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Skaggs and Rice – Uncovering an Old Gem
“The future of music is about discovery, guiding people to the music they love”
This statement represents the prevailing logic in what’s happening in music tech. A perfect recommendation engine would be fantastic, but I realized late last night that rather than discovery of what you will love next, it’s often about re-discovering something you already had. That gem lost in the shuffle of your bottomless iTunes collection and buried in your efforts to find the next great artist.
I’ve recently dived into paying for streaming services like Spotify and Rdio (I actually use both). With a great catalog and nice user interface, it complements, rather than replaces any “traditional collection (syncing to your phone for offline listening are perhaps their most compelling function). I’m not sure I’d go so far to say that these types of services are a comprehensive “defense” against piracy, but it certainly gives me less impetus to download something (though it’s possible I started out more willing to pay for my music in the first place).
So, looking for some Tony Rice last night, the album “Skaggs & Rice” popped up and it’s been on repeat for a few days. After the first pass, I got one of those tingly feelings.. It hit me that this is one of those perfect duets that seems to accidentally coalesce into an unassuming album. It’s silly to say anything about Tony Rice and Ricky Skaggs except that while masters in their own right, their chemistry on this LP is remarkable. It’s like when I rediscovered Darrell Scott and Tim O’Brien’s “Real Time” or listening to the recent duet from Chris Thile and Michael Daves. It’s rare that an entire album leaves you with chills.
While the playing is excellent, it’s not the star of the show, tastefully done but not excessive flashy. The beauty is mostly in it’s incredible simplicity. Always accessible, but the harmonies at times have the ability to surprise you even on a repeat listen. Hypnotic in a way that I rarely get excited about.
Like everything that Bruce Molsky has done, this album has a serious and unadulterated respect for the tradition, but while not very exploratory, it somehow makes old feel new again (not an easy feat). High and lonesome singing with a clean finish like a refreshing beer on a hot day. As a musician it makes you want to learn every tune and really get inside of them. Simple, classy, priceless.
Real stand out tracks for your reference: “Talk About Suffering”, “Bury Me Beneath The Willow”, and “The Old Crossroads”.
Suggestion: best heard with full attention and alone.. You’ll catch yourself making a fool of yourself trying to match Skaggs’ high parts (which is awesome).
If you have Spotify, this will take you to a playlist to the album in it’s entirety. If you don’t have Spotify, get it. It’s free and fantastic.
Realization: as much as I love pursuing new directions in roots music, sometimes I need a refresher to center myself and get a little perspective. This album is just what the doc ordered.
Here’s another fantastic review from one of my favorite guest writers, Jamie Katz of Raleigh, NC. She’s works for PineCone – the the Piedmont Council of Traditional Music. I post this partially because we love her work and because I am incredibly jealous that she got to go to this show!!
After eight album-less years, how could there NOT be hype surrounding the new release from Gillian Welch? I am admittedly a late-comer to Gillian Welch; her last album was before I really started paying close attention to the folk/roots scene, and while I’d heard her name, I had not encountered much of her music.
After receiving “The Harrow and the Harvest” as a gift, I was more than happy to volunteer to sit at a table for PineCone at her concert here at the NC Museum of Art in Raleigh, and before the night was through, I also picked up Time (The Revelator) and Soul Journey.
I arrived shortly before the crowd was allowed into the space for the evening, but the eager crowd was lined up at the gate, ready to stake out the best space to watch the show (the NC Museum of Art amphitheater has some reserved seating and some general admission). Some folks had their lawn chairs and coolers handy, others waited with blankets for sitting on or borrowed chairs from the Museum’s outdoor tables. And the crowd proved that folk music still speaks to all ages – from grandparents to babes in arms, many generations were represented. I watched the first guy in line run onto the lawn despite the heat, and his anticipation was clearly shared by many who had showed up more than two hours before the concert was scheduled to begin. Did I mention it was about 98 degrees?
The camaraderie in the audience was also plainly visible – friends greeting each other, either meeting up or, in as many cases, running into people they knew unexpectedly, and all sharing the same thrill – the chance to see and hear Gillian Welch and David Rawlings, live, with new music.
And they delivered.
Their harmonies locked in from the first song, “Tear My Stillhouse Down,” and stayed strong throughout the evening. They slowed down for “Down Along the Dixie Line,” then broke out the banjo for “Rock of Ages.”
With a nod to the often sad nature of many of their songs (Welch has described The Harrow and the Harvest, in particular, as “10 different kinds of sad” in many interviews about her newest release), Welch commented, “Ever since David and I started playing, we’ve never been known for our sunshiny, perkier numbers. Rawlings was quick to chime in, “This song is guaranteed to bring you down.” That was their introduction to “The Way it Will Be.” The emotion and imagery that opens this song (“I lost you a while ago/But still I don’t know why/I can’t say your name/Without a crow flying by”) are striking and poignant – who has never felt the unexplained loss that Welch’s lyrics confront?
