One of the finest young acoustic bands anywhere, Crying Uncle plays bluegrass and more with astounding instrumental skill and brotherly harmonies. Whether playing straight-up bluegrass or virtuosic Dawg Grisman tunes, Crying Uncle delivers breathtaking instrumentals, impressive at any age. Crying Uncle was founded by Miles and Teo Quale, as a duo band with invited guest artists. Miles (age 16, on fiddle) and Teo (age 13, on mandolin), have been featured on NPR’s The California Report and performed at venues such as IBMA’s Diversity in Bluegrass Showcase and with Marty Stuart and his Fabulous Superlatives. Both were 2019 Freshgrass finalists in the fiddle and mandolin categories.
For Ogden Music Festival, The Quale brothers are joined by award-winning bassist Jason Howard and Sugar & the Mint guitarist Keenan Hammack. The quartet have know each for a few years and share a passion for music. They recently performed at Prescott Bluegrass Festival. Jason Howard currently plays bass in The Cross-Eyed Possum, The Flagstaff Symphony Orchestra, and various jazz combos. Jason has been ranked 1st in the Arizona all state jazz competition in 2017 and 2018. Keenan Hammack has been an award winning flatpicker since the age of 14, taking the Arizona contest circuit by storm. Since then he has shared the stage with many of his heroes including Roy “Futureman” Wooten, Tristan Clarridge and many more. Keenan is currently touring with Telluride winning band Sugar and the Mint.
When not playing as a duo or with invited guests, the brothers perform with their bluegrass band, Crying Uncle Bluegrass Band (CUBG). The band recently released their second CD, Monroe Bridge. CUBG has opened for prestigious bands such as The Del McCoury Band and David Grisman Bluegrass Experience . In 2018, the bluegrass band was featured on a TEDxTalk with Phoebe Hunt. Winners of the 2018 Pickin’ in the Pines Band Contest in Flagstaff AZ, and selected by the International Bluegrass Music Association to perform at IBMA’s World of Bluegrass in North Carolina, Crying Uncle is making waves in the bluegrass community.
Scott Rogers (Vocals, Guitar, Banjo, Mandolin) and Shane Osguthorpe (Vocals, Piano, Guitar, Dobro, Harmonica) came together to form the Ogden-based band in 2016. Carrie Myers (Vocals, Ukelele, and lead banana player) makes it a trio. They play traditional bluegrass instruments in very non-traditional ways. They play it how they feel it. Right or wrong, that's The Proper Way.
Scott: Born and raised in Tupelo, MS, in a family of musicians, Scott was a part of the vibrant south Mississippi 1990s music scene centered around Hattiesburg, MS. His influences include 70s singer-songwriters, 80s pop music, Americana, and classic rock. Scott always thought a '72 Ford Bronco would have been way cooler than his dad's 1977 Chevy Vega.
Shane: Born and raised in Park City, UT. He plodded his way through piano lessons where he plunked out Mozart and Chopin before he realized he could use the same instrument to play the classic country, Janis Joplin, Stones, Billy Joel and Elton John tunes that blared from the 8-track tape player in his dad's '72 Ford Bronco. Shane always thought it would have been cool to be from a town like Tupelo, MS.
Carrie: Born and raised in Syracuse, UT as an only child—and her sisters are pretty upset about that. Never had a music lesson because she could play from the time she could walk. Musical influences include fury, silence, and NPR. Single, highly employable, lover of puns, and just grateful to be playing music with her friends. Likes to remind Scott and Shane that it's fine. Right?
Although their sound is rooted in traditional bluegrass, Mile Twelve surveys a broader landscape on their newest album, City on a Hill. The album title alludes to the idealized imagery of a shining city on a hill – a historical phrase that has often been applied to Boston, where the band got its start. All five band members bring their own influences and observations into the music, resulting in a project that feels contemporary, thoughtfully crafted, and relevant. The Mile Twelve lineup offers five of the most promising young musicians in bluegrass: David Benedict (mandolin), Catherine “BB” Bowness (banjo), Bronwyn Keith-Hynes (fiddle), Evan Murphy (guitar, lead vocals), and Nate Sabat (bass, lead vocals).
