At my new job, my official title is Valet. At the dealership that I work, I greet the customers that come in for a scheduled service appointment, take down the vehicle information, hand it off to a service advisor, park the car in the service lot, then when the service is finished, drive the car back to the waiting area for the customer. Nothing special, a lot of running around, but definitely not as stressful as my previous job.
I meet a lot of people there, probably talk to 30-40 customers each day. It mostly is a formal greeting and asking for any additional concerns with their vehicles. One customer a few days ago was no different. We were mutually friendly, then I directed him to the assigned service advisor. As the advisor was finishing with him and providing him with a loaner vehicle for overnight service, my eye caught the personalized license plate of his own vehicle. MANDOLIN.
I thought that was some message from above. I ran out to his car before he left and had to ask if he did actually play the mandolin. It turned out that he did, and was an avid fan of bluegrass. Well, we talked for a few minutes, and I gave him my number of he wanted to talk more or even jam.
When he returned the next day to pick up his car, we had an even longer talk about the music that we enjoy, and I got him interested in a monthly jam session that goes on at the Cirrus Guitar Shop. We talked about mutual artists that we have seen live, and I let him know about the Charlotte Bluegrass festival in June. Hopefully, he gets in touch with me again soon.
In my five years at my previous job, I did not have an experience like that. There were people into playing music, but it was mostly other genres than bluegrass and Americana, so we really only discussed equipment and instruments. I still stay in regular contact with the one former co-worker that I am helping learn lutherie and guitar building. However, seeing the same people every day and knowing what their life is like outside of work becomes stagnant, and with next to no one interested in your interests, the job becomes redundant at best.
I have only been at this new job a little over a month, yet this experience alone has helped me feel a lot more happy that I made the switch. I do feel that this experience was more than a coincidence, but I also feel that one has to be more observant of his/her surroundings. Keep looking as well as listening. Here in the Detroit area, bluegrass music is far from popular with the population, so I have to go that extra mile to find people with mutual interests. Along with wearing bluegrass-related T-shirts whenever I can, I make it known through related conversations of my passion.
I know that this incident is rare, but if it comes along, one has to learn to grab it.
This past week we lost two influential artists in the bluegrass and Americana fields. Ronnie Bowman died from injuries due to a motorcycle accident on March 22, and Chip Taylor passed away from cancer on March 23.
Ronnie Bowman was well known throughout the bluegrass community for his wonderful voice and great songwriting. As with many bluegrass artists, he got his start performing gospel music in church. His first break came with joining the Lost and Found band in 1987. From 1990 to 1002, he was the singer and bass player for the Lonesome River Band, which also included his lifelong friend Dan Tyminski. He would later form Band of Ruhks with Kenny Smith and Don Rigsby.
His solo career included a number of albums, but he was best known in the bluegrass and country music community for his songwriting. He wrote and co-wrote a number of songs for Chris Stapleton, Lee Ann Womack, and Brooks & Dunn as well as many bluegrass artists.
Awards received included IBMA Male Vocalist of the Year for 1995, 1998 and 1999. His album Cold Virginia Night won the IBMA Album of the Year for 1995, as well as the title song winning Song of the Year.
I only talked briefly once at an AmericanaFest back around 2008. He was performing with showcase artist Melonie Cannon, with whom he had co-produced her album and co-written songs. A very humble man, one could tell he enjoyed all aspects of music performance, be it writing or being on stage. His presence in bluegrass will surely be missed.
Chip Taylor should be considered a legend in the music industry if for only two of his many songs that he wrote. It was he that wrote the Troggs’ classic “Wild Thing,” which has become a garage band staple. On the other side of the music spectrum, he penned “Angel of the Morning,” which was a country hit for Juice Newton.
He was born in Yonkers, New York, and was the brother to actor Jon Voight. He wanted to be a professional golfer, but entered the music business instead. After his success with “Wild Thing,” he continued to work freelance as a songwriter. While “Angel in the Morning” was originally written in 1967, it wasn’t until 1981 that it was a hit for Newton.
