’s equally intimidating and exciting to be a part of.

“Professionally I’ve grown, because I’m doing something that’s new to me, but also because I’m doing it surrounded by a band where everybody does their parts with excellence,” he reflects. “If you don’t carry your weight it’s really going to be noticeable, which has pushed me to be better with everything that I bring to the group.”

Photo Credit: Glenn Rose

SURPRISE! Billy Strings & Bryan Sutton Release ‘Live at the Legion’

Posted on by Justin Hiltner

A year ago today, on April 7, 2024, the American Legion Post 82 in East Nashville was packed to the gills with rabid flatpicking fans, geared up for a special appearance by two of the greats: Billy Strings and Bryan Sutton. Far from their first show together or their first collaboration, it was still one of the hottest tickets in Nashville and fans lined up down the sidewalk and up the drive of the humble Legion for their chance to witness bluegrass guitar history in the making.

To the delight of the many hundreds of thousands who would have but couldn’t also squeeze into the cinder block building known for two-stepping, honky-tonkin’, and bluegrass jams, today Strings and Sutton surprise released a live-recorded album of that evening’s show, Live at the Legion. Available digitally – with CDs and vinyl on the way August 1, and physical pre-order open now – it’s a two-disc, 20-song collection of traditional tunes, medleys, covers, and two of the most personality-rich and unique improvisational voices on the instrument.

Strings makes it no secret that, like many younger guitar pickers in bluegrass and adjacent styles, Bryan Sutton is a hero. The two have collaborated often in the past, formally and informally, getting together for jams and lessons, Strings appearing at and attending Sutton’s Blue Ridge Guitar Camp, performing as a duo at the Station Inn, Sutton guesting on stage with Strings and band, and more.

These are two generational talents, understood within and outside of bluegrass to be standard-setters for the instrument and for flatpicking at large. Together, their musical dialogues are entrancing, exciting, and as charming as they are downright unpredictable. Billy’s power and aggression on the six-string ease, while each player listens ardently and responds to the other with comfortability, or a wink, or a tasteful counterpoint, or an outburst-inducing surprise. Sutton is endlessly lyrical, drawing out such responses from Strings. For their level of chops, the collection rarely strays into self-involved jamming or ego-driven ideas.

Later this year, in September, Strings and Sutton will perform a short series of intimate duo shows to celebrate Live at the Legion – and give any who couldn’t be there in East Nashville in 2024 for the taping of the album another chance to catch the magic. The pair will appear at the Bluegrass Music Hall of Fame & Museum in Owensboro, Kentucky; at Nashville’s Ryman Auditorium; in Chattanooga, Tennessee; and in Boone, North Carolina with accompaniment by Strings’ bassist, Royal Masat. Due to anticipated demand, tickets for any/all of the shows must be requested by April 21, 2025, after which lottery winners will be notified. Sign up to request tickets here.

Bluegrass boasts many an iconic duo album, especially focused on the guitar. In the future, will we group Live at the Legion alongside other such definitive recordings as Blake & Rice? It seems almost inevitable. From Blake & Rice to Skaggs & Whitley, Watson & Monroe, and Grisman & Garcia – or even the just-released Carter & Cleveland – it seems immediately clear Billy Strings & Bryan Sutton’s Live at the Legion will be going down in bluegrass history. Tuck into this double album delight to see and hear why for yourself.

Photo Credit: Joshua Black Wilkins

The Po’ Ramblin’ Boys: “Everything That Is Traditional Now, Once Was Progressive”

Posted on by Justin Hiltner

Over the past decade, The Po’ Ramblin’ Boys have established themselves as a modern voice in traditional bluegrass. They are equal parts researchers, archivists, and artists, continually reframing what it means to be “traditional” – with a particular focus on the ways that bluegrass and roots music have always been progressive and boundary breaking.

For BGS, I spoke via video call to mandolinist CJ Lewandowski and fiddler Laura Orshaw around the release of their new album, Wanderers Like Me. We talked about their unique approach and mission for the group, we covered a lot of ground, and I left the conversation feeling inspired to put more thought behind my own mission in music making.

I see that you are coming up on 10 years as a band. Many years ago I had the pleasure of writing a bio for The Po’ Ramblin’ Boys, and I’d love to know a bit about the way the band has developed and changed over the years?