The duo continued through the first set alternating between older tunes like “Elvis Presley Blues” and newer songs like “The Way It Goes” and “Tennessee.” During “Annabelle,” Rawlings’ solo instrumental work inspired a good deal of cheering, and, after a bit of confusion and some banter (“Oh, no, I’m not always right,” Welch said in response to something called out from the crowd while she and Rawlings worked out how to close the last set. “Just this one time I happen to be right.”), they settled on the up-tempo “Red Clay Halo” to close out the first set, and the audience clapped and sang along.
Welch and Rawlings kicked off the second half of the night with “My First Lover,” and a light rain started to fall. At the end of the song, Rawlings quipped, “It’s just very humid.” Somewhere over the course of the evening, the “custom modification” on Welch’s guitar, a piece of masking tape, was a victim of the night’s heat, and the tour box had apparently lost the remaining masking tape somewhere on the road. When duct tape was suggested, Welch responded simply, “I’m not sure the duct tape would sound as good.”
The new “Dark Turn of Mind” followed up “My First Lover,” and as the duo followed up “Look at Miss Ohio” with the slow, sweet yet dark “Silver Dagger,” the rain let up and “Revelator” rang through the night, with another Rawlings guitar solo that made an extended version of the tune and brought the loudest applause and cheers of the night.
Following the effusive reception for her partners’ instrumental work, to the delight of the audience, Welch offered up, “How ’bout we make him sing one?” The crowd let their approval be known as Rawlings took the lead vocals on “Sweet Tooth,” from The Dave Rawlings Machine’s 2009 debut A Friend of a Friend. The lights went down after that one, leaving Welch and Rawlings spotlighted against the dark night and backdrop for the ballad “Hard Times” from The Harrow and the Harvest.
They kicked the energy back up to close the second set with “Caleb Meyers,” and only stepped off-stage briefly before returning for a three-song encore – they’d been warned that more weather was on the way. She introduced the encore as “stuff I usually reserve for my living room,” and, sharing a mic with Rawlings, Welch set aside her own guitar to give “Six White Horses” an a cappella opening; she stepped to the side during a couple more Rawlings’ instrumental solos for some dancing of her own. They closed out the night with two covers, “Jackson,” by Johnny and June Carter Cash, and Jefferson Airplane’s distinctive “White Rabbit,” with their own twist on both. As the last notes faded into the night, the rain started up again and the audience hurried off to their cars, but after the past weeks of sweltering heat and no rain or relief, the storm felt like a fitting end to a concert about “harrow” and “harvest.”
I could not have asked for a better introduction to Gillian Welch live – she and Rawlings have an energy together onstage that I have rarely seen matched, and the way their playing and singing complement each other is truly magical. It was a beautiful night for a gorgeous performance.
Set list
Tear My Stillhouse Down
Down Along the Dixie Line (slow down)
Rock of Ages (banjo tune)
The Way It Will Be
Elvis Presley Blues (first chords drew some applause; cheers by end)
The Way It Goes
Annabelle (Rawlings solo work gets some cheers)
Wayside/Back in Time (harmonica accents! “Wanna go back when you were mine”)
Tennessee
Red Clay Halo
Set 2
My First Lover
Dark Turn of Mind
Look at Miss Ohio (more Rawlings guitar solos; and beautiful example of the range and power of Welch’s voice)
Silver Dagger (slow & sweet side of Welch’s voice)
Revelator
Sweet Tooth (Rawlings lead vocal)
Hard Times (lights down, just spots on Welch & Rawlings)
Caleb Meyer
Encore
Six White Horses
Jackson
White Rabbit
Setlist pic! (via @gillianwelch Twitter feed): http://twitpic.com/60z28o
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Remember to follow @jmknc on Twitter
Sam Bush is hosting 2011 IBMA Awards
If you happen to be so lucky as to make it to the IBMA World of Bluegrass this September, you’re in for a serious treat.
My favorite all around musician, mandolin role model and boundary-pusher, Sam Bush is hosting the Int’l Bluegrass Music Awards Show in Nashville. It’s not his first rodeo (he worked the stage in 2007).
