Tag: Yamaha Guitars

2024 BGS Holiday Guide

Posted on by Justin Hiltner

It’s the most wonderful time of the year! As we count down the days to holiday and family gatherings, our to-do lists stack up, getting longer and longer.

Not sure what to get the musicians, roots artists, and music lovers in your life this year? Never fear! Together with our BGS team, our partners, and our friends and neighbors, we’ve compiled a holiday gift guide that will hopefully put a sizable dent in your shopping list.

Below, check out essential festivals, tried-and-tested gear, superlative instruments, exciting and engaging books and albums, and perfectly on-theme trinkets for all the music obsessed giftees in your life! Maybe your loved one needs a music museum membership? Or perhaps they’re starting up a brand new musical hobby. Know someone who can’t get enough of music and the outdoors? We’ve got ideas for them, too.

The holiday season is the perfect time of year for the love and joy of roots music and we hope, with our 2024 Holiday Guide, you’ll be able to have a cheerful and dreamy December and a delightful new year – with a bumpin’ bluegrass, country, and Americana soundtrack.

For Getting Into the Holiday Spirit

Dust the Halls: An Acoustic Christmas Holiday
(Signed, only 25 available) – $35.99

The Infamous Stringdusters have announced a new color variant for Dust the Halls: An Acoustic Christmas Holiday, releasing on vinyl via Americana Vibes. This is the eighth studio album from the GRAMMY-winning band, who put their signature acoustic bluegrass twist on timeless holiday classics. Recorded remotely during the 2020 pandemic, the record showcases the Stringdusters’ unmatched ability to collaborate from afar, weaving together intricate arrangements and harmonies that make each track sparkle with warmth and cheer.

PURCHASE HERE | STREAM HERE

Musical Instrument Museum Holiday Ornaments – $12 & up

Our friends at the Musical Instrument Museum in Phoenix, Arizona, have the most adorable and festive collection of instrument and music-themed holiday ornaments available at their museum gift shop and online. Choose from treble clefs, banjos, violins, bongos, bagpipes, acoustic guitars – with and without cutaways! – and so much more. Maybe throw in a MIM membership as well, to receive 20% off most purchases. Anddd because this is a museum with a mission worth supporting, as they highlight all musical genres and traditions, from classical to bluegrass, folk, Americana, and beyond.

PURCHASE HERE

For Starting Up a Brand New Hobby

Deering Goodtime Deco Banjo – $579 & up

Unwrap the gift of music this holiday season: Save 10% on Deering Goodtime Deco Banjos! Looking for the perfect present for the aspiring musician on your list? Look no further than Deering Goodtime Deco Banjos. Our Goodtime banjos are the #1 choice of banjo teachers for beginners! Use this special BGS discount code below to save 10%.

More than just a beginner’s instrument, the Goodtime banjo is crafted with high-quality materials and American-made construction, ensuring it will last for years to come. Plus, its light weight makes it ideal for travel, jam sessions, and impromptu gatherings – perfect for creating lasting musical memories together.

Use this discount code to save 10% on Goodtime Deco banjos! BGS24HOLIDAYBANJO10 (Offer valid 11/29/24 to 12/31/24)

PURCHASE HERE

Peghead Nation Lessons

Peghead Nation is celebrating its 10th Anniversary of teaching the world to play bluegrass, old-time, swing, Irish music, and other roots music styles – and we’re just getting started! With 75 streaming video courses and live workshops taught by the best instructors and players in the acoustic music community, you can learn guitar, mandolin, banjo, fiddle, Dobro, ukulele, bass, and voice, no matter where you are in your musical journey.

Join us in any course now and get your first month free with the promo code BGS10. Or, save on gift subscriptions for your musical friends and family members. We can’t wait to hear the music you’ll make!

PURCHASE HERE

On Banjo: Recollections, Licks, and Solos
by Ben Eldridge with Randy Barnett – $39.95

Just getting started on banjo? You picked the correct new hobby. Now you can select the perfect instruction book to get you up to speed. The late Ben Eldridge, a legendary five-string banjo innovator, combines memoir, instruction, tablature, and more in his excellent book, On Banjo – written with Randy Barnett and featuring a forward by Béla Fleck. It’s a perfect compendium for beginners and veterans alike, filled with stories, memories, and plenty of Eldridge’s idiosyncratic and mind-bending licks and solos. Build your banjo picking on a solid foundation with this book!

PURCHASE HERE

For Professional Touring Musicians

D’Addario Cradle Capo – $72.99

With its stainless steel, self-centering design, D’Addario’s Cradle Capo ensures even tension across the fretboard. Its adjustable micrometer lets you dial in the perfect pressure, while allowing the freedom for quick transitions and the ability to stay on the guitar, even when not in use.

Order one for yourself or surprise a friend this holiday season with the perfect gift for every bluegrass guitarist!

PURCHASE HERE

Preston Thompson Guitars Brazilian Dreadnought 

Noted for their power and immediate, responsive voice, Preston Thompson Guitars pay tribute to the best American-made instruments from the 1930s. Master guitar luthier Preston Thompson started with a small team of highly skilled craftsman to produce custom acoustic guitars that have the look, playing feel, and above all, the sound of the best instruments from that original golden era of guitar making.

Thompson Guitars are built strong and light with time-tested designs and construction methods, providing a lifetime of enjoyment. Our instruments are handmade every step of the way, from the finest woods available.

Check on their website for possible ready to ship models available – a rarity for this custom shop! BGS readers can receive an exclusive 10% discount on all custom orders placed before January 31, 2025 using the code THOMPSON10.

PURCHASE HERE

Audigo Wireless Mic – $219 & up

Audigo’s wireless, social media- and content capture-ready mics are seemingly everywhere these days. And for good reason! With their easy-to-use app, you can record multi-track audio and video at the highest qualities, recording from multiple Audigo mics simultaneously to one iPhone.

Audigo makes the kind of rapid content creation necessary for all levels of artists and bands at this point in time infinitely easier and strikingly seamless. Ready to make the plunge into vertical video content? Ready to shoot your own music videos? With Audigo, you can. And you won’t have to sacrifice quality.

PURCHASE HERE

Loop Earplugs – $19.96 & up

Acoustic and roots musicians know that your hearing is worth protecting! Keep your own ears – or those of your professional touring loved one – cared for over the long haul with a pair of Loop Earplugs. Stylish and functional with a futuristic look, Loop Earplugs have received glowing reviews from consumer outlets like NYT‘s Wirecutter and offer a range of options, features, and styles. Whether you’re a casual concert goer or you spend each night on stage camped out in front of a drum kit, Loop has earplugs for you.

Take care of your ears now, so you never miss a single pluck or twang of your jam sessions down the line.

PURCHASE HERE

Yamaha Guitars FS9 M – $3,999.99

Handcrafted in Japan, the FS9 M concert-style acoustic guitar offers extraordinary projection and produces an open, clean sound with mid-focused warm tones at any volume — ideal for singer-songwriters who play subtle arpeggios or fingerstyle.

The FS9 M features an Adirondack spruce top, “modified V” bolt-on neck, scalloped Adirondack X bracing pattern, 25-inch scale, African mahogany back/sides, and a beautiful, gloss nitrocellulose finish. Traditional Japanese details include a washi paper label, rope purfling and inlay on the rosette, and Kumiki woodworking-inspired fret markers.

PURCHASE HERE

Calton Cases

Calton Cases set the standard for professional, flight-ready, peace-of-mind instrument cases – for all kinds of players, genres, and styles. We love the wide range of colors – especially the glitter options! – and options, and that you can secure your precious axes no matter what you play or travel with. From gear and electric guitars to mandocellos and bouzoukis, professional touring musicians can rest easy whether there’s space in the overhead bins or not.

