Tag: Billy Strings

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Bluegrass Music

IBMA World of Bluegrass 2025 – I’m Not There Again This Year

The International Bluegrass Music Association World of Bluegrass convention is being held this week in Chattanooga. I chose not to attend again this year, as the IBMA is still too political for me to tolerate. Once the organization realizes that bluegrass has never been that political, but has left-leaning officials and board members that force their political and social views and rids these vermin, then I may consider attending.

With that said, let’s take a quick look at what has been reported so far.

For the awards on Thursday evening, my “kid sister” Vickie Vaughn won Bass Player of the Year for the third year in a row. Billy Strings took home Entertainer of theYear (no argument here), and the fiddle partnership of Jason Carter and Michael Cleveland took away three wins (Album of the Year, Song of the Year, and Collaboration of the Year). Most of the other awards were predictable, although Strings did not win Guitarist of the Year, that went to Trey Hensley.

Strings also was seen jamming with a number of elder Bluegrass statesmen, including opening the convention with a performance joining Junior Sisk. Ever since they first performed together back at the Charlotte Bluegrass Festival in June, there seemed to be a budding friendship. The best jam had to be when Strings joined Joe Mullins in the exhibit hall and sang a duet with the legendary Paul Williams.

Strings also provided the opening keynote address. He has had the biggest impact on bluegrass in the last 20 years, so it should be expected that sooner or later he would present this address at WOB. He talked about how music has always been a part of his life, and that bluegrass has helped him through his toughest times. He also talked about how traditional and progressive bluegrass artists and fans have to be more accepting of each other. While he has helped the format gain a humongous fanbase, I am not sure the full picture is visible to him and many others.

I’ve walked away from the IBMA (as well as the Americana Music Association) for non-musical reasons. Both groups have taken on a lot of political stands, which turned me off. The biggest one was supporting Black Lives Matter. IBMA never said anything about the vandalizing of the Bill Monroe statue during the George Floyd protests. And now that we are learning how corrupt the BLM officials were, using monetary donations to purchase mansions for themselves, there are no apologies.

One of my co-writers emailed me earlier in the week asking if I was attending. When I told him I was not but that he should still do as much to enjoy the week, he stated that he was sorry that I was not there but would check in with me in a few days. I don’t see spending hundreds of dollars on a conference that I don’t agree with politically just so I can do some jamming and possible networking. I actually enjoy attending SPBGMA in January much more because there is no politics, just people having good conversation as well as jamming in a much smaller area.

Chew on it and comment.

Categories
Bluegrass Guitar Bluegrass Music

Billy Strings & Bryan Sutton “Live at the Legion”

In last week’s blog, I talked about a bluegrass album that I was not too thrilled about. This week, I will be raving about an album that is absolutely fantastic!

Last April, bluegrass flatpickers Billy Strings and Bryan Sutton performed an intimate duet show at Nashville’s American Legion Post 82. They did two sets in one day consisting of bluegrass and old-time standards that have been a part of most parking lot jams over the past few decades. They have each performed some of them at their own shows, and almost all are recognized as being previously recorded by the likes of Doc Watson, Tony Rice, Clarence White and Norman Blake.

A few months back, I got word that the concerts were recorded and would soon be released as a double album by Reprise Records. I immediately put in a pre-order, and finally received the package a few weeks ago, I have been thoroughly enjoying these discs, going through each one at least five times over the past few days, and am just now sitting down to tell you about it.

Strings and Sutton are geniuses on the acoustic guitar. Everyone who reads my blogs know how much I love and appreciate Strings’ work. Sutton has been a go-to bluegrass guitarist for about 30 years, starting with his tenure in Ricky Skaggs’ Kentucky Thunder, being on the A-list in the Nashville studios, and serving as guitarist in the re-formed Hot Rize, replacing the greatly missed Charles Sawtelle. Both gentlemen kept meeting up with each other at various bluegrass festivals, and would partner in after-hours jams as well as sit in on each other’s performances. Last year, when both of them had a break in touring, they decided to quickly book a venue for a day and do some picking together for a live audience.

