AmericanaFest 2024 gives ample billing to bluegrass

Steve Martin and Steep Canyon Rangers at AmericanaFest ’24 – photo © Alisa B. Cherry


Celebrating its 25 year anniversary, the Americana Music Association presented its usual massive array of artists and ensembles — approximately 250 in all — in venues throughout the entirety of Nashville, both near and far. As always, the 2024 edition of AmericanaFest was a remarkable spectacle to behold, one that offered a full scope of roots music from every genre that falls within Americana’s vast umbrella.

This year, as always, bluegrass was well represented. Sierra Ferrell took home Artist of the Year honors at the Americana Music Honors & Awards ceremony held at the venerable Ryman Auditorium, an award she reaped in addition to her nomination for Song of the Year courtesy of American Dreaming. In addition, it was the prominent placement of other artists — Wyatt Ellis, The Kody Norris Show, Armchair Boogie, Darin & Brooke Aldridge, Chatham County Line, The Kentucky Gentlemen, and Greensky Bluegrass, among them — that ensured bluegrass music maintained a prominent presence throughout the festivities.

Naturally, no matter how strong one’s ambitions and intent, seeing everyone on your wish list is well beyond the range of possibility. Nevertheless, as always in a festival of this size, it’s important to savor the acts one does get to see, rather than lamenting those that are missed. 

To that end, there were any number of highlights that held true to tradition. Compass Records’ Hotdogs and Hillbillies event was somewhat sparsely attended this year due to some miscommunication. Normally overflowing with attendees, it was more manageable as a result, offering easy viewing at the performers from the confines of the company’s studio. Missy Raines and her band Allegheny took a turn on the stage to showcase songs from the band’s latest highly acclaimed album, Highlander, and, in the process, had opportunity to display their deft instrumental interaction. Raines herself demonstrated why she holds the distinction of being the most awarded bass player in the history of the International Bluegrass Music Association, an honor she decidedly deserves. 

John McEuen, whose recent release, The Newsman: A Man of Record, marked his Compass Records debut, was observed in the audience while taking in the performances by his label-mates. 

Likewise, Twisted Pine excelled as they performed at the Interstate 88 gathering at the 5 Spot, demonstrating, in turn, why they are one of the most innovative outfits in modern bluegrass. The fact that they have a flautist as part of their ensemble seems remarkable enough, and yet, the instrumental interplay was seductive, smooth, and quite consistent. Talented well beyond any appearances their youthful demeanor might imply, Twisted Pine is clearly making inroads within the traditional tapestry of bluegrass, and creating an innovative experience in the process.

While live music is clearly the main draw at any AmericanaFest, the seminars and informative sessions also have plenty of enjoyment to offer. John Cowan shared his own insights and a backstory about his new book, Hold On To A Dream: A Newgrass Odyssey, which was drawn from a series of interviews he did while hosting a show on the legendary radio powerhouse WSM. Then again, Cowan has a lot of history of his own to cover, courtesy of a 50 year career which took him from the iconic progressive bluegrass band, New Grass Revival, up to his current stint as bassist with the Doobie Brothers. He touched on any number of historical footnotes along the way, including his recollection of performing at the first MerleFest event, when the performances took place on a flatbed trailer. He also recounted his recollection of playing the Telluride Bluegrass Festival from its initiation, thinking to himself, “Are we in Switzerland?,” while surveying the magnificent mountain terrain.

“There were hippies smoking dope,” he remarked. “It truly was a cultural and economic turning point.”

Another of the many highlights took place off campus, at the Grand Ole Opry to be precise, where Steep Canyon Rangers provided the musical accompaniment for the hilarious antics of Steve Martin and Martin Short. Of course, it’s hard to upstage that dynamic duo, but to their credit, the Steeps were given their own time in the spotlight when the two comedians took their respite. That said, the interaction between Martin and the group that’s become his de-facto backing band helped elevate the levity, particularly when Martin and the Steeps shared a rendition of the tongue-in-cheek duet, I Can Play the Banjo. Of course it’s obvious by now that the former King Tut singer is a skilled, no-nonsense player, but on this particular song, he mugs his way through. He feigns incompetence when tapped for his selected solos and attempts to level the playing field between himself and the Steeps’ banjo player Graham Sharp by insisting Sharp play his runs with a mitten on his picking hand. 

Naturally, there was no need. Martin was spotted earlier in the control room at Compass Studios tuning his banjo in anticipation of a session with label head Alison Brown. Beyond the view of most in attendance, he was clearly earnestly engaged in his task.

Jim Lauderdale is another artist who knows how to blend humor and harmony, and on Friday night, he did just that when he performed with his ongoing back-up band, The Game Changers, at the new revived Cannery Hall. Yet Lauderdale also knows how to temper that humor with humility, and his connection with the crowd allowed for an obvious embrace. His set list reflected that personable perspective, with songs such as You’ve Got A Shine, Friends Again, a new composition called Artificial Intelligence, and the familiar favorite, The King of Broken Hearts, adding a distinct luster to the final full night of AmericanaFest performances. Often called the King of Americana, Lauderdale proved why he’s so clearly able to claim that particular crown.

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About the Author

Lee Zimmerman

Lee Zimmerman has been a writer and reviewer for the better part of the past 20 years. He writes for the following publications — No Depression, Goldmine, Country Standard TIme, Paste, Relix, Lincoln Center Spotlight, Fader, and Glide. A lifelong music obsessive and avid collector, he firmly believes that music provides the soundtrack for our lives and his reverence for the artists, performers and creative mind that go into creating their craft spurs his inspiration and motivation for every word hie writes.