City on a Hill follows multiple IBMA Momentum Awards, presented by the International Bluegrass Music Association to emerging bluegrass artists. Mile Twelve won the band category in 2017, shortly before releasing their debut album, Onwards. The following year, Keith-Hynes and Benedict secured IBMA Momentum Awards in instrumental categories, while the band earned two major IBMA Award nominations for Emerging Artist and Instrumental Performance of the Year in 2018.
Dustbowl Revival has always been about pushing the boundaries of what American roots music can be. In many ways, they could have continued creating joyful, booty-shaking songs and cut-to-heart folk-rock ballads that lift up their transcendent live shows - and mining new energetic material from the place where folk music, funk and soul meet.
But the band’s newest album, Is It You, Is It Me, via their own Medium Expectations label and Nashville’s Thirty Tigers, is something different entirely. Produced by Sam Kassirer [Lake Street Dive, Josh Ritter, David Ramirez] and engineered by Brian Joseph [Bon Iver, Local Natives, Sufjan Stevens], it represents the latest stage in a band that never stops evolving and refuses to stand still.
After celebrating over a decade of sonic adventuring, playing thousands of shows together in ten countries and counting, and collecting a devoted and growing fanbase coast-to-coast, the six core members -- founder Z. Lupetin, Liz Beebe, Josh Heffernan, Matt Rubin, Ulf Bjorlin and Connor Vance -- knew they had to create something bigger.
The 13 new songs were not road-tested and tired out by the time they made it to the recording studio: in fact Kassirer inspired the band to create the album in a two-week flash of intense creativity, with many of the songs layered and composed day-by-day in the studio. Acting like a nimble rock orchestra, each member played multiple instruments, and the group brought in new musicians on symphonic brass, and local friends to sing as a spur-of-the-moment choir.
With the recent departure of longtime co-writer/mandolin player Daniel Mark (who co-wrote several songs on the new album) and bassist James Klopfleisch (replaced for the record by the talented Yosmel Montejo), Dustbowl Revival’s core members banded together and expanded their abilities to make the album come to life: Connor Vance stars on wildly inventive violin and for the first time on harmonizing electric guitars, Matt Rubin shines on trumpet, fluegelhorn and doubles on vintage keyboards, Ulf Bjorlin sets the tone on ever-brash and sometimes surprisingly tender trombones, and Josh Heffernan brings it all together on his rock-solid and always exploratory drums, and a plethora of percussion.
“I feel like we grew up for real on this record,” Lupetin adds. “Both as musicians who have come of age on the road together as a kind of accidental family -- and as collaborators making music even we don’t know how to describe or pin down. It’s exciting and a bit terrifying.”
Where does it all lead? If one thing is clear, Is It You, Is It Me represents another large leap forward for Dustbowl Revival, coming after their acclaimed self-titled 2017 album. Produced by Grammy-winner Ted Hutt (Old Crow Medicine Show, Drop Kick Murphy’s), It transitioned the group from a “roots dance party band” that continues to thrive on the festival circuit, to a nuanced ensemble embracing more soulful territory. That self-titled record was a direct bridge to the newest work, rising to number one on the Amazon Americana chart and featuring a funky favorite “Honey I Love You” where the band joyfully teams up with blues master Keb Mo’. Their heartache folk number “Got Over”, surprised the band by racking up nearly seven million streams and counting online.
Dustbowl Revival’s story started humbly. Nearly 12 years ago Z. Lupetin - a Chicago native who attended college in Michigan came to L.A. to be a playwright and screenwriter, grew disillusioned with his job in advertising, and placed a hopeful ad on Craigslist. He sought to find fellow musicians who shared his roving love of Louis Armstrong, Bob Wills, Old Crow Medicine Show, Paul Simon, Aretha Franklin and the brass bands of New Orleans, but also wanted to write songs like Americana pioneers Wilco, Lucinda Williams and even Bruce Springsteen. There are still players in the group who responded to that initial odd quest.
