Bluegrass Beyond Borders Archives

Bluegrass Beyond Borders: Taff Rapids brings Blŵgras to Wales

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.”

Bluegrass Beyond Borders: Fat Moose is a Swedish reunion

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.”

Bluegrass Beyond Borders: France’s Watson Bridge

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.”

Bluegrass Beyond Borders – New Blue Quitach is a French treat

New Blue Quitach at Festival La Roche 2024 – photo © Emmanuel Marin

Having originated in the south of France, specifically in the Nîmes region located between the Mediterranean and the Cévennes Mountains, the group that refers to itself as New Blue Quitach has become one of their country’s foremost bluegrass bands. As such, the musicians pride themselves on striking a balance between a traditional template and a modern motif. They put an emphasis on four-part harmonies, but integrate other disparate elements as well, including Irish melodies and hints of rock and blues. In the process, they offer unique adaptations of songs spawned from their native environs.

The group — which currently consists of Erick Millet (banjo, vocals), Benoît Robbe (guitar, lead vocals), Bernard Minari (mandolin, vocals), and Jean-Paul Jamot (bass, vocals) — has performed at any number of prestigious European gatherings, among them, the Toulouse Festival, the Country Rendez-vous, Paloma in Nîmes, the Nice American Music Festival Pézenas Country Festival, and, most recently, the La Roche Bluegrass Festival and the Al Ras Festival in Barcelona, Spain.

We here at Bluegrass Today took note of the latter. “The Al Ras Bluegrass and Old Time Festival 2024 was a true celebration of music, community and culture… spanning four days in different venues across Barcelona….Friday’s events at La Sedeta were a testament to this unity. The French bluegrass band, New Blue Quitach, put on a remarkable show, demonstrating once again the cross-cultural cross-pollination that makes this festival unique. After the show, the musicians went down to the bar, where members of New Blue Quitach led the improvised cover of Country Roads, which resonated in the La Sedeta cultural center.”

The band has also released several well received CDs, and recently represented France at the Jam Thon event, as organized by the California Music Association.

“Although our latest album was delayed due to health issues affecting two members, the project is now back on track and will include original compositions in both French and English, as well as instrumental piece,” Robbe remarked.

Robbe isn’t an original member of the band, but he currently takes a prime role in its ongoing efforts. “Erick Millet remains the founder and pillar of the group,” he explains. “I joined the band a few years ago, followed later by Jean-Maurice Lassouque. The arrival of mandolinist Bernard Minari brought new energy to the group, as did the addition of Jean-Paul Jamot on bass, replacing Jean-Maurice who had to step back due to health reasons. Today, the band remains deeply attached to the traditional acoustic sound of bluegrass, at times enriched by the contribution of guest singer Nathalie Andruszczak.”

The band draws inspiration from such bands as Seldom Scene, Hot Rize, Lonesome River Band, and The Country Gentlemen, but so too, each member has his own personal proviso. Minari’s music is informed by Mike Marshall, Darol Anger, and David Grisman. Millet admires Earl Scruggs and Sammy Shelor, but is also a fan of Alison Brown. For his part, Robbe worked on guitar technique with Christian Séguret and François Vola.

The associations and collaborations don’t stop there. As a whole, New Blue Quitach has had opportunities to share stages with a number of notable artists. They’ve opened for international performers of high repute that include Claude Bolling, Sanseverino, and the Bruce Daigrepont Cajun Band.

“We also performed at the Craponne Festival the same year as Alison Krauss,” Robbe recalls.

“In addition, we played with Emory Lester at the Festival de Barjols and collaborated with Jean-Luc Leroux, a mandolinist from New Caledonia, during one of our concerts here in France. Plus, we performed alongside Canadian musicians Joey Wright and Jenny Whiteley to a sold-out audience at the Théâtre de Nîmes.”

It’s hardly surprising then that Robbe has a very definite opinion on why bluegrass has attained its international popularity, especially as it applies to the realms where he resides.