Two of my favorite albums of all time, of any genre, have been the two Blake & Rice recordings released by Rounder records several decades ago. The sound of two acoustic guitars in the hands of masters working off of each other is Heaven to my ears. Live at the Legion has been that for me, with the added enjoyment of it being performed in front of a live audience. There is that beautiful intimacy that comes from a live acoustic performance, along with the between-song banter that is most definitely charming. It is the next best thing to being there.

A large majority of the songs are standards with bluegrass musicians, particularly guitarists and fiddlers. There are wonderful interpretations of “Nashville Blues,” “Walk On, Boy,” “Salt Creek/Big Sandy River,” and “Gonna Lay Down My Old Guitar.” Also included are some folk standards such as “Tom Dooley” and “Darling Corey,” as well as the Bob Dylan classic “Don’t Think Twice, It’s Alright.”

Both players give it their best, and never try to outdo each other. There is no need to, as they ave both proven themselves to be the best at their work, and hold each other in high esteem as musicians. Both have always paid musical tribute to the aforementioned greats of bluegrass guitar, and both also have set up their own original expertise. Working off of each other on these discs is something that every guitarist, be they bluegrass or other genre, should listen to and pay attention. While the songs and even presentation have been performed and recorded similarly before, this album is so amazingly fresh to the ear of anyone wanting to hear what true bluegrass musical collaboration can be.

Chew on it and comment.

Categories
Bluegrass Music Musical Instruments

US-12 Yard Sale 2025/SEMBMA Picnic 2025/Misc.

This weekend was the US-12 Heritage Longest Yard Sale, so I took Friday off from work and did the drive. This year, I started driving west from Dearborn, but as expected, the set-ups really weren’t available until I reached Saline. I went as far as Allen, Michigan and turned around. Of course, I had to hit Randy’s BBQ in Brooklyn, MI for the famous Godzilla Sandwich (Google it!).

I didn’t get many bargains, as there was not a lot offered as far a music-related stuff. I got a gig bad and an empty Gibson hardshell acoustic guitar case, but the only real bargain (maybe) was a Dean electric bass.

I purchased it on the way back home and didn’t really look at it closely. For what I paid ($60.00), just about any cheap bass would be a decent buy. Once I got it home, I took a better look. The neck, body, and hardware are definitely a Dean model, but it looks like the pickguard and pickup were replaced with a generic setup, which doesn’t properly fit the body. I’ll most likely patch it up in places (like removing some stickers on the back of the body) and sell it off.

The Southeast Michigan Bluegrass Music Association had its annual picnic and Hall of Honor ceremony Saturday. Not much to talk about here, only that we are still in need of young pickers to receive scholarships. Two current recipients showed up for the afternoon jam session, along with a few older members. I have never been much of a jamming enthusiast for myself, but I know how others enjoy it.

I received a nice email from my friend Sister Clare Marie of the Sister Servants of the Eternal Word convent in Alabama (https://luegra.design.blog/2020/08/07/nuns-performing-bluegrass-and-diversity/). It seems that they are in need of some more material. Looks like I need to get finished with some of my incomplete bluegrass gospel songs.

This morning I got the new Billy Strings/Bryan Sutton live CD. I cannot wait to throw it on the player and give a review, which will come probably next week. Also, I got the call that my Cirrus guitar is finished, so I’ll be picking it up next weekend.

Short and sweet for this week, Chew on it and comment.

Categories
Acoustic Guitars Musical Instruments

Signature Series Guitars: Are They Worth It?

Earlier this year, Martin Guitars released not one but TWO Billy Strings Signature Dreadnaught guitars, a D-28 and D-X2E. Both have the designs from and backing of Strings himself, and have many similar features while obviously differing in others.

Both guitars have a slightly shorter 25-inch scale, which Strings wanted instead of the 25.4 inch scale, basing it on Tony Rice’s Santa Cruz guitar, along with a 1.72-inch nut. The remaining features on the D-28 are based on Strings’ 1940 model that is his main instrument. This includes the rosewood back/sides, herringbone trim and bone nut/saddle. The D-X2E features a built-in pickup, soundhole string tuner, and high-pressure laminate back/sides. As expected, the prices are drastically different, with the D-28 going for about $3,799.00 and the D-X2E at about $899.00.

