Grassicana Archives - Bluegrass Today

Brightest of Days – Sicard Hollow

It’s interesting how bluegrass music often becomes a destination rather than a point of origin. Interesting, but hardly surprising, given the fact that its populist precepts find common ground with so many bands that were weaned on the likes of the Grateful Dead, Phish, and other outfits that bend boundaries while sharing instrumental acumen. One need only look to Leftover Salmon, Greensky Bluegrass, Trampled By Turtles, Steep Canyon Rangers, and other groups that have attracted a sizable following while creating a sound rooted in the basics of bluegrass, and yet with appeal to an energized and enthusiastic young audience.

Sicard Hollow evolved in much the same way, and the four members readily admit that none of them — singer, guitarist Alex King; singer, mandolin player Will Herrin; fiddler, harmony vocalist Matthew Rennick; and bassist, harmony vocalist Parrish Gabriel — initiated a musical journey that began with bluegrass. These days, they owe their influences to the Dead and New Grass Revival, but before they coalesced in 2018, they were latent rockers in search of further inspiration.

Consequently, their sophomore set, Brightest of Days, comes across as an articulate, expressive, and thoroughly engrossing set of songs, one that shows allegiance to the basics of bluegrass while taking their musical intents several steps further. For example, the song Metamorphic Prophecy lives up to the celestial trappings its name implies, courtesy of an adventurous approach that pushes at the parameters. The title track further affirms that earnest, engaging sound, while also honing in on a musical mantra flush with absolute optimism. It does so by infusing hope with happenstance, making it all he more meaningful.

The songs that follow ring with a drive and dynamic that reflects that infectious attitude. Songs such as Where I’m At, This I Know, and Face the Wreckage all convey a confidence and clarity that ring and resonate throughout. Bound To Die, a song with a title that might otherwise seem somewhat dire, maintains a soaring delivery that keeps the consistency intact.

The arrangements underscore that infectious attitude. Herrin and Resnick are generally found at the fore, while King and Gabriel provide the pace. Yet it’s that uplifting attitude that leaves the most lingering impression. “You can’t change the weather, but you can dance in the rain,” they suggest on the album’s searing send-off, Forecast of Life. Thanks to that upbeat outlook, Brightest of Days is flush with irresistible appeal.

Lines in the Levee – Town Mountain

Widely — and wisely — considered one of the current mainstays of the so-called newgrass movement, Town Mountain take a decided step back in time with their new release on New West Records, Lines in the Levee. That’s not to say they’re regressing — not by any means — but they are doubling down on some bygone influences. Echoes of Levon Helm at the helm of the Band abound, so much in fact that on songs such as Lines in the Levee, Comeback Kid, Seasons Don’t Change, and Distant Line, one could swear they’re listening to outtakes from such classic Band fare as Stage Fright or Cahoots. Again, that’s not a knock, much less a critique, but simply a statement of the obvious, and in fact, a comparison that serves them quite well.

Nevertheless, the album doesn’t hang its intents solely on the similarity alone. The rowdy Firebrand Road simply sounds like upbeat exercise in rabble rousing, good ‘ol boy indulgence, just as American Family takes on an upbeat enthusiasm notably absent from many of the other entries. Several tracks — Rene, Daydream Quarantine and Lean Into the Blue in particular — convey a rustic, rootsy delivery, a sound that takes its cue from the down home delivery of their North Carolina origins. “Workin’ on big decisions,” they insist on the song titled, appropriately, Big Decisions. “Cuttin’ out on this so-called livin’/You can say my choices ain’t worth a damn/That’s a damn I’m just through givin’…”

In that regard, it’s that blue collar ethic that colors many of these same selections. The understated eloquence of Unsung Heroes and Seasons Don’t Change convey their subdued sentiments with an honesty and humility that reflects an otherwise unassuming attitude. The band — Phil Barker on vocals, mandolin, and acoustic guitar, fiddler Bobby Britt, vocalist and acoustic guitarist Robert Greer, singer, guitarist and banjo player Jesse Langlais, bassist Zach Smith, and drummer Miles Miller — are a cohesive unit, given that the musicians blend their instruments in sync to fill out the arrangements, rather than always insisting on taking center stage. That’s one reason why Lines in the Levee sounds both seamless and evocative all at the same time.