If you have a professional touring musician in your life, ease their travel anxiety this holiday season with a superlative Calton Case.

PURCHASE HERE

For the Music Lover Who Has Everything

Oxford Pennant

Officially licensed handmade flags by Oxford Pennant in Buffalo, New York! John Prine, Willie Nelson, Jason Isbell, Turnpike Troubadours and many more artist collaborations available here.

We’ve loved every time we’ve gotten to collaborate with Oxford Pennant over the years and we can’t recommend their fine work highly enough. From the stages of Newport Folk Festival to our own closets, mantelpieces, and walls, Oxford Pennant fits just about everywhere – especially wrapped up with ribbons and bows for the music lover in your life who already has everything!

PURCHASE HERE

Earl Scruggs Music Festival – $150 & up

We’ve said it before, we’ll say it again: No one is producing bluegrass festivals like the Earl Scruggs Music Festival in Mill Spring, North Carolina. We’ve partnered with the event each year since its debut in 2022 and they continue to raise the bar for roots music festivals year over year. Held at the luxurious grounds of the Tryon International Equestrian Center in the foothills of the Blue Ridge Mountains, ESMF is just minutes away from where Scruggs himself grew up and established his unique playing style. Scruggs’ surviving family members play a big role in the festival, too, which is a partnership between the Earl Scruggs Center in Shelby, NC, the Equestrian Center, and WNCW.

We can’t wait to return to ESMF in 2025 for another weekend of bluegrass, country, Americana, and more – with amazing food, beautiful views, and gorgeous, well-maintained grounds. From tent camping to tiny-cabin glamping, from food truck barbeque to gourmet, wood-fired Italian food, from Twisted Pine to Marty Stuart & His Fabulous Superlatives, Earl Scruggs Music Festival has something for everyone.

PURCHASE TICKETS HERE

Taylor Rushing x BGS Mercantile Graphic Tee Collab – $32

We are so excited to launch a brand new merch collab on the BGS Mercantile featuring art and design by the one and only Taylor Rushing of NOT BAD Illustration. We’ve gotta say, these designs are not bad!

Our two brand new, exclusive additions to the BGS Mercantile feature bespoke designs by Rushing that celebrate the launch of our new vertical and email newsletter, Good Country. Wear your love for good country music of all varieties on your sleeve– er, or on your chest. We love these timeless, simple illustrations printed on cozy, comfortable tees. Pre-order now for holiday delivery and be one of the very first BGS fans to own the new, limited edition designs. All while testifying your commitment to Good Country and NOT BAD country.

PURCHASE HERE

Music Museum Memberships – $60 & up

Okay, so you have a music lover in your life that already has everything? Why not gift them a membership to two first-class music museums in Nashville, Tennessee? The next time they visit Music City, they’ll have the inside access of a true local.

We can’t recommend the National Museum of African American Music ($60 for an annual individual membership) and the Country Music Hall of Fame & Museum ($65 for an annual individual membership) highly enough! These two incredible institutions – who often collaborate and co-produce programming and events – tell detailed, thoughtful, and nuanced stories central to Nashville, and to country, pop, and African American musics. Between the two, you can gain an incredibly holistic viewpoint of American popular music and the many threads woven throughout its traditions.

With a gift of a museum membership, you’re giving something that will keep on giving. Knowledge, expertise, insight, culture, community, and so much more come hand-in-hand with a membership to each of these fine institutions.

Plus, the Country Music Hall of Fame is currently running a special membership discount! Between November 4 and January 2, the museum is offering new members will get $5 off Troubadour Individual and individual-level memberships and $10 off Troubadour Dual and family-level memberships! Now’s your chance to save a bit of money and support the museum’s mission, too.

PURCHASE NMAAM MEMBERSHIP HERE | PURCHASE CMHOF MEMBERSHIP HERE

White Limozeen by Steacy Easton – $10.46

New this year from BGS contributor, freelance writer, and author Steacy Easton, White Limozeen is part of the essential and exhaustive 33 1/3 series from Bloomsbury. Easton is the perfect thinker to take on Dolly Parton’s White Limozeen, an album that joined her catalog at a critical juncture in her career. The book is certainly well-timed, releasing at a time when Parton’s current career continues to raise the ceiling time and time again for her own success, while reaching points of ubiquity and mainstream recognition she may have never considered possible – certainly not at the time of White Limozeen‘s making.

The book is an easy (while dense and informed) read that examines canon, mythos, the construction of image and self, and so much more. Pick it up now for a perfect holiday gift for the Parton acolyte or new initiate on your list.

PURCHASE HERE

Keep your eye out for our full 2024 music books guide coming to BGS soon, too!

For the Outdoor Festival Enthusiast

WinterWonderGrass – $249 & up

WinterWonderGrass enters its 12th year in Colorado, remaining true to the deep community it has built while celebrating the music and connections that bring us all together. In a world where many small, independent festivals have disappeared, this festival is committed to honoring bluegrass legends while embracing fresh new talent and filling their community’s cup.

WinterWonderGrass is part music festival, part beer festival, and part family reunion. The event boasts four stages, three of which are under huge heated tents, a robust kid’s zone, local food trucks, a VIP area, and a coffee bar. Plus, two hours of free beer, wine, spirits, and non-alcoholic tastings from 2:00 – 4:00 pm daily.

Join the festival in Steamboat Springs from February 28 to March 2, 2025! This year’s lineup features an incredible array of artists, including Trampled by Turtles, The California Honeydrops, Kitchen Dwellers, Leftover Salmon, Daniel Donato’s Cosmic Country, Sam Bush Band, Yonder Mountain String Band, The Brothers Comatose, Lindsay Lou, Mountain Grass Unit, and more

Enter the WinterWonderGrass holiday giveaway for a chance to win WWG VIP tickets, ski passes, Mountain Top Dinner passes, tickets to all late nights, and more! Enter to win here.

PURCHASE TICKETS HERE

Camp Snap Screen-Free Digital Camera – $59.99 & up

An essential accessory we bring along to nearly every music festival, conference, and event we attend, Camp Snap’s screen-free film-style digital cameras bring back joy and mystique to point-and-shooting. Don’t take our word for it, either, you can check out our Camp Snap shots from our cruise with Cayamo earlier this year.

If you’re stumped brainstorming gift ideas for the music lover who already has each and every thing you can imagine, why not get them a Camp Snap? The photos are charming, high quality, with plenty of personality. And they bring back some intention and deliberation to the usual social media grind. It’s like a disposable camera, but not! Like shooting Polaroids, but with an exciting period of suspense and anticipation. With sync capabilities via USB-C or SD card, it’s a breeze to use. Bring Camp Snap to your next festival or show!

PURCHASE HERE

Kelty Packs – $19.95 & up

 

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When you go to as many festivals, concerts, and music events as we do – or as the average outdoor festival enthusiast – you daydream a lot about the perfect pack. We happen to love Kelty, and their fabulous array of fanny packs, belt bags, backpacks, and beyond. From arduous and involved backpacking trips to quick jaunts to the farmers’ market, Kelty has something for every application.

We know our Kelty Packs would be right at home at WinterWonderGrass or Earl Scruggs Music Festival, both. They’re perfect for a carry-on bag, too! Plus, don’t miss their selection of tents, sleeping bags, camp chairs, and more to finish outfitting your festival campsite.

PURCHASE HERE

This content brought to you in partnership with BGS sponsors Americana Vibes, Yamaha Guitars, Deering Banjos, Thompson Guitars, D’Addario, WinterWonderGrass, Earl Scruggs Music Festival, Peghead Nation, and Oxford Pennant.