CJ Lewandowski: I think we are all ten years older than when we started, for one, and that’s a lot. It started as four guys working at a distillery, you know, working a day job. … There was no traveling, no planning, no pushing to be something. And it naturally progressed. There were videos coming out and promoters started calling and asking us to come out and play.

A lot of people plan for stuff, and they push and push, and everything we’ve been involved with before this band was like that, plowing through clay. You push and you push and never get anywhere. Then this band just happened. We didn’t think we’d be traveling in a bus and going all over the world, but here we are!

Laura Orshaw: The coolest thing for me is seeing the material and the message of the band start to come together. Everybody is really interested in super regional groups from around where they grew up, or maybe just bands they got interested in, so the members have interesting and diverse listening palates.

For several years, the band was doing a lot of covers that people hadn’t heard before, drawing on that research. Then, for the past five years, we’ve been doing a majority of original material and I think that the conversations that it brings up within the band are new … like, “How did you come up with this?”

For example, a lot of the more recent songs are about traveling. … For me, I spin that from the women’s perspective, a lot of them are about mom or a woman waiting back home and I like to think about, “What if a woman sings this song?” I think a lot about those classic themes but making sure they’re relevant to the modern days.

You’re one of the few bands that has never changed their commitment to traditional bluegrass over the years. Tell me about that interest in maintaining your style and how to you resist the temptation to move in more commercial directions?

CL: We had a manager at one point and we were talking about different material we could cover, and I said, “I don’t know if that’s gonna fit us…” And he said, “Well whatever you play, you’re gonna play it the way you play, so it’s gonna sound like you.” I think about that a lot, because I think he’s right.

I try to stray from the word “traditional” and think more about “authentic.” It’s just the way we play, and the way we learned to play from the mentors in our home regions. Anything we do is going to sound like that. We just play and sing true to ourselves, it’s not a plan or an act, we kind of let it go with the flow

There has been pressure sometimes– maybe the band should push this way or that way, but all in all, it’s like, “Well, if it ain’t broke don’t fix it…” We are all just true to the way we play

LO: What CJ said, “whatever you do is gonna sound like you” – with the current album coming out, it’s the first time we’ve had a really heavily involved producer, Woody Platt (formerly of the Steep Canyon Rangers), working with us from pre- to post-production. I think five people are going to have their own opinion about every suggestion that comes up, but because of Woody we did try a lot of things that I don’t think we would have individually gone for. And after we all did them, we usually liked them.

CL: Woody had our sound in mind, and he said, “The main thing is, I want you guys to be you.” We spread our wings, we got a little more vulnerable. There’s a natural progression to all of this and this record is a great next step.

LO: It was just really refreshing to work with a producer and have that level of focus and excitement, having that external voice that studied and focused is huge.

Since the time I wrote your bio, Laura has formally joined the band, tell me about what she’s added to the group and how that came about? I think it’s such a magical fit, and really rounds out the sound of the band.

CL: Her first show with us was in December 2017 at the Station Inn and after that she did some sporadic shows with us and played on our next couple records. In January 2020, she joined full time and she has officially been with us for four/four and a half years now. We tried a lot of different fiddle players on the road and nothing fit quite like what she had on the table; the attitude, the drive, and the musicianship

I’m a huge fan of triple-stacked harmonies, like Jimmy Martin and Osborne Brothers, so she brought a completely different vocal opportunity to the group. There was us three guys, and we could do some three-part harmonies, but with her we could move to different keys and had a lot more flexibility. … And of course, her fiddle playing is sassy and full of energy.

A lot of people ask about the name, The Po’ Ramblin “Boys,” but there’s a tradition of that in bluegrass, with Bessie Lee playing with The Blue Grass Boys, and Gloria Belle with The Sunny Mountain Boys. I like playing into that. But it’s also the band saying, “Hey we aren’t limiting.” Like, whoever can cut the gig, we love you! We’re very open and try to be as inclusive as possible. There are a lot of demographics in the group and she just added another one. …

Bluegrass Unlimited dubbed us as being “progressively traditional,” and it’s true in that everything that is traditional now, once was progressive. I don’t try to stand on a soapbox, and it took me a long time to figure it out, but I’m a queer artist, and I didn’t have anyone to go to when I was figuring that out and I didn’t feel I had a place. So, a lot of the stuff we do today has an open mind to it. [I’m included in] an exhibit in American Currents at the Country Music Hall of Fame and I put a rainbow guitar strap in there just to say, “Hey we’re out here, and holler at me if you need something.” Because I didn’t have anyone to look up to in that way.