“Bluegrass is experiencing a true resurgence in Europe, with the emergence of talented musicians and promising young bands, particularly in France,” he insists. “In a world where music is increasingly digitized and standardized, the return to authentic sounds and acoustic music has become a necessity. New Blue Quitach fully embraces this movement, offering a pure sound and infectious energy, as evidenced by our acoustic concerts.”

He also adds an afterthought.

“Bluegrass music remains a genre with a unique discipline,” Robbe suggests. “It’s not always fully understood unless it’s actively practiced.”

Happily, New Blue Quitach makes it a point to do just that.

For more information on New Blue Quitach, visit them online.

Bluegrass Beyond Borders: Blue Lass brings British class

Blue Lass, a British trio consisting of Abbey Thomas on mandolin, Holly Wheeldon on acoustic guitar, and Ruth Eliza on clawhammer banjo, first began playing music together in 2022 at the Sore Fingers Summer School, a bluegrass and old-time music camp in the UK. In fact, they had known each other for several years, having become acquainted through the local festival scene. “When we decided to arrange some songs at the camp, we realized we absolutely loved working together,” Thomas relates. “It just felt really easy, fun, and cohesive very quickly.”

The members originate from different parts of England. “We’re actually all spread out pretty well around the country,” Thomas says. “We’ve got one member each in Lancaster, Leeds, and Cornwall.”

“I’ve lived in Lancaster for the last five years, in the Northwest of England, just south of the Lake District,” Eliza adds. “I spent 13 years in London before that, but I grew up in a small town in the Midlands, which is a big influence on the single from our new EP, Between The Coal Mines.”

Wheeldon grew up in rural Bedfordshire, but now finds herself studying in Leeds in the North of England.

“I just moved back two days ago to where I’m from in the far south-west of Cornwall,” Thomas adds.

She provides an added backstory as well. “Maybe it’d be nice to know a bit about us as people too,” she suggested. “Perhaps knowing that we’re a band who cannot travel without several sharing-size chocolate bars is a good start?”

“Or that on long drives, our musical guilty pleasures are Taylor Swift and Christina Perri,” Eliza added.

“Ruth does this great thing of finding her song for the summer, and then it becomes the soundtrack to months of driving between gigs for us,” Thomas agreed. “It’s a good thing we all love each others’ music taste!”

In that regard, Blue Lass imbues any number of sounds and styles in their music. “As much as we love the traditional bluegrass, for several reasons we don’t sound quite like the traditional bluegrass band,” Thomas explains. “For starters, we have the clawhammer banjo! But then on top of that, we’re also inspired by lots of contemporary artists. All of us love both bluegrass and old-time music, on top of also having interests in British and some European folk music. So with all of that in mind, I’d say we sound like a contemporary songwriter bluegrass band, with a big dollop of old-time music within several songs.”

That said, they can also claim a variety of contemporary influences as well. “One of the first songs we arranged together was by Molly Tuttle, so I suppose that’s the best place to start,” Thomas continued. “I particularly like both John Reischman and Joe K Walsh for their interesting, tasteful mandolin improvisation and tune writing. At the moment, I’m listening to lots of Maddie Witler’s playing within both Della Mae and The Lonely Heartstring Band, and then also the Henhouse Prowlers, Mile Twelve, and Billy Strings. I love intricate, interesting arrangements, and all of these bands tick that box brilliantly for me! I’m also a big British folk fan outside of bluegrass, and last year, I completed my bachelors degree in folk music, so I draw on that and my tutors for inspiration.”

Eliza shared her own inspirations. “I am a huge fan of Allison de Groot,” she said. “I would say she is my absolute banjo hero. And her duo with Tatiana Hargreaves is just magical. My other contemporary influences include The Slocan Ramblers. After seeing them at Didmarton two years ago, I got pretty hooked, and learned a few of their songs and tunes. My current obsession is Bronwyn Keith-Hynes. I’ve learned a few songs from her new album. I am also big on the old old-time sound. It was my way into this music really. Ola Belle Reed, Tommy Jarrell, Kyle Creed, Fred Cockerham, and Cousin Emmy.”

Wheeldon explains that she started playing bluegrass at the age of 13. “I was influenced by loads of the great UK bands on the scene at the time,” she recalls. “The first festival I went to, I saw the Jaywalkers, the Carrivick Sisters, Cup O’Joe, and the Often Herd. Another massive influence for the band was the all-female bluegrass band, Midnight Skyracer, who were touring just before we formed.”

