Estación 39 is an ideal example of a band that hails from environs well outside US borders, but still stays true to those musical traditions birthed in the American heartland. Based in Buenos Aires Argentina, the band — which includes Matt Giliberto (vocals and guitar), Nuala McLoughlin (vocals and fiddle), Juma Molina (banjo and backing vocals), Dani Boy W (mandolin and backing vocals), Irina Rabenstein (upright bass and backing vocals) — makes music spawned from a rarified traditional template, but shaped with their own individual imprint. 

“We try to sound classic, like the old bluegrass bands, singing into a microphone, like Bill Monroe, the Osborne Brothers or the Stanley Brothers,” they told Bluegrass Today when profiled for a Bluegrass Beyond Borders feature. “We know that not being native the sound isn’t going to be the same, and I think that gives something exotic to our sound that makes it interesting. Between the five of us we gather various influences, some shared, like Bill Monroe, Flatt & Scruggs, Osborne Brothers, New Grass Revival, The Dillards, Hot Rize, Bluegrass Album Band. Also Béla Fleck, Brittany Haas, Billy Strings, Punch Brothers, Molly Tuttle, Sierra Hull, Allison Krauss and more.”

The band is so confident and comfortable in fact, that each of the seven songs on this new EP could give rise to the suspicion that in another life anyway, they’re a product of some rural realms. Indeed, if one didn’t know better, it would be easy to come to that conclusion based on their choice of material alone. The band’s take on the seminal standard, Shady Grove, and their whimsical cover of, of all things, The Ballad Of Jed Clampett — the latter sung in a charming native dialect with various humorous asides tossed in as well — managed to find an easy and otherwise unassuming fit. 

They aren’t the only examples of the band’s ease at replicating that bluegrass sound. Fox On the Run takes a fanciful turn, while the rousing title track offers an opportunity to deliver an impressive instrumental outing.

Though it’s only seven songs long, ETIGBA provides an exceptional showcase for Estación 39’s earnest endeavors. Clearly, they’re a band that’s entirely committed to delivering bluegrass, courtesy of their own individual instincts.

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A Golden Guitar winner and ARIA Award nominee, Angus Gill ranks as one of Australia’s most accomplished young exports. A multi-talented artist, songwriter, author, comedian, and record producer, he can claim 19 number one singles, six chart-topping albums, and more than 200 recorded cuts in his native land, all achieved before the age of 30. 

With his move to Nashville, Gill’s opened more doors as far as finding the means to expose his skills here in the US. That’s already proven true given the fact he became the youngest Australian male solo artist to perform on the Grand Ole Opry. He’s also taken the opportunity to gather a top flight group of Nashville musicians to assist him in his efforts.

Postcards, his new album on Origin Records, finds him utilizing the talents of such notables as Tim Crouch on guitar, fiddle, mandolin, cello, percussion and double bass, Randy Kohrs on dobro, Scott Vestal on banjo, and Ron Block on banjo and acoustic guitar. With Gill on lead and background vocals, the combined input makes for a decidedly catchy and compelling set of songs. While most of them reference a bluegrass template — instrumentally anyway — the melodies soar on the strength of the rich and robust arrangements.

As for the material itself, Gill goes back to his roots, covering classics borne from his Australian origins. Even those who are familiar with the original renditions may find that Gill’s take on these Aussie classics casts them in an entirely new light. Message To My Girl, a 1984 standard written by Neil Finn when he was with the quirky Kiwi band, Split Enz, prior to his stint with Crowded House, is totally transformed courtesy of a string band accompaniment. Likewise, another Enz offering, My Mistakes, is transformed into an easy, engaging down-home ramble. Please Don’t Ask Me, originally recorded by Aussie superstars Little River Band, retains its mellow musings as a sumptuous yet seductive ballad.

Most of the other offerings are a bit more obscure, especially as far as American ears might be concerned. Even so, they’re no less satisfying. I Go Off starts with a lovely, lilting intro that escalates into its a driving delivery. Freckles is both easy and engaging, all at the same time. Similarly, Somebody I Used To Know offers its own casual appeal, as opposed to That’s When I Think If You, which adds an uptick in energy.