Can you tell me a little bit about the album art for this new record, Wanderers Like Me?

CL: The cover photo is a painting of a cowboy. It plays into the title and many of the songs on the record and goes back to the story of wandering all over the country. But that piece of art was painted by our bass player Jasper’s great-grandfather, who was a North Dakota scene painter born in 1900 who painted all the way until his passing. His artwork is in governors’ mansions, he was a very prominent artist and to include something like that for our album art is also another way of honoring tradition.

LO: The way I see bluegrass, it’s a truly American art form. just like painting scenes, it reflects the culture and the time that it was painted in. In a lot of traditional art forms, there’s a kind of preservationist stance, but I think as a band we don’t like to have that mindset as a way to hold up barriers, or to say we don’t like modern or progressive music. A lot of what is told about American and bluegrass history is through a very particular lens; it’s very easy to see a fuller picture when you start digging. We travel and meet a lot of people, we live in modern society, we all have a lot broader perspectives than the people creating music years ago.
So, we just see this mindset as a way to make the music reach its full potential. Preserve and broaden it by being aware of what’s going on around us, thinking about language and thinking about American art forms.

CJ: “Being you” is it’s own art form as well… There’s a lot to just making sure that you’re being yourself.

The people that we learned from, it’s amazing to learn at the knee or the foot of these incredible people, but it’s not a boundary. It’s something that you take and grow from and learn from. Not everyone is perfect or mindful… I learned good and bad from some of these folks. You learn what to do and sometimes you learn what not to do. You take it from spades and grow from that. We want to honor people, but also make this a better realm for everyone. Just because you play traditional music doesn’t mean you have to have a traditional mindset.

I think the fact that this record is coming out on Smithsonian Folkways says a lot about the timeless nature of the music you are creating. What do you hope that folks will get from your music now and also in the future?

LO: I think that one of the most neat things is knowing [Smithsonian’s] mandate around preserving music, knowing that everything that they have and archive will be there for ever. It will always be available.

CL: there’s a lot of good material out there that’s been overlooked. I call listening through it “digging for gems.” As an artist, I hope that one day when we’re gone… someone might find our music like that. I don’t have any kids, so I really think about how my music might be left behind for the next generation. With Smithsonian, we could be dead and gone and someone’s great-grandniece could ask for a copy of our record from the label and even if it’s out of print, they will print one copy and send it to them.

You have a lot of songs about the hardships and joys of travel and touring, do you guys see yourself touring for another 10 years?

CL: There’s a lot of different factors, I think we’d all like to go as long as we can, but within this 10 years we have fiancés, marriages, children, people living in different states. In 2018, when we got Emerging Artist of the Year [award] at IBMA, I looked at everybody and I said, “OK, if you want out, get out now.” And we all put our hands in and said, “We got this.” We all got together about how if one of us going leave, then we’d all let it go.

We never really felt like there was a place for us for a long long time, so when we found success we felt like, “Wow, we did this together…” I think the future is bright, especially with this new album.

Photo Credit: Michael Weintrob

Country Pickers, Center Stage

Posted on by Justin Hiltner

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Double-, triple-, quadruple-threats are not uncommon in country music, not in the least. It’s a frequent occurrence, tripping over or into a country artist that’s a songwriter, vocalist, multi-instrumentalist, writer, thinker, and so much more. In fact, until more recent decades, wearing many hats was seen as a sort of prerequisite to making hillbilly music. After all, this is “just” country music, it’s got a wide and deep DIY tradition, and the folks who make it often have to also load in the gear, sell the merch, post on social media, and produce the albums, play the demos and scratch tracks, write the lyrics, and otherwise steer the creative ship.

Some of the most successful artists and most original voices in country music are perfect examples of how multifaceted skill sets translate directly to star power. You may not need to be a Telecaster shredder to make it onto the radio or you may not need to be able to pick like Mother Maybelle to make a living, but if you can back up your songs with mighty playing, it certainly translates with audiences.