Other songs of Taylor’s includes “I Can’t Let Go” (the Hollies/Linda Ronstadt), “I Can Make It With You” (Jackie DeShannon), “On My Word “Cliff Richard), “Try Just a Little Bit Harder” (Janie Joplin), and “He Sits at Your Table” (Willie Nelson).
By his own admission, he had a gambling addiction, being unsuccessful as a professional gamble during the 1980s and early 1990s. During a performance at SXSW in 2001, he met fiddler/vocalist Carrie Rodriguez, and the musical partnership led to a number of albums that helped jump-start the Americana music format. He also performed with Canadian fiddler/vocalist Kendel Carson, as well as released a number of solo albums.
In 2009, Ace Records released a compilation CD of Taylor compositions recorded by other artists entitled Wild Thing: The Songs of Chip Taylor.
He began receiving treatment for throat cancer in 2023, but eventually succumbed to it last week. I was fortunate enough to get to meet up with him at an AmericanaFest in the early 2000s. What a wonderful man, totally appreciating the newly generated fan base that he was getting with the Americana format. I have a photo of me with him on one of my old computers that unfortunately, I do not have access to right now. But my memory of talking to him remains with me, and he will be a permanent “cool guy” with me, if only for writing “Wild Thing.”
Back in the early 2000s when I still had satellite radio, it was always tuned in to for or five stations. One of them was Bluegrass Junction (of course). During that time, a band in heavy rotation was the Earl Brothers. Led by banjoist/vocalist Robert Earl Davis, the San Francisco-based bluegrass project had heavy gothic overtones to its sound. Instrumentally, it sounded like early Stanley Brothers, but Davis’ vocals gave it an alt-country grit. While many bluegrass bands at the time were starting to lean toward the progressive side, the Earl Brothers stayed traditional, with minimal solos and doing songs about death, drinking, and the Gospel. Chris Hillman of the Byrds fame (who started out playing mandolin in the bluegrass band the Hillmen) is quoted as saying “The Earl Brothers have got the soul and the songs and the attitude that brought us all into bluegrass music in the first place.”
They put out a few albums from 2004 to 2012, all with that lo-fi bluegrass sound that felt more like jamming on the back porch than in a studio. They had a cult following with the bluegrass and Americana fan base, but did not do much touring after 2013. I figured that Davis had pretty much wrapped up his work and moved on. Every so often, however, there would be a YouTube video of some new single from the band posted. About two weeks ago, Bluegrass Today posted a new video from the band. This one, entitled “Chicken Biscuit,” strays from the minimalist bluegrass and adds some electronic instrumentation. The overall sound still has what Davis calls “hillbilly trance.”
In the early days of the Americana Music Association, I hung out with a female bass player from SF that worked in an earlier project with Davis. She had told me that he was always more into bluegrass than Americana/alt-country, and forming this band was what he intended. I can totally understand, as when I became immersed in bluegrass in the late 1990s, I was getting into the early stuff by Bill Monroe and the Stanley Brothers. My personal favorite bluegrass band is still Reno & Smiley. While I love listening to any bluegrass, be it traditional or progressive, it’s that old-time sound just hits me the right way. That is why the Earl Brothers CDs will always be in the front, and as I go back to learning the banjo, that is the sound that I want to get.
Last week in Nashville for the SPBGMA conference was an adventure to say the least. Arriving Thursday saw sunny skies and 50 degrees. By Sunday, we had an inch of ice everywhere, power outages, and temperatures in the single digits. While it was hilarious that the local officials kept saying on the news that they were fully prepared, they were not, as when I left Tuesday morning, roads were still not plowed and I was on I-65 north not going faster than 40 mph until I was close to Louisville. This photo is of trees down at Vanderbilt University.
But enough about the weather. Let’s get into the conference.
Arriving at the hotel Thursday afternoon, there was already jamming in the lobby, and while the valets and other employees may not be into bluegrass, they are very courteous to all of the participants, whether or not staying at the hotel. While much of the jammers are pretty much amateur hobbyists, it is great to see professional bluegrass artists sit in at jam sessions. Moreover, some of the amateur players can be really impressive, especially the younger crowd. I caught two young gals, Maya Ross and Shay Morgan, dueling their mandolins to “Cherokee Shuffle.”