Ultimately, Gill proves his prowess by maintaining a bluegrassy sway even though it pays little heed to any preset parameters. Consider Postcards a look ahead to a formative future. 

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There’s something to be said for purity and possibility when it comes to evoking emotions that come straight from the soul. With the second installment of their Homespun duet series, which began as a shutdown project during COVID, Amy Gallatin & Rogers Williams share sincerity as they delve into their  down-home designs. As they’ve managed to do on their five previous albums as a duo, they eschew any attempts at posturing or pretense in order to evoke that pure honest emotions into each of the offerings.

As a result, the new album resonates with honesty and integrity, courtesy of music that hangs on the heartstrings. That said, they also take an understated approach that relies on a straight-forward approach which allows these seemingly effortless arrangements to take total command. It’s a credit to the musicians involved (Williams on vocals, dobro, guitars, and bass Gallatin sharing vocals, banjo and fingerstyle guitar, Williams’ son JD contributing mandolin, Ray Legere on fiddle, Dave Dick adding occasional banjo, and Gail Wade on clawhammer banjo and harmony vocals) that they find a consistently sensible sound that keeps things both measured and consistent. Each of the songs were tastefully chosen, sourced from the Louvin Bros, Jamie O’Hara, Gillian Welch and David Rawlings, Hugh Moffatt, Shane Nicholson. Roger Miller, and the Civil Wars, and as a result, ensure a ready appeal.

While the two principals are seasoned artists each in their own right, the focus remains on the songs. Are  You Teasing Me and Once In a While take a twangy tone, but the sincerity isn’t lost even in the upbeat arrangements. Oh So Many Years, Bramble and the Rose, Forget Me Not, and Who Are You Redbird sample an array of sweet sentiments, while the emotive Dear Someone, Rose Of My Heart, and I Love You A Thousand Ways confirm both the clarity and conviction.

Ultimately then, From the Heart, Homespun II provides a set of songs that boast qualities that are poignant as well as personal. Credit Gallatin and Williams with that rare combination of focus and finesse.  

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Lluís Gómez’s obsession with music began early on. His interest was nurtured early on in his hometown of Premià de Mar, located near the sea about 20 km north of Madrid, and the place he still calls home. He began teaching himself acoustic guitar and electric bass as a child. He later went on to study flute for two years and once he reached the age of 18, he began pursuing studies in classical guitar at the Music School of Premià de Mar. He later took up the electric guitar and began learning harmony while taking classes at Barcelona’s Municipal School of Music.

“I’ve had many influences, mostly from my family,” Gómez says. “Nobody in my family played an instrument, but music was always around — on the radio or on vinyl. I love classical, jazz, blues, Irish, manouche, and flamenco. However, due to the 40 years of Franco, Spain was somewhat frozen in time, which made finding music difficult.”

At the age of 30, he learned fiddle, teaching himself at first before progressing to more formal training later on. Nevertheless, it was his initial encounter with bluegrass, courtesy of the Banjo Paris Session album, which made the most enduring impression. 

“It was released in Spain thanks to a Spanish label called Guimbarda,” he recalls. “As I mentioned, it was difficult to find music back then. I still remember listening to Mr. Glubo, an instrumental tune by my first banjo hero (and now friend) Jean-Marie Redon. We even recorded an album together in 2020. But then COVID happened… and that’s another story!”

In fact, Gómes was so impressed by the music he was hearing that he immediately became drawn to the 5-string banjo, which compelled him to take lessons in Barcelona. Afterwards, he travelled to France, Ireland, the UK, and the US to take lessons from such fabled musicians as Jean Marie Redon, Bill Keith, Tony Trischka, Pete Wernick, Noam Pikelny, Béla Fleck, Adam Larrabee, and Jayme Stone, among others.

“When it comes to banjo, I have many influences,” Gómez insists. “Of course, there’s Earl Scruggs, Bill Keith, Tony Trischka, and Béla Fleck on 5-string, and Gerry O’Connor on 4-string. After I discovered Earl Scruggs and Bill Monroe, my journey then took me to Paris.”

