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.
Benny Sidelinger seems like an unassuming sort of guy. His bio consists of an anecdote about an introduction he was once given at a local watering hole where he was rather anonymous at the time. Nevertheless, it’s a clever means of introduction, citing credits that include, performances with Allison Russell, a banjo jam with Michael Franti, a performance at the Rhythm and Blues festival in the Netherlands, and various other festival appearances that have taken him from Vancouver to Calgary to the Newport Folk Festival. That’s not to mention the various albums he’s contributed to by the likes of Po’ Girl, JT Nero, the Shiftless Rounders, the Blackberry Bushes, the Pine Hearts, and any number of others.
The narrative concludes by saying, “He seems to have been everywhere, played with everyone.”
While that may seem an overstatement, the fact is that his new album, Cherry Street, seems to have come out of nowhere. Said to have taken years in coming to fruition, it seems to be the product of an intensive effort involving a number of capable musicians, among them, co-producer Michael Connolly on guitar, fiddle, bass, vocals, and percussion, Aida Miller on vocals and mandolin, Tony Wright on fiddle, and Jason Haugland on drums. Yet at the same time, the results are uncluttered and straight-forward, mostly, but not exclusively, old time banjo-driven tunes flush with honest emotion.
They veer from a rousing take on the traditional standard, House Carpenter, and the steady shuffle of the oft-covered, Corrina, to a series of down-home rambles that include Dirt, Lilacs, and the familiar folk tune, Sugar Babe, as well as a handful of forlorn ballads, Every Goodbye, The Letter Carrier, and She Goes.
To his credit, Sidelinger needn’t rely only on lyrics to convey his astute emotions, as the opening and closing instrumentals Last Chance and a rugged cover of the age-old offering, Growling & Grumbling, prove conclusively.
Still, given any apparent disparity, the material fits together remarkably well, and despite the fact that the 13-song set consists of both original material and music culled from archival sources, it makes for a seamless garment throughout. One can only hope that Cherry Street allows Sidelinger to pursue similar avenues in the future. No doubt there’s more great music awaiting just around the bend.
Variety and versatility have long been the hallmarks of Nefesh Mountain’s career. Based in upstate New York, the duo — consisting of the husband-wife team of singer Doni Zasloff and vocalist, guitarist, and banjo/guitar player Eric Lindberg — have shown their appreciation for traditional music through their ability to bend its boundaries and give it a contemporary context. Americana, folk, bluegrass, jazz, and blues are all part of their wheelhouse, all tempered within the context of their Jewish heritage and reverence for roots music in general.
They take that combined devotion several steps further with Beacons, a two CD set with Eden Sky Records that devotes one disc to Americana and the other to bluegrass. Boasting 18 tracks, it features an impressive array of iconic contributors — Sam Bush, Jerry Douglas, Stuart Duncan, Mark Schatz, Greg Leisz, Rob McCoury, and Cody Kilby among them.
Given the presence of those particular musicians, it’s certainly understandable that the bluegrass offerings on the second disc provide certain standouts. In many ways, they become astute examples of the duo’s talent and tenacity. Although they wrote the majority of these offerings, their covers of Derek and the Dominos’ Keep On Growing, Rodney Crowell’s beautiful ballad Song for the Life, and the seasoned standard, Keep You Lamp Trimmed and Burning demonstrate the verve and versatility that’s at the very core of Nefesh Mountain’s efforts and ingenuity.
Although some listeners may be drawn to one disc over another, in truth, the two halves work well in sync. The music flows well throughout, and in truth, though it’s billed as “unadulterated Americana,” there’s not a lot of discernible difference between the two sides other than the instrumentation. Those that appreciate any sort of traditional tapestry will find reason to revel in all Beacons has to offer. In that regard, Nefesh Mountain has scaled a new summit.
While Welsh is a decidedly different language from the English spoken throughout the rest of the UK, and in the US, music serves as a common connection. Taff Rapids, a bluegrass band hailing from Cardiff in Wales, has proven that point courtesy of their unique blend of bluegrass and its rich traditions. Comprised of seasoned musicians Darren Eedens on banjo, Sion Russell Jones on guitar, David Grubb on fiddle, and Clem Saynor on double bass, the quartet brings a fresh perspective, courtesy of the infusion of their Celtic influences into a style which they refer to as “Blŵgras.”
