Trey Hensley Archives - Bluegrass Today

Trey Hensley talks bluegrass and guitar pickin’

Trey Hensley in Edmund, OK – photo © Pamm Tucker

Walter Kelly with Atmospheric and the University of Central Oklahoma Jazz Lab in Edmond, OK hosted vocalist and flatpicker supreme Trey Hensley on November 22. I was fortunate to catch an interview with both Walter and Trey.

With over 40 years of guitar experience, Walter Kelley, a former band director of Rogers State University, set out to bring “good music” to all. Working directly with the late George Winston (1949-2023), renowned pianist, Kelley chose to be the exclusive agent for Dancing Cat Records, which opened a gateway to where Walter stands today, with his own production company, Atmospheric, which promotes shows in Stillwater, Oklahoma City, Edmond, and Tulsa. He shared his wisdom on building up a business in the arts, “Grow organically and don’t bite off more than you can chew. Do the little things well, they will add up to the big things.” One of the big things in 2024 was Hensley’s appearance in Edmond.

Trey Hensley is a guitar-slinging superhero that has taken the bluegrass world by storm. Hailing from the hills of east Tennessee, Trey’s musical journey started at a young age. Legend has it he strummed his first guitar before he could even spell “bluegrass,” which probably explains a lot about his rapid ascent in the music business.

It was at the Appalachian Fair in Gray, TN that Hensley’s dad pulled some strings and was able to introduce his son to Marty Stuart.

Hensley shared with me that, “I don’t know how Dad did it, but we got backstage. Dad told Marty, ‘My son wants to play his guitar for you.’ That’s exactly how the fairy tale began. It was around nine months later, when Marty called and invited Hensley to the Grand Ole Opry.

“I was just excited to get to go to the Opry. When we got there, Marty called me onto stage and I played Jimmy Brown the Newsboy. It was a surprise when Earl Scruggs walked on the stage,” said Hensley with a genuine grin.

That alone is an amazing story for a pre-teen, but it only gets better, as the stones were laid in place for a blazing hot trail for Hensley.

Just a mere 35 miles up the road from Hensley’s hometown of Jonesborough, TN, is Hiltons, VA, where The Carter Family Fold is located in the foothill of Clinch Mountains. Carter Fold, as it is generally described, hosts live music and jams and Hensley would attend as many of those jams as possible. That’s where he met the Man in Black, Johnny Cash, and his wife, June Carter Cash, who introduced Trey to Tom T. Hall in 2002.

At the age of 34, Hensley has over 20 years of experience performing on some of the largest stages in the world and with some of the most well known artists in the bluegrass and country genres of music. A remarkable talent in the bluegrass realm, Trey has received the prestigious honor of being named IBMA Guitar Player of the Year twice, with multiple additional nominations. This accolade not only solidifies his position as an expert in the industry, but also highlights his exceptional skills and contributions to the genre.

Through his musical journey, collaborations, and undeniable influence, Trey Hensley has carved a distinct path in the world of bluegrass, captivating audiences and earning the respect of his peers along the way. Since 2016, he has been one half of the duo of Rob Ickes & Trey Hensley, who tour all over the world performing their mix of bluegrass, country, and blues. There his guitar prowess and soulful vocals add a unique flavor that resonates with a wide range of listeners, from die-hard bluegrass fans to new enthusiasts looking for something fresh.

Let’s delve into the life and career of Trey Hensley, exploring the factors that led to his recognition as Guitar Player of the Year, and examining the impact of his music on the bluegrass community.

From picking up the guitar as a wee tyke to mastering the instrument like a true bluegrass professional, Trey’s journey has been a whirlwind of pickin’ and grinnin’. Influenced by legends like Tony Rice and Jerry Garcia, Trey’s sound is a unique blend of tradition and innovation. He’s collaborated with some of the biggest names in bluegrass, from Ricky Skaggs to Steve Martin, not to mention his duo partner Rob Ickes. Whether he’s shredding solos or harmonizing with fellow pickers, Trey’s musical partnerships have solidified his status as a powerhouse on the bluegrass scene.