Since then, he’s performed and recorded with any number of artists and ensembles in an array of styles. He’s also contributed music for several films and performed theatrically as both a musician and actor.

“I’m not someone who sticks to just one style,” Gómez maintains. “When I was a teenager, it was the time of heavy metal and hardcore, so I followed that music. Honestly, I regret it a bit — it’s great music, but I think it was a way of not thinking and just following the ‘rules.’ Nowadays, I listen a lot to classical and flamenco. Like everyone, it depends on the moment in my life. Since COVID, I’ve come to love silence. So many times when I’m cooking — and I love cooking! —  I’m not listening to music the way I used to.”

Nevertheless, Gómez remains well known for his work both at home and abroad, courtesy of three albums featuring his original material.  He’s especially well known as one of Spain’s leading proponents of bluegrass music, and he’s written several method books on how to learn to play the five string banjo, including a Spanish-Catalan bilingual book written in collaboration with Toni Giménez. A multi-instrumentalist, he also plays mandolin and co-authored the book, The Bluegrass Violin, which was written in both English and Spanish. His other books include Fun Solos to Play, Early Classic Gems, An Early American Christmas, and Christmas in the British Isles, all courtesy of Mel Bay Publications.

“In 2024, I wrote a book called The John Reischman Banjo Book, Gómez continued. “John was personally involved in the project, and two good friends helped me along the way — Marc Pirson from Belgium assisted with the text and Marina Vinardell handled the graphic design here in Barcelona.”

Gómez has also shared stages with Bill Keith, Tony Trischka, Jayme Stone, Alex Hargreaves, Mike Barnett, Jean Marie Redon, Chris Luquette, Scott Law, Steve Kaufman, Henrich Novák, Casey Driessen, Mark Schatz, John Reischman, Emory Lester, Bill Evans, and Gerry O’Connor, among others. 

“Last summer, one of my highlights was playing Paco de Lucía’s tune Entre dos Aguas with Béla Fleck, Hank Smith, Casey Driessen, and Mark Schatz,” he recalls. “Can you imagine? Béla was one of the people who supported my Flamenco banjo journey. And with John and Casey, we performed a show called Mediterranean Ensemble at Tradicionàrius, the most well-known venue in Barcelona for Catalan music.”

In addition, Gómez runs the bluegrass and old-time Music Festival Al Ras, as well as the Barcelona Bluegrass Camp. He also teaches at the prestigious International Stage Musique Acoustique Campus in Belgium and at various other workshops all around the world. He’s been an assistant teacher for Béla Fleck at the prestigious Blue Ridge Banjo Camp and has taught Banjo Flamenco workshops in that locale as well. So too, he hosts bluegrass sessions in Barcelona and teaches classes in banjo, mandolin, and violin, all in addition to performing in various bluegrass, folk, and jazz manouche bands.

“Actually, I teach in different settings,” he explained. “I offer private lessons at my place, in two music schools, and online. I’ve also taught workshops in many European countries and in the USA.” His latest album, Dotze Temps, consists mostly of original material in addition to two traditional tunes and a pair of covers. “The idea was to follow the spirit of the FlamenGrass album by bringing together international musicians,” he explains. “They included Ondra Kozák from the Czech Republic on guitar and Raphaël Maillet from France on violin — and of course, Maribel Rivero on double bass and vocals. It was really interesting to work on Spanish and Catalan songs with Ondra and Raphaël. They added some beautiful colors to the music.”

As a result, there’s been an enthusiastic response all round. “I’m so happy with the reaction — from the bluegrass and folk scenes, as well as from my music friends,” Gómez says. ‘Over the course of a year, the album was featured in major magazines and received some great reviews. We played at some big festivals, and thanks to its international lineup, it became an eclectic album that mixed bluegrass instruments with Spanish and Catalan roots music. It was a dream to record a tune with just banjo and hand clapping. Plus, I chose Catalan and Spanish music so that people can better understand it. Banjo music is not very well known here, but I have to say that when people hear the banjo for the first time, they really like it. It’s a big surprise.”

He added that he’s already working on his next album, which will find him continuing to pursue a similar direction.