From Chet Atkins, Dolly Parton, and Wanda Jackson to Charlie Daniels, Willie Nelson, and Bonnie Raitt, here are just a few legendary examples of hugely successful country artists who are or were excellent musicians and instrumentalists, too.

Chet Atkins

A record company executive, producer, and pioneer of the “Nashville Sound,” Chet Atkins was also a one-of-a-kind guitar picker, renowned across the globe for his unique style – which was inspired by Merle Travis. Atkins certainly made “Travis picking” his own, arguably eclipsing all of his predecessors and continuing to influence guitarists today. An inductee of the Country Music, Rock and Roll, and Musicians’ Halls of Fame, Atkins’ impact is hard to understate and his resume includes work with Dolly Parton, Elvis Presley, Hank Snow, Waylon Jennings, and countless others.

DeFord Bailey

One of the first superstars of the Grand Ole Opry, DeFord Bailey was a world-class harmonica player who was also the first Black performer on WSM’s fabled stage. Some sources also credit Bailey as being the first musician to record music in Nashville. However you approach his career and music, Bailey was a seismic presence in the earliest days of country. Born in 1899, Bailey faced constant racism, bigotry, and marginalization on the Opry, in Nashville, and as he traveled and performed. He passed away in 1982 and was posthumously inducted into the Country Music Hall of Fame in 2005.

Glen Campbell

Even at the highest heights of Glen Campbell’s superstardom, he refused to let his superlative instrumental skill take a backseat to his roles as frontman, songwriter, Hollywood actor, TV star, and tabloid veteran. Campbell’s approach to country music as a true multi-hyphenate celebrity bridged generations, connecting the hardscrabble, DIY generations where multiple skills were necessary to make a living to the modern era, where he helped pave a way for famously multi-talented picker/singer/writers like Vince Gill and Brad Paisley to not be pigeonholed as one thing or the other.

Ray Charles

Any conversation around or collection of superlative country pickers and musicians would be glaringly incomplete without the inclusion of Ray Charles. His incursions and experimentations in country music are many and infamous. His 1962 album, Modern Sounds in Country and Western Music is routinely listed as one of the best country albums of all time. He’s worked with and performed with Willie Nelson, Merle Haggard, Ricky Skaggs, Travis Tritt, Johnny Cash, Glen Campbell, and many, many more. Plus, his country forays demonstrate a deep, holistic understanding of the genre. Charles is a quintessential country multi-hyphenate and country-soul in the modern era would feel especially lacking without his seminal contributions to that tradition.

Charlie Daniels

It’s hard not to wonder what young, hippie, “long-haired,” Vietnam War-opposing fiddler Charlie Daniels would have thought of his older self, and his more harebrained and often hateful beliefs later in life. But the controversial and outspoken musician, at all points of his career, was a picker’s picker. Over the course of his life he performed and recorded with Earl Scruggs, Bob Dylan, Leonard Cohen, and many more. But his chief contribution to American roots music may just be his fiery, unhinged fiddling on “The Devil Went Down to Georgia.” Just wander down Lower Broadway in Nashville on any given Saturday night to feel the impact of that particular show-stopper. In this clip, he chats and performs “Uncle Pen” with Scruggs and Del McCoury.

Vince Gill

That buttery voice, that stank-face inducing chicken pickin’, that high, lonesome sound – Vince Gill is all at once country and bluegrass, Nashville and Oklahoma, western swing and old-time fiddle. Whether with The Eagles, preeminent pedal steel guitarist Paul Franklin, the Time Jumpers, or so many other outfits, bands, and iterations, Gill is simply right at home. Because, at his core, he’s just a picker. He may play arenas, but he knows he belongs at 3rd & Lindsley or the Station Inn. Or Bluegrass Nights at the Ryman. A quintessential picker-singer-frontman, Gill continues to define the myriad ways country stars can maintain their selfhood and personality – instrumentally and otherwise – even in their wild successes.

Merle Haggard

Speaking of chicken pickin’, country’s most famous Okie was a shredder, too. A sad song, a glass of (misery and) gin, a Telecaster, and the Hag – that’s all we need, right there. Merle’s playing style, even at its most technical and impressive, was simple and down to earth. You could tell he cut his teeth playing bars, fairs, and honky tonks. You could almost hear him pulling himself up by his bootstraps as he played.