From jaw-dropping live performances to critically acclaimed albums, Trey’s musical catalog is as impressive as his guitar pickin’ skills. Whether he’s onstage at the Grand Ole Opry or in the studio crafting a new masterpiece, Trey’s dedication to his craft shines through in every note he plays.

So, how did Trey snag the coveted title of Guitar Player of the Year twice? Well, it wasn’t just luck. Through a rigorous voting process that involved industry professionals, fellow musicians, and probably a few banjo players, Trey’s talent and passion for guitar showed him worthy of the recognition. Trey Hensley’s music brings a fresh perspective to the bluegrass genre, blending traditional roots with modern innovation.

Hensley’s talent clearly hasn’t gone unnoticed, as evidenced by the fervent support of his fans, and the industry accolades he has garnered. His ability to connect with audiences on a deep emotional level through his music has earned him a dedicated following, and critical acclaim within the bluegrass community and beyond, including a Grammy in 2016.

I asked, “Where do you keep your awards?” Trey answered, “Most are in cabinets, but the Grammy is upstairs on the mantle. It is never dusty,” he said as we both laughed.

Huss & Dalton Guitar Company announced their collaboration with Hensley in 2023, a signature model the Trey Hensley TD-R Custom. Only a limited number of these rosewood dreadnaught guitars will be built.

Hensley’s peers in the bluegrass music scene hold him in high esteem, acknowledging his remarkable skill, dedication, and passion for the craft. His respectful approach to tradition, coupled with an innovative spirit, has earned him the admiration and respect of fellow musicians, establishing him as a force to be reckoned with in the bluegrass community.

As he looks towards the future, Trey says that he will be doing more solo shows in 2025. It is evident that his legacy in the bluegrass community will endure for years to come.

On Her Own – New duet single from Laura Orshaw with Trey Hensley

Dark Shadow Recording has a new single today from Laura Orshaw, a country-style duet with Nashville guitarist/singer Trey Hensley. Laura plays fiddle with The Po’ Ramblin’ Boys, and this single comes from her upcoming solo project which features her as both fiddler and vocalist.

Laura and producer Stephen Mougin had some fun in the studio creating a bluegrass version of a classic country arrangement for Jim Ringer’s song, On Her Own. The song tells of a female singer trying to make her way in the music world by herself. They modified the words slightly, and Orshaw says that it worked out just as she had hoped.

“The lyrics of On Her Own were just begging for a Dolly Parton/Porter Wagoner style duet with the male and female voices splitting the verses and joining each other on the choruses. Trey Hensley’s vocal stylings fit the song perfectly, and another exciting part was the twin banjo work of BB Bowness and Eli Gilbert, echoing the sounds of twin steel guitar parts. I couldn’t be happier how it turned out!”

Also assisting on the track are Casey Campbell on mandolin, Tony Watt on guitar, and Alan Bartram on bass. Laura plays fiddle, and she and Trey share the vocals.

If you love the old school country duets from the ’60s and ’70s, this one is for you.

On Her Own is available now as a single from popular download and streaming services online. Radio programmers can get the track at AirPlay Direct.

Video Premiere: Copper Kettle from Tommy Emmanuel with Rob & Trey

Friday is the release day for Accomplice Series Vol. 1, the new EP from guitar wizard Tommy Emmanuel with Rob Ickes and Trey Hensley. It features these three virtuoso instrumentalists in a spontaneous, free wheeling recording, capturing them without careful arrangements and detailed planning. Roll the tape, play the guitars.

To celebrate, they have offered to share this live video from the sessions for Copper Kettle, one of the tunes that Tommy suggested when they first sat down to record. This song has been a folk staple since the mid-20th century, and a guitar jam tune since Chet Atkins popularized it in the 1960s.

Emmanuel explained him selecting Rob and Trey for his debut Accomplice Series project, meant to highlight some of the artists that he admires and enjoys.

“I have been a fan of Rob Ickes and Trey Hensley for a long time. I love working with them. There’s a lot of creativity around us, and those guys are willing to just fly it. I need people like that to just bounce off and have a creative time with.”