“It is my pleasure to return as the host for the 2011 IBMA Awards,” Bush said. “As a bluegrass fan and fellow Kentuckian, it’s especially important to me on the 100th year anniversary of Bill Monroe’s birth. I look forward to spending the evening with the nominees and the winners, as this is their special night.” [IBMA Press Release]
A couple of the standout artists for Fan Fest are:
Alison Krauss & Union Station featuring Jerry Douglas
The Grascals
Doyle Lawson & Quicksilver
Michael Cleveland & (the new) Flamekeeper
J.D. Crowe & The New South
Russell Moore & IIIrd Tyme Out
Josh Williams Band
Sierra Hull & Highway 111
Special Consensus
The nominees for 2011 will be announced in August. Stay tuned!
I Miss Kenny
In case you haven’t heard yet, Kenny Baker – THE fiddler from Bill Monroe’s Bluegrass Boys – passed away today at the age of 85 in Nashville.
As one of the musician’s that shaped and reinforced my love for bluegrass, this is surely a loss for the community. Send your prayers to his family.
More great content will be available on The Bluegrass Blog in the coming days to celebrate his incredible musical career. Stay tuned, as we’ll be posting some of those nuggets here and our
Here’s a great vid: for some reason it wasn’t embeddable by request of the copyright owner, but is a great one nonetheless – Jerusalem Ridge (w/Big Mon)
UPDATE: Found some great photos of Kenny recording, really brings out his personality. Definitely give these a look – Great Kenny Baker pics
This is a guest post from good friend and bluegrass nut Jamie Katz of Raleigh, NC. She’s works for PineCone – the the Piedmont Council of Traditional Music. Make sure to give her some love on Twitter: @jmknc. Hope everyone is enjoyed their holiday weekend!
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Music is experienced through the filter of life and experience, so before I tell you about the fantastic show that Mumford and Sons put on at the Raleigh Amphitheater, you should probably know a little bit about me (not necessarily in order of importance):
1: As a rule, I prefer smaller, intimate concerts. The last time I saw a show in a large amphitheater that I truly enjoyed was 2004 – Counting Crows in Annapolis.
2: For nearly 3 years, I’ve worked for a nonprofit organization called PineCone. We present concerts and related music programs in Raleigh that hearken back to the acoustic traditions that preceded Mumford & Sons.
3: Given my personal experiences, I find that I am often pickier about audio quality than the average concert go-er, something amphitheaters have less control over.
4:: The night I attended Mumford & Sons in Raleigh was the same night I learned that my grandfather had passed away.
That last point is not a call for sympathy, but merely a frame-of-mind/context offering. Once in a while, I get the itch to hear a band that’s playing in a big space, and this year Raleigh is certainly making a play for getting me out to more of them. Other shows on the Amphitheater’s lineup that were or are tempting: Decembrists (past), Bon Iver (July 29), and Fleet Foxes (Sept. 21). I only managed a ticket to the sold-out Mumford & Sons show at the Raleigh Amphitheater at the last-minute thanks to Twitter, where I happened across someone who had a single ticket she couldn’t use. It was a lawn seat, and having enjoyed a couple Mumford & Sons songs I’d heard, along with the general buzz about the band, it seemed time for the annual check-in at a large venue. Besides, I’d not yet been to a show at the Amphitheater, even though I could walk there from my apartment.
Finding a seat on the lawn that was at least somewhat out of the sun and with some sort of view of the stage, I pulled out some paper and started writing some impressions of both the space and the family news of the day; unrelated and yet connected in my memory henceforward. The heat was still a factor, though less than it probably had been earlier in the day while the stage crew was setting up and the bands were sound-checking. Hats off to the staff and bands for putting on a fantastic show in the sticky summer weather Raleigh provided.
At one point, Mumford did comment on the heat, noting that they don’t wear shorts because “We’re English!” They also nodded to the music traditions that inspired them, mentioning that North Carolina seemed very similar to the United Kingdom, and perhaps that was why so many immigrants settled in North Carolina, bringing the string-band and Irish traditions of their homelands to the NC mountains and Piedmont, where both traditional bluegrass and Americana still flourish.
Back on the lawn, folks seemed less interested in the opening acts, chatting and settling in for the night ahead. That, combined with the fact that the opening acts did not seem to have the volume turned up very loudly to begin with (Raleigh noise ordinances, perhaps?), made it difficult to hear both The Low Anthem and Matthew & the Atlas; folks I talked with after the show who had been sitting closer to the front really seemed to enjoy both openers, and the few lines that did penetrate the ambient crowd noise made me wish I could have heard the openers better.