“We started this band initially as a way to see more bluegrass in Cardiff,” Eedens explains. “I am originally from Canada, and I loved how many bluegrass/country gigs there were to attend in Toronto where I lived. I felt like the Welsh capital needed something similar. So thanks to a friend who ran a pub called Bubs, we were able to start Cardiff’s first bluegrass brunch. We cut our teeth while folks had their bacon and eggs. I had met Dave in a jam years prior, and after a call out on Facebook, Sion was quickly brought around for a jam. We started as a trio, later bringing Clem into the picture and completing the vocals and the instrumentation. We were doing three sets every Sunday very shortly after starting the band, and this gave us the chance – I.e. forced us — to build up a repertoire quickly. As we are all songwriters, we then had the chance to start testing out new originals, concepts, and directions for our sound. Those early days really got the ball rolling and shaped us.”
Eedens goes on to liken their sound to a transatlantic session. “We bring our very different influences together, combining the traditions of Welsh/Celtic music and bluegrass,” he continues. “We quickly realized the similarities between those styles, and found the room to adapt many Welsh traditional fiddle tunes. As we started building up our set, and giving tunes our own spin, we started incorporating the Welsh language. We knew we had a special side to this project, and soon after we took on the term ‘Blŵgras’ as our description of the genre. It’s just like bluegrass, but a bit more Welsh and a bit more our own.”
That’s not to say the band hasn’t dabbled in other forms of musical expression as well. “We’ve all written and performed in such a wide range of styles, from jazz to country, pop to Scottish folk, indie rock and classical,” Eedens said. “I think that once we started to let our guard down, all these things came together in a way that really created a variety in the sound of our music.”
According to Eedens, there was plenty of variety in their musical upbringing, especially as far as their early influences were concerned.
“We all come from very different musical backgrounds, which I think has helped us develop our sound,” he noted. “In bluegrass, we spent a lot of time listening to the greats, ranging in different eras, like Flatt & Scruggs, The Bluegrass Album Band, Tony Rice, Bela Fleck, Molly Tuttle, Punch Brothers, Michael Cleveland, and Billy Strings, to just to name a few. We’ve taken much time analyzing every lick they play, much like everyone does. We love that there is always something to learn, even with a song you’ve known for years. The recordings and players out there today are doing so many great things, so that every time you put on a record, there is inspiration and influence. We have listened to Bluegrass ’95 so many times, we might be wearing the album out!”
Nevertheless, their efforts have clearly paid off. In 2023, Taff Rapids was invited to perform at the IBMA World of Bluegrass Showcase, marking a significant milestone. That was followed by a successful Canadian tour. Meanwhile, their compelling live performances, replete with rich harmonies and instrumental acumen, continue to attract audiences across the UK and Europe.
In addition, they’ve garnered regular radio play on BBC Radio, live performances on BBC Radio Cymru, and features on BBC S4C television. In the coming months, another Canadian tour is planned, including an appearance at Folk Alliance International in Montreal.
Their other festival appearances have included La Roche Bluegrass in France, UK bluegrass festivals such as Gower Bluegrass, Didmarton Bluegrass, and Battlefield Bluegrass, as well as various non-bluegrass gatherings. Their festival plans in 2025 include Focus Wales, Rotterdam Bluegrass, Bluegrass Festival Bühl, and Festival Interceltique de Lorient, which Eedens cites as the largest Celtic festival in the world.
“We still maintain a local monthly residency at the brewery bar Tiny Rebel in Cardiff City Centre, while maintaining our original goal of the band…which is to share more bluegrass,” Eedens said. “But we are also regularly out on the road. We have multiple tours booked that will take us places like France, Belgium, Netherlands, Germany, and Switzerland in the coming months. We will be pushing our album throughout the year, starting with a sold-out show here in Cardiff, and ending the year with a UK-wide tour.”
The album he refers to is due in March, and titled, naturally enough, Blŵgras. “We perform a musical mix,” Eedens insists. “Some shows are entirely originals, and our residencies consist mainly of traditional tunes and covers. The album consists almost entirely of originals, sung in both English and Welsh with a special Welsh trad track in there titled Dacw ‘Nghariad. Often what we do is blend Welsh traditional music with better known American fiddle tunes. Some of our favorites include Cherokee Shuffle, Jerusalem Ridge, and Monroe’s Hornpipe. But we also throw in some singing, with favorites like Big Spike Hammer, Tennessee Waltz, June Apple, etcetera. We keep swapping out and adding new ones, and our monthly gig is a good way to do it! We regularly do two sets, so given a full album and a good size back catalogue, we have a lot of variety, and we’re able to change the set up often.”