If you have ever caught Tommy Emmanuel live with other players, you know that he is a champion improviser, who loves the back and forth with others who can follow his lead. There have been memorable shows with fellow guitarist and David Grisman alum, Frank Vignola, and Rob & Trey have had multiple opportunities to do the same.

“Well, it’s always great to work with Tommy,” says Ickes. “He’s such a great artist, and such a great person. There are always a lot of sparks flying when we play together, and all three of us are into lots of different musical genres, so that’s always fun to explore different musical territories when we get together.”

Trey says that the spirit of levity shown in the video pervaded everything they cut together.

“Getting to pick with Tommy and Rob any time is always a blast! Working in the studio with Tommy was so much fun, which I think is evident throughout this EP. The great vibe in the studio that day is prominent in the recordings. It was really just the three of us hanging out and playing tunes…what could be more fun?”

The full EP contains four tracks recorded in this same fashion. Two, Flatt Did It and Copper Kettle, were done with all three, and the others as duets, as Tommy explains…

“The reason I recorded two songs as a trio is to feature both the guys, and for us to do that. And then I wanted a song each with Rob and Trey. There would have been nothing for Rob to do in Raz-Ma-Taz Polka. It’s just me and Trey. And then in It’s Never Too Late, Rob and I have everything covered in that song, so there would have been nothing for Trey to do. That’s how that came about.”

Accomplice Series Vol. 1 will be available May 7 wherever you stream or download music online.

Tommy Emmanuel plays Flatt Did It with Rob & Trey

CGP Sounds has announced a four-track EP from Tommy Emmanuel in May, featuring him recorded live in the studio with Rob Ickes & Trey Hensley. Titled Accomplice Series Vol. 1, it finds these three virtuosic pickers trading licks and having fun in their natural artistic environment.

Emmanuel has long been known for his free form guitar style, displaying a mastery of both the finger and flat picking genres. He first hit the music scene from his native Australia as a disciple of the great Chet Atkins, who later conferred on him the title, Certified Guitar Player, one of only five to be so named. Recent years have seen Tommy more involved in the bluegrass world, recording one of his original tunes with Michael Cleveland, Tall Fiddler, and appearing on Kristy Cox’s latest album. He has also been appearing live and virtually with Jerry Douglas.

A music video has been released for the album’s first single, a classic instrumental called Flatt Did It, recorded by Doc Watson and Chet Atkins in 1980. The melody is clearly based on the now standard guitar lick Lester Flatt played, generally known today as The Lester Flatt G-Run.

Tommy says the video was shot as the three of them were tracking this tune, and that the whole time in the studio had a loose, impromptu feel.

“The sessions were very spontaneous, and in fact, I suggested Flatt Did It and Copper Kettle as pieces on the day we recorded them. That’s how it came about. It was very spontaneous.”

Check out the video, where the contrasting guitar styles of Tommy and Trey play off of Rob’s silky reso work. It really looks like they were having a blast.

Ickes agreed, saying that fun was indeed the order of the day.

“I love to hear Tommy and Trey play together. There’s a great respect between the two of them. They are both so brilliant. It’s great to hear them feeding off each other. And this song is just the perfect vehicle for a Dobro, so I’m enjoying the whole thing!”

Other tunes on the EP include Razz-Ma-Tazz Polka and It’s Never Too Late.

Accomplice Series Vol. 1 will be available on May 7, with pre-saves and pre-orders enabled now online.

Trey Hensley guitar course at Big Tent Music

Trey Hensley, one of the most robust and dynamic guitarists on the bluegrass scene today, has joined his musical partner Rob Ikes at Big Music Tent with a new video instruction course for flatpickers who want to take the slop out of their playing.

Since he was in his teens, Trey has been known for his intricate guitar skills, on both rhythm and lead, as well as his prodigious vocal talents. In recent years he has been performing with the power duo, Rob Ickes & Trey Hensley, standing on stage next to the reso-guitar icon. This increased visibility led to him being nominated last year for the IBMA Guitarist of the Year award, and earned him a Grammy nomination as well.