Thus far, the band has appeared throughout England, Wales, and Scotland, frequenting the festival scene while interspersing those appearances with one-off gigs as well. “We’ve performed at many UK bluegrass festivals, including Didmarton, Moniaive and Gower, Crossover Festival, and Purbeck Valley Folk Festival,” Thomas notes. “We also went to France in the summers of both ’23 and ’24 to play Bluegrass in La Roche. And last year we played Herbe Bleue. We’ve also got big plans to tour next year, bringing the new record with us. So watch this space…!”

Eliza concurs. “We plan to tour more in Europe next year,” she suggests. “We would love the chance to perform in the US one day!”

They’ve also had their chances for special encounters. “We’ve shared both lineups and stages with some brilliant bands, including East Nash Grass, Cisco & the Racecars, Flats & Sharps, The Often Herd, and the Slo County Stumblers,” Thomas adds.

Wheeldon agrees. “We’ve also had the opportunity to play with lots of great fiddle and bass players when we wanted to have a full band sound, rather than a trio,” she mentions. “They include Jeri Foreman of Jeri & Ruth, a duo which includes our banjo player Ruth, Steph Doe of Pig Society, and Jay Bradberry of the Jaywalkers, among others.”

At the same time, the group claims to have achieved a fair amount of homegrown success entirely on their own. “We’ve had a really good reception within the UK, with a really loyal fanbase across the scene, which is really lovely,” Thomas says.

“We also have a growing fanbase in Europe, with people from France, Germany, Switzerland, and Sweden buying the EP,” Eliza says. “And indeed, they’re wearing our merch! We have some Blue Lass baseball caps! Those are brand new and will be available on Bandcamp really soon.”

In the meantime, the group boasts a new EP, the aforementioned, Skylines & Coal Mines. It comprises three original songs, one of which is an instrumental, as well as a cover of Long Gone by Reno & Smiley. “Skylines & Coal Mines explores the feeling of home and the emotions we experience about it, while contemplating the differences between how our lives can play out in different environments, and over different periods of our timelines,” Thomas explains. “You can find this to purchase on Bandcamp, or it’s available to stream on Spotify.”

She adds that Blue Lass tends to put their emphasis on original material. “We love the feeling of bringing a new song to life. Holly and Ruth are both brilliant lyricists, whereas I prefer to write instrumentals. We love the feeling of working together to create new pieces, whether that’s through intricate arrangement details, strong vocal harmonies, or something else entirely.”

“I love that we do a mix of both covers and originals,” Eliza says. “I love writing songs, and being able to arrange, perform, and record them with Abbey and Holly is just great. Arranging is such a rewarding part of the process and really transforms the songs. For example, we are working on some new material at the moment, including a new song called The Estuary. Abbey added a lovely mandolin harmony to the main banjo line and it really became the main hook of the song.”

Not surprisingly, each of the musicians have their own theories as to why bluegrass enjoys international popularity.

“It’s the combination of catchy songs and tunes with fairly simple foundations and a formulaic structure, along with the culture of jamming,” Eliza suggests. “In fact, having that shared obsession with jamming and a common base repertoire means you can travel across Europe and still be able to speak the same musical language.”

“I love the sound of bluegrass,” Wheeldon maintains, “but I think the thing that keeps the music going is the community and the culture around jamming and playing. It’s a wonderful thing to get together with friends and surprise each other — and sometimes yourself — with the music you can make.”

“It’s also one of very few genres in which we have a chance to meet, interact with, learn from, and even play music with our heroes,” Thomas declares. “That’s really unusual and such an amazing and inspirational experience to have available.”

Clearly, the musicians have allowed themselves to fully explore the opportunities that they’ve each encountered.

“You can find us on social media (Facebook, Instagram, YouTube, TikTok) under @BlueLassMusic,” Thomas concludes. “Ruth and I also have other projects too, which you can find through our socials, @rutheliza and @abbeythomasmusician. If you like our music or our thoughts we’d love for you to give us a follow, and we hope we can cross paths with you all at a gig someday!”