Happily then, there are no fault lines evident as far as that particular proposition is concerned.

Bluegrass Beyond Borders: Canadian duo Mama’s Broke mixes it up

Mama’s Broke is a duo from Canada’s Maritimes that’s comprised of two devoted road warriors, Lisa Maria (vocals, fiddle, mandolin, banjo, guitar) and Amy Lou Keeler (vocals, guitar, banjo, fiddlesticks). Their sound is borne from a traditional template that encompasses bluegrass, mountain music, and Eastern European designs. Their sophomore set, Narrow Line, reflects that musical mantra, but still leaves room for the pair to fashion a decidedly individual approach of their own.

“Our sound has been described to us as ‘folk without borders’,” Keeler explains. “Which I think fits, since both of us have a lot of influences from around the world, and definitely some traditional bluegrass influences.”

Maria elaborates further. “Aside from different styles of traditional music like old time bluegrass — Ralph Stanley is a huge influence for Amy — both of us have pretty diverse musical backgrounds, playing in punk bands to metal bands to indie bands.”

Like many such unions, Mama’s Broke came about through sheer happenstance. “We had mutual friends in Montreal, and we spent a car ride together between Montreal and Halifax one time back in 2014,” Keeler recalls. “We spent the entire drive talking about music and how we express ourselves musically. We realized pretty quickly that we were very in sync with what kind of music we wanted to make and perform. It was pretty revolutionary for both of us to find someone who mirrored those feelings.”

Not surprisingly, Narrow Line provides the ideal showcase for their eclectic musings, shared via a series of songs tempered by wistful reflection and earnest engagement. Whether it’s the diverse medley titled Oh Sun/Pale Night/Forgetting Reel, the synched and sensitive harmonies of Just Pick One, or the forlorn folk sounds of Between the Briar & the Rose, it’s clear that their verve is a match for their variety. So too, certain songs — How It Ends, October’s Lament and the robust instrumental, Pick the Raisins from the Paska, in particular — make those disparate origins all the more obvious.

Prior to the outbreak of COVID, the duo toured relentlessly, having accumulated appearances in their native Canada, the US, Ireland, Indonesia, the UK, and much of Europe. “We did the count recently and I think we’re at around 15 countries that we’ve toured in,” Maria muses. “We’ve played a few festivals over the years, like Green Man Festival and Sidmouth Folk Festival in the UK, Electric Picnic in Ireland, and Home County Festival in Ontario, Canada.”

“Just this past April, we played a Nashville show with our friend Sierra Ferrell which was loads of fun,” Keeler notes. “We love singing with her so much!”

Given that array of experiences and encounters, it’s little wonder that Mama’s Broke’s music draws from so many motifs. Yet at the same time, they’ve still managed to sustain a loyal fanbase back home.

“It’s gone really well for the most part,” Maria suggests. “However, I think that because both of us spend a lot of time away from home, we don’t have as much of a following in our home towns as we do in other places, ironically.”

Prior to the new album, Mama’s Broke released one full-length effort, 2017’s Count the Wicked. Maria describes it as “a bit more hands-on and DIY than this album, although we were super involved in the production and mixing of this album as well.”

Clearly then, the current project represents the duo well, a daring set of songs that’s sometimes dark, often optimistic, and as bold as today’s world prompts them to appear. That said, their devotion to making music spawned from time-honored origins reflects their continuing commitment to sharing varied offerings. It is, they say, part of an essential attempt to find common ground between artist and audience.

“Any type of music that is rooted in traditional styles, and that is unvarnished, speaks to a lot of people from all walks of life,” Keeler maintains.

That’s a mantra that any believer in bluegrass can likely easily embrace.

To learn more about Mama’s Broke, visit them online.

Better Late Than Never – Never Come Down

Based in Portland, Oregon, Never Come Down are an astute outfit that weave a multi-textured dimension to their grassicana motif. There’s a great deal of depth to their approach, one that finds them blending the nominal instrumental elements of traditional bluegrass with a studious and thoughtful sentiment and sound. Joe Suskind (guitar), Crystal Lariza (vocals), Brian Alley (banjo), Keden Hurst (mandolin), and Ben Ticknor (bass) excel at creating a thoughtful musical template that plies its emotional terrain through mournful melodies with a pervasive melancholia. The arrangements are spare but effective, sharing a sound that’s solid, stoic, and yet also flush with a clear determination.