Wanda Jackson

The Queen of Rockabilly has been slaying rock and roll, hillbilly music, and the guitar for more than seventy years. In 2021 she released her final album, Encore, when she was 84 years old. It features her signature passion and fire – and performances by Elle King, Joan Jett, Angaleena Presley, and more. Jackson has been representing the vital contributions of women to rockabilly and rock and roll for her entire career, just as often commanding the stage with her growly, entrancing voice and her powerful right hand.

Willie Nelson

Who would Willie Nelson be without Trigger? Without a tasty, less-is-more, nylon-string guitar solo? For decades, Nashville, Music Row, and guitar players around the world have been emulating his particular sound as a guitarist – whether they know it or not. Sure, he’s a hit songwriter, a star and front-person, a collaborator of Snoop Dogg and Frank Sinatra, and a connoisseur of fine bud, but perhaps more than all of these accomplishments, Willie is an impeccable picker. He can hold his own with the best of the best, because he is the best of the best.

Brad Paisley

Brad Paisley’s fame crested at perhaps the perfect time for him in country music, combining a rip-roarin’ guitar playing style with a sound that was entirely trad while carrying touches of the bro country wave that was about to inundate the genre. As such, he was able to build a career on the diversity of his skill set, before Music Row and the power behind it began prioritizing music that didn’t need to be musical and voices that didn’t need to be singular. Luckily, Paisley is both those things and more, and despite the many eyebrow raising moments across his career, our faces more often show shock at his mind-bending skill as a guitarist than anything else.

Dolly Parton

How is it that Dolly Parton can play so many instruments so impeccably with those iconic acrylic nails!? Nowadays, you are just as likely to hear Dolly performing to a track – yes, she does lip sync and pantomime playing along with recordings – but don’t get it twisted, she absolutely can play a passel of instruments from her beloved “mountain music” traditions. She plays guitar, banjo, auto-harp, dulcimer, and has even been known to pick up a bedazzled saxophone from time to time – though we can’t guarantee she actually knows how to play that one, we’re still blown away.

And what about thatone viral video with Patti LaBellewhere they play their acrylics like washboards? Dolly can make music with just about any instrument.

Bonnie Raitt

How many people do you think enjoy Bonnie Raitt’s soulful blues and Southern rock sounds without knowing she’s also often the one playing the guitar solos and making that bottleneck slide weep? Raitt is a Grammy winning songwriter, a fantastic vocalist and song interpreter/collector, and – above all, in this writer’s opinion – a superb guitar picker, especially playing slide. She can hold her own with just about anyone, and she has. Her phrasing and use of melodic space demonstrates that she’s been honing her craft for her entire life. That taste can’t be taught, it has to be found. Boy, has she found it.

Marty Stuart

Marty Stuart’s long, fabulous, superlative career began with him filling the role of sideman for such luminaries as Lester Flatt, Johnny Cash, Vassar Clements, and Doc Watson. He plays guitar and mandolin, working up his chops as a youngster with pickers like Roland White as his mentors. When his solo career took off after his Columbia debut in the mid-eighties, his ear for fine picking remained present throughout his music – however far afield from those early bluegrass and country days he may have traveled, stylistically. Whether bringing in psychedelic surf sounds or Indigenous flavors of the American West, Stuart’s catalog of music centers virtuosity that’s never gratuitous. And his band, the Fabulous Superlatives, featuring crack guitarist Kenny Vaughan and multi-instrumentalist Chris Scruggs, represent a high level of picking prowess, too.

Tedeschi Trucks Band

By many measures, Derek Trucks is the world’s foremost living slide guitarist, but don’t overlook powerhouse vocalist and co-band leader, Susan Tedeschi in order to venerate Trucks! Both started playing as youngsters – Trucks when he was a kid and Tedeschi when she attended Berklee College of Music. These two are guitar and blues royalty, helming one of the most impactful modern blues and Southern rock orchestras on the planet. They’re consummate musicians, knowing just how to surround themselves by players who support and challenge, both. Even with their laundry list of personal accomplishments, together, Tedeschi & Trucks – who are also married – are so much greater than the sum of their parts.