Happily then, the band has been well received.
“It’s been quite wild to see the response to our brand of bluegrass,” Eedens added. “I think the Welsh language element has really brought Welsh speakers to our music. People love Wales, and they love bluegrass, so bringing those two things together has been a lot of fun, and I think that’s attracted people to it.… particularly when we have taken a slow choir-style traditional song, and turned it into an upbeat singalong with fiddle solos and barn burning. Everyone knows the words, but they’ve never heard them like we do it. I also think it has shown a lot of people here what bluegrass is all about. We often have people who have never heard a banjo tune before, but when they stumble across our residency, they stay for the whole show.”
Consequently, Taff Rapids has ignited a lot of interest. “We have this strong support,” Eedens said. “Our fans seem to be just as excited for our travels as we are, and they show great support by sporting Blŵgras tee-shirts, and spreading the word. We have literally shown up to play a bar in Canada, and have groups of Welsh people come out because their family, which lived in Wales, has told them to come!”
In that regard, Eedens has no doubt as to why bluegrass enjoys such widespread popularity.
“There is something about bluegrass, and I almost wonder if it can be described,” he suggests. “I can remember the first time I heard it — the drive, the pulse, the feeling, and the power of the acoustic music and vocals. I think that’s one of those things where people don’t just like it, but truly fall in love with it as well. For us, it is also a source of endless learning — the way the new players are pushing the boundaries and the way you can always find something new in someone else’s version of a piece. That way, you never get tired of it.”
There’s more to it as well, he said. “I think it also has such a strong sense of community, from the culture of jamming to everyone being on the same level,” Eedens continued. “It’s much like jamming in pubs here, where we often just practice sitting around a table in a local pub. It truly crosses culture and language. We can just sit and pick together, regardless of where we are from. I think that regardless of age, people could have listened to the music their whole lives and then decide they want to try and be a part of that. Then they learn to play an instrument… it is truly something to be a part of in a way that I think is truly special with bluegrass music…and we are grateful to be a part of it too.”
Described on her website as “Hollywood Down Home,” Pam Linton has pursued a career that brought her from her native St. Stephen, Minnesota, to singing in church, at local events, and eventually on local television. Midwestern entertainer Sherwin Linton took her under his proverbial wing and brought her cross country where her varied singing style and astute fashion sense, and recognition as a chef and jewelry designer, brought her further fame. As a singer and devout musical historian, she was inducted into the National Traditional Country Music Hall of Fame in 2002.
Linton’s first solo album, Looking Back, was released in 2004, and it reflects her long-held love of musical tradition. That was followed by an LP recorded with her mentor and now-husband, Sherwin Linton, titled Pam Linton – 40 – Loves Ring Of Fire. Nevertheless, her new album, Songs of the Carter Family, from New Folk Records, may be her most telling expression of appreciation for the early influences ingrained in her by her aunt early on — specifically a love of country music standards borne from the ’40s and ’50s. She shares a debt of gratitude for the Carter Family, the traditional family folk group that recorded between 1927 and 1956, becoming the first vocal group to attain the status of legitimate country music stars, as well as one of the first groups to record commercial country music.
The Carters also helped foster the essential roots of bluegrass through their delicate weaving of an iconic traditional tapestry.
In the process, they produced a wealth of standards that remain an intrinsic part of the popular musical lexicon. Consequently, this particular set of songs, recorded in North Carolina and featuring contributions from Darin & Brooke Aldridge, Jeremy Stephens, and David Johnson, leans heavily on the familiarity factor, courtesy of such certified country classics as Keep On the Sunnyside, Can the Circle Be Unbroken, Wildwood Flower, Wabash Cannon Ball, Father On, and Are You Lonesome Tonight, among the many. The love of home and hearth, feelings of faith, humor and humility, and occasional tales of rejected romance take on new life through Linton’s emotive expression and decidedly down-home delivery. There’s a sense of unbridled joy and upbeat enthusiasm present in each of these reads, emotions that are evident even within the saddest and most sobering songs.
As a result, Songs of the Carter Family ought to be considered something akin to an essential acquisition. It also reminds us all that great music is timeless and easily transposed from past to present. Linton deserves due credit for keeping it all in context.