When Mumford & Sons took the stage, almost the entire crowd took to their feet with a roar, and the excitement in the Amphitheater was palpable – always a good omen. They certainly did not disappoint – working through some tunes the fans knew and loved as well as some new music, they kept the crowd dancing in the aisles (to the apparent chagrin of the concert security workers). They kicked off the night with the title track of the their album, “Sigh No More.” Who can resist their lyrics? They have as much power live as they do recorded, if not more. “Didn’t I My Dear” was probably the loudest sing-along prior to the encore, which closed out with the Avett Brothers’ Joe Kwon joining the group on his cello for “Winter Winds” and, of course, “The Cave.”
Overall, the crowd’s enthusiasm was very evident, and seeing Mumford & Sons hold the sold-out crowd through the heat, the train whistles, and the sirens definitely spoke well of them and their performance. I am so glad to have gotten that last-minute ticket to see what this talented group can do live. They kept a good mix of music going the whole night, moving between high-energy anthems like the new “Hopeless Wanderer” and quieter tunes like “After the Storm.” Each and every song was instilled and delivered with remarkable passion. Even with mostly “traditional” instrumentation (plus drums and the occasional electric instruments), there was no mistaking that this was a rock show, and they certainly gave the energy back to the crowd that they crowd gave to them, with interest. I am excited to hear and see what they do next – they did announce that there will be a new album after the tour.
Set list:
Sigh No More
Awake My Soul
White Blank Page – the raw emotional energy in the word heart (“Where was my fault in loving you with my whole heart?”) – amazing
Roll Away Your Stone
Broken Crown (To Darkness) (new song – new album after tour!)
Timshel – quieter
Hopeless Wanderer (new – anthemic)
Didn’t I My Dear (loudest sing-along in my vicinity)
Lover of the Light
Thistle & Weeds (another to rock out to)
After the Storm (quiet)
Lover’s Eyes
Dust Bowl Dance
Encore – brought out Avett Brothers’ Joe Kwon on cello!
Winter Winds
The Cave
This was my first time getting a taste of The Milk Carton Kids outside of the emails and tweets I’d received from Emilee Warner over at Crash Avenue. She offered me an opportunity to catch them (and Joe Purdy) at the Highline Ballroom and I had trouble turning down the free show (that goes for anyone else that thinks there’s something I ought to be listening to.. I’m easily coerced).
After giving a listen to their live album that came out a short while ago, I knew that this show would be perfect for a lazy summer evening. I really suggest y’all grab a copy of Retrospect, very mellow and smooth. I’ve gone ahead and put up a video below so everyone could get a taste.. it’s not far off from the real thing.
Serendipitously, a minor snafu with the list at the will call desk, forced Joey Ryan (sp) of the band to come out and bring me inside which gave me an opportunity to chat with him about the tour, the band, Joe Purdy and their plans regarding their upcoming studio album (which is in the mastering stages as we speak, stay tuned for that one.. he said that it will be available for sale, but will likely be included for free download on their website as well).
Apparently, Joey and Kenneth were just fans of each other’s music as they were both hammering out solo careers on LA’s songwriter circuit when they, rather accidentally, realized that they had such a compatible sound. You can tell during the shows and on the record (cut at Zoe’s in LA to a crowd of about 50) who wrote what, with one artist taking the lead and the other supporting with melodic flourishes and harmonies. While altogether a very organic and soothing combination, I’m excited to hear the new record on which I’m told they wrote the tunes for a duo (rather than take their favorite solo tunes and play them as a duo).
If their meeting is any indication of their style, they have a very folksy, California-chill vibe that is both soothing and hypnotizing. For better or worse, their style was very consistent through every song, which might be a turnoff for some folks (I, on the other hand, really liked it).
The compositions have a loose, country feel with Joey doing more of the chording legwork, while Kenneth maintained a slick country slide to his licks. The whole performance was very expressive and Kenneth’s phrasing, while at time a little noodley, was overall great accompaniment to their singing. They fit extremely well together, so much so you might forget that their confluence was more or less accidental. The band has a ton of potential going forward, and while they could be a bit more engaging with their banter, it’s really the music that matters most, and they certainly met and exceeded my expectations.
All in all, the music speaks for itself and is so calm and mellow that it’s not really an issue that I’m not with friends. However, that same mellowness is what makes me think that they should be playing a venue like the Rockwood instead in order to step up the intimacy and give them a little more time for folks to really dive into their music. Joey said he thinks they’ll be there next time, so I will be too.
Big THANK YOU to Emilee for turning me on and for her hard work to get me in.
As promised, here’s the vid of one of my favorites, “Permanent”:
So there’s not much to say here. Sarah Jarosz is awesome, her newest album is awesome and her record release party at the Rockwood Music Hall in NYC was pretty awesome, too.
Instead of a lot of yammering, just check out these pics and vids from the festivities. Would be nice if everything was in higher quality, but then I would just be taping and not enjoying such a great show (not bad for an iPhone if you ask me).