That said, Never Come Down manages to take their music to a higher plain, and there’s not a single song on Better Late Than Never, their sophomore set, that doesn’t make that apparent. At the same time, they draw out the emotion and mine it for all it’s worth. Certain songs — Sunnyside, Wallow, Passing By, and Leavin’, in particular — tend to focus on tattered feelings of a more reflective variety, a further indication of the band’s desire to stir their songs with hard realities that often negate any and all attempts to pursue more of a giddier groove. It makes for interesting and intriguing circumstance, one that lays their thoughts bare without reservation. “I work my fingers to the bone,” Lariza insists on Catch Me, and indeed, despite an otherwise harsh assessment of the situation, it’s clear that she’s not out to mine sympathy, but rather to simply relate her story honestly and emphatically. So too, when she sings, “There’s no excuse for these New Year’s Day Blues,” it’s evident that she’s not the type to wallow in self-pity.

Still, there’s no denying that the downcast disposition that pervades the album overall gives Better Late Than Never an overall pessimistic perspective. At the same time however, the quietly compelling delivery remains undeterred. So while Never Come Down never quite hits bottom, it’s clear they’re not afraid to relate a few pertinent realities as well.

Damn The Banjos – new band project from Tim Carter

Nashville banjoist Tim Carter has announced a new project, with a new band, called Damn The Banjos.

It’s not really a bluegrass sound, but it is banjo centered. A new album is nearly finished, Full Speed Ahead, including material written within the group, inspired by a wide range of music these four claim as influences: The Avett Brothers, The Way Down Wanderers, Old Crow Medicine Show, Tom Petty, James Taylor, and John Prine.

Carter plays banjo, mandolin, and guitar, with Mike McAdam on electric guitar, Scotty Huff on bass, and Dann Sherrill on drums and percussion. All four are experienced hands in the Nashville music scene, with touring experience among them with artists like Alison Brown, Vassar Clements, Hayseed Dixie, Steve Earle, Mary Chapin Carpenter, Radney Foster, Bonnie Bramlett, Engelbert Humperdinck, Steve Winwood, The Mavericks, Keith Urban, Jake Owen, and Keb’ Mo’.

They created this video as a promo for both the band and the album, with samples from a number of their new songs included.

You can learn more about Damn The Banjos on their web site.

Pressing Onward – The Barefoot Movement

Coming on the heels of last year’s excellent Rise & Fly, The Barefoot Movement’s aptly titled Pressing Onward sums up the dynamic and drive consistently demonstrated by this effusive young combo who merge bluegrass and old time music with contemporary songwriting. Now pared down to a three-piece, consisting of Noah Wall on fiddle, banjo, and lead vocals, Tommy Norris playing mandolin and providing backing vocals, and Katie Blomarz contributing upright bass and sharing lead and background vocals, they evoke the collective enthusiasm of a typical campfire collective. Produced by Chuck Plotkin (the man behind the boards for Bruce Springsteen’s Born in the USA and Bob Dylan’s Shot of Love, among the many) and Hank Linderman (best known for his efforts with superstars such as Eagles and Chicago), they’ve managed to accumulate the professional acumen to propel themselves forward, but here again, it’s all vibrance and versatility that dominate these proceedings. Indeed, that youthful enthusiasm isn’t lost in the midst of poise or professionalism.

That enthusiasm never wanes, from the first track to the last, but at the same time, their reverence for the genre never falters either. The album’s upbeat opener, Back Behind the Wheel, combines a rustic approach with a decidedly spirited sound. The rousing revelry that shines through such songs as Anywhere I Plant My Feet, the homespun hoedown Pressing Onward, a decidedly determined Baby Love, and the jig-like Touch the Sky, keep that jubilation steadfastly intact. Likewise, a riveting and remarkable cover of the Jimi Hendrix classic, Fire, finds Wall’s frenetic fiddle playing subbing for the signature guitar riff, and thereby ensures the exhilaration remains intact.