Yamaha’s Groundbreaking Second-Generation TransAcoustic Guitar

Posted on by Justin Hiltner

Yamaha Guitars knew they were breaking ground – and raising eyebrows – when they debuted their TransAcoustic Guitar at the 2016 winter NAMM and Musikmesse trade shows. The original TransAcoustic Guitar turned heads immediately, thanks to its innovative technology and, of course, the quality acoustic guitar body and sound that musicians have long associated with the Yamaha name.

Fast-forward eight years and Yamaha has introduced the second-generation TAG3 C, a completely new model offering advanced features and more options. With Bluetooth capability, a built-in looper, a rechargeable battery with a five- to eight-year life, iOS and Android compatibility, and a plethora of controls and effects — reverb, chorus, delay, its TAG Remote app, and more — the TAG3 C is a workhorse, opening new avenues for artistry at all levels. It’s also a beauty, with its dreadnought body, solid Sitka spruce top, and solid mahogany back and sides.

The TAG3 C was designed for guitarists and, in a sense, by guitarists. When the first generation entered the marketplace, Yamaha’s Product Manager, Shingo Ekuni, was hands-on with customer reviews and interviews – what they liked, needed, and ultimately wanted. “We concluded that we needed more capabilities for creative players,” he says, “for the person who is proactively doing their practice at home or creating songs at home.”

This presented the challenge of creating a high-tech yet user-friendly guitar that sparks interest in tech-minded musicians without alienating traditionalists. “From my perspective as a player, and with most of my friends also being musicians, guitar players can be very particular about their sound,” says Yamaha’s Marketing Manager, Brandon Soriano. “They want the level of control. One person might prefer a plate reverb while another prefers a hall. They might want a very specific decay time or tone, and the same thing goes for chorus or delay. At the same time, guitar players don’t want a lot of barriers to actually playing the guitar. They don’t want an overly complicated user interface and experience. The way the TAG3 C is structured, you get all of the control over the specific sounds you want in the app, but when it comes to actually using the guitar, it’s a very simple interface.”

A cursory glance at the TAG3 C might cause one to scoff, “Second-generation guitar, TikTok-generation players.” But – curmudgeons rejoice! – this is not the case. No interest in apps? No worries. “You don’t need internet to use the guitar,” says Soriano. “You don’t have to connect it to Wi-Fi. And it doesn’t require the app to run. Straight out of the box, without downloading the app or anything, you can turn the guitar on, effects will already be dialed in, and you can use all the functionality.

“If you want to use the Bluetooth audio, of course you need to connect your phone or another Bluetooth output device. And if you want to get into the parameters of the effects, like changing from a plate reverb to a hall, that’s where you start using the app. But you can fully use the guitar without using the app.”

“Something really great with this guitar is the quality strictly as an acoustic guitar,” he adds. “It’s built to Yamaha standards, which, as we all know, are very solid, rigorous, and high level. Even if you were to take out all the technology, I would still love it just as an acoustic guitar. I think that’s going to add to people wanting to pick it up.”

“Nowadays, with our mobile devices, the ‘smart’ devices, with tools for guitarists, everybody is using the tuner, the metronome, [from] the very basic stuff to more complex and connected devices,” says Ekuni. “Customers are happy to accept new technology for a new type of product. Parallel with that, the TAG3 C is an authentic acoustic guitar, but the technology can expand the possibility of acoustic guitar playing.”

“We are in a technological age, and it’s all around everybody all the time,” Soriano agrees. “There is a little more open-mindedness to innovation, even in commonly traditional circles like bluegrass, for example. Customers also want to know that their money is well spent and that they can be confident in their purchase from a quality standpoint, durability, sound, playability, all those things. Those are some of the main pillars of Yamaha — delivering the best quality for the money at any price point, from the $400 guitars to the $4,000 guitars.”

This content brought to you in partnership with BGS sponsor Yamaha Guitars. Discover more about Yamaha Guitars and the TAG3 C here.

Photos courtesy of Yamaha Guitars. 

You Gotta Hear This: New Music From Mason Via, Golden Shoals, and More

Posted on by Justin Hiltner

Our weekly premiere round-up kicks off this fine Friday with a new video from singer-songwriter Kelley Mickwee from her upcoming release; it’s the title track and her favorite song from her upcoming album, “Everything Beautiful.”

We continue with some bluegrassy old-time from duo Golden Shoals, showcasing “Milwaukee Blues,” a staple on their set lists and at their live performances. And, fellow bluegrass artist and songwriter Mason Via brings us his brand new single co-written with Charlie Chamberlain entitled, “Falling.”

To wrap up the week in premieres, don’t miss two new BGS-produced video sessions that hit the site this week. First, the latest in our Yamaha Sessions featuring shredder Trey Hensley, followed up by a bonus DelFest Session from Mountain Grass Unit celebrating their new EP, which dropped today.

It’s all right here on BGS and frankly, You Gotta Hear This!

Kelley Mickwee, “Everything Beautiful”

Artist: Kelley Mickwee
Hometown: Austin, Texas
Song: “Everything Beautiful”
Album: Everything Beautiful
Release Date: September 27, 2024
Label: Kelley Mickwee Music

In Their Words: “My favorite track on the record. A love song, which are rare and hard for me to write. This one started as a poem, sitting on my back porch one late afternoon as the dragonflies swarmed the yard and the hummingbirds fought over the feeder. I was all of a sudden just overcome with such deep love in my heart. Sent some words to my dear friend, Seth Walker, and he put this beautiful melody to it before I even woke up. It’s the first song we have written together of what I hope is many more to come.” – Kelley Mickwee

Golden Shoals, “Milwaukee Blues”

Artist: Golden Shoals
Hometown: Nashville, Tennessee and Vancouver, British Columbia, Canada
Song: “Milwaukee Blues”
Release Date: September 27, 2024

In Their Words: “‘Milwaukee Blues’ has been a staple of our live show for years. It’s got a fun, silly vibe, but it’s about the very real perils of hoboing in the 1920s. That smiling on the outside/crying on the inside dichotomy is one of the most fascinating things about bluegrass and old-time music. Though we focus more on our original songs, our early tours were always based around fiddler’s conventions – Mt. Airy, Galax, Clifftop, etc. Playing old fiddle tunes and songs is how we started to forge our own sound and how we met our dearest musical pals. We’ve released collaborative old-time albums before (Milkers and Hollers and Tune Hash), but this is our first time stripping it down to the duo. We usually do one or two of these tunes at each show and we wanted to get them down for posterity, and for the old-time fans! Tracks will continue to trickle out over the next year, culminating in a full 14-track album.” – Mark Kilianski

Mason Via, “Falling”

Artist: Mason Via
Hometown: Nashville, Tennessee
Song: “Falling”
Album: Mason Via
Release Date: September 20, 2024 (single)
Label: Mountain Fever Records

In Their Words: “I co-wrote this song with Charlie Chamberlain, who’s known for his work on several Songs From The Road Band albums. We initially crafted this track as a companion piece to ‘Melt in the Sun,’ another song on the upcoming record. Originally, we intended for it to be recorded with my psychedelic electric side project as a rock and roll party anthem. It wasn’t planned for this bluegrass album, but after bassist and dobro player Jeff Partin singled it out as his favorite from the extensive list of songs I shared with him and the producer, I decided to include it at the last minute. I’m glad we included it because it blends that distinctive Mountain Heart newgrass drive with lyrics that are perfect for getting people moving.” – Mason Via

Track Credits:
Written by Mason Via & Charlie Chamberlain.
Mason Via – Lead vocals, guitar
Aaron Ramsey – Mandolin
Jason Davis – Banjo
Jim Van Cleve – Fiddle
Jeff Partin – Bass, Dobro
Kyser George – Guitar
Brooks Forsyth – Baritone harmony
Nick Goad – Tenor harmony

Yamaha Sessions: Trey Hensley, “Can’t Outrun the Blues”

Our Yamaha Sessions continue, highlighting the top-notch Yamaha FG series of acoustic guitars and the killer musicians who utilize them. This time, we’re back with guitarist, singer-songwriter, GRAMMY nominee, and reigning IBMA Guitar Player of the Year Trey Hensley. For his second session in the series, he performs a growling original, “Can’t Outrun the Blues,” that highlights the grit and attack of his custom Yamaha FG9 R, resonant and bold in open E.