I was glad to see my favorite young fiddler, Hollace Oakes, not only jamming when available, but she was with a band that was registered in the Band Competition. This young lady is 15 years old, and I predict that by the time she is 21, she will be one of the most watched stars on the bluegrass circuit. She is that good!
One of my favorite bands out now, the Kody Norris Show, spent the weekend not only doing some hosting (Kody MC’d the band competition), but continually talking with fans and joining in on jam sessions. This band KNOWS the meaning of entertainment. They know that it is the fan base that lets them do what they do for a living, and are always providing friendly advice to musicians just starting out.
There were a lot of bluegrass bands performing over the four days. Some of my favorites included Dave Adkins & Mountain Soul, the Stephens Brothers (which is just the husband and wife duo that fronts the band High Fidelity), Edgar Loudermilk Band, Red Camel Collective, the Kody Norris Show, Nothin’ Fancy, Volume Five, Special Consensus, and my favorite bluegrass gospel band, the King James Boys (more on them later). It seems funny that, with the large room dedicated to the performances, it is usually about 1/4 capacity for these performances due to so many non-registrants jamming in the halls. For the price of the four-day admission, it is more than worth it to just sit back and enjoy all of the scheduled bands.
Once again, I got frustrated that they call the one seminar a Songwriter Workshop. Four songwriters up on stage talking about the songs that they wrote is NOT a workshop — it is a showcase! I wish SPBGMA would think about that.
I took my Cirrus guitar with me and had a few people try it out. Among them were Dave Adkins, Kenny Smith, and Kody Norris.
Saturday evening has the Awards Show. I am not a big fan of such shows, as I would pretty much skip the local ones, even if I was nominated for a category. To see a list of winners go to the Bluegrass Today article (https://bluegrasstoday.com/2026-spbgma-national-bluegrass-award-winners/). I did catch a great performance from Carson Peters & Iron Mountain.
What I find most heartwarming is the amount of young people, and I mean YOUNG, playing bluegrass and old-time music. Check out these three youngsters in the hotel lobby.
Sunday morning was when the storm had its biggest impact on the conference. Power went out around 5:00 in the morning, and lasted about eight hours. Of course, bluegrassers were not going to let something like no power get in the way (except for the few complaining that they couldn’t get their morning coffee). Both Daryl Mosley and the King James Boys performed their sets without a PA, and the people in attendance were more than appreciative. The final round of the band competition was also held without amplification, and all of the bands did a great job even with the handicap. The winner this year was Strings of Green. The whole list of bands and their ranking can be found here at Bluegrass Today (https://bluegrasstoday.com/strings-of-green-win-2026-spbgma-international-band-championship/). Honestly, I thought that Hollace Oakes’ band Travis Watts & Mountain Blessings did much better than 4th place, but that is my opinion.
Power came back on just as the conference was closing up. Unfortunately, the conference did not have all great news. Songwriter/banjo player Rick Faris had a banjo come up missing (https://bluegrasstoday.com/rick-faris-banjo-missing-after-spbgma/). As of this writing, it still has not been located. I am hoping that it was just mistakenly grabbed by someone else and will be returned. However, as the conference was closing and attendees were heading home after the storm, there was a large influx of people registering in the hotel that still did not have power. Bluegrass people are usually trustworthy around other people’s instruments. However, if there is an unknown crowd present, there is a better chance of something going wrong. Aside from the dogs leaving “calling cards” in the lobby and entrance, and tons of kids running around until all hours of the night, there were people walking around the hallways scoping things out. I truly hope that Rick gets his banjo back and there is a happy ending to this.
I got back home in one piece on Tuesday (I stayed an extra day, hoping to do some networking, but the roads in Nashville said NO). Despite the weather, I thoroughly enjoyed myself. I plan to go next year, even though I wish they would move the conference to November or March.