Bluegrass Beyond Borders: Maňana Band in the Czech Republic

Despite their home far from the Appalachian region, Maňana Band thrive on authenticity. “Our band is from the Czech Republic, which is, I believe, a bluegrass mecca even on a global scale,” says Josef Krenn, the band’s designated leader, singer, and guitarist. “Specifically, we are from several places in Eastern Bohemia, not too far from each other. We usually meet for rehearsals in Jičín, a small town that is conveniently located for all band members, especially for two of us who are originally from there. And it’s no coincidence that not far from Jičín is another small town, Kopidlno, which, in 1970, became the venue for the oldest European bluegrass festival, Banjo Jamboree. The festival was held for the 52nd time this year, albeit in a different location.”

In addition to Krenn, Maňana Band (not to be confused with the Mexican rock band known simply as Mana) features Jaromír Filsak on vocals and banjo; Šárka Rotter, who plays reso-guitar; Pavel Weiser on mandolin and vocals; and Zdeněk Vágner on bass. “We all had experience from other bluegrass bands, and when the time came after the end of a previous band, our bassist and I wanted to start something new. After some time, Maňana Bluegrass Band met for the first time in the lineup that we have been playing in for 18 years. We are still friends, and we still enjoy it. The name of the band references a local wine bar in Jičín called Maňana, where we first met, and which inspired our name.”

The band’s handle also reflects their attitude and approach to a certain extent. “We prefer a traditional sound,” Krenn continued. “Our band’s sound is reflected in our name – Maňana, meaning ‘tomorrow, slowly, no rush.’ Our favorite tempo is moderate, where there is enough time for everything. But we also like to include more lively songs.”

That varied approach Krenn refers to is reflected in by their influences. “Each of us found our way to bluegrass differently, but the roots were similar,” Krenn says. “Country and folk music were, and still are, very popular in our country, even during the time when we were behind the Iron Curtain. Personally, I was most influenced when I first heard the recording of Will the Circle Be Unbroken by the Nitty Gritty Dirt Band. As for musical influences that directly affect our sound, J.D. Crowe is definitely one of them. He was, and still is, an inspiration for our banjo player. We can’t forget Bill Monroe, the Foggy Mountain Boys, and, of course, Seldom Scene, Country Gentlemen, Jim & Jesse, Tony Rice, and the Bluegrass Album Band. But when it comes to all of us, and I dare say all Czech bluegrass and country musicians, we were most influenced by the band Greenhorns, which started in the mid-’60s. They adapted many American songs —what were then called ‘songs of the American West,’ and included many bluegrass classics — with Czech lyrics. By doing so, they popularized them widely in our country.”

That said, Maňana Band has made their own mark, especially in their homeland. “We perform in the Czech Republic at festivals or clubs,” Renn explains. “We also enjoy intimate events where we can have closer contact with the audience. We are most proud of our participation in the oldest European bluegrass festival, Banjo Jamboree. We had the opportunity to play there in 2009 and 2014. But equally important to us are the festivals we enjoy attending as spectators, where we also have the chance to perform. We love the atmosphere of small, almost family-like festivals.”

Happily then, those efforts have paid off. “Our music has been very well received at home,” Renn insists. “The audience appreciates our traditional approach to bluegrass, and our performances often get positive feedback. People value the authenticity of our sound. We also enjoy the fact that our music resonates with a wide range of listeners, from long-time fans of the genre to newer generations who are just discovering this style.”

“We don’t have original songs,” Renn says. “We focus on covers, and we try to choose less frequently played tracks from various American artists, bringing them to audiences who will appreciate and enjoy them.”

Given that approach, Renn is well equipped to offer an opinion on why bluegrass enjoys such international popularity.

“I believe the popularity of bluegrass lies in its storytelling,” he suggests. “It shares the stories of ordinary people, their fates, and everyday concerns that listeners can relate to and understand. Bluegrass is a gentle form of music that doesn’t aim to impress with volume. Instead, it wins over its audience with humility. And last but not least, bluegrass brings standards that almost every musician knows. During a jam session, when musicians from different parts of the world come together, they can play as if they’ve been performing together for years, with little to no rehearsal. That’s truly fascinating. So, without exaggeration, bluegrass brings people together.”