Hensley’s techniques are bluegrass through and through, with clarity and athleticism to his flatpicking that stand out even among his incredibly talented contemporaries. The ‘grassy skeletal structure behind his approach to the instrument is merely a springboard into other textures and styles. Here, in a modal and bluesy number, you can certainly hear the influence rock and roll, down home and contemporary blues, Southern rock, and country chicken pickin’ have on Hensley’s own writing and composition.

More here.

DelFest Sessions: Mountain Grass Unit, “Lonesome Dove”

For a special bonus edition of our DelFest Sessions from earlier this year, we return to Cumberland, Maryland and the banks of the Potomac River for an encore performance by bluegrass four-piece, Mountain Grass Unit. On September 20, the group will release a brand new EP, Runnin’ From Trouble, which features this original number, “Lonesome Dove,” as the lead track. In fact, at the time of the session’s taping, the band had just recorded the song a week prior.

“We had an amazing time at the riverside DelFest Session performing our new song, ‘Lonesome Dove,'” said mandolinist Drury Anderson via email. “Watching people float down the river while we recorded made the experience even more special. It was an honor to be part of such a unique series!”

More here.

Photo Credit: Mason Via by Michael Weintrob; Golden Shoals by Mike Dunn.

You Gotta Hear This: New Music From Crys Matthews, Rakish, and More

Posted on by Justin Hiltner

We’ve got an excellent collection of song and video premieres for you to kick off September!

Below, you’ll find a few country-tinged roots rock selections, from Blake Brown & the American Dust Choir, Kylie Fox, and Madeline Hawthorne. Stepping further into the country realm, check out tracks from Black Opry alumnus Crys Matthews – “The Difference Between” also features Chris Housman and Melody Walker – and from Steve Forbert, who sings “The Blues.”

New Jersey-based bluegrass group Magnolia Street String Band brought us a lovely video for their original, “By the Light of the Moon,” as well, and folk duo Rakish, who are experts in Irish, Scottish, and American folk, debut their Jamie Oshima-produced tune, “765.”

To cap it all off, don’t miss the latest edition of our Yamaha Sessions, featuring Vince Gill guitarist, singer-songwriter and producer Jack Schneider.

It’s all right here on BGS, and You Gotta Hear This!

Blake Brown & The American Dust Choir, “North Star”

Artist: Blake Brown & The American Dust Choir
Hometown: Austin, Texas
Song: “North Star”
Album: Show Me The Light
Release Date: October 4, 2024
Label: We Believers Music

In Their Words: “Simply put, this song is a dedication to my wife and daughter. When I sit down with a guitar and don’t try to write, usually a lyric rolls out, which is when I know I’m on to something; a crumb, a nugget, a clue, a hint to a song… something there that leads me to chase and complete a thought.

“In this case it was the line, ‘Your eyes will always be my guiding light, North Star in the darkest night,’ and I just built the song around that notion. I think it’s the most literal, direct song I’ve ever written. We’ve been through a lot together and when I drill down, or even think of my day-to-day life… it’s them. It’s all them. They guide me. We’ve been out here building this life together and they keep me grounded. When I stray and when I’m out in that deep, deep ocean (figuratively), I look for the stars; their eyes. They reel me back in. They are my ‘North Star.'” – Blake Brown

Track Credits:
Written by Blake Brown.
Blake Brown – Vocals, guitar
Tiffany Brown – Vocals
Jordan Espinoza – Drums
Jason Legler – Bass
Chris “Frenchie” Smith – Guitars

Steve Forbert, “The Blues”

Artist: Steve Forbert
Hometown: Meridian, Mississippi
Song: “The Blues”
Album: Daylight Savings Time
Release Date: September 20, 2024
Label: Blue Rose Music

In Their Words: “Will blues music fans give this song a listen because of the title – or will country music fans hesitate because of the title? As you can hear right away, it’s not a blues song. In fact, it’s a happy sounding country kind of song. But it’s literally about that old feeling called ‘the blues.’

“Robert Johnson sang, ‘The blues is a lowdown, shaky deal. If you ain’t never had ‘em, I hope you never will.’ My sentiments exactly.” – Steve Forbert

Track Credits:
Steve Forbert – Vocals, acoustic guitar, harmonica
Rob Clores – Keyboards
Gurf Morlix – Electric guitar
Aaron Comess – Drums
Byron House – Bass
Layonne Holmes – Backing vocals

Video Credit: Tom Parr

Kylie Fox, “Sequoia”

Artist: Kylie Fox
Hometown: Saint John, New Brunswick, Canada
Song: Sequoia
Album: Sequoia
Release Date: September 13, 2024

In Their Words:“I was listening to CBC Radio in the car one day. There was a story about how firefighters stayed up throughout the night to save a sequoia tree that was in a forest fire in California. I was struck by how we so often take beautiful, old things for granted – like our environment, like our grandmothers – until we are faced with an experience where they are compromised. Verse one speaks of the tree, verse two speaks of my grass-is-always-greener relationship to the small town of Fredericton, where I live. I brood over wishing I lived in a more exciting city, forgetting that all my favorite people are here. The last verse I speak of my love, Ryan, who I can take for granted sometimes when I get caught up in things revolving around myself.” – Kylie Fox

Track Credits:
Written by Kylie Fox.
Kylie Fox – Vocals, acoustic guitar
Kelly Waterhouse – Piano, flute, saxophone
Sean Hutchins – Electric guitar
Camilo Villamizar – Bass guitar
Ryan Barrie – Drums

Video Credit: Directed and edited by Jillian Acreman.

Madeline Hawthorne, “Howl at the Moon”

Artist: Madeline Hawthorne
Hometown: Bozeman, Montana
Song: “Howl at the Moon”
Release Date: September 13, 2024
Label: Madeline Hawthorne Music

In Their Words: “This is a song about what we want for our loved ones when we pass on. I don’t want them to just keep living, I want them to thrive. I want them to find love and happiness. I think my band and I captured the spirit and the essence of this tune so well at The Blasting Room. It has such a positive and fun energy to it. We are excited to play this one live on our upcoming tour with Goodnight Texas. I hope you all enjoy! Thanks for listening, XOXO.” – Madeline Hawthorne

Track Credits:
Written by Madeline Hawthorne.
Madeline Hawthorne – Vocals
Ace Engfer – Bass
Bill McKay – Piano, organ
Taylor Sims – Guitar
Taylor Tesler – Guitar
Sean Macaulay – Drums, percussion

Magnolia Street String Band, “By the Light of the Moon”

Artist: Magnolia Street String Band
Hometown: Highland Park, New Jersey
Song: “By the Light of the Moon”
Album: By the Light of the Moon
Release Date: October 4, 2024

In Their Words: “I wrote this song years ago walking my dog in the pines along the Delaware River. The moon was so brilliant that night. The light painted such a spectacular scene with shadows of the magnificent pine trees against the deep blue sky. This unforgettable visual inspired this song.

