Bela Fleck – Luegra

Billy Strings Is At It Again (+ Bluegrass At Work)

Next weekend is the Charlotte Bluegrass Festival, so my blog may be later than usual or shorter, or both. I have enjoyed going to this festival west of Lansing for a few years now, but this year will be extra special.

Last week, there was an announcement that the Thursday evening concert will be headlined by Billy Strings. His touring schedule had a few days gap, and he has stated in a press release that Charlotte was the first bluegrass festival that he ever attended when he was a lad, and that he wanted to perform at it one day. I am not sure if he will be playing solo, with his band, or with his dad. It doesn’t matter, you can guarantee that it will be an amazing show.

Pretty much just hours after the announcement, tickets for the Thursday show were sold out, and the three-day pass sold out soon after. Of course, I purchased my tickets a few months back, so I was safe for getting in. However, I did contact my hotel and reserve Wednesday night as well, mainly so that I can get to the fairgrounds extra early on Thursday to set up my lawn chair.

I have tried talking friends into going to this festival for years, and as expected, no one has followed up. Now a few of them, including my nephew, are asking if there is a possibility of getting tickets. I have to tell them that these festivals are not like other concerts that you can maybe find a scalper to get a ticket from. You buy the pass and get registered online at most of these festivals, and the pass can only be used by you. I expect that with this show, it will be followed even more carefully.

I am sure that next weekend’s blog will be filled with highlights of the festival, especially with Billy’s performance. I apologize that it seems that every other blog has something to do with Billy, but you have to admit, he is in the music news a lot, he is a humble guy, and he has put bluegrass music on the map again, the first time it has been this popular in over 20 years, since the release of the O Brother, Where Art Thou? soundtrack.

In related news …

Two people at where I work are now getting into bluegrass music (sort of), which was quite a surprise to me.

First, my supervisor, who unfortunately just secured a promotion in another city and moved away, was someone who listened mostly to hard rock and metal-oriented rock, as well as bands like Dave Matthews Band. A few days before he left, he asked me if I ever heard of Bela Fleck & The Flecktones. I just about fell off of my chair!

I explained to him that I have been following Bela for decades, as he played banjo in one of my all-time favorite bands, New Grass Revival. He told me that it came up on his Dave Matthews Spotify playlist, and was knocked out by the banjho playing. So I made a suggestion for him to delve into other jamgrass bands like Leftover Salmon, Yonder Mountain String Band, and String Cheese Incident. Well, he can’t seem to get enough of Leftover Salmon, and I followed up with more artists that were early jamgrass purveyors, such as NGR, Tony Rice, and David Grisman.

I told my buddy Ken about this, and his response was, “Well, it’s a start.”

Another co-worker and I were recently talking. She and I both do a lot of woodworking, though mine is lutherie while she builds and refinishes furniture. I told her that I would be on vacation for a few days for the bluegrass festival, and that Billy Strings would be headlining one day. Her response was, “Billy Strings! I love his song ‘Dust In a Baggie’!”

I got right into it, telling her if she’s into his music, she would be into a lot of other bluegrass artists such as Molly Tuttle, Tony Rice, and a few others. She never heard of the other names that I mentioned, so I quickly showed her a short video of Tony Rice performing “Church Street Blues,” and she seemed hooked. The next day I gave her a bunch of duplicate CDs that I had of Alison Krauss, Sam Bush, and the OBWAT soundtrack. We shall see how she reacts. I have invited her a few times to hit local bluegrass shows with me, but while interested, she never seems to follow up. Perhaps when she gets more into the music, she’ll change her mind.

Chew on it and comment.

Today’s Live Sound Engineering Ain’t What It Used To Be (Or Am I Just Getting Old?)

This past Thursday, my buddy Ken and I went to see Bela Fleck and his My Bluegrass Heart touring band at the Detroit Opera House. Bela is a living legend on the banjo, and his touring band is the cream of the crop as well, with Sierra Hull on mandolin, Michael Cleveland on fiddle, and Bryan Sutton on guitar among others. Special guests who warmed up for the show were dobro master Jerry Douglas and mandolin god Sam Bush.

First, the good parts. Having Douglas and Bush warm up with their respective touring bands was phenomenal! Both are beyond professionals as far as musicians, and know how to talk to their audiences. Bush always looks like he’s having fun on stage, and has no problem making light of bad situations, such as when his fiddle was feeding back too much to play properly. Both he and Douglas were on their game as far as soloing, and their band members were just as supportive.

The same can be said about all of the members in Fleck’s troupe. No screw-ups during solos, and everyone worked with each other. One of the personal highlights for me was when Fleck pulled out John Hartford’s banjo to play on a beautiful song. Anyone who knows me knows that I am a John Hartford fanatic, and his banjo has a very distinctive bassy tone that I have never heard from any other five-string.

Now comes my disappointments with the show:

Way too long on a weeknight. I’m getting old, and probably 3/4 of the crowd there was hovering around my age as well. The show started just after 7:30 pm, but Ken and I left at 10:30 barely able to keep our eyes open, so we missed the all-star jam at the end with Douglas and Bush joining the band. Those who stayed surely got their money’s worth, but I just cannot sty up late any more on a weeknight, knowing that I have a rough day at work the next morning.
Lousy sound mix. I am not sure that the Detroit Opera House is meant for that type of music. Douglas’ and Bush’s bands were mic’d as well as running direct into either amps or the mixing board. Fleck’s band all just used microphones. Either way, everything sounded muddy and awash. The electric guitar in Douglas’ band sounded like a blanket was covering the amp. When Fleck and his band came on stage, the mix was horrible! It was like the sound engineer did not have a clue. Now granted, Ken and I were in the upper balcony, and it could have been mixed for the main floor seating, but there was no clear distinction between soloists and backup playing. I was watching Sutton and Hull, and both of them had the smarts to back off from the mic when not soloing. Still, it was getting stressful to listen to!

Both Ken and I used to do live sound work for bands years ago, back when you manually adjusted volume and EQ by sliding or turning knobs on a mixing board. Most live shows today use computer tablets to adjust levels, which I have find to be a terrible alternative to the ear. Good sound engineers have certain “touch” to the sliders that work. Moreover, many times I feel that the engineers don’t adjust to the rooms. During a soundcheck, the room is usually empty, save the musicians and engineer. However, once the room fills up for the show, the crowd makes the room acoustics totally different. The bodies soak up a lot of the high end of the sound, and reverberations are a scramble from the main floor to the reflections near the ceiling. I truly think that today’s sound engineers do not study the science of acoustics, and just go for one sound, hoping that nothing feeds back.

My ears got burned out years ago doing live sound, and I quit as soon as I realized that all bands sounded the same to me. I would occasionally help out my friends at Rock City Eatery when they had a band play at their restaurant, but that was as a favor and not as a job. Plus, as Ken commented to me at the show, I do not miss doing the roadie work of winding cables and pulling up duct tape from the stage. I know that live sound engineering is not an easy job, but to be good at it, a person has to study it and practice just like a musician has to practice his/her instrument.

Her is a clip from that show someone in the audience recorded (which, by the way, they asked people not to do).

Chew on it and comment.