Bluegrass Beyond Borders: CR5 keeps it grassy in Ontario

Canada’s CR5 — short for County Road 5 Bluegrass — resides in the backroads of Eastern Ontario, in a town called Lyndhurst, although the original band members all lived in or near the tiny hamlet of McIntosh Mills. The name of the band was in fact spawned from the road that ran through it, Leeds Grenville County Road 5.

CR5 Bluegrass currently consists of Dan Potter (mandolin, vocals), his wife Christine (banjo, vocals), Jim Bossert (bass), Marc Rochon (guitar, vocals), and George Laing (fiddle, vocals). “I am the only remaining founding member of the group,” Potter said. “Christine came to us via our original banjo man, Eugene Martin, who suggested she sit in for him as he was battling an illness. Jim, Marc, and George all came to us due to various retirements.”

Potter describes their sound as a blending of the many musical genres enjoyed by the band’s individual members, with traditional and contemporary bluegrass, old country music, folk, blues, and pop thrown into the mix. “Many performers have influenced the group, including Tony Rice, J.D. Crowe, Ricky Skaggs, Flatt & Scruggs, The Bluegrass Cardinals, John Prine, Kentucky Colonels, Del McCoury, and The Grascals,” he added.

To date, the band has performed primarily in Eastern Ontario, but they’ve also ventured to Western Quebec and Central and Northern Ontario. “We have never toured due to jobs and other commitments, but have stayed pretty busy within our own region,” Potter noted. “We have played every major festival in Ontario, with the exception of River Valley. We were slated to play there in 2020, but that was stymied by the pandemic. Hopefully, we’ll get there sometime in the not too distant future.”

In the meantime, CR5 has done well, having been given the opportunity to open for a number of notables, among them, Molly Tuttle, Junior Sisk & Ramblers Choice, Sideline, Dave Adkins & Ernie Evans, Steve Gulley & New Pinnacle, and The Grascals. They’ve also shared stages with various Canadian-based headliners, such as The Abrams Brothers and The Slocan Ramblers.

In 2018, CR5 was voted Most Promising Group at the Central Canadian Bluegrass Awards. In addition, the band also received nominations for Gospel Group Of the Year in 2018 and again in 2019, along with a Recording Of the Year nomination in 2016. In 2017, they were nominated for induction into The Brockville & Area Performing Arts Hall Of Fame.

“Our music is well received by bluegrass fans and music fans in general, in no small part due to the variety of tunes we perform in any given set,” Potter continued. “Back in 2015, we recorded a CD of all original numbers with the exception of Whiskey Before Breakfast, which we recorded in the key of G versus the traditional key of D, and titled it Up North. It received air-play throughout Eastern Ontario, Western Quebec, and Northern New York State. One of our original tunes, which I composed, When You Walk Into a Room, features Joe White on fiddle, and was also recorded by Bob Covey.”

Potter said that the band’s live set tends to be mix of covers and original material culled from their album. “We play a variety of music, from the traditional Flatt & Scruggs Someone Took My Place With You and Groundspeed, to John Denver’s Country Roads, the South American instrumental El Comanchero, the soul standard Hold On I’m Comin’, Jimmy Martin’s Sunny Side of the Mountain, and jazz violinist Armand J. Piron’s I Wish I Could Shimmy Like My Sister Kate, all of it with our own ‘bluegrassified’ sound.”

While CR5’s diverse approach can be credited with spreading the appeal of bluegrass beyond any sort of familiarity factor, Potter said he believes there’s also ample reason for popularity in general.

“I believe bluegrass has a broad appeal due to its acoustic properties, and the fact that the songs speak of common themes,” he suggested. “They tell stories that people of all nationalities can relate to.”