According to the brief bio posted on her website, Rita Bliss is a folk musician from Rochester, New York who is now based in Austin, Texas. She shares delicate and delightful melodies spawned from old-time melodies, and her travels along the backroads of America’s South.
Driven mostly by her sublime singing, tasteful banjo picking, and the occasional harmonica, Bliss is given delicate accompaniment courtesy of Noah Jeffries on guitar and fiddle, producer Dom Fisher, who also contributes bass and mandolin, and the backing vocals of Jimmie Scott Calhoun. Naturally, Bliss herself takes center stage throughout, whether it’s with the joyful jaunt taken on Drive You To Kentucky, the exceedingly upbeat Love From Lufkin, the easy swoon and sway of Two Dollar Bill, or the quiet caress of banjo ballads like Jeanie, Mountain Time, and Goodbye.
Through it all, Bliss has a way of evoking enduring emotion, and regardless of whether it’s a tender homage to a forever lover, the wistful reflection that brings to mind a favorite watering hole, or simply a shared repast about times spent with friends prior to hitting the highway, the sentiments ring with authenticity and the tender tones that only a highly sensitive singer and songwriter can bring to bear.
What’s all the more remarkable is the fact that Peaches and Apple Piesrepresents Bliss’ initial outing, one that’s released under independent auspices no less. So while it’s best to reserve some quiet, concentrated time to fully appreciate her delicate debut, one can be assured that it’s time well spent.
A gentle and much-needed respite from a frantic and frenetic world, Peaches and Apple Pies is as thoroughly tasteful and inviting as the temptation of its title implies.
Fat Moose’s handle may seem somewhat self-effacing, but for a band that hails from Sweden, it’s likely meant to be more descriptive than disparaging.
The band — Jens Koch (banjo, vocals), Jimmy Sunnebrandt (bass, vocals), Erik Igelström (mandolin, vocals), and Erik Lund (guitar, vocals) — make their home in Stockholm, with the exception of Sunnebrandt, who lives about two hours north in the town of Torsåker. According to Igelström, the band can trace its origins back several years when he, Sunnebrandt, and Koch, along with lead vocalist Christoffer Olsson and dobro player Tobias Strömberg, were in a band called G2, short for G2 Bluegrass Band. The band enjoyed a successful run between 2005 and 2016, and, for a time, toured the US while briefly based in Nashville.
“We parted ways in 2016 on the best of terms, with each of us pursuing different musical projects, often outside the bluegrass genre,” Igelström says. “About a year ago, Erik and Jens had the idea of starting a new band with the goal of playing at local venues in Stockholm. They reached out to me and Jimmy, and we quickly found a shared excitement for the project. What began as a fun way to play local gigs quickly grew beyond our expectations. Word spread, and soon we were invited to perform at festivals across Sweden and Denmark. Looking ahead, we’re excited to expand our reach to Norway and Finland this year, and who knows what will come next after that?”
Igelström describes the band’’ sound as traditional bluegrass. “We think bluegrass connoisseurs would agree,” he continued. “That said, we’re excited to see how our sound evolves as we begin writing and incorporating our own original material. Who knows where that journey will take us?”
Not surprisingly then, their influences are firmly etched in basic bluegrass, with Tony Rice, Sam Bush, J.D. Crowe, Del McCoury, and Earl Scruggs chief among the iconic figures that inspired them early on. “Those legends have profoundly shaped our sound and approach to the genre,” Igelström insists. “We also draw inspiration from modern bands and artists who continue to push the boundaries of bluegrass, among them, Sierra Hull, the Punch Brothers, and East Nash Grass.”
“Their work inspires us to embrace both tradition and innovation in our music.”
Fat Moose has only been active for about a year, and, as a result, haven’t had the opportunity to play widely up until now. “However, our journey is just getting started,” Igelström adds. “And so now, we’re looking forward to performing for more audiences in the near future.”
Nevertheless, individually Koch, Igelström, and Sunnebrandt did have an opportunity to participate with Dan Tyminski in a live performance known as Avicii gala, an event initiated by the late Swedish deejay and producer of the same name that took place in Stockholm in December 2023.
Igelström added that while they have yet to record, their live performances have been very well received. “People have shown an excitement for us playing music together, and to have a new group on the scene over here,” he said. “Of course, that’s fun, and it’s been nice to not only reconnect with old friends, but also to have new crowds, most of them new to bluegrass, at the local gigs we’ve played.”