Rob launched Big Music Tent in the fall of 2019 with Craig Spinney as a subscription service, with tons of material for students of the square neck resophonic slide guitar. He welcomes Hensley in on a site they now call Learn to Play with Rob and Trey!

Road Map to Playing Fast and Clean with Trey Hensley is now available for streaming purchase online. It covers a number of tips for improving the precision and speed of your guitar picking, like warm ups, cross picking exercises, right hand placement and technique, and a bunch of cool licks. Tablature for all the licks and exercises is included in the package.

Hensley explained a bit of the thinking behind his new course.

“Have you ever tried playing an uptempo tune on guitar, only to get frustrated that it sounds sloppy and not precise and clean? Do you ever struggle with tension and pain in your hands and arms when playing at higher tempos?

You’re definitely not alone. As guitar players, these are things we’ve all had to deal with. But there are a few simple tricks and techniques that can help you play faster and cleaner on the guitar, and get the sound you’ve always wanted.”

You can get a taste in this quick video tease.

Road Map to Playing Fast and Clean with Trey Hensley is available for $30 online.

Rob Ickes and Trey Hensley – Extracting the Blues from Bluegrass

It’s little wonder that Rob Ickes and Trey Hensley have become one of the most talked about duos on the current Grassicana scene. Ickes, a 15 time IBMA Dobro Player of the Year recipient, and Hensley, a 20 something guitar prodigy who’s been honing his licks since the age of 11, make a formidable combination. Their new album World Full of Blues offers all the proof necessary. A melding of different styles and special guests — Vince Gill and Taj Mahal among them — the album represents another pinnacle in their ever evolving career. It’s a remarkably diverse set — blues and bluegrass are only two of the styles represented — but there’s a consistency in the innate melodic presence that flows from track to track.

Nevertheless, as proven on their two previous efforts, Before the Sun Goes Down and Country Blues, the ability to adapt and push parameters is key to their success. One track, Suzanne, even finds the pair swapping instruments without losing a beat. And while the two are responsible for the majority of songs in the set, they also offer two adept covers — the Grateful Dead’s Brown-Eyed Women and guitarist Robben Ford’s Rugged Road. To their credit, it all fits as a whole, making the new album a treasure well worth cherishing.

Bluegrass Today spoke with Ickes and Hensley, and asked them to share their thoughts behind their new effort, and the world of blues — and other sounds — that it shares so succinctly…

For starters — how did you come up with this idea of veering off into the blues?

Trey Hensley: Well, it wasn’t necessarily a decision we talked about. This isn’t really a “blues” album or a “bluegrass album.” I think it’s just a big mix of our influences, which is a wide array of music. Our last records were the same in that regard. We don’t really think in terms of genre when we go in to the studio for our albums.

I think the songs lend themselves a certain way. There are some obvious bluegrass-y songs on the album, some country style ballads, and definitely some blues. It just comes naturally. The blues influence on this record happened really organically.

Rob Ickes: Yeah, there’s some great blues stuff on here, but this album, like our others, feature several genres, or blends of genres. We both listen to all kinds of music, so I think that variety will always be a part of our sound.

Were you surprised at how smooth a segue this was when it came to melding the two styles? What elements did you draw on specifically as far as each genre was concerned?

TH: Well, not necessarily. Rob and I have always leaned on the bluesier side of bluegrass or Americana music. I think we both love bluegrass so much that it definitely comes across in our playing… so does the blues influence. The songs themselves are more in the blues vein, for the most part. It is just a neat mix of everything we are into… it just all comes out sounding like us.

RI: Yeah, maybe the smoothness of it just comes from the musical simpatico between the two of us. There has always been some sort of cohesion, or musical flow, since the first time Trey and I played together. It’s been fun to develop that more with each record. I hear a lot of unison stuff on this record that sounds like we’re totally on the same page, like the melody on Fatal Shore, or the hook on Born With the Blues.

Had you ever thought that indeed blues was an added element to bluegrass?