If you’re having any trouble with the vids, you can see them on my YouTube Channel.
Video of “Come Around” off the New LP:
Video of “Tell Me True” off the debut, Songs Up In Her Head:
Video of “Old Smitty”:
“Come On Up To The House” by Tom Waits:
Traditional Fiddle Tune – “Land’s End”:
Here are a couple of photos for good measure:
with Aiofe O’Donovan on vocals!
[Full Disclosure: Reviewers far more qualified than I have done this to death, but I just loved the album so much that I thought I'd lay out a few first impressions here]
It’s been 2 years since her first record, Song Up In Her Head, debuted. I’m a little ashamed to say that I got a copy from my mom, who is needless to say less “engaged” with the new and awesome in the world of acoustic music (no offense, mom). When she gave it to me, I threw it into my car stereo and there it remained for the next several months. No lie, I was hooked on that record. So much so that I was a little surprised when I heard that Follow Me Down was coming out today.
After a few passes, this LP has just as much going for it as the old one. One major difference: the maturity. Her sweet, sultry voice is far more hypnotic and enchanting than her age would imply (she’s only 19). This record, with it’s all-star personnel and rich, breathy texutre, shows off Sarah’s “coming of age” as a well developed songwriter, arranger, vocalist and instrumentalist.
At first I was surprised at the slickness of the record, which I mistakenly chalked up to overproduction and a lot of cosmetic work. I thought I was hallucinating when familiar voices and instruments started to come out of the woodwork, especially Bela’s hypnotic banjo work coupled with Casey Driessen’s distinctive fiddle on “Come Around” (easily one of my favorite tunes on the album), Punch Brother’s inclusion on the Radiohead cover “The Tourist”, and Jerry Douglass’s unmistakeable dobro throughout the whole release. On the second go around (and after having read some press materials on the release), it dawned on me: the album wasn’t overproduced, rather it had so many world-class acoustic musicians on every track, that the release couldn’t sound less professional if it tried. All of the stellar guest stars on this LP really show that Jarosz has support from some of the biggest names in acoustic music, a vote-of-confidence that’s simply hard to ignore.
The record was a lot less mando-centric, but it featured plenty of great octave mandolin, clawhammer banjo and straigh 6-string playing by Jaraosz. Her instrumental chops are far less front and center on this release, but her “left-of-center approach” to playing complements the all-star personnel lineup nicely. Her voice is always right in the pocket and drives each tune forward while maintaining an almost hypnotic hold on your attention as you wander from track to track.
Sarah’s voice also has a distinctively more self-assured and well-developed sound on this record than on her debut release. She seems more confident in her playing and songwriting and more expertly pushes and pulls the ensembles through the compositions, not once giving the impression that the wheels might fall off. Jarosz’s ability to take acoustic music to simultaneously familiar and unfamiliar places in numbers like “Run Away”, “Come Around”, “Floating in the Balance” and “Here nor There” are a testament to her strength and confidence as a writer and indicate why she appeals to an unusually wide range of demographics.
However, what truly stands out to me on this release are the tunes that best straddle the line between traditionalism and original songwriting. Just take a listen to “Annabelle Lee” or “Old Smitty” and try to tell me you thought that you thought the 19 year-old Jarosz wrote it. Seriously. They sound like they are great Crooked Still covers of “Angeline the Baker” or something. Breathy, in-your-face, real, emotional, heartfelt all with the old storytelling conventions and instrumental runs that make old tunes great tunes.
Overall, a really balanced approach to acoustic music, that effortlessly hypnotizes and invigorates as it expertly straddles the traditional and original. I, for one, am convinced that she has a long way to go and a fantastic career in front of her. I’m excited by everything she puts out and can’t wait for more great things.
She’s got me. Hook. line. sinker.
The album is available for full streaming at AOL Music. Sarah is playing in NYC tonight at the Rockwood Music Hall 2! I’ll be there, hope you can make it out. Looking forward to a great blend of material off the new record and some great traditional tunes. Stay tuned.
The Roots Music Twitterati 140
Tis’ the season for social media list-making. You might have seen Billboard’s Top 140 for Music Biz folks, perhaps even Time Magazine’s list, but after many hours of preparation, coordination and chatting with some of the coolest people in bluegrass and social media, I proudly present to you…
THE ROOTS MUSIC TWITTERATI 140
Many people don’t think bluegrass and roots music lives online, this is one more example proving that wrong. The list was compiled by a group of us who hang out on twitter and chat music all day, this fantastic band of social media marauders are:
Special Thanks to these Bluegrass Thought Leaders:
Anson Burtch (@aburtch)
Beebs (@beebles)
Devon Leger (@hearth_music)
Dustin Ogdin (@eartyme)
Emilee Warner (@warnerblaster)
Jamie Katz (@jmknc)
Jon Stone (@jwstone)
Jon Weisberger (@jonweisberger)
Now for the rest of the categories..