Bluegrass Beyond Borders: Canada’s Rosemary Siemens

Canada’s Rosemary Siemens has performed at some of the world’s most prestigious venues, and for several auspicious occasions as well. A five-time Covenant Award-winning violinist and vocalist, she’s taken the stage at the Grand Ole Opry, made four appearances at Carnegie Hall, entertained two US Presidents and Canadian Prime Ministers. Notably too, she appeared four times at St. Peter’s Basilica in the Vatican, and became the first violinist to ever perform at the Sistine Chapel since its first Mass took place in 1483.

Her honors don’t end there. In addition to being awarded Bluegrass Artist of the Year, courtesy of Nashville’s Inspirational Country Music Awards, and accorded Country/Gospel Album of the Year from Canada’s Gospel Music Awards, Siemens was presented with The Queen Elizabeth II Platinum Jubilee Medal for her contributions to the arts in Canada, making her a recipient of a letter of thanks for her recorded version of God Save The Queen from the late Queen Elizabeth.

“I am originally a farm girl from Plum Coulee, Manitoba, Canada, but now live with my husband and two young sons in Vancouver, BC,” Siemens said by way of introduction. Her band, Rosemary Siemens & the Sweet Sound Revival, currently consists of Siemens herself on violin and vocals, Jay Leonard on guitar and banjo, Nashville resident Kristen Bearfield contributing mandolin and vocals, bassist Sam Shoichet, and Manitoba’s Grace and Orlando Sukkau on guitar and vocals.

“My show often features special guests like my husband — award-winning saxophonist and producer Eli Bennett — and our two young sons — Theodore, age five, and Amadeus, age three — on violin and vocals, as well as my parents, Jack and Mary Siemens on piano and vocals,” Siemens explains.

She goes on to describe her sound as “inspirational country/gospel/bluegrass with a lot of hymns and story-telling to really connect with my audience. I grew up playing hymns and classical music and came to bluegrass later in life,” Siemens continues. “But I love Dolly Parton, Ricky Skaggs, Alison Krauss, and Carl Jackson.”

It’s that verve and versatility which have brought her to those aforementioned international stages. “I have an inspirational show that often includes my country/gospel band, but I also play many different genres, and that has given me the opportunity to perform in many different venues,” she says. “I have been blessed to play at incredible venues that hold special places in my heart. There is nothing that matches the sound at the Sistine Chapel — a nine-second reverb — and it was such an honor to be the first instrumentalist in the world to play there. Carnegie Hall is so iconic, given all the greats that have played there. The Grand Ole Opry is also really special because I got to close the Inspirational Country Music Awards with a version of Jesus Loves Me, and to play a hymn on that iconic stage and give God the glory for the things He has done in my life. My family also got to join me. There is nothing better!”

Siemens said that most of her performances have taken place in concert halls and churches, and many of them have been on behalf of charity concerts, galas, and corporate events. “My show is a bit of an anomaly, because I do a mix of genres in each show, and that allows me to perform in more ‘classical’ venues like Carnegie Hall and The Vatican,” she continued. “But I also play in country venues like The Grand Ole Opry. My show allows me to bring country/gospel/bluegrass to venues that don’t normally have bluegrass, which is very unique.”

Over the course of her career, Siemens has also had opportunity to perform with some well-renowned artists. “I loved collaborating with Grammy Award winner Carl Jackson on my last album, Plum Coulee My Home,” she said. “We wrote a song together called Priceless about my French-made violin from 1714. It’s a song that shares the different amazing experiences the violin has had over the years playing in amazing venues around the world. Carl also sang and played guitar on my album. I also loved having legendary fiddler Buddy Spicher on my album… what an amazing experience recording a hymn fiddle medley with him!”

Siemens’ story is all the more impressive given her humble beginnings. “My mom taught me to sing when I was very young and started me on violin and piano lessons when I was only three years old,” she recalls. “The first songs I learned to sing were hymns that my parents taught me, and those inspired songs have never left me. I sang hymns as my parents led congregational singing in church, and on Sunday afternoons, I would be singing hymns at my grandparents’ house in four-part harmony with sixty of my closest relatives.”