Next week’s blog will cover Catherine O’Hara and my visit to a local antique radio swap meet.
I’m in Nashville for the SPBGMA conference, and the winter storm that they have been talking about for the past few days is just starting to hit our area. The National Weather Service has named this storm Fern (uh, OK), and it will be a combination of snow, ice and rain in this area. Still no prediction of actual accumulation, but from what I saw this morning, the salt trucks are out on the roads.
I am off to do more networking within the hotel, and it looks like I’ll be here until Tuesday morning. I will update you on the conference (a lot of great bluegrass stuff!), when I get back home, probably next weekend. Stay safe if you will be in the eye of this storm.
I don’t usually attend open jam sessions, as being a songwriter, I tend to lean more toward writing and co-writing original material instead of playing covers, especially with other musicians of varying competence and choice of songs. However, I did want to attend a particular one held this past Thursday by Mike Frank, the gentleman who built my Cirrus acoustic guitar. The jam session was held in a small waiting room/lounge attached to his workshop, and was co-organized by his assistant Steve.
Mike and Steve were extremely welcoming to everyone there, which totaled eight jammers including myself and those two. Mike provided refreshments and was more than willing to show everyone around the shop and the guitars they are working on. Mike showed me a list of bluegrass musicians he has orders from, so his reputation for a solid guitar at an affordable price is getting around.
Two hours were spent playing covers of bluegrass, folk, and Celtic songs, with an abundance of acoustic guitars, although Steve did pull out his banjo and mandolin, and there was another banjo player there. While I would have liked to have done more classic bluegrass songs, it was good to hear what others liked to perform. The doors opened at 5:30 in the evening, the jam started at 6:00, and wrapped up a little after 8:00. Being once per month makes it something to easily fit into my schedule without growing tired, so I will definitely be attending again. Many thanks to Mike and Steve.
I took Friday off of work to get my windshield replaced, and afterward took a trip to Toledo (actually, suburban Oregon, OH) to attend the second day of the three-day Bluegrass in Superclass festival at the Maumee Bay Lodge. Google sent me on a crazy route to get there, and the wind advisory all day that was tossing my subcompact care around didn’t help. The lodge is a really nice place to be sure, and they had a hall set up for the performances with ample seating.
The big reason I went down is that the Kody Norris Show was headlining. The band is definitely one of my favorite live shows, it’s no wonder that they keep winning SPBGMA awards every year. As I was walking around the hall, Kody spotted me and came over to say hello. Soon the rest of the band came along and were happy to see me as well. I was able to spend a few minutes talking to fiddler Rachel Norris about some original material as well as getting more press for the band. She actually inspired me to consider doing an online magazine dedicated to bluegrass musicians and instrument manufacturers, eyeing the musicians themselves as the potential readers.
Of course, they put on a fantastic show. I video recorded one of the band’s songs to send to a co-worker. I won’t post it here, as the room as not well lit and it came out grainy. Unfortunately, I was not able to stick around for the second set, but we made an agreement to get together for some writing at SPBGMA in two weeks.
As for the festival, it makes a great getaway for those of us in the area needing a bluegrass fix in the middle of winter without having to drive 12 hours to a festival down south. I do plan on keeping this one in my calendar for next year, even if only for a day. I also found a much better way to get there without Google’s help.
So as far as my music stuff listed on Craigslist, I got a real doozie of an email last week. I decided to put up that Dean Playmate bass up for sale, and listed it for $70.00, knowing full well that I would probably accept a lower offer and lose a few dollars on the overall deal. Well, I got an offer that has made me and everyone I have told about it just scratch their heads and laugh.
Someone emailed me to offer a trade on the bass for a 2025 Nike hat with adjustable headband. Really? A Nike hat isn’t worth more than $20.00 brand new (I’m sure his was worn). Not even a music-related hat, just a Nike. And he never said if it was limited edition or if someone like Tom Brady autographed it. It was such a joke of an offer that I only responded “No thank you,” as I usually reply with an explanation. That offer didn’t even require an explanation, it was embarrassing. Obviously the guy didn’t get the hint of “get lost,” as he has to write band saying “well, then I will pass on the offer.” Uh, I didn’t make a counter offer, but I let him have his last word.