BLOGGERS/MUSIC LOVERS:
- @adamsheets08 Adam Sheets – Key tweeter, loves bluegrass and a whole array of other nonsense.
- @allisonhussey Allison Hussey – Writer for the Chapel Hill / Carrboro paper. Gets great interview with the bluegrass/Americana acts that roll through town
- @annkpowers Ann Powers – Writer for NPR, serious acoustic music fan.
- @commonfolkmusic April Wolfe – Creator/Curator of Common Folk Music.
- @benjamin_shultz Ben Shultz – Old-time music blogger.
- @fratrain Bill Frater – Writer for Freight Train Boogie
- @caseyhenry Casey Henry – She’s awesome, just trust me – also banjo teacher.
- @ChrisMateer Chris Mateer – Creator/Curator of Uprooted Music Revue, great guy.
- @concertvault Concert Vault – Repping Wolfgang’s Vault appreciates good bluegrass, and streams some of the BEST concerts of the last ~60years. Master Curator.
- @songsillinois Craig Bonnell – Writer/Curator of folk-oriented blog Songs Illinois.
- @chavighurst Craig Havighurst – One of those guys you just have to read. Founder String Theory Media.
- @danschram Dan Schram – Fantastic soundman. If it’s good and comes through the area, he records it. BIG bluegrass fan, and his YouTube channel will melt your face.
- @naturalbeardy Dylan Macnab – Writer/Curator for Natural Beardy, a great folk music blog!
- @forfolkssake For Folk’s Sake – Fantastic folk blog.
- @DobroSwamp George Clark – Resonator enthusiast with an awesomne feed.
- @gregvandy Greg Vandy – Founder of American Standard Time.
- @thejeffreysmith Jeffrey Smith – Founder of Crash Ave, Manager of Ben Sollee etc., irreverent.
- @RightByHerRoots Jewly Hight – Aficionado in women in American Song. A book should be coming out soon.
- @Mando_Lines Jim Warren – Talks about bluegrass A LOT. Great reviews and whatnot.
- @thesessionspot Jon Goldmann – Little plug here: Runs the amazing bluegrass/culture blog you’re reading right now!
- @justinhendrix Justin Hendrix – Writer/Curator for the Bluegrass in NYC blog (the one I always wish I could write).
- @kimruehl Kim Ruehl – Edits No Depression, serious influencer, great taste, less filling.
- @KylaFairchild Kyla Fairchild – Publisher of No Depression.
- @selmerguy Michael John Simmons – Editor for Fretboard Journal, great publication that loves bluegrass.
- @Rocknrollsoapbx Paige – Blogger, mostly of music. She’s got taste.
- @TheRuckusBlog Rukus Blog – (some seriously good, though not always acoustic content. Always trust a handlebar mustache.
- @sarahbryan Sarah Bryan – old time music lover and folklorist – collects great old photos too.
- @realdaytrotter Sean Moeller – Founder/Chief Curator of The Daytrotter sessions. Hugely influential, mostly indie, but some of the rawest, greatest sets. Addictive.
- @slowcoustic Slowcoustic Blog – Take it easy and take a look at this roots blog.
- @bluegrassTed Ted Lehmann – THE Ted Lehmann. Long-time blogger, friend of the community, listener and activist.
- @TimLee3 Tim Lee – Big tim roots & bluegrass lover.
- @tomstonemayer Tom Mayer – mostly Editor and sometime old-time musician for The Flanks. Also plays some mean reggae and has an awesome music and book collection.
- @twangville Twangville – serious roots music blog.
- @uprootedmusic Uprooted Music Revue – content from one of my FAVORITE blogs (great folk/bluegrass music).
ARTISTS:
- @abigailwashburn Abigail Washburn – banjo player, folklorist, wife of Bela Fleck, speaks Chinese, writes great music.
- @odonovanaoife Aiofe O’Donovan – Brooklyn fiddler from Crooked Still.
- @Andyfalco Andy Falco – Guitar picker for those infamous stringdusters.
- @AprilVerch April Verch – Hell of a fiddler.
- @belafleckbanjo Bela Fleck – The maestro of the five-string. Just started tweeting, so make him feel welcome.
- @brittfiddle Brittany Haas – Great Fiddler.
- @brucemolsky Bruce Molsky – Master of old-time, writer of songs that “sound old”, folklorist, jokester, can play just about anything.