Keith Urban

Keith Urban brings a scruffy, down to earth guitar playing style to his polished and glam mainstream country sound. Yes, even as far away as Australia, having instrumental chops means having country currency. When he moved to Nashville in the early ‘90s, with a few Australian radio hits and awards under his belt, he immediately found work as a side musician and co-writer in Music City. It wasn’t long until his star ascended stateside, too – and then, as quickly, around the world – bolstered by arena-ready guitar. Now readying his first album since 2020, Urban shows no signs of slowing down, with the music or the picking!

Photo of Glen Campbell courtesy of the artist.

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Tim Stafford Shares Memories of Steve Gulley, Alison Krauss, and Tony Rice

Posted on by Editor

Tim Stafford could be renowned for any one of his many contributions to bluegrass music over his prolific career, his talents as a musician and writer having been showcased in so many of its important creations. He is perhaps most well-known as a founding member of Blue Highway, one of the most influential and decorated bands in bluegrass. Prior to that, he formed Dusty Miller in the late 1980s, and Alison Krauss hired him in 1990 as part of her band, Union Station, with whom he recorded the Grammy-winning album, Every Time You Say Goodbye.

Stafford is also an accomplished author. In 2010 with Caroline Wright, Stafford issued Still Inside: The Tony Rice Story, the authorized biography of the flatpicking icon and Bluegrass Music Hall of Fame member. As a songwriter, Tim has placed more than 250 cuts and was named IBMA’s Songwriter of the Year in 2014 and 2017. He notably co-wrote IBMA’s 2008 Song of the Year, Blue Highway’s “Through the Window of a Train,” with Steve Gulley. Tim and Steve were frequent collaborators and released a duo album in 2010 called Dogwood. Ten years later, they created another album of co-written material, but Gulley passed away suddenly from cancer soon after it was completed, making the title, Still Here, all the more meaningful.

BGS: How does it feel to release this record? With Steve’s unexpected passing I imagine it must be a more heavy feeling than a typical record release.

TS: Yeah, I’m really glad it’s finally out. Steve was really looking forward to this record coming out. We were both excited about the songs and it ended up being his last recording, which was hard on all of us. And now it’s part of his legacy. After Steve passed, I talked to the label about maybe coming up with a different title besides Still Here, but we decided it was a very appropriate title because his music is still here. He would have been proud of it. I know that for sure.

How long had you known Steve?

I didn’t know him when I was younger, although he was around and playing. He was mainly playing up at Renfro Valley in Kentucky and he didn’t travel much until he joined Doyle Lawson & Quicksilver which would have been in the late ‘90s or around 2000. I was playing a festival somewhere with Blue Highway and he came up to the record table and we started talking like we’d known each other forever because we knew a lot of the same people. We just hit it off. He was the one that first suggested we write and it was either the first or second time we got together we wrote four songs in one day. And all four of them got cut. I felt like at that point we had something special. We seemed to have a wavelength that we could touch off of each other. That’s really rare. You don’t get that with a lot of people.

The subject matter in the songs on this record seems very personal, and often about people you know. I would imagine that it’s sort of therapeutic, maybe in the same way that journaling might be, to write about personal things like that. Is that how you feel about it?

That’s a good way to put it and I did used to journal. Some of them, like “Back When It Was Easy,” are just about general topics that we know about. Whereas “Long Way Around the Mountain” and “She Threw Herself Away” are about things that actually happened that we chronicled about friends. And sometimes they are big stories that you just can’t stay away from. “She Comes Back to Me When We Sing” is a story we’d both seen on Facebook about this guy’s mother who was in advanced stages of Alzheimer’s and didn’t know anybody until she sang with her son. And when that happened, she remembered all the words and she could remember everything. We thought that was a really inspirational story and deserved to be a song.

You’ve been writing for so long that it seems like you’ve been able to build the skill of telling a story through song, rather than narrating a timeline to music.

Yes, that’s where it’s at. That’s where the craft comes in that you only develop by doing it. I really didn’t know how to write a song when I started. But you learn little things along the way through trial and error. It’s like anything but it’s really difficult to learn how to do something like write a song out of a book — although I have a whole collection of them here. I have lots of books about songwriting like Jimmy Webb’s Tunesmith and Sheila Davis’ The Craft of Lyric Writing which is really good. You can learn tips, but you’re not going to learn how to write from a book. So it’s a matter of doing it.