That said, a sensual and sedate cover of the classic, It Won’t Matter Anymore, finds a fit with any earlier expectations and blends nicely with the mellow mood established by Someday, Easy, and Find the Way Back.

Still, it’s that exuberance — and Wall’s fiddle playing in particular — that dominates the proceedings overall, creating a formidable impression and a sense that The Barefoot Movement are in fact proceeding purposely, while ensuring a solid reputation in the process.

Pressing Onward makes it clear they’re well worth watching along the way.

Newgrass Suite – Jonah Bobo

It’s not uncommon for music to be grouped into categories. Even within bluegrass and other genres of acoustic music, there tend to be multiple sub categories for different approaches such as progressive bluegrass, alternative country, and as of late, grassicana. Although Jonah Bobo’s debut release is titled Newgrass Suite, the tunes run the gamut of the musical spectrum.

Bobo, a multi-instrumentalist and theatre artist based in New York City, has put together an interesting collection of all original compositions. Most of the recording is instrumentally based, but a few tracks such as Party (All By Myself) and Letter (Little E) showcase Jonah’s singing abilities.

The greatest strength of Newgrass Suite is its sequencing. Each of the tracks (or in this case movements) flow together beautifully and are incredibly effective. This is most evident with Groove (Punch) followed by Riff (matadortornado) and Cardinal. These three tracks in particular pull the listener in so deeply that you almost forget you’re listening to multiple compositions.

Another strong point of Newgrass Suite is the instrumentation on each piece. Along with your standard bluegrass instruments, you can also hear cello, flute, accordion, and trombone among many others. Jonah Bobo is assisted by a slew of guest musicians on this project, such as Marybeth McKay on fiddle, Thomas Brody on bass, and Grace Dashnaw on cello, just to name a few. The number of musicians on each track varies. Most of them, such as Woods and Lambda (Cosmological Constant), employ a four to six piece ensemble, while the closing track, Finale (Granada), features a total of twelve instrumentalists. Party (All By Myself) is solely Bobo on guitar, banjo, mandolin, fiddle, dobro, bass, and vocals.

So what exactly is Newgrass Suite? It does obviously contain elements of newgrass and classical music, but there are many other styles mixed in as well. It would be difficult and perhaps unfair to even attempt to categorize this project. The array of ideas created by Jonah Bobo gives Newgrass Suite the uniqueness that it has. It’s a recording that lends itself to open interpretation by whoever listens to it.

She Don’t Never Fret – Charlene and the Bluegrass Charlatans

Jamie Hoover isn’t usually a name associated with bluegrass. For most of his career, he’s been somewhat akin to a power pop provocateur, having worked with Don Dixon, Marti Jones, the Spongetones, the Smithereens, Graham Parker, and other artists committed to a rock and roll regimen. Here, however, he leaps headfirst into grassicana realms, aided and abetted by Charlene and the Bluegrass Charlatans, a band that includes Johnny Tatum on guitar and vocals, Spence Hayden contributing keyboards and vocals, Ken Tatum sharing banjo and vocals, and Hoover himself singing and playing doghouse bass and mandolin.

For the record, there’s no one named Charlene to speak of, though the reference to Charlene Darling of Andy Griffith Show fame is made obvious by the album cover.

What inspired Hoover to cross-connect may be a matter of speculation, but given that he calls North Carolina home, this musical infusion ought to come as no surprise. While some might suspect that he’s planting tongue firmly in cheek in an effort to spark some satire, that assumption is instantly defused even after a cursory listen to She Don’t Never Fret, an adroit demonstration of the band’s form and finesse. The honky-tonk piano playing on Love Please Come Home, the ragtime revelry spun from an instrumental cover of Sweet Georgia Brown and the Avett Brothers-like emotionalism of Live and Die demonstrate the fact that they can occasionally venture a bit beyond the boundaries, but otherwise, it’s all about the picking and singing. That’s evident early on courtesy of such entries as Blackberry Blossom, If You Can’t Be Good, Be Gone, Freeborn Man, My Little Georgia Rose, and an earnest take on Peter Rowan’s Midnight Moonlight. Each offers indisputable evidence that these gentlemen are clearly committed to the cause.