“I feel honored and proud that here in my country, my work is respected — both as a musician and for spreading bluegrass and old-time music through the festivals and camps organized by the Al Ras association,” Gómez continues. “We have a great team!”

He also credits bluegrass for bringing people together. “It’s the community that makes it special,” Gómez suggests. “Thanks to the songs, tunes, and instrumentation, people want to play, have fun, and share something. That’s the essence of folk music. I’ve visited many countries and met people I had never met before, just saying, ‘I’m a bluegrass musician visiting your city, where’s the jam session?,’ and they say, ‘You can stay at my place!’ And vice versa! Here in Barcelona, with the Al Ras Association, we’re really honored to see so many people coming and discovering the community we have. Friendship, family… call it what you like — but the language in common is bluegrass and old-time! Stay in tune, listen to music, and keep looking for inspiration!”

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Any time a musical ensemble manages to accumulate a 25 year career, it’s rightfully considered a milestone. Consequently, we find Greensky Bluegrass marking their own occasion by not only looking back on their legacy, but also by offering a fresh rebranding as well. Their efforts result in a new set of songs that combines covers, new band favorites waiting for release, and original material that underscores their ability to consistently move on. To further mark this auspicious occasion, they’ve also enlisted  a distinguished cast of collaborators as a means of elevating their intent.

To some, this may hint at self indulgence, but given their esteemed status as the band that helped fuse progressive bluegrass with a jam band mentality, a self congratulatory nod is entirely in order. Likewise, given the adept arrangements and astute instrumentation, XXV becomes an ideal example of both versatility and verve.

From the rapid-fire flourish of Can’t Stop Now (which finds Sam Bush reprising his role from the New Grass Revival original), the Latin rhythms of Who Is Federico?, and the driving and determined Reverend Heat (featuring Billy Strings), to the sprawling ballad Broken Highways, the piano-driven Windshield, and the thoughtful repast of Past My Prime (with Nathaniel Rateliff), the music moves with an ease and agility that reflect Greensky’s musical vision.

In that regard, every track offers its own appeal, be it the extended jam that plays out in Last Water In the Copper County or the thoughtful sentiments implied in the rambling instrumental 33443. So too, when Aoife O’Donovan and Ivan Neville lend their voices to the caressing Lose My Way, it becomes something akin to a superstar summit.

Then again, ever since their founding in that seemingly unlikely bluegrass haven, Kalamazoo, Michigan, the quintet—Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass), and Paul Hoffman (mandolin) — has made it a point to expand their boundaries in such a way they’ve become festival favorites in the process.

Ultimately then, XXV is nothing less than a cause for special celebration. To borrow the name of a certain brass-infused offering titled What You Need, the music’s consistently compelling. Or, as the album’s final entry, Drink Up and Go Home, implies, there’s ample reason to feel satisfied.

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A seminal figure in the world of modern bluegrass, Darol Anger has shared his talents with any number of essential outfits over the past few decades — among them, Republic Of Strings, the Turtle Island String Quartet, the David Grisman Quintet, Montreux, Psychograss, and others too numerous to mention. In addition, he’s Professor Emeritus at the Berklee College of Music and a contributor to any number of film soundtracks. In addition, he also runs an innovative online fiddle school courtesy of Artist Works.

A much belated successor to the first volume of his standout set, Diary Of A Fiddler, which was released in 1999, this new double disc from Adhyâropa Records, Diary Of A Fiddler #2 – The Empty Nest, features an all-star list of contemporary fiddlers, including Brittany Haas, Mike Barnett, Casey Driesen, Alex Hargreaves, Bronwyn Keith-Hynes, and Ella Jordan, among the many. The duet format allows the musicians to demonstrate a variety of fiddling skills, while elevating them above the radar. Where Diary #1 brought together an international series of styles, Diary #2 coalesces those intents and finds a connection to the contemporary community.

It’s also a testimony to Anger’s efforts to instruct and inform a new generation of fiddle aficionados. Each of his duet partners is a former student or someone that he has mentored to one degree or another. The connection is clear, and as Anger states on his website, if it turns out to be his final work, he’ll consider it a fitting epitaph.