I don’t remember exactly where I heard it, but I think I remember Jimmy Webb talking about writing “Wichita Lineman” and him saying that it was fully fictitious. But that he felt like, as a songwriter, he should be able to write about people he didn’t know. That he should be able to understand people well enough to write a story that was convincing without it having to be true. I could be misremembering that, though.

You may not be. I think that there’s actually a book out about that song, “Wichita Lineman,” that I finished here last year and I believe you’re right and he’s right. I think that being able to tell a story about somebody you don’t know is important. There’s a song that I wrote really early on called “Midwestern Town” that Ronnie Bowman recorded. That song is totally fictional. I didn’t know anybody like the character in that song. But I’ve had a lot of people come up and say that they did know someone like that or that it could have been them and that song made a big difference to them. It was a comforting song. You’ve got to be able to get inside people’s heads and think the way that they would. You have to know what your character might do in any given scenario. I can’t remember all the times I’ve been co-writing and said, “What would this guy do?”

Have you written songs as long as you’ve been playing guitar? When did you started writing songs?

I guess I wrote all the way back when I first started playing guitar, but I wasn’t really serious about it. I had written some songs before I played with Alison in the early ‘90s and we actually recorded one of them, but it never came out which was my fault. She wanted to put an instrumental I’d written called “Canadian Bacon” on Every Time You Say Goodbye, but I talked her out of it. I told her we needed to record “Cluck Old Hen” because we were so psyched about Ron [Block] being in the band and his playing on that. And I don’t regret that though it probably would have meant more money.

You were in Union Station from 1990 to ‘92, right? That was a very cool lineup of that band. How did you feel about it at the time?

I was blown away by it. I loved it and it was really cool that it worked out because the first time she talked to me about playing with her, it was back when I was in a group called The Boys in the Band. We played at SPBGMA and her band was there but her guitar player, Dave Denman, was leaving. She called me a few weeks after that and asked if I’d be interested. At that point, she had only recorded Too Late to Cry and I was really impressed with the songs, with John Pennell’s writing, and her singing. I had already committed to playing with a different group though so I had to decline.

About two or three years later I had started a group called Dusty Miller that she was a fan of. That band had Barry Bales and Adam Steffey in it. The three of us kind of grew up together playing music. We’re all from Kingsport, Tennessee. I actually gave Adam his first mandolin lesson, which is such a joke. [Laughs] Adam didn’t know anything about the instrument at all at the time. I tried to show him some stuff and I just kept thinking, “That guy’s never gonna get it.” And I barely knew how to play myself but I tried to show him “Bluegrass Breakdown” and he just couldn’t get it. He got with a different teacher after that and got real serious about it. The next time I saw him play, I was like, “What happened here?” [Laughs] It was like the most amazing thing I’ve ever seen in my life. I take absolutely no credit for that whatsoever.

Barry Bales was a student of James Alan Shelton. And James and I both taught at the Guitar Shop in Kingsport. That’s where I met Adam and gave him that lesson, and I met Barry down there, too. We all three ended up playing in The Boys in the Band. And then we started Dusty Miller. Alison liked that rhythm section so she offered the job to all three of us at the same time, and we took it. This was early 1990 and we played our first show in May — I think it was at the Station Inn. It was just incredible. We played some amazing places, but it was during the period of the band when we were all traveling in a van and staying in one hotel room.

I was playing with Alison when I met Tony Rice. We ended up playing a lot of shows together because he and Alison had the same agent and were on the same label. I never will forget the first time I really ever talked to Tony much. We were playing right before him at Winterhawk (which is now Grey Fox) and I broke a string on the last song we played. We got a standing ovation so I was backstage digging around, trying to find a string so we could do an encore. And Tony walks over with “the antique” and says, “Hey, man, here, play this.” I had a smile from ear-to-ear and Alison was smiling too.

What was it like getting to put that biography of Tony together? What led to that?