She went on to explain that her love for hymns has now turned into a musical ministry on YouTube that she and her husband, started in September of 2019. “I have a hymn show entitled Sunday Hymn Serenade where I release a new hymn every Sunday and Wednesday on YouTube, and it is my mission to ‘bring back the hymns,'” she added. “I recently reached over 100 million views. Most importantly, I am so thankful for the thousands of messages I have received from around the world on how these hymns are touching people’s lives and bringing people closer to God. The people from my hometown of Plum Coulee are my biggest supporters and I love going home to play for them.”

To date, Siemens has recorded ten albums, ranging from bluegrass, classical and symphonic pops, to gospel and hymns. “I do a lot of hymns because that is the focus of my YouTube Channel,” she says. “But I write originals as well. The hymns that I release for my Sunday Hymn Serenade show are more peaceful versions of classic hymns featuring myself on vocals, violin, string orchestra, and piano, but I’ve also recorded hymns with my husband Eli and our duo, SaxAndViolin, as well as with my son Theodore, my parents Jack and Mary, and with my band, The Sweet Sound Revival. To celebrate the milestone of reaching 100 million views on YouTube, I am so excited to be releasing a new hymn album entitled The Best of Sunday Hymn Serenade – Bring Back The Hymns this fall, featuring a mix of all these different styles and instrumentations.”

Siemens’ love of music, and bluegrass in particular, is exceedingly obvious. “Bluegrass is such a joyful genre,” she insists. “I know that whenever I play bluegrass in my shows, it is the part when everyone sings along, claps along, and taps their toes. People also love the harmony found in bluegrass. It’s a genre that can involve so many people and instruments! I’d say I’m not the typical bluegrass artist, but I feel blessed to be including bluegrass in all my shows and bringing it to a wider audience that may not usually listen to bluegrass.”

Bluegrass Beyond Borders: India’s Grassy Strings

It’s always enlightening, if sometimes unexpected, to find artists inspired and informed by bluegrass in places one would never think to encounter it. Indeed, India is, at least to most people’s way of thinking, more associated with music of eastern origin, with sitars and tablas providing the standard instrumental accompaniment.

Consequently, India’s Grassy Strings could be considered an anomaly. However, their devotion to bluegrass music’s essential origins naturally seems surprising, at least at first.

Nevertheless, the band’s founder Souvik Hazra makes it clear that their commitment isn’t merely a superficial flirtation. “We discovered bluegrass music five years ago, and since then we have started learning that form and playing it,” he insists. “Grassy Strings has a unique and captivating sound characterized by the dynamic interplay between the guitar and mandolin, complemented by harmonious vocals,” Hazra continues.

Rooted in bluegrass music, our style blends traditional elements with contemporary bluegrass influences, creating a fresh, yet familiar sound. The band excels in fast and choppy rhythms, with Subhankar Dhar’s sharp mandolin chops and Souvik’s energetic guitar solos. Their diverse repertoire includes songs in Hindi, Bengali, and Nepali, featuring both traditional folk tunes and modern compositions, including original songs they’ve written.

Hazra, who sings and plays guitar, met Dhar in junior high school almost 12 years ago. The pair are currently based in an Indian city called Kolkata.

“We have many influences,” Hazra says. “As a mandolinist, Subhankar is deeply influenced by Jake Howard, the mandolinist of Henhouse Prowlers, as well as David Grisman, Tim O’Brien, Sierra Hull, and Sam Bush. As a guitar player, I’m influenced by Tony Rice, Bryan Sutton, Michael Daves, Grant Gordy, and Jake Eddy.”

To date, Grassy String has performed extensively in their hometown. However they have also traveled outside the country and played in France and Nepal. “The major festival that we have played at so far is Bluegrass in La Roche, France in 2023,” Hazra mentioned. “We will travel to Australia in October and play at the Dorrigo Folk & Bluegrass Festival.”

He said that they’ve also had opportunity to jam with Tim O’Brien and Chicago’s Henhouse Prowlers.

In addition, the band has recorded three tracks that can be found on Bandcamp. “We mostly play covers,” Hazra mentions. “But we also play our own songs. We play covers of bluegrass standards, mostly Shady Grove, Hand Me Down My Walking Cane, ‘Blue Virginia Blue, Rollin’ in My Sweet Baby’s Arms, and stuff like that.”