This incident was almost worse than the exchange I got a few months ago. I have a made in Mexico Fender Stratocaster on CL for $500.00. One guy wrote me that he would take it for $225.00 CASH (his emphasis, not mine). Oooh, like I would consider being paid by Venmo or PayPal and I was that desperate for cash. Similarly, I wrote back a no-thank you reply, but did give him a little explanation.
Every November, Bluegrass Unlimited puts out its Annual Talent Directory. This lists a number of bands, artists, and songwriters that request appearance. I have been included for a number of years, and every July I get sent an application which I take five minutes to fill out and email back.
The Directory takes up about 12 pages of the magazine, and includes from around the globe, although the international representation is quite small. However, what surprises me the most about the listings is that there are so many bands and artists that do not take the time to request inclusion.
I can understand some of the A-list bluegrass bands such as Alison Krauss & Union Station, The Del McCoury Band, and Ricky Skaggs choosing not to, as they are well enough established that they do not need any type of recognition in the listings. However, looking through list, there are plenty of bands that I am familiar with that have performed at festivals and conventions I have attended that do not appear.
I am sure that it has little to do with not knowing about the directory. Bluegrass Unlimited is pretty much the only print publication exclusively covering bluegrass, and if anyone in any bluegrass band subscribes to the magazine, he/she would be aware of the Directory submission usually appearing in a summer issue. The listing is free of charge, and bands/artists are able to enhance their listing by submitting a photo for a small charge, as well as note that they are available for school programs.
I do see that managers/publicists such as Penni McDaniel and Wilson Pickens Promotions take full advantage of the Directory, listing all of the artists that they represent. This is great on both fronts, as it allows them to show who they represent, as well as any interested festival organizers to contact a single source for a few acts.
I highly doubt that the following is the reason, but perhaps a lot of bands do not want to promote themselves that much, preferring to playing occasional parties and VFW halls. I would think that any band that takes the time to continually practice in order to sound professional would take that five minutes to have themselves listed in the Directory, if only to show some reader that there is a bluegrass band that is in his/her vicinity, so that he/she can keep an eye out for a possible show in the near future.
As I do not do much performing these days, I choose to list myself in the Directory more for networking with bands and other songwriters for possible collaboration. Moreover, some promoter/manager may get in touch with me to find a location for he/her band to perform in the area.
The Directory should be filled with a lot more artists than it is, but Bluegrass Unlimited can lead a horse to water but not make it drink. Bands and artists themselves need to be more productive on their end and take the few minutes to fill out the form. I do not see how in any way that it can hurt the band.
I got back from Nashville late Thursday evening, and while I was there for only two days, there is some stuff that we can talk about.
I rented a car so that I could put my car in the shop that needed a few days of work. While I requested an economy car, I was given a small SUV. Comfortable, but it was a 2025 model that had way too many bells and whistles that was confusing me while on the road. The auto-bright-lights feature was throwing me off, as I thought that I was turning them on when going around a curve. Just give me four wheels, an engine and a steering wheel.
Sirius/XM Radio. It was on the rental car, and trying to find decent radio stations through Ohio is a pain, so I kept the satellite radio on. I dropped my subscription with Sirius/XM a few years back, and now I realize one of the reasons that I did. I kept the radio on the Bluegrass Junction station the whole time. I swear, they have a rotating playlist of about 12-15 songs that seem to get played every two hours, sparsely interspersed with a few classics by Bill Monroe or Jim & Jesse. The repeat ones were all modern songs, and as I listened, they were less like bluegrass and more like acoustic country/folk/pop. They also played a lot of Billy Strings, but at least they varied the song selection. No, not worth the cost for me.