To be sure, the tracks that grace this double CD set are fairly low-cast and unassuming at best, most coming across as a seemingly a spontaneous set of songs that likely arose from a series of informal jams. While many of the interludes seem to play out randomly at times, arising organically from the players’ collaborative ideas, the instrumental interplay often spawns some unexpected intrigue. That’s the case with The Amen Corner, which pairs Anger with Casey Driessen, and then leads into the free-flowing finesse of The Dysentery Stomp with Alex Hargreaves. The oddly-titled Ouditarus Rex with Enion Pelta is particularly intriguing.

So too, the fanciful The Unbearable Gift, featuring John Mallander and Ella Jordan, and its companion piece of sorts, Melt the Teakettle, co-starring Jenna Moynihan, provide a sharp contrast to the agitated intrigue sustained by The Coal Burnin’ Grease, which finds Avery Merritt literally playing second fiddle.

In fact, each offering takes its own unusual turn, as if to follow the whims and whimsy of each fiddler involved. It’s an obviously instinctive endeavor from start to finish, which makes each turn of the page in this particular Diary an engaging experience all its own.  

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There may be no more beautiful place in the world than Basel, Switzerland, and indeed, the bluegrass band that calls itself Angry Strings knows that all too well. The city is located on the Rhine River which divides Germany and France, and that’s where the band’s music was born.

The origins of the band can be traced to solo guitarist and vocalist Che Horgan. “In 2022, I contacted banjo player Lukas Halter and invited him to a jam,” Horgan explains. “After some nerdy bluegrass discussions and a few beers in the evening, it became clear that this was going to be a band project, and we needed a bass player. We knew Lukas Kurmann, who was one of the best. He still tours with the heavy metal band Zeal & Ardor. We kept asking him until he finally agreed, and carried his heavy double bass up to the fourth floor to jam with us. From then on, he was hooked and became part of the band. And now we are the trio known as Angry Strings.”

Horgan adds that Angry Strings doesn’t necessarily play traditional bluegrass. “It’s shaped by the very different musical backgrounds of each member, with hints of rock and metal blending into bluegrass,” he said. “The main force is a driving rhythm guitar and banjo, with powerful vocals, ranging from loud and fast to calm and precise.”

That unlikely mix should hardly be a surprise. Horgan’s background is seeped in classic rock ‘n’ roll, from Little Richard to The Beatles. As previously mentioned, Kurmann was involved mainly in metal music and heavy rock. Halter, however, immersed himself in traditional bluegrass and Americana. “Being the traditionalist, he keeps the band in line so the group doesn’t turn from bluegrass into a full-on rock disaster,” Horgan says. “We still stay true to the name. We’re angry, and therefore, full of energy.”

While their sound might feel laid-back, there’s an unmistakable drive and urgency behind their music, a sound infused with raw emotion and intensity. They bring a fresh, modern twist to time-honored tradition by blending classic bluegrass sounds with contemporary influences, courtesy of a dynamic and captivating musical experience. Their song selection varies from iconic bluegrass staples to innovative takes on both old and new material.

“We do a mix of both covers and originals,” Horgan explains. “We started mostly with covers., but we also recently issued our first single, Devil at my Door. We’re working on other songs that we hope to release in Spring 2026. Among our covers, the ones that always get the best reaction, are The Beatles’ Lady Madonna, John Prine’s Fish & Whistle, and Trampled by Turtles’ Codeine. People in Switzerland seem to really enjoy our music There’s a certain fresh energy we bring to the genre, and being young and full of enthusiasm, we always seem to get the crowd going. Bluegrass might not be huge in Switzerland, but we feel lucky to be winning over new fans one gig at a time, while bringing a little excitement to every audience we play for.”

In addition to regular performances at various bars and clubs, Angry Strings has also had the chance to play at a few bluegrass festivals. Horgan cites Jimmyfest and Bluegrass in der Mühli in particular. “They were amazing,” he adds. “We haven’t managed a tour yet, but we’re doing everything we can to build up enough contacts so that maybe by autumn 2026, we can go on an European tour. That’s our main goal. Bluegrass In La Roche invited us to their street festival this year, but unfortunately we couldn’t make it. We’re hoping not to have missed the opportunity, because we sincerely wish to play there in the future.”