Granted, bluegrass has become a genre of choice for many musicians, given its populist appeal and the obvious enthusiasm with which it’s rendered. Whether or not Hoover is ready to commit himself to a long-term engagement isn’t completely clear, but given this impressive debut, it’s obvious Charlene and the Bluegrass Charlatans are more than capable of living up to their handle. Suffice it to say, they’ve established themselves as powerhouse players straight from the start.

Steel Wheels live at WDVX in Knoxville

The Steel Wheels on Blue Plate Special at WDVX – photo by Alissa B. Cherry

There are certain bands that remain personal favorites over the course of their careers, demanding instant attention while also commanding an immediate spotlight with each successive effort. Yet, given the incredible influx of new music that’s constantly competing for that consideration, it’s often difficult to focus on any one artist in particular, or even remember why one was so enamored with them in the first place.

Happily then, having the opportunity to witness a particular group in performance brings a quick recall, and a reminder of why one saw them as so special and essential in the first place. That was the happy occurrence that transpired when The Steel Wheels played a special lunchtime live set for Knoxville independent radio WDVX’s ever-popular Blue Plate Special program on December 2.

After an excellent opening performance by Nashville-based singer/songwriter, Dana Cooper, Steel Wheels squeezed onto the compact stage located in the Knoxville Visitor’s Center and played an abbreviated set drawn mostly from the band’s last two albums, Everyone A Song, Volume One and Volume Two. The two releases were spawned from an intriguing concept — one that had the band offering fans an opportunity to share some special personal experiences with the group, which were, in turn, made into a song. What emerged was some truly memorable music, much of it affecting and meaningful in a universal sense.

Of course, Steel Wheels have always maintained a special connection with their fans. While they’re all unassuming people, Jay Lapp (vocals, guitars, mandolin), Eric Brubaker (vocals, fiddle), Trent Wagler (lead vocals, guitar, banjo), Kevin Garcia (percussion), and Derek Kratzer (bass), are also multi-talented musicians, adept at a playing a variety of instruments in their effort to vary the music’s tone and texture. While the melodies maintain a suggestion of the bluegrass basics, they’ve also shifted their stance towards grassicana, opening up the possibilities for melody and emotion in equal doses.

That, of course, was not only evident in the origins of the two recent recordings, but also in the craft and conviction with which the material is delivered. Wagler did an admirable job of sharing the backstories for each song, but it was also evident from the get-go that each offering stood well on its own. Indeed, each performance — beginning with an engaging Where I’m From, and progressing through the quiet, contemplative Adventures of Grace and Henry, the subtle sheen of It’s Your Fault (all three of which were taken from Everyone A Song Volume Two), the persistent picking of Scrape Me Off the Ceiling (from 2017’s Wild As We Came Here), and culminating with their tearful yet evocative Family is Power (from the first Everyone A Song) — ensured an exacting embrace.

While each tunes was based on an individual premise, they all held a melodic approach in common, resonating and connecting instantly and emphatically with the listeners. Each member of the band did his part, from Wagler’s decisive lead vocals to Garcia’s agile yet subtle rhythms on what appeared to be an oversized gourd. Garcia was also credited with mixing and mastering the group’s two recent releases, after the members had recorded their individual parts from their disparate locales.

The combination of harmony and happenstance was both impressive and inspiring, and in the end, there wasn’t a single audience member that didn’t feel the Steel Wheels’ unique bluegrass bond. Music and magic have never worked as well in tandem.

Emmylou Harris at Meijer Garden in Michigan

The heat and humidity did not stop a capacity crowd from lining up, hours before the gates opened, in hopes of snagging prime real estate on the amphitheater lawn to see Los Lobos and Emmylou Harris in Grand Rapids. Both legends in their own right, it was clear each act brought their own contingent of fans, but it seemed most were excited to see both.

Harris, with her iconic gray hair and voice that must make even those she sings Happy Birthday to cry in their cake, had to fight through some problems with the audio system, but did not disappoint while playing a range of older and newer songs including Two More Bottles of Wine and an especially moving performance of My Name is Emmet Till.