He added that the group is mostly playing covers now, but they intend to start composing original material as things progress. “We’ve played a slew of traditional songs, some from the artists mentioned above,” he continued. “We mix them with some newer songs by bands like East Nash Grass, for example.”
He also has a theory as to why bluegrass music maintains such international appeal.
“Bluegrass is a friendly style of music and it’s easy for folks to get excited about it,” he maintains. “That’s especially true in a live context where acoustic craft is displayed, which is something the listener can relate to due to its authenticity. Perhaps they see it as a nice alternative to the mainstream sounds and the digital music that’s so widely popular today.”
The Denver-based quintet that goes by the descriptive handle, Pick & Howl, makes a formidable impression courtesy of their new album, Country Symphony, a set of songs that find them firmly entrenched within today’s populist and progressive bluegrass genre. Like others that operate within these realms, the group — made up of guitarist and lead vocalist Jeremy Richards, Paul Larson on banjo, Melissa Stube on fiddle, Andrew Gordon on dobro, and Eric Gordon on double bass — manage to carefully tow the narrow divide between the classic and the contemporary, while delivering ready and reliable melodies that easily and effectively frame that finesse.
That was first affirmed by the fact that Pick & Howl won the 2022 RockyGrass band competition, doing so while drawing from a diverse variety of influences that range from The Grateful Dead and Billy Strings, to Townes Van Zandt and Flatt & Scruggs. Nevertheless, they don’t necessarily sound especially similar to any of them, given that comparisons bring them closer to the Steep Canyon Rangers, Punch Brothers, and Town Mountain. Richards is responsible for the majority of the material and keeps the momentum moving, whether it’s the rousing and robust No Window, Fever, Coyote, and My Own Shoes, the heartfelt balladry of Cartersville, the light-hearted 9 Mile Cigarettes, or the reflective yet resolute, American Boy. The band inject both emotion and enticement into their music, keeping melody solidly at the fore throughout.
Indeed, there’s nothing rote or routine in terms of Pick & Howl’s primary pursuits, only good music flush with easy engagement. The sparkling instrumental, Dottie’s Dance, is but one example of the sweep and sway the band has at their command, just as Live Today finds the full fruition its title implies.
Through it all, fiddles flail, mandolins provide a constant strum, and banjos add an emphatic embrace. The results coalesce in a delivery that’s fully fueled by both emotion and intent, making this Country Symphony an assured display of the band’s passion and purpose. In that regard, it easily ranks as one of the best debuts of the past year, and a promising prospect for what’s yet to come.
Although harmonica is far more closely associated with blues than it is to bluegrass, Art Stevenson proves it can provide a perfect fit regardless. Although he’s also made his mark as a guitarist, vocalist, producer, and bandleader for the past 30 years, he continues to instill the sound of harmonica within bluegrass realms, whether it’s in a selective role or with more prominent positioning.
His new album on White Oak Records, Bluegrass Harmonica, could be considered a compilation of sorts, one that contains songs that have been performed live, tracks that have been previously recorded, and others that represent a sampling of new, heretofore unreleased material. Despite the disparate origins, it holds together remarkably well, given the fact it wholly delves into traditional tunes and the occasional standard as gleaned from the pens of Bill Monroe, Fred Rose, and Jimmie Rogers. So too, with Stevenson’s harp setting up the tome and tempo, it conveys a joyful and jaunty feel overall, from the strut and stride of Sail Away Ladies, Gold Rush, and Married Life Blues, to the homespun hoedown feel typifying Pick A Bale Of Cotton, the swing and sashay of Handsome Molly, and the steady shuffle that drives Sally Goodwin, and Bringing in the Georgia Mail.
Stevenson’s collaborators — Audie Blaylock (mandolin), wife Stephanie Stevenson (bass, vocals), Bruce B. King (mandolin), Chris Silver (lead guitar, mandolin), Gary Barite (mandolin), Lonnie Bowden (jaw harp, banjo, vocals), Tom Boyarski (lead guitar), Sam Pankratz (guitar), Oscar Noetzel (banjo), and Dale Reichert (banjo, dobro) — each add an essential element, particularly Reichert, whose precise picking seems to soar on any number of these instrumental excursions — Girl I Left Behind and Black Mountain Rag in particular. Nevertheless, Stevenson still manages to take center stage, his harp filling out the role normally given to a fiddler’s finesse. Likewise, his yodel on When It’s Peach Picking Time In Georgia affirms the comfort and caress that beloved song traditionally calls for.