The band has also had the opportunity to play with other outfits as well. Horgan names The Reedy River String Band, Level Best, Joe’s Truck Stop, and a group he claims is one of Switzerland’s best upcoming bluegrass band, Jimmy & the SingleMalts, as among those they’ve shared stages with. He adds that Halter enjoys playing with The Kruger Brothers whenever they’re in Switzerland.

Naturally then, Horgan has a very specific opinion on why bluegrass has such a wide reach. “It’s because it’s more than just music!,” he claims. “It’s about the bond with your instrument and the thrill of chasing that perfect sound. No matter where you are or what language you speak, once a bluegrass jam starts, it’s just about the music, and people connecting, vibing, and having a blast. Also the Billy Strings band has giving the genre a rejuvenation by bringing their unique sound and style to audiences worldwide.”

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For those that still think of Steve Martin as simply a goofy guy, a carryover from his early guise as King Tut, or the kooky character who boasted about the arrow through his head and announced his presence with his signature shout out, “Excuse ME!,” it’s long past time to accept the fact that today’s Steve Martin may still be a funny man (his tours with Martin Short prove the point!), but also a masterful musician. That’s evidenced not only by his skills on the banjo — which are occasionally informed by his still wacky sense of humor — but also by the string of serious albums he’s released since 2009, mostly as collaborations with other artists, including Steep Canyon Rangers and Edie Brickell, with whom he created a popular Broadway musical titled Bright Star. 

Those are indeed impressive accomplishments, and indeed, at age 80, Martin could certainly afford to rest on his laurels. However, to his credit, his ambition endures, and there’s no better evidence of that fact than Safe Sensible And Sane, his new album with bluegrass superstar Alison Brown. Co-produced by Brown and her husband and Compass Records co-founder Garry West, the initial indication of the duo’s serious intent is found in the list of notables that contribute — Jackson Browne, Tim O’Brien, Della Mae, Aoife O’Donovan, Sarah Jarosz, Jason Mraz, the Indigo Girls, Sam Bush, Stuart Duncan, Trey Hensley, Todd Phillips, Becky Buller, Molly Tuttle, Andrea Zonn, Vince Gill, McGoldrick/McCusker/Doyle, and a score of others. To their credit, Martin and Brown don’t allow themselves to be overshadowed in the process, given that the pair wrote all the songs, performed them on dueling banjos, and took the lead in terms of putting their playing at the fore. So too, Martin is a surprisingly adequate vocalist and the songs that find him singing lead — New Cluck Old Hen and Bluegrass Radio in particular — provide the wit and whimsy that create a perfect fit.

Bluegrass Radio is especially clever, a play on what it takes to climb the charts. This particular publication is even name-dropped in the lyric (“Don’t you walk away Renee/I’m number one on Bluegrass Today“).

Mostly though, the album takes a serious tone, as the title Safe Sensible And Sane otherwise implies. The instrumentals that open and close the set — Friend Of Mine and Let’s Get Out Of Here — vary from rousing to reserved, while hints of Celtic music and reggae make an appearance as well. Other entries lean towards a more mellow, meandering sound, be it the down-home designs of 5 Days Out, 2 Days Back, Michael, and Dear Time.

Girl, Have Money When You’re Old, featuring the Indigo Girls, makes for the most infectious entry overall.

While Martin might not ever escape his image as an irrepressible funnyman, Safe Sensible And Sane is all its title implies, while both accessible and engaging as well. 

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With their first full-length studio album, 80 Proof Alice seems to have emerged fully formed. From Nowhere, the follow-up to their self-titled debut EP, released in March of last year, it finds them demonstrating a verve and versatility that indicates the trio is quite well qualified as far as making their mark within contemporary bluegrass realms. The band — which consists of guitarist/vocalist Tyson LeSage, bassist/vocalist  Aimee Riegel, and banjo player Jason Riegel — offers rousing and riveting melodies, engaging harmonies and an assertive instrumental delivery that belies the fact they’re a newly-arrived rookie outfit only now making a forward progression.