TH: Most definitely. Bill Monroe was playing blues music with a swing and some pep on these acoustic instruments, and bluegrass music was born. When it comes down to the heart of the matter, almost all American music has a big blues influence. Arnold Shultz was Bill Monroe’s influence. So, blues music has been a huge part of bluegrass from the get-go.

RI: Yes, it’s definitely been there since the beginning — a big part of Bill’s music, and I hear it in Earl Scruggs’ banjo playing also. A lot of the bends, and his guitar playing, had a lot of blues in it.

Can each of you give me an idea of your individual influences? Curious if you had an interest in blues prior to starting this project...

TH: My first love in music was bluegrass and traditional country music. I fell in love with blues in a similar way, just a few years down the road. The first blues album I owned was an Eric Clapton record, Me and Mr. Johnson, a tribute album to Robert Johnson. I bought it because the album cover looked cool and I had kinda heard of Clapton. I got so into that record that I had to go buy the complete Robert Johnson discography. I fell in love with that sound. From there, I just started buying any blues records I could find. Muddy Waters was — and still is — my favorite blues artist, and I found his music by randomly buying a record of his from the blues section of the local record store in Johnson City, Tennessee. I got way into Little Walter, Howlin’ Wolf, Lightning Hopkins, John Lee Hooker, Skip James, B.B. King, Albert King, Freddie King, Taj Mahal, Willie Dixon, Buddy Guy, Sonny Boy Williamson, Blind Willie Johnson, Mance Lipscomb, and a bunch of other great blues artists. As far as all of my individual influences, they go from bluegrass (Flatt & Scruggs, Osborne Brothers, Jimmy Martin, Charlie Waller, Tony Rice, etc.), and traditional country (Merle Haggard, George Jones, Hank Sr., the Jerry Lee Lewis country albums, etc.), to jazz (Miles Davis, John Coltrane, Grant Green, Wes Montgomery, Ornette Coleman, Charlie Parker, etc.), lots of rock and roll and metal stuff… it’s all over the map.

RI: I think it’s always been a part of my playing. There’s just something about a dobro that lends itself to those sounds. Josh Graves was the first guy to bring those sounds to the instrument. Before him, the dobro had a softer, Hawaiian kind of sound. He brought this attack and blues flavor to the instrument that wasn’t there before. I’ve heard that Josh had a neighbor who played banjo with a slide, and that sound was a big influence on him. You can definitely hear it. And I’ve spent a lot of time listening to guitar players and adapting those sounds to the dobro. B.B. King for sure, also Blind Willie Johnson, Eric Clapton, Robben Ford, Mance Lipscomb… so much great stuff out there!

When you’ve each been accorded the honors and recognition you’ve received over the years, does that set a high bar? Do you feel like you have to live up to expectations in order to succeed?

TH: I try not to let any success I may ever have get in the way of what kind of music I want to make. I haven’t won any awards like Rob has, but I love playing with Rob because I feel like he thinks the same way I do when it comes to letting success dictate your direction or playing style. Rob is always moving forward and pushing musical boundaries. I’ve always wanted to persevere and keep pushing myself. I’m 28 years old, so even though I’ve been playing for the vast majority of my life and have had a tiny bit of success, I’m still considered a newcomer in a lot of circles. I just don’t want to go into a recording studio thinking “Oh, that record was nominated for a Grammy, so we better stick to the same formula.” That’s the kiss of death for a career, in my opinion.

RI: I think Trey and I always set a high bar on our own, not because of the awards or anything. I think it’s more of a personal thing, a drive that pushes you continuously. Sometimes I wish I could turn it off! It takes a certain level of perfectionism to play music well, and so I think that is a big driving force. We want to see how good we can get.

What do you anticipate will be the reaction from those in the blues and in the bluegrass camps? Many diehards don’t like it when musicians bend the boundaries — how do you feel about that premise — taking a traditional sound and expounding on it beyond the usual parameters?

