Just two months after the release of his first live effort, Live Vol. 1, Billy Strings has graced us with another studio recording, his first since 2022’s Grammy-nominated Me/And/Dad. Highway Prayers is a 20 song collection featuring a broad spectrum of musical ideas.
Leanin’ on a Travelin’ Song by Strings and Thomm Jutz gets the album off to a mesmerizing start. Performed in a hardcore traditional bluegrass vein, this song talks of the tedious and arduous journey one has to take to reach their destination. Along with support from Strings’ band, consisting of Billy Failing on banjo and vocals, Royal Masat on bass and vocals, Jarrod Walker on mandolin and vocals, and Alex Hargreaves on fiddle, this track also features stellar vocal work from Lindsay Lou and stout fiddling from Jason Carter, who plays harmony alongside Hargreaves.
Escanaba is the first of three instrumentals on this recording. This piece, along with Seney Stretch, provides an even greater glimpse of Strings’ prowess as a lead guitarist, right alongside the instrumentalism of his core band.
Gild the Lily by Strings and mandolinist Jarrod Walker, falls into somewhat of the folk realm with its symbolic lyrics about nature, combined with the smooth vocal harmonies from Strings and his bandmates.
Seven Weeks In County by Strings and Aaron Allen is one of a few examples of Billy’ ability to effectively tell a story through song. In this instance we’re hearing about a man who’s preparing to spend time in prison for the wrongs he’s done. As we find out in the lyrics, this prison sentence serves as somewhat of a safe haven for the narrator as he explains, “my only enemy is out to get me, to make me pay for what I’ve done.”
Another example of Strings’ storytelling ability is the solo piece, Catch and Release, also written by Strings and Allen with Jon Weisberger. This song tells a humorous tale of going on a fishing trip and hitting a few snags along the way, among them a run-in with local law enforcement.
A little more out there in terms of its lyricism and instrumental arrangement is Stratosphere Blues/I Believe In You, but it nonetheless fits perfectly within Billy Strings’ repertoire. It features fine guest cello work from Nathaniel Smith, and fitting percussion from producer Jon Brion.
Cabin Song is far and away the most traditional bluegrass song on the project. This is another one of those performances that proves that Billy hasn’t forgotten where he came from. He has honored his roots with this excellent original piece.
Another traditionally-oriented track is It Ain’t Before by Strings and Thomm Jutz, one that’s rooted instead in old time music. This is made most clear by the clawhammer banjo of Victor Furtado and the harmonica and jaw harp of Peter “Madcat” Ruth.
Leadfoot is a track filled with intensity. With Strings playing banjo, acoustic, and electric guitar, steel guitar, and bass, along with Matt Chamberlain on drums, this song tells a maddening tale about a man petrifying his community with his wild street racing.
Highway Prayers is noteworthy for Billy Strings. It’s an ambitious effort that shows us the full scope of his creativity as an artist. Although it can be somewhat of a lengthy listen, there’s plenty of gems to find here. With a broad array of lyrical ideas and stylistic choices, Billy Strings is continuing to demonstrate his broad, ranging appeal.