Signature series guitars have been around for decades, and Martin is not the only manufacturer to participate. Fender, Gibson, Ibanez, and others have produced numerous signature models. Martin has put out models name plated with artists such as Elvis Presley, Eric Clapton, Johnny Cash, Ed Sheeran, and Judy Collins among others. These are usually in limited edition amounts, and in many cases, become more valuable as the years go by.

However, are they worth it, just because they have a famous guitarist’s name on the label? That is highly debatable. In most cases, the features consist mostly of cosmetic differences. It seems to be a decision for purchase between a player (who will be sweating, picking, and grinding into the fretboard every day) and the collector (who will most likely never play it and just store it for investment purposes). But I highly doubt that getting one will make you play exactly like the artist.

In the case of the D-X2E model, the standard model goes for about $699.00 at various outlets, and an internet search shows them going for as little as $449.00 used. The $200.00 extra for the new Billy Strings model will include the shorter scale and the built-in tuner. Looking at prices for various used Martin X models, they tend to stay the same over the years, if not lowering a bit. I was fortunate enough years ago to sell my DXM model for the same price that I paid. Actually, I see that the DXM is going for more than I paid nowadays, but this could be that the model was still being made at the Nazareth, PA factory. Today’s X models are mostly being produced in Mexico. With Strings’ name on it, we can only wait to see if there will be any collector value on it. However, both Martin and Strings have stated that this is meant as a roadworthy guitar that will see a lot of picking.

As for the D-28, just about all models through the years have gained value, as long as they are well maintained. Prewar models can easily go for over $100,000.00, even if not in tip-top shape. A new model will go for about $3,000.00, give or take a few hundred dollars. The few features on the Strings’ model may not justify the nearly $3,800.00 price tag, but again, while a few players with money to burn may consider buying it, the majority of purchasers will be the collectors.

There’s no doubt that Strings has had an amazing impact on the guitar world, especially in the bluegrass field. I am sure that he has inspired hundreds of young people to pick up a guitar and start forming chords. I do see the D-X2E being a decent seller for Martin, and even the D-28 selling some to collectors. As much as I love and respect Strings, would I consider purchasing one of these models? Highly unlikely, unless I got an unbelievable bargain on one. My acoustic guitar arsenal is already packed. I have my treasured 1991 Martin D-28, the Sevillana 2208, and the Blueridge BR-OS that serve as my most-played models, along with a Blueridge BR-OM that has a pickup installed in case I do any solo performances. Add to that a few Yamaha and Jasmine acoustic guitars that I have gotten at garage sales and have fixed up to sell off. I also have the Cirrus dreadnaught that I am having specially built for me with a shorter scale, similar to these Strings models. So another acoustic guitar in the house is right now out of the question. But I won’t say no to anyone wanting to gift me one!

Chew on it and comment.

Categories
Bluegrass Music Music Instruction

Bluegrass University in Kentucky for Youth

I caught this article on the Bluegrass Today website a few days ago:

Bluegrass University opens in Winchester, KY

This program at the Leeds Center for the Arts in Winchester, Kentucky is intended to help middle- and high-school students with learning and performing bluegrass music. The program will take place one evening per week, and is headed by Jayd Raines and Zach Combs, two long-time touring bluegrass musicians.

I have not had a chance to fully check out the syllabus or content yet, but it sounds like a fantastic venture. Equal amounts of fun, learning and discipline, and capture teenagers at the most productive age while gitting them away from the iPhones and tablets for at least one evening per week.

For years, I have always wanted to do such a program in my area. Back around 2000, a friend and I found the perfect building to start a non-profit music education program. The building had a sign on the front that read “Americana Music Studio.” The history of the building was that a Polish immigrant couple after World War II moved to the area and converted the building to a studio that the husband would teach piano and violin, while the wife would instruct ballet. There were practice rooms and a small recital room. Eventually, they passed on, their children had no interest in pursuing the work, and the building’s neighborhood began to crumble around it.