That skill and savvy become evident even at the outset, courtesy of opening track Lay Me Down, a decidedly rousing repast that affirms the fact they possess all that’s needed to ensure their success. Smoky Hollow, the track that follows, offers another example of an obvious ability to shift tones and textures at will, given that it goes from a decidedly subdued intro to a riveting and rapid-fire crescendo. There are other examples of their assertive intents as well, certain songs such as Stoney Moss and Mend Again creating a somewhat measured momentum.

Nevertheless, 80 Proof Alice also allow for certain meditative musings. Measure Of A Man, December, Cold Lonely Wind, and the title track provide a series of thoughtful interludes courtesy of an easy embrace within their cozy confines. What You Done To Me, Flowers and Patience, and Strength In Song share soothing sentiments and an otherwise unassuming stance. 

The three musicians sync their instruments both effortlessly and effectively from track to track. Likewise, LeSage and Riegel blend their voices with appropriate assurance, bringing the band’s soothing sounds solidly to the fore. 

That said, 80 Proof Alice put as much emphasis on melody as they do on their musicality. As the title suggests, the band may have appeared to have arrived from nowhere, but so too, their innate ability suggests they have a most promising future before them. 

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Jim Lauderdale at CaveFest 2025 – photo © Alisa B Cherry

There are festivals and then there are festivals, each allowing for an experience based on populist precepts — a gathering of the tribes if you will. The era of peace and love may be in the rearview mirror, but when these gatherings come around, it’s as if a time warp opens up and the era of tie-dye, good vibes, and yes, memories of The Grateful Dead, are suddenly thrust into the present.

Bluegrass festivals illuminate that aura as much or more than many. And of those, CaveFest is one of the newest gatherings within that genre — and already — one of the best. After only four years, it’s managed to attract some of the most storied artists within those realms while gaining their own storied reputation as a great assembly point for those who want to party like its 1969 (as in Woodstock — all apologies to Prince!)

This year’s event, which was held the weekend of October 11 and 12, proved no exception. Over the course of those two days, it attracted such notable artists and ensembles as the Tim O’Brien Band, the Sam Bush Band, Leftover Salmon, Shadowgrass, the Dan Tyminski Band, Sam Lewis and Scott Miller, among various others. The locale, a forested tract in Middle Tennessee, offered two venues in particular — a natural amphitheater with a full stage set-up and the Cavern, a natural subterranean environment with an ambiance all its own. The lighting on the trails leading to and from the campgrounds provided a spectacular visual experience, an enticement that rivals Red Rocks as far as pure sensory appeal. 

Given its intimate environs, comparisons to MerleFest and Telluride also come to mind, but in truth, CaveFest has a different and distinctive ambiance, one reason it attracts attendees from throughout the US.

“We welcomed guests from California, Texas, Minnesota, Florida, New Hampshire — truly from every corner of the country—and it was such a joy for our hardworking team to host them and share Tennessee’s finest fall weather,” Jeff Meltesen, Caverns Marketing Director, told Bluegrass Today. “Everywhere I looked, there were smiling faces enjoying the music, both above and below ground. We’re so grateful to our fans, vendors, partners, artists, and their teams, whose energy and dedication make CaveFest possible!”

Meltesen’s enthusiasm is well warranted. The music was nothing short of spectacular. On Saturday, Tim O’Brien and company kicked things into high gear with a band that featured his wife, Jan Fabricius, on vocals and mandolin, the always amiable Mike Bub on bass, and Shad Cobb on fiddle and vocals — the same combo that contributed to O’Brien and Fabricius’ recent album, Paper Flowers. 

There were some stunning new stars on the proverbial horizon as well. Arlo McKinley offered a gentle solo acoustic set early in the afternoon, while New Dangerfield epitomized the sound of progressive newgrass as they entertained and enticed the cave-dwellers. Lindsay Lou, little more than a last minute stand-in a couple of years ago, is now known as “the queen of Cavefest,” and her trio courted the crowd with their tight instrumental interplay and playful personalities. One couldn’t help but think of the band, I’m With Her, given the solace and charm echoing through their tender harmonies. A take on the traditional standard, Fair and Tender Ladies, made those points precisely.