TH: I’m not sure how it will be received. I imagine there will be some folks who won’t like the direction. I hope others will though. Regardless of what you think about the style, I hope you can still hear the heart and soul in it. We recorded it totally live in the studio, which is how Bill, Miles, and Hag would have done it. I love Bill Monroe, because he pushed boundaries. I love The Osborne Brothers; they pushed boundaries. I love Merle Haggard; he pushed boundaries. I love Miles Davis; he pushed boundaries. Why wouldn’t we want to try to push boundaries?

I mean, I obviously really hope people love this album. I’m so incredibly proud of it and I hope it is really well received. That wasn’t a driving force in the studio, though.

RI: Yeah, like I said earlier, I don’t think this is a “blues” album, or a “bluegrass” album. I’d say it’s a “Rob and Trey” album. So if you like music with blues and bluegrass and country and jazz influences, you will dig this record!

Will you take a similar approach in the future with he blending of genres?

TH: Hopefully so. That’s the plan, anyhow.

RI: Yeah. And part of the fun of this project is seeing where it goes. It can go a lot of different ways musically, so we’ll just see what happens!

How were you able to recruit Vince Gill and Taj Mahal? What was it like working with the two of them?

TH: Vince was on our last album. He’s been so kind to us, as well as a big supporter of our career. As everyone already knows, Vince is one heck of a nice guy and the most talented person on the planet.

We had the idea for Taj to sing on the title track right from the start. We wanted a guest vocalist on that song and he was at the top of our list. Rob is friends with his drummer and that helped quite a bit to get the song in front of Taj. Taj loved the song and agreed to fly to Nashville to play and sing on it. He absolutely knocked it out of the park. What an honor it was working with him in the studio.

We also had the great Suzanne Cox sing on I’m Here, But I’m Lonely. Suzanne sang on our first record, Before The Sun Goes Down, and her singing always blows me away. She’s so incredible and it’s always such an amazing thing getting to sing with her.

Working with Vince, Taj, Suzanne, and all of the other musicians on this record was absolutely a dream come true for me!

What did Brent Maher add to the process as producer?

TH: From the beginning, Brent helped us to narrow down the songs. It has been a while since we recorded our last album, The Country Blues, and Rob and I have been writing a ton since then, so we had 20-some songs on a list that we had either written, co-written, or had picked out to record. We sat down with Brent and he picked out the 11 songs that we ended up recording for this album. Obviously, Brent is a legend and a master… he’s worked with everyone from Duke Ellington, Ray Charles, Hag, Willie Nelson, Tina Turner, The Judds, and a bunch of other amazing artists. We all agreed to record it totally live, like our previous records, and in addition to our full band, which includes Mike Bub on bass and John Alvey on drums, we’d add Giovanni Rodriguez on percussion and John Jorgenson/Pete Wasner on B3. Jorgenson played on half the album, Pete played on the other half. We also had a horn section for several songs. Brent just added so much of a great vibe to the whole process… working with him was a blast and an honor!

RI: Yeah, I feel like he understood what we do, right from the beginning. He brought the best out of us, which is what you want a producer to do.

Anything you’d like to add?

RI: One thing I’m proud of it that all of these tracks were cut totally live for the most part. There is so much tweaking and editing going on these days, it’s important to us to avoid that as much as possible and just focus on capturing the live energy that happens when Trey and I play together. That’s what people love about our live shows and it’s always a blast to try and capture that energy on tape!

Rob Ickes and Trey Hensley join Vector Management

Rob Ickes & Trey Hensley have announced a new agreement with Vector Management, a multi-city, multi-national company whose client list reads like a who’s who of entertainment luminaries. From pop superstars like Michael McDonald, to rockers The Rolling Stones, to celebrities and high-visibility journalists, Vector oversees the careers of some of the top names in the business.

In a statement to Music Row magazine, Rob and Trey shared their enthusiasm for the folks in Vector’s Nashville office.

“We’re extremely excited to be working with Bob Burwell, Jason Henke, Ken Levitan and all of the folks at Vector Management! It’s such an honor to be associated with such an incredible organization and managers who have done so many awesome things for so many artists. We’re looking forward to a long future together!”