It would have been perfect for our idea. Teaching kids folk, bluegrass, and other roots-music, like a miniature Old Town School of Folk in Chicago. Unfortunately, we could not find financial backing, and the building was eventually sold to a medical clinic.

As you may already know, recently I have been working hard with the Southeast Michigan Bluegrass Music Association to reward scholarships to kids aged 12-18 so that they can receive live or online instruction of bluegrass and other roots-oriented music on stringed instruments. However, we are not as fortunate as areas like Kentucky and the Carolinas where bluegrass music is part of life, and young people pick it up naturally. Since the scholarship program started a few years ago, we have really only sponsored about a half dozen kids. While most of those kids have continued to pursue the music, a few have lost interest, just like any other hobby for kids after a while.

As SEMBMA is a non-profit organization, we have to be extremely concerned on how we use the scholarship money. We have received many applicants, but some have been not what we are striving to fund. Once parent asked if we could provide funding so that the child could record a CD. Another requested scholarship help for a student learning electric rock guitar. We have broadened our scope a bit to help interested youngsters by providing instruction in folk and Celtic, but we also have to limit it at a certain point.

I have posted an advertisement for the scholarship on the local Craigslist. The only response that I have gotten in the past few months has been someone who is 35 years old and requesting money. Really? I also post flyers at music stores around town, but the Association gets very few bites.

Last week at the Charlotte Bluegrass Festival on Saturday morning, SEMBMA set up its “petting zoo,” where we put out guitars, banjos, mandolins and dobros for kids to try out. It is great to see young ones picking up instruments and learning an easy chord, then an easy song. While most kids are there as a pseudo babysitting service for parents to drop them off for an hour, one or two kids do take an interest in playing a stringed instrument. With Billy Strings performing on Thursday, it is great to see younger people getting involved in bluegrass music.

But at this time, it seems that we need more. If parents and grandparents are into bluegrass music, they need to show their kids and grandkids how fun bluegrass music really is. Get them off of the iPhones and interacting with other kids face-to-face by jamming together. Show them not only the younger successful artists like Billy Strings, Sierra Hull, and Wyatt Ellis, but some of the rising unknown bluegrass musicians that are all over YouTube. Schools have music programs, but they are dedicated to orchestra and marching band music. A motivated teacher may be smart to start up a Folk and Bluegrass Music Club (similar to a Chess Club or Drama Club), teaching instruments, jamming, and maybe showing videos of bluegrass performances.

I leave you with a video of my favorite 14-year-old fiddler, Hollace Oakes. At this year’s Abingdon Fiddlers Convention in Virginia, she recently took 1st Place in the Adult Old-Time Fiddle competition, 2nd Place in the Adult Bluegrass Fiddle competition, 3rd Place in the Youth Mandolin competition, 3rd Place in the Adult Flatfoot Dance competition, and her band Denim & Plaid won the Youth Band Bluegrass competition. This is what I would love to see with another hundred 14 year olds!

Chew on it and comment.

Categories
Bluegrass Music

Charlotte Bluegrass Festival 2025 Wrap-Up

Wow! What a weekend this has been at the Charlotte Bluegrass Festival. It was memorable to say the least, and in some ways, there are things that I hope never happen again at that festival. Let’s get to the highlights:

Billy Strings – As this was pretty much a last-minute booking on one of Billy’s off days during his tour, he wanted to play at the first festival that he attended when he was four years old. The show was phenomenal. As Billy can read a crowd extremely well, and he knew that the regulars at the festival want to hear to old standards (while the Billy-goats will dance to anything that he plays), the extended set consisted mostly of songs by Bill Monroe, Flatt & Scruggs, the Stanley Brothers, Jimmy Martin, and Larry Sparks. He did throw in a few originals, such as “Dust in a Baggie” and “Red Daisy,” which have a classic bluegrass feel to them. His stepfather Terry Barber came up for a few songs, and Junior Sisk came up to sing a beautiful duet of “Love Me Darlin’, Just Tonight.”