Well, a few years after that, after I left Union Station and started Blue Highway, I was still playing shows with Tony because Blue Highway had signed with Rounder, too. We were at a show with Tony and I said, “Man, have you ever thought about a biography?” And he said, “Well, actually, yeah, I have thought of that. But I’ll tell you what,” he said, “I think you’d be the ideal person to write it.” I said OK and started on it. That was about 2000 and it took 10 years to finish.

Three years into it, Caroline Wright came on board through Pam [Rice, Tony’s wife]. Caroline is a journalist and her mom was a member of the bluegrass community from New York state. Caroline lived in Hawaii at that time and had written a really well-done article about Tony in Listener magazine. I had started Tony’s book, but I was bogged down with it and wasn’t making a lot of progress and Pam suggested that Caroline come on board. We did four or five major, huge interviews with Tony that could have each been a book by themselves. And when we started transcribing them, we realized that Tony was so eloquent that we had to put it in Tony’s words. We couldn’t make it a narrative biography. That’s why it’s laid out the way it is. It’s chronological but in Tony’s words.

I’m really glad that we got to do it. Somebody would have done a book on him eventually, but I’m really glad that it came out before he left us. He’s one of those generational talents. I just don’t know that there’s going to be many people ever come along again who have an impact like that. He’s in the same league as Earl Scruggs, a top talent who created a language on the instrument.

So, it’s been a weird year, obviously. What have you been doing during this time?

I’ve been doing a lot of co-writing over Zoom. The other day I wrote my one-hundred-and-fourteenth song since the pandemic started.

Whoa!

Thomm Jutz and I’ve written 40 or so, just the two of us and, you know, you just get into the habit of doing it every week. I feel like Zoom is going to stick around and be the standard after the pandemic. I think it’s changed the way a lot of people think about co-writing. It makes you more disciplined and more productive. The technology just makes it easy. There’s no reason now for me to make a trip to Nashville, which is like four and a half hours, and get a hotel and all that when I can do all of it from home on my computer.

When you’re writing or doing work, are you the sort of person that has to change into regular people’s clothes to feel productive, or can you stay in your pajamas and be productive?

I think I’ve written at least a hundred of those 114 songs in my pajamas. [Laughs] I’m not going to dress up, I just want to be comfortable.

Photo credit: Ben Bateson

21st Century Bluegrass: a BGS Playlist of a New Generation

Posted on by Editor

In the year 2000, a bunch of well-funded music websites were cropping up, with odd names like CDNow and SonicNet, so there was always a steady demand for country-related content — and luckily for me, that included bluegrass. I remember the buzz about O Brother Where Art Thou?, but the older writers claimed those assignments, and since I was still in my 20s, I often landed the interviews and reviews that involved promising new talent, which gave me an opportunity to see a generation of acoustic musicians like Nickel Creek, Michael Cleveland, and Steep Canyon Rangers come of age.

From 2002 to 2015, I had a full-time writing job for a cable network, which led to countless CDs arriving at the office and my name at the door for most country and bluegrass shows, but more often than anywhere I’d go to the Station Inn — and in 2007 ended up writing about the place itself. I’d go see the Infamous Stringdusters while they were still calling themselves Wheelhouse, line up for Old Crow Medicine Show before “Wagon Wheel” became a honky-tonk anthem, and go listen to exceptional singers like Alecia Nugent or Bradley Walker every time they played that stage.

After attending the IBMA conference for the first time in 2002, I watched Doyle Lawson & Quicksilver hit those harmonies on The Hard Game of Love album while I sat on the floor of a Louisville hotel room, literally at the feet of the master. I’d never been to anything quite like it and I did my best to learn everything about the history. I kept my bluegrass CDs in a separate drawer so I could always get to them when I needed to focus or unwind — I’m not a musician myself, but something about acoustic music helps me unplug, so to speak. To see the IBMA World of Bluegrass conference grow into a massive event in Raleigh is thrilling! Now, as managing editor of BGS, my role is to share new roots music with readers, though the 75th birthday of bluegrass seems like the right time to look back on 21st century arrivals on the scene.

Also, as part of our Bluegrass 75 series, be sure to read about the first generation of bluegrass, an exclusive interview with Rodney Dillard, our two-part oral history with New Grass Revival, and a tip of the hat to the women in the ’80s and ’90s who made bluegrass better.