Likewise, even the most familiar fare — Orange Blossom Special, Old Joe Clark, Blue Eyes Crying In the Rain among them — is imbued with an invigorating energy that transforms what may seem old into something that definitely feels new again. That’s because Bluegrass Harmonica, its unassuming title aside, is dominated almost entirely by a giddy, good time feel accelerated by a feeling of unmistakable, unabashed enthusiasm.
An astute expression of skill and celebration in equal measure, Bluegrass Harmonica finds Stevenson tapping tradition and neatly fitting it into contemporary confines. There’s certainly nothing that’s more satisfying than that.
Jean-Paul Delon, half of the French duo known as Watson Bridge, finds more than a hint of inspiration for his music within the environs he calls home. “We live in France, in the old mountains named Massif Central,” he explains. “Our landscape looks a lot like the Appalachian mountains, particularly in the state of West Virginia.”
Delon, who sings and plays guitar, and partners with lead vocalist and guitarist Isabelle Groll, says Watson Bridge are longtime members of the French bluegrass community. “Isabelle started playing bluegrass thirty years ago in the band Crazy Buffalo,” he explains. “I’m a member of the band Bluegrass 43, active since 1977. We used to jam together, and then we decided to form a duo in 2010. Since then, we’ve played more than 150 gigs in every part of France and in Switzerland. We’ll play in any venue — in bars and restaurants, concert halls, or for private events. We’ve also played some major festivals — Bluegrass in La Roche — three times on the main stage and many times for the street festival — five times at EWOB in the Netherlands, and twice at Herbe Bleue. At the big festivals, we often perform as a quartet, with double bass player Florence Chapuis and French mandolinist extraordinaire Dorian Ricaux.”
Asked about their influences, Delon claims that the two first started listening and practicing American music fifty years ago. “The man who touched us most, emotionally speaking, was Doc Watson,” he adds. “Though we are not a cover band as far as his repertoire, we wanted the name of our duo to pay homage to him. As young adults, we grew up listening to the classic sounds of bluegrass like Bill Monroe, Flatt & Scruggs and the Stanley Brothers, but soon we were attracted to progressive artists like Seldom Scene, New Grass Revival, and David Grisman.”
Nevertheless, Delon claims things began to shift once he and Groll began working together as a duo. “The influence of singer/songwriters became prominent, first for the intense poetry of the lyrics and second for the sound of a one-man band or duet,” he said. “Our current heroes are Darrell Scott, Kate Wolf, Gillian Welch, Peter Rowan, the Milk Carton Kids, and Watchhouse. Another major influence is Kathy Chiavola, who is a model for the beauty of the voice. Isabelle can sing high, and Kathy’s interpretations fit naturally in her range.”
Even so, Delon said the two had certain challenges they had to overcome.
“First, we had to accept the fact that it is impossible to play real bluegrass music with just two voices and two guitars,” he conceded. “Working as a duo is a wonderful experience where everyone is more upfront than in a band, but we can’t count on the fiddler or mandolinist to make the song shine from the beginning till the end. So we work hard to create interesting arrangements for each song, with beautiful intros or endings, changes in colors, rhythms, or keys, twin instrumental breaks, and original vocal harmonies that fit the song. Along the way, we learned how to produce a full sound with only two guitars that can complement each other, often with the use of capos in different places. I frequently use a baritone-tuned Martin, giving extra bass notes and separating the ranges of the two instruments. We believe that the audience deserves to hear music arranged as well as possible.”
“Second, in nine out of the ten gigs we play, a typical French listener has never heard about bluegrass, nor is fluent enough in English to immediately understand the lyric’s poetry. As none of us are good at writing songs, we soon decided to be as eclectic as possible about the cover repertoire we choose. Our set lists always contain a swing number or two, an occasional pop song, a Mexican love song, or a baroque piece. A typical concert by Watson Bridge is maybe seventy percent folk, bluegrass, and Americana-rearranged covers, and thirty percent musical surprises. French audiences respond very well to this eclecticism, and no one ever tells us that ‘everything sounds the same’.”