The crowd was twice the size usually found each year at the festival, which meant there was a lot of security, which the regulars are not used to. Add to that we were told the gates would open at 8:00 am, but the couldn’t get in until noon due to the soundcheck. Additionally, the park had let people come in a week early to set up chairs under the pavilion without letting people like me who purchased a three-day pass of that, so we sat in the far-away bleachers or planted lawn chairs ain the mud (yes, it rained all the night before up until noon, so it was like a miniature Woodstock). Moreover, when Billy came on, everyone that was sitting in lawn chairs had to remove them and stand. It was a clusterf**k, to say the least.

While the show was fantastic, it ended on a sad note, as Billy’s mother passed away the next morning. I ask you to keep Billy and his family on your prayers.

Junior Sisk – One of the best traditional bluegrass artists out today. The Billy-goat crowd (by the time Sisk came one, the Billy-goats were crowding the front of the stage) were appreciative of him, whooping and hollering after each song like the older bluegrassers usually do. Sisk put on a great show as well, and the best part was when he announced on stage “If anyone here has a problem with Billy here, they have to talk to me first!”

Red Camel Collective – This is Junior Sisk’s backup band, and play great bluegrass on their own as well. Vocalist Heather Berry Mabe has a wonderful voice, and I recommend anyone looking for a fresh female voice in bluegrass to check her and her band out.

Edgar Loudermilk Band – Another great live band, Loudermilk’s material leans heavily on cowboy and western stories. I have gotten to know him good through the years of playing in the Michigan/Ohio area, though his band is from Georgia, and he loves to talk about fishing, hunting, and songwriting. His parents run the festival merchandise table, selling the special t-shirts for the event, although Billy Strings had his own commemorative shirts for the occasion (I had to snag one, of course).

David Mayfield Parade – What more can I say about this group of fun-loving and talented musicians? From the first time that they appeared at the festival back in 2023, they have been a festival favorite, and never fail to get the crowd motivated. They are also great guys to talk to, and I am glad to be their friend. I implore you to check out the band videos on YouTube, and get some of their CDs or vinyl! The band’s latest album Go Big and Go Home is phenomenal! You will not be disappointed.

Tennessee Bluegrass Band – Old-school bluegrass stylings, to say the least, which the regulars truly appreciate. The band wear matching red sport jackets, which makes them look like the ushers at a church or movie theater. However, their musicianship is excellent to say the least.

Kentucky Just Us – A bunch of younger musicians, I first saw them in January at the SPBGMA conference. While the vocals still needed some strength, the musicianship was wonderful.

Things like extra porta-johns and vendors were brought in because of the expected crowds at Billy’s show, and that was truly appreciated. Wes the promoter of the festival is attempting to book another bigger name bluegrass act for next year, but I have to be honest – I really appreciate the laid-back atmosphere of the previous years. Either way, I will be going next year no matter who is performing. It is my one musical escape from my job in the summer. Of course, with Billy performing, a lot of people were jealous of me.

Chew on it and comment.

Categories
Bluegrass Music

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.

Categories
Bluegrass Music

Billy Strings Proves He is Cool, …, Again!

The Flatt & Scruggs song “Don’t Get Above Your Raisin’” has a message followed by many in the bluegrass field. Basically, the theme is do not forget where you came from, and do not forget who helped you achieve any success that you have had along the way. Billy Strings proves once again that he is a true follower of this sentiment.

Last September, Strings and his wife Ally were blessed with the birth of a son. Unfortunately, due to immediate health concerns, the infant was placed in the neonatal intensive care unit (NICU) at the Helen DeVos Children’s Hospital in Grand Rapids, Michigan. Through 24-hour monitoring and care, his son gained normal health and was able to leave the hospital after some time.

Last week, to show his appreciation to the staff at the hospital, Strings not only visited the hospital, but also participated in a video for the facility’s music therapy program, as well as performed mini-concerts on each of the floors for the patients, including at the NICU floor.

The video performance is part of the Corwell Health’s Blue Glass Studio program that broadcasts pertinent information related to music therapy. Of course, for this particular video, the name was changed to Blue Grass Studio to honor Strings.