Songwriter sessions. One got canceled (I’m not going to get mad, as I hope to reschedule in January when I go down for the SPBGMA conference), and the other, which was more of a Q&A session, I was late due to a stalled train at a crossing. The session was helpful to say the least as Brent (who runs SongwritingPro.com) got me interested in Suno.com, a website that helps make demos sound a lot better by providing instruments and vocals mixed in at the songwriter’s discretion. I haven’t used it yet, but plan on it soon!
Jack’s BBQ/Frugal MacDoogal. Two places that I can never pass up while in Music City. Jack’s has the best pulled pork I have ever eaten. I always order the three-meat special so I get the pork, beef brisket and smoked sausage, while dipping in six difference sauces! Enough to have lunch the next day. Frugal MacDoogal is the Wal-Mart of liquor stores! I always pick up a stash for my friends and brother while I’m in town. Prices are way lower than in Detroit.
Rosine, Kentucky. For me, it is worth the hour detour to visit the birthplace of Bill Monroe, I always visit his grave and lay a quarter on his stone for myself and one for my buddy Ken. This time, I was running a bit later than usual, so I was able to visit the Bill Monroe Museum. The place is filled with Monroe’s furniture, instruments, and loads of other memorabilia. As I was the only one there, the cashier/manager Christie walked around with me. I ended up telling her more about Monroe than she knew. She insisted that I take a photo with the cardboard cutout of Monroe in front of a microphone. I also went up to his boyhood home on Jerusalem Ridge. The dossier there named Ken was staying in his truck to keep warm, as the house was not fully heated. He told me that Doyle Lawson has been there a few days before just to look around. This town should have so many visitors because of Monroe, but there is no signage on the highways passing by, so really the only people that show up are the true fans like me, and those that come to the annual Bill Monroe Days Festival in September. The authorities that handle the state’s tourist functions need to get their heads in gear!
Theresa Kereakes. This is one of my dearest friends, not just in the music scene, but in my life. We text a lot, however, we don’t see each other much due to distance, so we make a plan to meet up whenever I am in Nashville. We worked together in the early days of the AMA AmericanaFest, and I can honestly say, if the Rock and Roll Hall of Fame had a Den Mother category, Theresa would be the first enshrined. I won’t even begin to list the artists she has worked with behind the scenes, but I can say there are a few that are legends in the business. For years I have told her that she needs to write a book of her life stories and anecdotes, and fortunately she recently has started on it. If you want a taste of her adventures, visit her blog at http://punkturns30.blogspot.com . Anyone that loves rock and roll with love her insights.
I won’t get into much else. Road construction down there is worse that here in Detroit, and that is saying a lot! Also, drivers down there are way worse. If they pulled the crap they do up here in Detroit, they would probably have their windows shot out!
As stated, I’ll be heading back down there in January, so the next two months will be busy emailing inquiries and recording a few more demos.
It occurred to me that I forgot to post my thoughts about the Southeast Michigan Bluegrass Music Association’s 2025 Michigan Bluegrass Kids Showcase held on October 19 at the Woldumar Nature Center in Lansing. In short, it was a good time had by all.
The first hour was dedicated to the SEMBMA scholarship sponsored students performing tubes that they have worked on with their instructors, as well as a few past recipients showcasing their now professional-quality skills.
The second hour was held by the Edgar Loudermilk Band, who although from Georgia, have continually been supportive of Michigan bluegrass and the work SEMBMA has done to promote it in the area. Edgar has been a friend for years, and it is always a pleasure to converse with him when he is in town. The band gave a great free performance to those attending the kids showcase.
The third hour was special, in that Edgar and his band hosted a jam session with the kids as well as some adults attending a local jam session in another room of the building. While it was rough aroudn the edges, everyone seemed to have a good time, especially the younger musicians getting a chance to perform with a well-known bluegrass band.
My unfortunate incident involved my camcorder. I had numerous problems with it the last few times that I used it. I finally figured out the video end, but the audio has always recorded with a distortion, no matter if I use the built-in microphone or one of my many other pro mics plugged in I need to perhaps make some kind of attenuator to limit the signal, but as it is, the audio volume is low. Another job to work on during the winter.