“My sister, Rita, and I used to play and sing together with friends at a full moon jam almost 15 years ago. Rita and I found a band through these gatherings and ‘By the Light of the Moon’ found its way into our repertoire. The original lyrics to the last verse were ‘We’ll make love by the light of the moon.’ Since I wanted to make a family friendly album, I changed the lyrics to, ‘We’ll dance ‘neath the light of the moon.’

“I’ve always hoped to record this song and had envisioned Alison Krauss on vocals. Nevertheless, I rallied my beloved band earlier this year to record this song as well as the other songs on our new album.” – Sheila Shukla, vocalist and songwriter

Track Credits:
Sheila Shukla – Lead vocals
Bobby Baxmeyer – Mandolin, banjo, Dobro, vocals
Bob Harris – Guitar
Gary Oleyar – Fiddle
Ron Greenstein – Bass
Nick Conte – Vocals

Video Credit: Rob Shotwell

Crys Matthews, “The Difference Between”

Artist: Crys Matthews
Hometown: Nashville, Tennessee
Song: “The Difference Between” (featuring Melody Walker & Chris Housman)
Album: Reclamation
Release Date: September 6, 2024 (single)

In Their Words: “When I heard Jason Aldean’s ‘Try That in a Small Town,’ I was so offended – not just as a Black woman, but as a proud Southerner. The audacity to think that there would be a South at all without my people is the kind of willful ignorance that keeps folks like me from feeling safe in country and Americana spaces. There are consequences to that kind of hateful rhetoric. That’s what the first verse line of this song is about, ‘So you can figure out it ain’t just your town that’s small,’ because being from a small town is no excuse for small-mindedness.

“I knew that’s what I wanted to say with this song and I knew exactly who I wanted to help me say it: my friends Melody Walker (co-writer of Molly Tuttle’s title track for her Grammy-winning record Crooked Tree) and Chris Housman. I’ve been such a fan of both of their voices and their writing for so long! Once I had the idea for this song, I asked them both to come over and the rest is history. Melody and I had just finished recording her song ‘Room‘ and so I knew our voices would sound so good together. And every time Chris sings he takes me to church. I knew that just getting the three of us together would lead to something good. It also meant a lot to have them featured on the actual track as well. Three LGBTQ+ artists, all of whom call Nashville home, showing that this is country too. It looks like you and it looks like me.” – Crys Matthews

Rakish, “765”

Artist: Rakish
Hometown: Boston, Massachusetts
Song: “765”
Album: Now, O Now
Release Date: September 12, 2024 (single); October 11, 2024
Label: Top Floor Records

In Their Words:“This track features two original reels, arranged by Conor and myself. We recorded these tunes at Spillway Sounds with Eli Crews engineering back in October 2023. Once we got back from the studio, we thought it might be fun to add some electronic production to this track, and asked our buddy Jamie Oshima to work some magic on these tunes. It was great to let him take the reins completely, and hear the track once he sent it back to us. His additions totally surpassed what we could have asked for. As acoustic musicians, Conor and I don’t often get to dip our toes into the world of electronic music, but this track enables us to experience a little bit of that sound world, which is really fun for us. We hope these tunes make you want to dance!” – Maura Shawn Scanlin, violin

Yamaha Sessions: Jack Schneider, “Gulf of Mexico”

Today, our Yamaha Sessions continue with a gorgeous and tender performance from guitarist, producer, and singer-songwriter Jack Schneider. Best known for his road gig with Country Music Hall of Famer Vince Gill, Schneider released his debut album, Best Be On My Way, to critical acclaim in 2022. The project features Gill, David Rawlings, Stuart Duncan, and more collaborating on Schneider’s vintage-tinged original songs, each dripping with the styles and sonics of ’60s and ’70s troubadours and Americana poets. His latest single, “When the Saints,” is a delicious, shuffling folk-rock ballad with deeply stacked vocal tracks and retro trappings that was released in late July.

For his Yamaha Sessions performance, Schneider chose “Gulf of Mexico,” another original – that is as yet unrecorded and unreleased – which showcases the warm, full, and deep sound of Schneider’s Yamaha FG9 R acoustic guitar. Resonant and rich, the drop D tuning accentuates the melancholy evident in the timelessly constructed song. A bright spruce top and sultry rosewood back and sides add up to a guitar that’s equally at home in folk and Americana as bluegrass and flatpicking. Schneider pulls excellent tone from the instrument, with impeccable intonation and confident touch whether picking or strumming.

More here.

Photo Credit: Crys Matthews by Mora May Agency; Rakish by Sasha Pedro.

Out Now: Ally Westover

Posted on by Justin Hiltner

Ally Westover is a Nashville-based artist known for a blend of lullaby-like sounds and groovy indie-folk tunes, stitched together with warmth, imagery, and honesty. Her new single, “Rotten Milk” (available September 6), is an exploration of queer identity. The lyrics circle relatable themes like love gone sour and compulsory heterosexuality – a term coined by Adrienne Rich to describe societal expectations queer women face around conforming to heterosexual norms. The concept resonates with many queer women who struggle to navigate their identities.

It’s exciting to feature an artist who is opening a discussion around these ideas. Ally’s EP, Changing Room, dives further into these themes and is to be released in January 2025. In our Out Now interview, she shares her current state of mind, what it means to her to be an LGBTQ+ artist, and how she balances the business and creative aspects of being an artist.

You are releasing an EP in 2025 titled Changing Room. What was the process of creating this project? And, what do you hope listeners will take away from this collection of songs?

I created this project with my friend and musical mentor, Oliver Hopkins. He is one of the people that inspires me most in this world and to make a record with him is an absolute dream come true. I came to him with a few songs that I loved and believed in, but wanted him to help me make them sound more focussed and sonically interesting.

We wrote “Rotten Milk” in his backyard in the height of the summer heat after I had just gotten out of a relationship with a man that felt like a stranger. The track that follows is “Waterbug,” which is my absolute favorite. It encompasses queer desire and yearning. The last song is called “Digital Body” and it’s all about decompressing and slowing things down. I hope that listeners enjoy the songs and feel maybe a little more understood in their own lives. More than anything I am just happy to have the songs in the world!

Why do you create music? What’s more satisfying to you, the process or the outcome?

Songwriting itself is pure magic. The energy present during the process is what propels me to dig for more songs. I create music because I have to! It is the way that I work through my emotions and thoughts and fears. It is the time capsule for my life. It is the way that I cope with being human.

Do you create music primarily for yourself or for others?

Initially, I create music for myself. And when it is done, I look forward to sharing the songs with other people so that they may feel less alone as I believe we all have similar struggles. It’s my hope that through sharing music, we all feel more connected to each other at a soul level.

Who are your favorite LGBTQ+ artists and bands?

Courtney Barnett, MUNA, Big Thief, Chappell Roan, Katy Kirby, Arlo Parks, Tash Sultana, Cassidy Maude, Ab Lag, Molly Martin, Erin Rae, Liv Greene, Purser, Jobi Riccio, and Saltwater Baby are some of my favorites. Wow! There are so many! I am so grateful for queer visibility!

For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?

The band MUNA saved me! Chanting songs about being gay and worthy of love really helped me feel empowered. I have an incredible sister, friends, and therapist who have stood by me through the hardest moments. The queer community in Nashville is amazing. Shout out to Jonda, the owner of Lipstick Lounge, for creating a safe haven for queer people. It was only when I realized that it is not my job to make other people comfortable, was I set free.

What does it mean to you to be an LGBTQ+ musician?

I would not be openly making music as a queer person had it not been for the Black lesbians and trans people of color that fought back during Stonewall riots. Thank you to Marsha P. Johnson, Sylvia Rivera, and Stormé DeLarverie for fighting for my right to exist and to love who I love. Being an LGBTQ+ musician means that “no one is free until everyone is free.” It means liberation, justice and resistance.