- @BryanD28Sutton Bryan Sutton – Just started tweeting, but a mighty fine tweeter and swell guitar picker.
- @_ccds Carolina Chocolate Drops – Yes, those Carolina Chocolate Drops.
- @caseydriessen Casey Driessen – One of the universe’s coolest fiddlers. Mostly show dates, but also stuff from his killer newsletter.
- @chathamcoline Chatham County Line – One of the best modern bluegrass bands out there, but their talent is more potent then their tweets.
- @ChrisJonesGrass Chris Jones – Sirius XM personality, frontman for Chris Jones and the Night Drivers.
- @chrispandolfi Chris Pandolfi – Banjoist from The Infamous Stringdusters. Prolific tweeter, insightful dude, generally excitable.
- @crittereldridge Chris Eldridge – Fantastic guitar picker from The Punch Brothers.
- @christhile Chris Thile – We talk about this mandolin badass all the time. Brooklyn resident, often lucid hashtags on Twitter, oh and I said mandolin badass, right?
- @ThileDaves Chris Thile / Michael Daves – I sure hope they keep this up. Best duo in the universe.
- @coreydimario Corey Dimario – Blogger, double-bass player for Crooked Still, and bus driver.
- @crookedstill Crooked Still – Great NE old time outlet, some of the best covers out there, and some serious chops (especially vocally). All around awesome.
- @dehlialow Dehlia Low – Bluegrass/Old-time band out of western North Carolina. Amazing songwriting.
- @delmccouryband Del McCoury Band – I can’t help it. The most awarded band in bluegrass.
- @FarewellDrifter Farewell Drifters – One of the best vocal bluegrass bands right now.
- @franksolivan Frank Solivan – Bomb bluegrass artist, one of Devon’s favorites.
- @gabewitcher Gabe Witcher – Fiddler for the Punch Brothers.
- @grantbigsmokey Grant Johnson – Nashville insider, multi-instrumentalist, really nice dude.
- @stringdusters Infamous String Dusters – One of the tightest young bands out there, but really let ‘er rip at shows. Fantastic.
- @JayandMolly Jay Ungar – Civil War enthusiast, folklorist and the guy who wrote “Ashokan Farewell”.
- @jeffersonhamer Jefferson Hamer – NYC Folkie. Really tapped into the scene, great tweets, nice guy.
- @Jeffreyaustin10 Jeff Austin – Mandolin for Yonder Mountain, food lover, melody wrangler.
- @JoeNewberry Joe Newberry – NC multiinstrumentalist, wry humor, knows damn near everyone.
- @jaymestone Jayme Stone – Banjo maestro. Influences from all over, ethnomusicologist wet dream, plays with some amazing folks.
- @joekwon80 Joe Kwan – Cello player for the Avett Brothers and serious foodie.
- @kristinand Kristin Andreasson – Local NYC fiddler who plays with some of the best. Self-proclaimed Vagabond.
- @lauracortese Laura Cortese - Smoking Fiddler from MA who plays in BK a ton. Always great to have her.
- @Mandolin_Orange Mandolin Orange – One of our little twitter community’s favorite act right now.
- @MattBruer Matt Bruer – Banjoist for The Get Down Boys out of LA.
- @mattflinner Matt Flinner – Mandolin badass.
- @Megafaun Megafaun – Progressive old-time band (love the paradox there).
- @fiddlestar Megan Lynch – Educator (the best kind).
- @TheNewHip Missy Raines and the New Hip
- @TheNewFamiliars The New Familiars
- @noampikelny Noam Pikelny – Banjoist for The Punch Brothers. Receiver of awards, cynic of many.
- @PlowRootsMusic Plow-Roots Music – San Diego fellas with an ear for the old school.
- @PunchBrothers Punch Brothers – Best way to keep up on one of the most awesomely hard-to-describe outlets out there.
- @RadioRamblers Radio Ramblers – Some good ol’ Ohio boys.
- @raynagellert Rayna Gellert – Fantastic fiddler, banjoist in private, cohort of Ms. Washburn.
- @sarahjarosz Sarah Jarosz – Young mandolinist (mostly) with a a great release out, and a highly-anticipated one on the way in May. Has a ridiculously awesome career ahead of her and makes us all feel old.
- @SaraWatkins Sara Watkins – former Fiddler for Nickel Creek. Crazy talented, still playing a bunch.
- @sav1028 Sav Sankaran – Bass player for Dixie Bee-Liner, hockey fan. Great tweeter.
- @sierrahull Sierra Hull – Berkeley student with a record deal, so incredible.
- @steelstring Steel String Session – Forward thinking wonderfully backwards band.