That said, they’ve also have access to an audience that’s never experienced bluegrass before. “Our music is very obscure and a new thing for the folks here,” Hazra said when asked about the reception they’ve received at home so far, before adding, “There are some really good music lovers and musicians who love our music. And we can see this is growing with steady steps.”

At the same time, he has a decided opinion as to why bluegrass manages to transcend national boundaries.

“Bluegrass enjoys international popularity due to its rich and diverse origins,” Hazra suggests. “The music blends elements from various cultures, including European folk traditions and African rhythms through the banjo. These diverse influences make bluegrass relatable to people around the world, allowing them to find commonality and enjoyment in its sound. Its energetic, intricate instrumentals and harmonies resonate universally, appealing to a wide audience. Additionally, the storytelling aspect of bluegrass, with its themes of love, hardship, and community, is relatable across different cultures, making it a beloved genre worldwide.”

He also offered this. “We would like to add a few words about the bluegrass music community spreading around the world. The bluegrass music lovers and the musicians who have built an immensely humble and welcoming community together are one of the greatest reasons bluegrass music is growing. People are learning, they are performing, and the enjoyment is being shared with everyone.”

To learn more about Grassy Strings, visit them online.

Bluegrass Beyond Borders: Spooky Ride in Montreal

Spooky Ride, a band based out of Montreal in Canada, isn’t at all as ominous as their title may imply. The brainchild of dobro player Pascal Richard, the group’s aim has always been to bridge the divide between traditional bluegrass and abject Americana, while adding a hint of jazz-like virtuosity to the mix. And this combination manages to showcase each individual member’s instrumental acumen.

The band currently consists of Richard himself on dobro, Guy Donis on banjo, Pierre Côté playing guitar, Robin Boulianne on fiddle, and Sébastien Pellerin anchoring it all on upright bass. “I’ve been friends with most of these guys for a long time,” Richard notes. “We’re all freelance players around the province of Quebec, and I knew they were the right people for this band.”

He also made mention of the fact that the group leans towards a more progressive stance in terms of their orientation, making for a sort of fusion-esque approach that distinguishes them from the norm. Yet, at the same time, they immersed themselves early on in the sounds of those who brought bluegrass to the fore, as far as a contemporary credence was concerned.

“Like a lot of guys of our generation, a whole new world opened up for us when we heard the likes of Tony Rice, Jerry Douglas and Béla Fleck,” Richard recalls. “You know, the usual suspects. That being said, digging deeper and learning more about the history of the music brought us the utmost respect for the founding fathers like Flatt & Scruggs.”

He went on to say that the group had considerable success playing around their region until the pandemic put a pause on their efforts. “Our record was released just around the time when COVID hit, so we did hit a rough spot to say the least,” he says.

The band’s initial album is, quite naturally, titled Spooked. Richard mentioned that the band is in the process of recording a new, as yet untitled, album as well. “We play all original music, but our love for the Beatles got us to record a few of their tunes that we arranged for our band’s instrumentation,” he adds. “We’ve written the next record and are about to start rehearsing the new music. Hopefully we will have new material ready by the end of the year.”

In the meantime, the group is aiming to get itself established on the festival circuit. “We’re trying,” Richard says emphatically. “We’re still attempting to establish solid American contacts to do so as soon as possible.”

The individual members of the band have had ample opportunities to share stages with quite a few major acts from their native Quebec, musicians whose efforts range from country and pop to jazz and classical.

“People really seem to dig it,” Richards says of the response they’ve garnered thus far. “Since there isn’t a super strong bluegrass scene in Quebec, we tend to fall into the world, acoustic, and jazz categories.”

As for the name of the band itself, Richard offers a simple explanation.

“I was driving along the highway and saw a sign for a ‘Spooky Wagon Ride’,” he recalls. “I thought that sounded like a cool band name, and so it became ‘Spooky Ride’!”

He also shared some thoughts as to why he believes bluegrass enjoys such enduring… and, for that matter, international… popularity. “It’s because the community is very welcoming,” he suggests. “The music rings true and the musicianship is incredible.”

More about Spooky Ride can be found at their website. In addition, their music can be heard on most streaming platforms.