Jared & The Mill are best friends from AZ. For the past few years, they’ve pretty much always been on tour, hitting the road on their own, with fellow bands, and have been lucky enough to open for a few of their heroes. From living rooms and basement clubs, to theaters and arenas, they just love playing shows and being on the road. Their message is one of acceptance, acknowledging that we all have regret, passions and opinions, and it’s up to everyone to filter through them all to find ourselves and love one another. Their shows are rowdy, you’ll break down your walls and realize you’re not in this alone.
According to Relix.com, the band’s sound portrays glossy, pop-leaning rock and is reminiscent of the emotionally charged, festival-ready songwriting you hear from bands like Moon Taxi, Mumford & Sons and Highly Suspect. In their own words, the five-piece band plays “Western indie-rock.”
Their new LP, This Story Is No Longer Available, was released on February 15, 2019. It is full of meaningful music and catchy beats that everyone can relate to.
The next generation of American songsmiths from Haight-Ashbury, The Brothers Comatose weave storytelling with sharp wit and powerful melody making for unforgettable songs that come to life on stage where deft musicianship whips the crowd into a frenzy.
Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows. The Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Scott Padden (bass, vocals), Philip Brezina (violin), and Greg Fleischut (mandolin).
The band’s fourth studio album Ink, Dust, and Luck was released on June 15th, 2018. The album is a collection of 10 singles that mark the California bluegrass band's debut with indie label AntiFragile Music. The five-piece act's newest recordings put an undeniable stamp on their sound: a raw, raucous set of West Coast renderings of bluegrass, Americana, and rock n' roll.
Nickel&Rose is an American folk-music duo made up of Upright Bassist Johanna Rose and Guitarist Carl Nichols. They formed in the summer of 2016 and spent their first winter and the following spring traveling Europe, playing dozens of shows in France, Czech Republic, Germany, Romania, Poland, and Ukraine. While in Berlin they recorded their EP, Oh Sweet Love, released in April 2017. Oh Sweet Love, is a sweet-sounding auditory souvenir of Nichols’ and Rose’s four month European journey and a recorded testament to the two-piece’s ability to turn tough times into something vibrant with help from a traveling companion.
Nickel& Rose have influences that span the spectrum of American music. Carl’s background brings elements of West African music and Blues while Johanna brings her experience playing Bluegrass, Folk and Jazz. From loss to heartbreak to love, Nickel&Rose address the human experience with gentle harmonies and soul stirring cries. With a shared appreciation for traditional music and a desire to break rules, the two have have created a unique sound that embodies Americana's past and future.
Torch bearers of the McCoury family legacy, taking the traditional string band sound to new levels of intensity and joy. From a source deep, abundant, and pure the river flows. It’s there on the map, marking place and time. Yet, the river changes as it remains a constant, carving away at the edges, making new pathways, gaining strength as it progresses forward. The Travelin’ McCourys are that river.
The McCoury brothers- Ronnie (mandolin) and Rob (banjo) - were born into the bluegrass tradition. Talk about a source abundant and pure: their father, Del, is among the most influential and successful musicians in the history of the genre. Years on the road with Dad in the Del McCoury Band honed their knife-edge chops, and encouraged the duo to imagine how traditional bluegrass could cut innovative pathways into 21st century music.
“If you put your mind, your skills, and your ability to it, I think you can make just about anything work on bluegrass instruments,” says Ronnie. “That’s a really fun part of this- figuring the new stuff out and surprising the audience.”
With fiddler Jason Carter, bassist Alan Bartram, and latest recruit Cody Kilby on guitar, they assembled a group that could take what they had in their DNA, take what traditions they learned and heard, and push the music forward. In fact, the band became the only group to have each of its members recognized with an International Bluegrass Music Association Award for their instrument at least once. There were peers, too, that could see bluegrass as both historic and progressive. Rock and Roll Hall of Fame inductees The Allman Brothers Band, improv-rock kings Phish, and jamband contemporary Keller Williams were just a few that formed a mutual admiration society with the ensemble.