We’ve had a conversation before about how you left the music industry for a few years and decided you needed to return. What was that like for you? Could you share what drew you back and the importance of creating and sharing your music?

In the time that I was away from music, it was still plaguing my every thought. I tried to study fashion to explore a different creative outlet and that brought me to sustainability, as I learned about the horrors of the fast fashion industry. Because of this, I make all of my merch on thrifted clothes in hopes to be as eco-conscious as possible. Sustainability led me to an existential crisis so I switched majors to philosophy, which only dug me a deeper hole. It was during my philosophy class that I realized I must pursue my bliss – music! Coming back to music as my career focus felt like coming home.

What’s your ideal vision for your future?

When I think of “future me” I imagine myself traveling and playing shows with a small band, throwing killer dinner parties, and tending to a sprawling garden. The ideal vision of my future has much to do with “present me” leaning deeper into the things that I already do.

What is your greatest fear?

I have realized that I am the person who will ultimately affect the outcome of my life – so I would say that I am most afraid of the part of myself that harbors doubt.

What is your current state of mind?

My current state of mind is a collage of gratitude and helplessness; of joy and sorrow; of yearning and grieving. I grieve the genocide in Palestine amongst the many other humanitarian crises in the Congo, Sudan, and in the United States. I find it really challenging some days to be hopeful, but I try to find joy in the small moments and do everything I can to uplift marginalized voices.

I am hopeful about creating and sharing the project that I have been working on for over a year now. Entering into the fall season, I am looking forward to slowing down, going inward, and continuing to lean into my cozy home and my community.

How do you balance being on social media, promoting your music, playing shows, and looking after your mental health?

I tell myself that I want to do this for the rest of my life, so if it takes the rest of my life to do it then so be it. I remind myself that the long game is what matters and that slowly chipping away making good art is what counts. I lean on my community and try my best. I’ve also been trying to intentionally rest without guilt and to say yes to fun experiences that do not center around music. I have found that I create the best and most interesting art when I am living my life for myself. My partner is very organized and business focussed and they gave me some killer advice. They said, “Why don’t you focus strictly on music business for 2 hours a day, in the morning, so that you don’t have to spiral about it for the next 22 hours?” They created the term “Ally’s Office Hours” and it has helped tremendously.

What would a “perfect day” look like for you?

Soft sunlight and fresh air seep through my window. I indulge in light roast pour over coffee and fresh fruit for breakfast. I sit at the kitchen table with my journal and my mini Yamaha as ideas for songs flood my mind like a heavy summer rain. Once the rain has cleared, I walk to the grocery store and grab some fresh seafood, sharp cheeses, and Castelvetrano olives. The rest of the dinner setup will be a harvest from my garden. I pop by the local wine shop for a floral Spanish white wine and perhaps a juicy beaujolais. Friends will arrive at golden hour to a home full of fresh flowers and candle light. We eat and drink and enjoy rich conversation over a delicious meal. I fall asleep beside my lover as we count our blessings.

What’s the best advice you’ve ever gotten?

“If it is urgent, then it is not God.” I can be so impulsive about my decision making, and when a friend told me this, it blew my mind. A sense of urgency is likely never a good sign that something is right.

What are your release and touring plans for the next year?

I am releasing my second EP, Changing Room, in January and could not be more excited. The first single, “Rotten Milk,” comes out today, September 6!

Changing Room encapsulates self exploration, and more specifically queer exploration. The project begins with “Rotten Milk.” It’s about the last man that I ever dated. We were together for a few short months in the summer and much like the milk at the restaurant, the love, too, had gone sour. It was as if I was playing dress up. I couldn’t get access to my true self until I freed myself of compulsory heterosexuality.

I am opening for Louisa Stancioff, Molly Parden, and Eliza Edens in Portland, Maine on October 4 and again in Washtington, D.C. on October 15. The plan is to go on a sweet little tour in early spring to share the songs on Changing Room and then get back to creating more tunes.

Photo courtesy of the artist.

Acoustic Guitarist (And Instagram Star) Jake Eddy Is Still Mesmerized by Music

Posted on by Editor

Jake Eddy is among a new generation of bluegrass musicians who are making a name for themselves on social media. Jake’s videos on Instagram and other platforms garner thousands of likes and even more views thanks to his technical skill, wit, and charisma. But Jake is not a mere internet sensation. His bluegrass roots run deep through his family in Parkersburg, West Virginia, where he grew up playing with local traditional music legends. While touring with the Becky Buller Band, he made his debut on the Grand Ole Opry stage, which led to Jake and his brother Carter accompanying bluegrass/jazz/klezmer mandolin legend Andy Statman on the Opry. Jake stays busy with a full teaching schedule in addition to his time on the road with Andy, his own band, or as a solo act. BGS caught up with Jake to learn more about his early interest in bluegrass, his experiences in music school, and his upcoming Yamaha custom guitar.

How did you get into playing music?

Eddy: My grandpa was a picker, and my mom played, and I had two cousins that fiddled on the Opry back in the ‘70s on my dad’s side. So it was just kind of the usual thing for bluegrass people from my region. I was just surrounded by pickers and wanted to be one.

 

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When did you start on the guitar?

Banjo was really my very first when I was a kid. I started working on guitar simultaneously. Because of the technique, or maybe the lack of technique, being taught by old-timers around here, playing the banjo became uncomfortable and a little bit painful, and I could feel like it just wasn’t the best fit for me in the long term. I still do play banjo on some sessions and stuff like that, but as far as touring, playing banjo, it’s not in the cards for me. I prefer to play guitar anyway, so it’s okay.

When did you decide to make a career out of music? Or did it just sort of happen?

Yeah, it was pretty natural. I did the family band thing a little bit when I was real young. And then I got a call to go play banjo for Melvin Goins when I was in middle school. That experience was awesome, like going to bluegrass school. It was really crazy and had some great and terrible things both going on. But it was really cool because my parents let me go on the road under the condition that I would bring an adult with me at all times. They had played music so they were hip to what it can be like on the road. The deal ended up being that my grandpa would chaperone me on the road. So he came with me, and on the first show, Melvin had this blowout with the bass player, and the bass player quit. And I tell Melvin, like, “Hey, my grandpa is a bass player.” And he filled in on one show with us and got offered the gig. So we actually were both in the band for two years together. It’s a great memory, and it grew me up really fast, but it was cool.

That’s a great story. It’s hard to explain to other people what that experience is like as a kid. All the good and bad and how much you learn.

You can imagine. You know, those old-timers. It’s a different lifestyle.

How long did you play with Melvin?

I think it was two years. I think I got hired when I was 14. I think I was in 7th or 8th grade and probably quit when I was in the 10th grade or something like that.

Did you end up going to music school?

Yeah, I did music school for a little bit, and I was a horrible student. The usual, playing a bunch and giggling a bunch, but not going to class a whole lot, and just decided that it seems silly to me that a lot of the really great players I knew at music school were not doing very well at school. And a lot of the so-so players were passing with flying colors. So it just started to seem silly.

It’s definitely funny to go to school to theoretically get a job that you already have.

Yeah, man, that was the thing. They would get on me about attendance, and I would be like, I’m playing gigs. And I get it that you can’t bend the rules but I figured it wasn’t a fit for me.

 

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Where were you going?

I was going to Ohio University in Athens. It’s this little, cool, artsy, open-minded kind of bubble in Ohio. And OU Music School, in my eyes, was a place for a lot of your local music educator-type people, but it also had this population of disgraced jazz players from CCM, which is a bigger school in Cincinnati. So there were some good players floating around, but just a weird scene.

Were you studying jazz then?