Sam Bush capped Saturday evening with a robust and rollicking performance that had the crowd on its feet and moving with ecstasy and abandon. The hippie-vibe was in full display, little wonder considering the fact that Sam’s songs evoke an array of emotions, most of which are spawned with pure, unbridled abandon. Indeed, songs such as Born To Run, Same Old River, Circles Around Me, and covers of tunes by Peter Rowan, John Hartford, and The Box Tops (!) reinforced that giddy sensibility while intensifying the energy all at the same time. Bush may be the King of Telluride, but it’s clear he’s easily able to reign over the many other kingdoms where he appears. So too, when he encouraged the crowd to howl at the moon, his command was freely obeyed. 

Sunday got off to a mellow start, as well it should have. Acoustic sets by Scott Miller and Sam Lewis allowed for an easy entry into what would be a busy day. Miller’s self-effacing attitude and easy, unassuming persona was evident in songs such as Ciderville Saturday Night, How Am I Gonna Be Me, Angels Dwell, Made A Mess Of This Town, and Is There Room On the Cross For Me (the latter especially appropriate for a Sunday morning). For his part, Lewis’ set showed why his regular hops between Nashville and Knoxville have made him a regional favorite. He’s an able songwriter in the style of the early James Taylor, as the sensitivity that pervaded such offerings as Virginia Avenue and In My Dreams tend to prove, and they certainly indicate an amiable attitude as well.

The sound of bluegrass kicked into high gear with a performance by Shadowgrass, an adventurous ensemble that pushes the parameters while still staying true to their early influences. 

The band had its beginnings just over a decade ago when core members Clay Russell (banjo), Luke Morris (mandolin) and Kyser George (guitar) met during a jam at the Grayson County Fiddlers’ Convention in Elk Creek, Virginia. They’ve become a cult favorite in the years since, and it was with great anticipation that the Sunday audience greeted their imminent arrival. Suffice it to say, the wait was worth it.

While Lyndsay Lou held court with her “Album Hour”  in the cavern, Jim Lauderdale & The Game Changers entertained outside in the amphitheater. Lauderdale is a constant presence at these gatherings, and last year he and his band continued to perform even after the sound system failed, and they even ventured into the crowd in order to do so. Fortunately, there was no need to follow suit this year as the s sound was fully functional. Lauderdale is another humble, self-effacing entertainer, and songs such as It Blows My Mind, Hole In My Head, Friends Again, Lucky Loser, Headed For the Hills, and You’re Hoggin’ My Mind testify to his easy-going attitude. So too, when he sings with mournful emotion on a song such as The King of Broken Hearts, a song he co-wrote as a tribute to his early idols George Jones and Gram Parsons, his deeper emotions surface through an effortless embrace.

The Dan Tyminski Band brought traditional trappings to the fore, while also putting the emphasis on extended jams that reinforced its leader’s remarkable resume, one that includes several Grammys and a tenure with Alison Krauss & Union Station. “I see you’re a bluegrass audience,” Tyminski declared. “So we’ve come to play some bluegrass.” That they did, sharing classic covers in the process. “What if we lived in a world where we could follow Ralph Stanley with Bill Monroe?,” he mused, and again they did just that. “This is real bluegrass, not AI,” Tyminski insisted, and given the band’s powerful performance, it left little doubt as to the fact that memorable music such as their’s could only come courtesy of a human with both heart and soul. 

Finally, it was left to Leftover Salmon to end the evening on the main stage courtesy of a series of extended instrumentals that suggested something akin to a Grateful Dead concert, not unlike a moveable feast of sorts. A jam with Jim Lauderdale upped the energy level even further, while a track titled Eliza, a reggae-style rocker affirmed the band’s proven proficiency for bending boundaries. They played well into the evening, but after they concluded, the music continued with the Airshow jam in the cave.

There’s cause for feeling sleep-deprived at CaveFest, given that the sounds from the cavern drifted into the campgrounds well into the wee hours. Then again, that’s what defines a true festival frenzy, and CaveFest is no exception.

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