While many entertainment figures take time out of their careers to do charitable acts, most of these actions are usually done on off-time or when the career is in a lull. Billy Strings is at the height of his career, selling out concert venues and working with some of the biggest musical artists in the bluegrass, country, and rock worlds. While his adolescent past has been filled with a number of demons, he has fought them off and offered thanks to the people and prayers that have been there with him.

This incident shows that Strings is grateful for everything good that has happened to him, be it in the music field or his personal life. For that, I continue to have a great respect for him.

For more information on this wonderful hospital visit, including photos, go to https://www.mlive.com/news/2025/05/grammy-winning-billy-strings-pays-visit-to-grand-rapids-childrens-hospital.html .

To conclude, here is a recent interview with Strings about his respect for all of the music that he grew up with. Pardon his French.

Chew on it and comment.

Categories
Bluegrass Music Music Instruction

Bluegrass School Instruction?

I came across another article this past week regarding teaching music to children. This one is from a blog that is posted on the Alfred Music website (https://www.alfred.com/blog/tips-starting-elementary-guitar-program/). Alfred Music is similar to Hal Leonard and Mel Bay, in that they produce hundreds of books and videos on musical instrument instruction. However, its focus is much more toward educational programs, covering a wider variety of instruments (strings, woodwinds, brass, percussion, etc.), and setting up actual teacher/student paths.

The blog brings up some interesting thoughts for teaching guitar-centric curriculum to younger students. Some say that it is hard for a young person to learn guitar. The author states that he has had continual success with young students. My thought is that getting them to be interested in the instrument at a young age is the best bet for continued interest, not just as a hobby but perhaps as a possible profession. The struggle is getting young students to be disciplined in practice and progressing. As I mentioned in an earlier blog, distractions are aplenty, mostly coming from social media and video games. Playing video games is easy, but the teacher (or parent) needs to instill the idea that there is no long-term satisfaction with winning a video game, yet progressing on a musical instrument has tons of rewards.

The Alfred blog looks at setting up an actual guitar instruction classroom. It mentions the initial (and follow-up) cost of having everyone in class secure a guitar. It is very unlikely that in a class of about 25 elementary students, every one of them will afford a decent acoustic guitar, and it is even more unlikely that someone like Billy Strings will donate guitars to a school (https://bluegrasstoday.com/billy-strings-donates-guitars-to-all-the-students-at-his-former-school/). Thinking way back to my elementary school days, the music program consisted of everyone in 4th grade being taught basic instrumental music theory by purchasing a cheap recorder/flutophone (which one or two students’ parents even passed on), learning the basics, then moving on to some regular instrument such as trumpet, snare drum, violin, etc. While I wanted to pursue drums at the time, my parents only gave me one choice – play the old saxophone that my brother ditched, or nothing at all. After two years, I lost interest in it completely. I took an interest in guitar (particularly, bass guitar) at 15, played in my cousin’s oldies band, and went from there, much to my parents’ dismay.

The blog suggests that to cover some costs, the teacher/students/parents could resort to fundraising. Now this blog was written in 2018, pre-pandemic, and these days, people a lot more conscious of where their money goes. If anything, considering setting up such a project will require a lot a research. First, seeing if it is feasible – if enough kids would be interested in such a program in one classroom. Personally, I think that it would be unlikely, but perhaps an after-school project for an entire school would work.

Interest may also be gathered by presenting a music performance at the school by a local or touring bluegrass band. A lot of bluegrass bands have an educational program. The best initial place to find out this information is when Bluegrass Unlimited magazine publishes its Annual Talent Directory (https://bluegrassunlimited.com/article/2022-talent-directory/). Bands will note in their listing if they provide educational programs. While most kids will probably be fidgety during performance, there will most likely be a few that will take interest in learning an instrument. Maybe a few will not be interested in guitar but another instrument like bass, banjo, mandolin, or fiddle.