I will be heading to Nashville next week for a few days. I have a songwriter session scheduled, and hope to snag at least one more while I’m there. If not, I know I will find something to do down there. I have reached that point in my songwriting tenure that I need to definitely do more networking and co-writing with others outside of what is immediately available locally.
Co-writing with David Morris and Dawn Kenney proved to be my most fruitful, with “Something About a Train” winning the Merlefest Chris Austin Songwriting Contest, the IBMA Songwriter Showcase, and being recorded by Valerie Smith. But that was 10 years ago, and not much has happened since. I have done some co-writing over the internet and through mail communications, but nothing that has been breakthrough, although it has been positive. I tried to do some networking at SPBGMA last year, but it was much more limited in possibilities than what is available at the IBMA conference. I still have no real intention of attending IBMA next year, so I need to take alternate steps.
What I need to do most is be more aggressive in introducing myself. I have the business cards, as well as CDs and thumb drives with some demos. I can easily had them out and walk away, hoping that the artist/manager/publisher will take a chance, but I need to PR myself better. The next few days will be spent researching available resources in Nashville that I can at least get my foot in the door.
I’ll be here next weekend, then leaving Monday, so my report will be in two weeks.
As you know, I am always on YouTube searching for bluegrass-related videos. Performances, interviews, documentaries, instrument lessons, and anything else related to bluegrass. So it should be no surprise that YT sends me a number of recommendations based on my algorithms. In many cases, they are worthwhile to watch, as I have found a lot of interesting guitar/banjo/mandolin/fiddle lessons and players that I may have never learned about otherwise.
Then there are the clunkers. Poor performances, unhelpful lessons, and people posting stuff that makes no sense, just tagging it as bluegrass. The worst recommendation, however, has been a recent one that, even though I have tagged the channel as “Do Not Recommend,” YT keeps sending me new videos.
The channel is called Banjo Music AI, and it is exactly what it is says it is. Hours and hours (one video is over 11 hours long) of Artificial Intelligence-generated bluegrass music. The thumbnail and screenshot for most of the videos is of a pretty girl holding a six-string banjitar (not even a true banjo!) sitting on either a motorcycle or the bumper of an old car, which definitely looks AI generated.
Then there is the music itself. Hours of basic chord changes found in standard bluegrass tunes, played by AI-generated banjos, fiddles, dobros, mandolins and guitars. It sounds horrible to say the least. Every instrument sounds like a synthesizer program. Because it is AI, there is no feel to the performance. The songs move in such a robotic way. No groove, no swing, just strict metronome-forced tempo. I’m only posting a clip on here just so you can see haw bad it really is.
Most of the songs are instrumentals, although there are a few vocal tunes. As expected, the lyrics are so cliché and predictable that it literally has the feel that an infant with no musical experience wrote them. Even the worst actual bluegrass band that has never practiced together is 100 times better than listening to this!
What upsets me the most is that this will probably be viewed by people wondering what bluegrass music is like, without researching just a wee bit further to discover Bill Monroe, The Stanley Brothers, Jimmy Martin, or more modern performers like Billy Strings, New Grass Revival, and Alison Krauss. Forget the debates about progressive versus traditional bluegrass, this is truly one concept that every bluegrass fan, no matter what sub-format, can agree that it stinks to high Heaven!
With technology moving faster than humans can keep up, it was inevitable that someone would try to recreate with AI something that is wholly human. When AI started creeping into the music field, I saw many AI examples on the internet of concepts like “What if John Lennon and Beethoven write a song together” and producing a result. Maybe some found it interesting, but personally, I found it insulting to mankind in general. Art forms, including music, are part of the human soul, something that no machine can own 100 percent. Unfortunately, society is relying too much on AI and its advancement to resolve issues. Once that is conquered, then technology will control our emotions, and we will become the robots that we have created earlier.
Bluegrass is raw, unfiltered, and so much a part of the human heart and soul of those who love it. It moves like a human, not like a machine. There are different levels, different attitudes, different outcomes with each song and performance. Once we accept technology to make something like music generic in its presentation, we have lost our will to live as free thinkers.
Luegra 