Delon went on to explain Watson Bridge’s impetus was more than a product of its initial influences. “We have a deep respect for the bluegrass giants who paved our way, but sometimes we like hijacking the old standards,” he continued. “For example, our version of On And On keeps Bill Monroe’s lyrics, but uses a Latin groove that carries the melody of Sting’s Fragile, just because the first words of his chorus are ‘on and on.’ It was a lot of fun to imagine, and it works. This creative process is very important for us, and we spend a lot of time thinking of what a new song could sound like. Many ideas end up in the trash bin, but we know when we have found the one that works. Isabelle’s artistic intuitions and feelings are always spot on for the music. I have a solid background in different styles and harmony, and so our duo is always experimenting with new ideas, while keeping a creative and open mind.”
Those ideas have come to full fruition through the band’s recordings. “In 2020, we released our first album, titled Orion, named after Isabelle’s cat,” Delon recalls. “We received very good reviews from the French bluegrass community. The album often presents a full band sound, because we invited eight excellent friends from the French bluegrass community to play banjo, mandolin, fiddle, bass, and dobro on some tracks, and also to sing harmony with us. We are currently working on our next album, and hope to release it in the spring.”
Naturally, Delon has his own option on what gives bluegrass its universal appeal.
“Bluegrass is not very popular in France, at least in terms of mainstream TV, radio, big tours and concerts,” he concedes. “It’s not a problem for us, because we think that on a small scale, it’s as alive and solid as ever in our country. The French bluegrass community gathers every fall in Vichy, thanks to FBMA — the French Bluegrass Music Association — and this year, we had 120 pickers. Our feeling is that a big festival like Bluegrass in La Roche helps a lot when it comes to creating new listeners and eventually new pickers. Watson Bridge was amongst the founding members of the one weekly bluegrass jam in France, at the Antidote Pub in Lyon, and we have played there quite often since 2011. We saw many young pickers come out of this jam. Plus, American pickers visiting France are always welcome there. Ten years ago, we thought only people in their 50s liked to play bluegrass in France, but today, we see a growing interest from young people, and they actually learn much faster than we did during the ’70s.”
At first, any attempt to turn Bob Seger’s classic catalog into some sort of bluegrass bedfellows might seem somewhat misguided at best. After all, the two are certainly distant cousins. Never mind the fact that the transition worked well when it came to a pair of albums that successfully redefined the music of the Moody Blues within that template, or that Seger himself was a heartland hero with confirmed road warrior status. His singular style suggests that Silver Bullet Bluegrass might be nothing more than an idle attempt at compromise which any proud purist would dare not pursue.
On the other hand, any effort that features the contributions of an a-list group of all-star musicians — in this case, guitarists Richard Bennett, Shawn Brock, Larry Cordle, Stephen Mougin, and Gary Nichols, bassist Mike Bub, and fiddlers Tim Crouch, Shawn Lane, Megan Lynch, and Tammy Rogers— offers at very least a certain guarantee. So too, the headliners at the hem of the interpretations — Carson Peters, Gary Nichols, Shanna Tucker, Tim Shelton, Keith Garrett, Jeff Parker, Bo Bice, Ward Hayden, Tim Stafford, Josh Shilling, Robert Hale, Bill Taylor, and Larry Cordell — can be credited with finding the imagination, insight, and inspiration needed to ensure its triumph.
In that regard, each of those artists manage to retain the spirit of the original offerings. Gary Nichols’ take on Turn the Page, Jeff Parker’s read of We’ve Got Tonight, Josh Shilling’s cover of Main Street, Larry Cordle’s Night Moves, and Tim Shelton’s version of Against the Wind each boast a certain similarity to Seger’s seminal versions, particularly as far as attitude and intent. On the other hand, Tim Stafford’s Even Now, Robert Hale’s Feel Like a Number, Bill Taylor’s Roll Me Away, and Shonna Tucker’s Hollywood Nights shed a new light on each of these respective entries. So too, Keith Garret’s fiddle-fueled revamp of You’ll Accompany Me, Bo Bice’s radical redo of Ramblin’ Gamblin’ Man and Ward Hayden’s success at turning the rocking revelry of Betty Lou’s Gettin’ Out Tonight into a honky-tonk hoedown somehow suggests that those particular songs may have been written with a bluegrass blueprint in mind.
Granted, nothing will ever take the pace of Bob Seger’s drive and determination. Yet, it can also be claimed — and convincingly so — that Silver Bullet Bluegrass is a highly competent companion piece as essential as the original.