There are a few other suggestions within the Alfred blog to look over that I will not cover here. I recommend reading the article. If serious about starting a music program within a school, you may consider securing the instructional books that Alfred offers entitled Sound Innovations for Elementary Class Guitar (https://www.alfred.com/sound-innovations-elementary-class-guitar-overview/). I am certain that a quality basic program in elementary school can lead to a bluegrass-oriented program in middle or high school. If I could turn back my personal hands of time and stuck with using my high-school teaching degree, I would have been motivated to set up some form of bluegrass/folk music club at the school at which I was working. As one can see form my past blogs, I am very interested in getting young people to be interested in performing acoustic music, particularly bluegrass music.

Chew on it and comment.

Categories
Bluegrass Music Live Music

Where Have All of the Bluegrass Fans Gone?

Last evening, I went to the Kentuckians of Michigan Lodge in Romulus, Michigan to see Fast Track, a bluegrass band consisting of players formerly of the Bluegrass Cardinals, Continental Divide, and the Rarely Herd to name a few. The lodge and association are known in the local bluegrass community for hosting many touring bluegrass acts as well as some local country artists.

Now bluegrass shows are not that common in the Detroit area, and with summer coming to a close, area festivals are not readily available. Add to that many festivals have permanently closed up. So when a bluegrass show is available, one would think that there would be a decent crowd.

Unfortunately, the audience number was sparse. Maybe 50 people, including a few lodge staff members. Now there a few factors that affected the low attendance. The show was booked only a few weeks ago, as Fast Track was actually heading to Ontario for a festival during the weekend and probably wanted to squeeze in a Friday night show where they could. Also, the K of M does not heavily promote the shows that they present, usually just posting the announcement on its website and Facebook page.

However, good bluegrass fans keep their eyes open and their ears to the ground. I don’t have a Facebook page, but I still check the internet at least once per week for shows in my area. While I haven’t been to The Ark in Ann Arbor since before the pandemic, I still check out the website to see what is coming up.

And that leads to another problem – the pandemic. That was over two years of panic among the masses, the closing of venues, banning socializing, and loss of personal communication. With that, people stopped going to see bands, especially at smaller venues, and bands stopped touring, either limiting performances to internet streaming or even disbanding due to no income. When the COVID bans were lifted, people had found other entertainment, basically continuing to stay at home.

Oh, there were live shows to go see. However, it strikes me that people will not go to a small bluegrass (or most any other music format) show for $15.00, yet will pay hundreds/thousands of dollars to go see Taylor Swift at a nosebleed seat and be surrounded by thousands of sweaty, heavy-breathing individuals holding up their iPhones to film this moment. Now, I will be the first to say that I am glad that someone like Billy Strings can fill a large venue and give a fantastic live performance. He is a phenomenal guitarist, and humbly pays tribute to his bluegrass roots during his shows. But how many of these “bluegrass” fans will then go to a local venue in the next few weeks to go see a touring bluegrass band like Fast Track? Probably close to zero.

The post-pandemic apathy of music fans has driven another nail into the live-music coffin. Instead of people going out to spend a few bucks to see what is happening on the music scene, the thought is to save up a few week’s wages to go see that one special act that everyone is talking about. Back when I was in punk and alt-rock bands in the 80s, we used to go to plenty of shows to see what bands were out there, thinking that we may be witnessing the next-big-thing in one of these dives. Today, we wait for the media to tell us what is good and what we should spend out money on. This concept has always been around, but it has exploded over the past few years.

Other than Billy, Rhonda Vincent, and a very few other bluegrass acts, most bluegrass performers have other jobs, and only tour during most weekends. I am sure all of them would love to be making a living playing the music that they love, but it is near impossible, and a lot of it has to do with the music-loving(?) public. The same liberal people that claim there should be a more fair distribution of wealth will make sure that Taylor Swift is a multi-millionaire while so many talented musicians still have to paint houses, dig ditches, and bartend.

Bluegrass fans take note: While I am glad that you helped someone like Billy Strings achieve big success, you should also take the time to search out smaller bluegrass shows, especially ones that are not at festivals, in your area and attend those as well. And you Billy Strings fans that think you know bluegrass music, then how about going out and seeing other bands, especially the more traditional ones. Billy would be the first to tell you that.

Chew on it and comment.