So arrives the long-awaited, self-titled debut album from the quintet. A brilliantly executed set overflowing with inventive style, stellar musicianship, and, of course, plenty of burnin’ grass, the 14-song collection is a true culmination of their decades-long journey. From the headwaters of Bill Monroe and the waves of Jerry Garcia to a sound both rooted and revolutionary, soulful and transcending that belongs only to the Travelin’ McCourys.
“The album definitely shows what we’ve evolved into as a band. And, it’s a pretty good representation of what’s happening with the whole genre,” says Rob. “The old bluegrass material is something I love but it’s been done many times. We’re forging ahead with our own sound. That’s what you have to do to make it all work.”
Famously crowned "The New Queen of Bluegrass" by the Wall Street Journal, Rhonda Vincent's music incorporates savvy contemporary touches while drawing deeply from the authentic traditions of classic bluegrass, with a flawless band that can execute break-neck instrumentals to heart-wrenching ballads. With over 100 awards to their name, Rhonda Vincent and the Rage are the most celebrated band in bluegrass, including Song of the Year, Entertainer of the Year and the unrivaled 7 consecutive Female Vocalist of the Year at IBMA. The Rage is compiled of five musicians including Hunter Berry, Brent Burke, Mickey Harris, Aaron Mcdaris and Josh Williams.
Rhonda Vincent’s new single, “LIKE I COULD” is the RESULT OF A CHAIN REACTION
Rhonda Vincent is no stranger to most anyone in the field of music. Why even Elton John and Bernie Taupin enlisted Rhonda and her iconic friend Dolly Parton, to create a “Queen of Bluegrass” version of their song “Please” for their 50th Anniversary Tribute CD in 2018.
The Grammys honored Rhonda Vincent & The Rage with the 2017 Grammy for Best Bluegrass Album “All The Rage – Volume One” a live project that displays the World Class Talent of Rhonda and her incredible band. She’s one of the hardest working entertainers, in any genre of music, touring an incredible eleven months out of the year. It’s been far too long since the “Queen of Bluegrass” settled down in the studio to create new music, and finally the wait is over.
There wasn’t a song search, or a target recording date. Frankly, the entire process was a continuous chain reaction. The songs presented themselves in the most unlikely of places. The first single, “LIKE I COULD” was discovered while riding in a limousine with Grand Ole Opry Star, Jeannie Seely. Jeannie was sharing her fear of co-writing, and how she finally faced her fear, at the encouragement of fellow Opry member Bill Anderson by writing “LIKE I COULD” with Erin Enderlin and Bobby Tomberlin. She sang her new song as the shuttled rolled along. Rhonda instantly loved it and told Jeannie she wanted to record it. Jeannie, in total amazement, later texted Rhonda to ask if she really wanted to record it or was it merely an impulse reaction. Rhonda really loved it and could not wait to record it.
Even the recording was unplanned. Rhonda was at Ocean Way Studios in Nashville, TN recording a duet for Jeannie Seely’s upcoming project. It was a duet intended for Vince Gill, but when Vince started working on the duet, he felt the harmony was better suited for Rhonda, and called Jeannie to suggest she call Rhonda to sing it with her.
Jeannie’s producer Don Cusic scheduled a day for Rhonda to record at Ocean Way Studios, and as the duet was completed, Don’s afternoon session was canceled. Overhearing this, Rhonda asked if she could have the afternoon session. She quickly called musicians, called Jeannie for a demo and lyrics for her song, and two hours later the new single was recorded.
While this may seem unorthodox for some, Rhonda thrives on living for the moment, and making the most of each opportunity as it presents itself. This was never more evident as you discover the many elements, from the process of finding the songs for the new upcoming project, to the actual recording of the single “LIKE I COULD.”
Rhonda is constantly thinking of new adventures, songs, opportunities, and she loves the excitement and challenge of putting together a plan at the last minute. Anyone who has ever worked with Rhonda Vincent, knows they must be ready at a moment’s notice. There could be an impromptu recording session, a midnight drive to Canada to see Niagara Falls, a video shoot, or even a jam session aboard the Larry’s Country Diner/Country’s Family Reunion Cruise. Her motto is to always be ready for anything. It’s one of the secrets to her success, and a sure sign of the success of her new single “LIKE I COULD.“