Starting out as bluegrass pickers, Rob and Trey have found success together performing as a duo in venues where a bluegrass band might not get a chance. Rob’s many years as the reso-man with Blue Highway, along with his popular solo projects, have cemented his name as among the top slide men of all time. Trey adds a dynamic voice to his impressive guitar skills, and the two put on a powerful show mixing bluegrass, country, and a bit of rock ‘n’ roll.

Vector, who are a part of the giant Live Nation Entertainment company, are in a position to place the duo in performance situations they may never have dreamed about.

Good luck guys!

Trey Hensley endorses Thompson Guitars

Trey Hensley, one half of the power pickin’ duo, Rob Ickes & Trey Hensley, has signed on as the latest endorser of Preston Thompson guitars.

While the two were out in Oregon for the Sisters Folk Festival Winter Concert series, Trey swung by the shop and played several different models. In the end he selected a Dreadnaught Mahogany model, which he picked up at Wintergrass in February.

After playing it for a few weeks, this one seems to already be one of his favorites.

“My Thompson D-MA spoke to me immediately. It was like I had played it my entire life. It’s an old friend that I just met. It is one of the finest instruments I’ve ever had the pleasure of playing. I’m honored to use it! It is one of my first picks when I am on the road or in the studio! On top of making incredible instruments, Preston and company are awesome folks! I’m proud to be a part of the family. Preston Thompson guitars rule!”

The Thompson folks shot this video when they first delivered the guitar.

You can find more information about the various Thompson guitars online. Trey’s D-MA sells for $4875 with no custom options.

Rob & Trey head down under

Rob Ickes & Trey Hensley will be taking their duo powerhouse show to Australia next week for a series of shows in the southeastern regions of the continent. This will be their first visit to perform together in Australia.

Their tour will start and end in Melbourne with stops at the big Mountaingrass Festival in Victoria next weekend and a show in Sydney the following Monday. That first date in Melbourne will also feature a set from Australia’s bluegrass bad boys, The Davidson Brothers.

Rob & Trey combine their bluegrass chops, honed over Rob’s many years playing dobro with Blue Highway and Trey’s career as a guitarist and vocalist, with an openness to contemporary country and Americana music. They will be performing music from their two Compass releases, Before The Sun Goes Down and The Country Blues.

Stops on the tour include:

November 17 – Northcote Social Club, Melbourne VIC (with The Davidson Brothers)
November 18-20 – Mountaingrass Festival, Harrietville VIC
November 21 – Petersham Bowling Club, Sydney NSW
November 22 – Ferntree Gully Bowling Club, East Melbourne VIC

Rob and Trey will both conduct instrumental workshops on November 19 during the Mountaingrass festival where Mike Compton will also appear. Full event details can be found online.

Rob and Trey back across the pond

Rob Ickes and Trey Hensley are enjoying a very warm reception for their new album, The Country Blues. The mix of bluegrass, Americana, and alt-country is winning fans and generating radio play in all three genres, and getting them all sorts of notice in the wider music media.

We caught up with Rob earlier this week, just as he and Trey were preparing for a flight to Denmark and a set at The Tonder Festival, the big annual Danish folk music fest. Other US performers include Jason Isbell, Avett Brothers, and Tim O’Brien.

From Denmark they head to Ireland to play at the Guinness Bluegrass Festival in Dunmore East this weekend. As Rob put it, “how cool is that?”

That is followed by another week of shows in England, finishing up at the Didmarton Bluegrass Festival on September 2.

The Europeans have definitely been lapping up this talented duo’s work. They were in France earlier this month to perform at the La Roche Bluegrass Festival, with another week of shows in Switzerland.

And Rob was especially proud to note that they had a feature article in this month’s Guitar Player magazine.

The Country Blues finds Rob and Trey exploring a wide stylistic range beyond their bluegrass roots, and incorporating a full band sound on many of the tracks. But Rob said that their live shows still feature the duo format with which they launched.

No matter how far they go with their new approach, we’ll always remember them as bluegrass boys who made good.

You can hear samples from the new album online.