Technically the degree was Guitar Performance, maybe? Or guitar something. But yeah, I was in the jazz track, so all my ensembles and all my instructors were jazz players, and I had played that music a bit before. I learned things in music school, but if given the opportunity again, I don’t know if I would have gone that way.

You’re playing with Andy Statman now, right?

Yeah, a bunch. Man, it’s cool. I assume you’re hip to Andy’s playing because, like, all the mandolin nerds love him. He’s the coolest. I hired him to cut a couple of tracks that I wrote, and we ended up really hitting it off and we hung out some and decided to do a couple of one-off shows. And it just snowballed into doing some tours. Andy is Orthodox Jewish, so he doesn’t work weekends, so our touring is limited in some ways. But we’ve gotten to play quite a bit and we’re about to go out again in the spring, it’s looking like, and we got a record coming out on his label, so, yeah, some things happening there for sure.

What’s the material you play like?

Andy’s a huge Monroe buff, so there’s a lot of nights where we’re playing things like “Evening Prayer Blues” or “Tombstone Junction” and all these Monroe tunes, but they can quickly take a musical turn and he’s a pretty deep musician. It’s definitely traditional material, but it’s through the lens of a pretty free approach, I think is the way I’d put it.

What was your practice regiment growing up? How do you think you got so technically good?

I’m sure in a lot of ways my brain is totally broken and that’s why this has worked out for me. I think a lot of musicians are that way. I think if I was completely normal, I’d probably just like music in a hobbyist, healthy way. When I was a kid, I hesitate to put a number on it, but I’d say when I was really into soaking up everything, I was probably playing eight or 10 hours a day. That’s before school, after school. I would try to skip a class here and there to play, or I would skip lunch or I would fake sick at a gym and go get the guitar. I was always working an angle to be playing more. And then after school, playing until bedtime and playing gigs with the family band on the weekend.

It was an extreme focus on picking. I think I was lucky just being exposed to music a bunch. I worked really hard at it, but my parents made it seem cool and made it seem accessible. And I think that plays a pretty big part as well, right? There are still some days where I’ll go in my studio for eight or 10 hours with the metronome on full blast just going crazy in there. And then when it’s done, you feel totally drained. I feel like my brain is melted. That’s not how I tell my students to practice. I tell them to do something that’s manageable and that’s part of their normal routine. But I’m certainly not following that advice.

 

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I’ve always felt like if somebody wants to get that good, they’re going to do that regardless of what tools they have. You can’t really convince someone to be that obsessed with it.

Yeah, man, I think so. It’s a blessing and a curse kind of thing. But I still feel a ton of amazement and wonder by the guitar and by music. And that’s the secret thing you can’t teach anyone. I still think music is so mesmerizing and just so damn cool.

You’ve been working with the Yamaha custom shop on a guitar. Can you tell me about that?

Yeah, I don’t have it in my possession yet, but I have a prototype that’s really good. I played some of their prototypes at the Fretboard Journal Summit in Chicago last year. I thought it was a good guitar and one of the better ones I played there that weekend, which was really surprising because Yamaha doesn’t historically have a huge reputation in the bluegrass world. So they called me and sent one and then they had me come down and play at IBMA. It’s just one of those luck things. Bumped into the right guys and it kind of snowballed. I went out with Jordan Tice and filmed some promo stuff for a new model and demoed the guitars. I think my custom’s going to be done any day now. They’re cool, man. And they’re not cheap guitars — these are nicer models. They’re not trying to be old-sounding guitars by any means. It’s modernly voiced and it’s cool.

 

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When you say these guitars are “modernly voiced,” what did you mean by that?

In one sense it sounds new. It doesn’t sound particularly dry and woody like an old guitar might, but it’s really slick and it’s loud and it’s balanced. It’s great up the neck. It has a little more sustain than something like my old D-18. Talking about guitars is kind of like talking about wine tasting or something. It’s hard to explain.

Yeah. I always find the word choice very funny and completely arbitrary.

It means nothing but you can hear the differences when you play them. They’re really fast. When you play the note, it’s right there. It has good attack. It’s super-even and balanced. Those are the main kinds of things I like out of my D-18. But it’s a different voice. I think when the demos and stuff come out, it’ll make more sense when people can hear it.

What did you go for in your custom model? I feel like people are always really specific with custom instruments and I have no idea what I would ask for on something like that.

Yeah, I went with things that I knew were good. I think a lot of people, when they get a custom build, they have the tendency to try to be cutting-edge or to be a smarty-pants about it and be like, “Oh, I want this certain type of wood from this certain type of tree with the grain like this.” I just went for a mahogany guitar, spruce top. It’s really simple and lightweight. I think you can get carried away wanting a special guitar more than you want a good guitar. There’s no inlay on it. And I really pushed them for a double pick guard. I don’t know if they’re going to go for it because a lot of the aesthetic stuff is controlled by the guys in Japan. But fingers crossed. I’m excited to get it in my hands. If it’s anything like the prototypes, it’s going to be pretty sweet.

Photo Credit: Madison Thorn

Rising Bluegrass Artists Hear Something Special in Yamaha Custom FG Guitars

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Bluegrass music is based in tradition, yet every guitarist brings their own touch to the genre. Among a new generation of acoustic musicians, Yamaha Custom FG guitars have become a welcome addition on stage and in the studio. From the design to the tone to the overall feel, Yamaha Custom FG guitars bring out the best in these players, who have been making their mark in bluegrass music. Within mere moments, they have noticed the attention to detail and craftsmanship of Yamaha’s Senior Acoustic Guitar Builder Andrew Enns and his team.

Fred Kosak of Stillhouse Junkies plays a custom Yamaha FG made to complement his musical approach in a variety of settings. Hailing from Durango, Colorado, the band won an IBMA Momentum Award for Band of the Year in 2021, and they have continued to build their fan base through touring, especially in Colorado and Utah.

“I’ve long believed in the power of the connection between instrument and player,” Kosak says, “and that’s why I’ve worked with custom builders over the years to imagine and build instruments that suit my individual attack, style, and taste and with which I feel an immediate bond. My custom Yamaha FG is no exception: from the first strum I knew that Andrew Enns had created something special. He captured a sonic signature and vibe that I could take on stage with me in any situation knowing it would respond exactly the way I wanted it to. Yamaha has taken a ground-up approach to design and rolling out this new line of acoustics that I think is very player-centric and unique for a larger manufacturer, and the results are easy to see in every instrument they’ve produced.”

West Virginia musician Jake Eddy, a 2022 IBMA Momentum Instrumentalist of the Year nominee, has played music professionally since he was a teenager. In addition to touring in bluegrass songwriter/fiddler Becky Buller’s band, he’s recorded an album of fiddle tunes on guitar. He played his new Yamaha custom FG prototype at the Fretboard Summit.

“The new guitars being built by Andrew Enns at Yamaha are great!” Eddy says. “My old D-18 will always be a part of my life, but this guitar has really squeezed its way into my musical world. It feels and sounds how a mahogany guitar should. Lightweight, and fast!”

Theo MacMillan had his heart set on acoustic music from an early age, playing in churches and local talent shows as a kid. He surrounded himself with bluegrass as a college student in Kentucky before moving to Nashville after graduation. The versatile musician (who also plays fiddle) presents his original music through performing as a solo singer-songwriter as well as singing with his younger sister in the Theo & Brenna Band. He says he’s been pleased with his Yamaha Custom FG for a variety of reasons.

“Since I got the FG from Yamaha, I’ve been pleasantly surprised at how great it sounds plugged in. This is a new experience for me (playing live with the pickup) and it has significantly affected my live performances. I’m a big fan of the tone that the FG is capable of even when it’s plugged in. Andrew and I talked about giving it extra low and high end (more of a scooped eq) — the result was a guitar very capable of acoustic lead and bass-y rhythm. I’m finding it to be my guitar of choice if I’m playing duo shows or solo for a songwriter round, although it definitely holds its own for pure bluegrass rhythm playing. In addition to the sound, the guitar is absolutely gorgeous. I get comments on its aesthetic all the time.”