- @steepcanyon Steep Canyon Rangers – Currently getting a lot of attention as Steve Martin’s band, but they were stars before, and will be afterwards. I love their music. Very awesome.. in a straightforward sort of way.
- @stephiecoleman Stephanie Coleman – great NYC fiddler, plays with Kristin sometimes.
- @stevemartintogo Steve Martin – Yea. That one. Plays banjo and tweets a lot. So great.
- @tonytrischka Tony Trischka – sparse tweets from the man himself.
- @tbtduluth Trampled by Turtles – More “jamgrass”, but not the annoying kind.
- @YonderMountain Yonder Mountain String Band – Bluegrass on speed and pot.
ORGANIZATIONS:
- @AmericanaFest Americana Music Association
- @clubpassim Club Passim – Great folk venue in Cambridge, MA. Streams and whatnot too.
- @CompassRecords Compass Records – A bluegrass/folk institution.
- @IntlBluegrass The International Bleugrass Association (IBMA).
- @livebreathing Live Breathing – New site with some killer sessions. Dropped yesterday. Great guys working over there. Wonderful projects.
- @merlefest Merlefest – duh..
- @newportfolkfest Newport Folk Festival
- @NonesuchRecords Nonesuch Records (CCD, Punch, Chris Thile + Michael Daves, Low Anthem).
- @RebelBluegrass Rebel Records.
- @rounderrecords Rounder Records – one of bluegrass’s top labels, super awesome content. However, publicity department is like Fort Knox.
- @folkways Smithsonian Folkways – A spring of old time info, some of the best historical releases.
- @spps Steam Powered Preservation Society – Purveyors/Curators of simply awesome. Folklorist society affiliated with the venerable Tut Taylor.
- @sugarhillmusic Sugar Hill Records – Home of Sam Bush, etc.
NEWS OUTLETS/INFORMERS
- @Acousticananew AcoutiCana News Journal – A great publication for all things roots music and americana.
- @cyberpr Ariel Hyatt – Brooklyn’s beautiful, forward-thinking publicist. A real thought leader in the New Music Business. Always insightful.
- @bluegrass_blog Bluegrass Blog – In my humble opinion, easily the most organized and comprehensive source for online bluegrass news.
- @BluegrassBooksOnline Bluegrass Books – I know that you may not like reading, but they have great content on their twitter stream too
- @bluegrasjournal The Bluegrass Journal.
- @bluegrasslegacy Bluegrass Legacy – Just like it sounds.
- @bluegrassmuseum The Bluegrass Museum – Owensboro, KY. The institution, the history, the educational programs. All good things.
- @Cybergrass Bob Cherry – One of the best sources for bluegrass news. Great content, horrible layout.
- @CrashAvenue Crash Avenue – Great Nashvillian management and publicity firm for bands like The Farewell Drifters and Ben Sollee.
- @Dreamspiderweb Dream Spider Web – Big time publicist for bluegrass/americana acts like Donna the Buffalo and Larry Keel.
- @Flatpicking Flatpicking Guitar Magazine
- @folkalley Folk Alley – Big ol’ folk internet radio station.
- @folkalliance Folk Alliance
- @fbjournal Fretboard Journal – Just like it sounds. Publication about all things strung (or fretted). Tons of great folk and bluegrass content.
- @billboardglenn Glenn Peoples – Billboard editor/contributor, based in Nashville, super smart.
- @hickorywind Hickory Wind – Roots Music outlet out of NC.
- @Lefsetz Bob Lefsetz – One of the most lucid, outspoken influencers on music business, consumption and taste. Visceral feed of awesome insights.
- @mandolincafe Mandolin Cafe – THE place for mando news.
- @musiccityroots Music City Roots – Weekly radio show from Nashville; webcast; frequent bluegrass presenter.
- @musicfog – Music Fog – Serious Americana video site and blog.
- @nodepression No Depression – The print mag turned roots aggregator. Some of the top content on the interwebs.
- @nprmusic NPR Music – good for music discovery of all types, including folk/americana.
- @RootsAgency The Roots Agency
- @TwangNationTwang Nation – News/Reviews and other goodies covering lots of Americana and bluegrass.
- @victorymusic Victory Music – Acoustic music mag repping the pacific Northwest.
- @wamubluegrass WAMU Bluegrass – one of the world’s best online/offline purveyors of great bluegrass music.
To save the trouble of checking out each person individually, we’ve compiled this master list for your convenient enjoyment.
Again, a special thanks to Anson, Beebs, Devon, Dustin, Emilee, Jamie, Jon Stone, Jon Weisberger for all your help and support.
If you should want to add folks to the list (that are human and worthy), suggest in the comments and we’ll consider adding it to the public list.