 

 

 

Jordan Tice is a member of progressive bluegrass band Hawktail and also performs with Yola. His fifth album as a solo artist, Motivational Speakeasy, puts his voice and his guitar front and center. Based in Nashville, Tice is eagerly awaiting his Yamaha custom FG to be completed and delivered.

“I really enjoyed playing that new Yamaha FS model with mahogany back and sides for my Fretboard Summit show in Chicago,” Tice says. “It had the features I love from old Yamahas combined with high quality materials and modern boutique craftsmanship. It had quite a nice range but remained balanced and focused and I was also impressed with the depth of the tone — a good amount of low end without feeling muddy, tubby or unclear. It plays very nicely too — love the feel of the neck and it had a very nice string tension. A lot of great music has been made on Yamaha guitars over the years and hearing them take these styles to the next level is really cool. I would play that guitar all the time both live and at home if I had it.”

As a singer-songwriter, Isaac Horn from The Arcadian Wild believes that a guitar’s rosewood back and sides can “hug the voice and create this really wide, open area that you can sing into.” Upon first seeing the prototype of his own Yamaha custom FG, Horn noticed a design on the fret overlays that he had never seen before. He also admired the beauty and elegance of the rosette, the purfling, and even the pickguard. The Adirondack top of the guitar was also shaved down to allow for the quiet playing that Horn sometimes prefers.

“It was really reassuring because I knew that Andrew and the team were making choices that were really creative and intentional,” he says in a video interview about the guitar. “My expectations have been exceeded for sure.”

Editor’s Note: Read our Q&A with Senior Acoustic Guitar Builder Andrew Enns and see how Yamaha Guitars have guided numerous well-known musicians to their signature sound.

Yamaha Guitars Have Guided These Musicians to Their Unique Sound

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Yamaha is on a never-ending pursuit to inspire players to find their unique sound and express their own distinctive, individual musical art. The original FG180 became a bestseller in America, setting a foundation for the development of the L Series and the A series, as well as the FG Red Label series in 2019.

Yamaha leverages their second-to-none technology and traditional luthier craftsmanship to offer high-end acoustic guitars that rival other premium guitar manufacturers. In fact, Guitar Division said of Yamaha, “Their high-end professional grade guitars are made with attention to detail, and even down to their midrange and beginner series you will see quality at least as good as any other popular brand.” Meanwhile, Sixstringacoustic.com observed, “Throughout its history the company has been dedicated to providing novices and professionals with the high-quality guitars, without being too much of a hit on their wallets.”

There may be a number of artists you never knew played a Yamaha Guitar. Since the 1960s, Yamaha acoustic guitars have influenced and inspired many top musicians.

Designed to John Lennon‘s exacting standards in 1977, his custom CJ52 is constructed with a red dragon inlaid on the black body of the guitar. According to Guitar World, “The inlay work employed a traditional Japanese technique called Maki-e, a style of inlay not usually employed on musical instruments because it requires the use of a high-humidity steam kiln that wreaks havoc on the music-making properties of wood. Yamaha’s custom guitars builders found a way to pull it off, creating the dragon from a drawing by Lennon himself. The instrument is the most expensive Yamaha guitar ever made.”

Lennon formulated the idea of that guitar after playing Paul Simon‘s Custom CJ52. Jimmy Page toured with a CJ52 from the 1975 Led Zeppelin World Tour to the 1998 Page/Plant “Unledded” Tour. In addition his own fondness for the Custom CJ52, John Denver often performed with his beautiful L-53 throughout the 1970s (check out that beautiful Yamaha headstock in the video above) Bruce Springsteen‘s CJ52 from 1987 became part of his musical identity at the height of his popularity.

Yamaha made American music history as “Country Joe” McDonald played an FG150 on stage at Woodstock (you can glimpse it briefly around 1:26 in the video below). James Taylor incorporated his L-55 Custom and FG2000 into his exceptional albums and tours in the 1970s.

Yamaha’s current cache of artists is no less diverse or impressive. The acclaimed singer-songwriter Butch Walker, who plays an FGX5, was named by Rolling Stone as Producer of the Year in 2005. He speaks about his producing guitar in this video interview. In addition, David Ryan Harris is an accomplished solo artist and guitarist who tours and records with John Mayer using his Yamaha FSX5. He showed off the Yamaha A5R ARE in a series of videos for the brand.

Yamaha continues to capture the imagination of rising artists, including The Arcadian Wild’s Isaak Horn and Stillhouse Junkies’ Fred Kosak. Don’t miss our Yamaha x BGS Artist Sessions with both bands below.

Yamaha is not finished with their never-ending pursuit of the masterpiece. Senior luthier Andrew Enns in Yamaha’s Calabasas, California, custom shop is teaming up with the master technicians in Hamamatsu, Japan, to develop even more advanced acoustic guitars that will soar to even greater heights. The bluegrass community eagerly awaits their next level guitars that are expected to set a new standard of tone, quality, and playability.

Singer-songwriter Laura Jane Grace of Against Me! and the Devouring Mothers, who plays a Yamaha LL16 and CSF3M, said in a recent interview with the brand, “I believe every guitar has a soul; not quite a consciousness but pretty close to it.”  When it comes to beautiful custom instruments, we couldn’t put it better ourselves.

Discover more about Yamaha Guitars and their custom shop at YamahaGuitars.com

Custom Acoustics from California: A Look Inside Yamaha Guitar Development

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Yamaha Guitar Development is a custom shop in Calabasas, California, where luthiers build acoustic, electric, and bass guitars for Yamaha artists. The shop is also a research and development facility, contributing to production guitars that are available to customers around the world. In this interview, Senior Acoustic Guitar Builder Andrew Enns talks about his approach to the craft and his collaboration process with the engineers in Japan.

How did you get into guitar building?

Before I started building acoustic guitars, I was building electric guitars as a hobby. Then I got a job building classical guitars and learned acoustic guitar construction from master luthier Kenny Hill. From there, I learned everything I could from Kenny and other acoustic builders I met, then applied that knowledge to my guitars.

What is your approach to the craft of building guitars?

My approach is very traditional. I’m not trying to reinvent the acoustic guitar — I am trying to make a better acoustic guitar. There is still quite a bit of mystery involved with guitar and what makes one sound a certain way and a seemingly identical one sound different.

My goal at Yamaha is to combine my intuition as a builder with the engineering knowledge and technological capabilities from the team in Japan. We’re trying to essentially break the code for total control of shaping a guitar’s sound and applying that to our production models.

How does the research and development at the shop connect to the production guitars that customers can buy?

All new Yamaha models go through the development process before hitting the production factories, and part of that process is building prototypes. The YGD custom shop builds all the initial prototypes for potential new models. We collaborate with the team in Japan and experiment with new shapes, materials, bracing ideas, construction methods, etc., to improve on existing designs and invent completely new ones as well.

What does the collaboration between the YGD custom shop and Japan look like?

I collaborate with the team in Japan on a daily basis. We collaborate to develop new construction methods and building techniques, and then we work together to train the luthiers at our factories who build our production guitars.

Could you pick a favorite guitar that you’ve designed or built at YGD?

My favorite project is almost always whatever I am currently working on. Sometimes I look back and think of a specific guitar that really stood apart from the rest. But mostly, I’m always in the mindset that the guitar I am building now is going to be the best one yet.

Discover more about Yamaha and their custom shop offerings at www.YamahaGuitars.com.