Dan Tyminski performing his classic bluegrass song “Be Assured” in this very rare performance. Guitar: Tim Austin

Dan Tyminski – Be Assured Lyrics

I’m a man, flesh and blood
Of just one thing I’m sure
I was made from the dust
And to dust I will return.
But the dust ain’t the end
Cause in my heart I know
I’m spirit and so
To the Fathers home I go.

Be assured, be assured
If your trusting in the Lord
All who call on His name
Are gonna live forever more.

Oh I know, oh I know
Cause the spirit lives in me
The spirit of the son
Says a son I’ll ever be.
Well I can be assured
That my home is up on high
I found it in the word
Of the one who’ll never lie.

Be assured, be assured
If your trusting in the Lord
All who call on His name
Are gonna live forever more.

If you live, if you live
In the darkness and the fear
There is love from above
He will wash away the tears.
Pouring love into you
The spirit of the son
Can flow through you
Into every one.

The post Dan Tyminski – Be Assured appeared first on AcoustiCult.

I’m Seth Russell. I’m 20 years old and I’m an Indie Pop artist, audio engineer and music producer living in Guthrie, OK

JED: Tell us a little bit about your beginnings. Your origin story, so to speak. How did you get into music, and what made you choose this path over others?

So I started out playing classical violin at age 5. I was the 3rd child of 7 in a homeschooled family and violin was just like any other school subject and like all my other school subjects, I wasn’t super crazy about it. I was more interested in trampolines, Legos and pretending to be an Indian. To give you an idea of my adventures, our neighbor made Indian replicas and I once stripped down to my Bob the Builder underwear (I was 5 years old, I think) colored my skin with mud and approached his daughter about asking him to make me some tomahawks and spears… still waiting on those. 

JED: Nice man. You really went for it.

Haha, yep!  Unfortunately, it just ended with getting sprayed down with a cold hose, but at least I can say I tried. But yeah, it really wasn’t until I was 14 that I fell in love with music and decided to really apply myself to it. 

JED: It is funny you say that – I didn’t get serious about music until about then too. I played from the time I was like 9, but I didn’t get passionate about it until my early teens.

Haha, well you sure got serious about it. I have so much respect for your skills, man. Actually, it’s super cool for me to be on here with you because you were such an inspiration to me as a kid. You might not even remember it, but I remember you telling me to pull out my guitar and jam with you once backstage. I think I was 13 or 14 and I remember that it really inspired me, having someone older like you take interest in my style and take the time to show me a couple chops. I hope I can do the same for the younger kids in music.

JED: Ha! I do remember that man! I think that was in the trailer backstage at one of the Silver Dollar City band contests. You were really into the Irish music stuff back then. Well jeez man it is really nice to hear that. I am so glad that was encouraging for you.

Anyway, by the time I really dug in to music, we were already playing and performing Irish music as a family band and I had unsuccessfully hopped from violin to mandolin to piano and then finally guitar. That was it for me, guitar became a bit of an obsession and I was fortunate to be able to take some master classes with guys like John Doyle, Seamus Eagen, and Fionan De’Barra. Those guys changed my world. I’d messed around with guitar as a young kid, but never seriously until then. For the next two years I saturated myself with anything guitar. Gonna be honest, music didn’t come naturally to me. I’ve always struggled with fine motor skills like tying my shoes, or typing on a computer keyboard, so it was definitely a challenge, but I wanted to play Irish guitar so badly, I didn’t care. I started writing songs at an early age as well so guitar made that easy. The next struggle was my voice. Fortunately, my older brother had purchased the Singing Success program and I started working through it as well. 

JED: A friend of mine in Arkansas turned me on to that program back in like 2010. It is an excellent program and the newer revision of it “Singing Success 360” is even better.

Yeah man, it really is! At the time though, I was watching my brother rapidly improve with the program while I seemed to be stuck on the first exercise for almost a year. Looking back, starting that in the thick of voice change wasn’t the best idea, but I kept at it and eventually saved up enough money to start taking lessons with Brett Manning and his associate Benny Meza. Being able to express myself with not only guitar, but with my voice was huge for me. I’m not the best at what I do and I would never pretend to be, but I’ve worked hard to get here and I love it! Those skills directly influenced my ability to arrange and record, so thankfully that came pretty quickly for me. Recording became just another canvas on which to express myself. I started to realize the power of recorded music when I was 17 and began releasing singles on SoundCloud. Right away, I had people messaging me, opening up about their own stories and how the songs connected with them. I realized that I wasn’t alone and that somehow just 3 minutes of my sounds could make others feel a bit of comfort and understanding too. That’s where I found purpose in my music and that’s why I choose to go down this path. Music isn’t about music, it’s about people.

JED: That is an oft-overlooked and excellent point. I haven’t heard anyone articulate that the way you did – bravo! What are your favorite 5 albums, and do they influence your work? If so, in what ways?

My favorite albums are: 

Hope – Michael English, this album was incredibly influential due to growing up listening to those early 90s vibes. I still pull this album out and spend hours analyzing the vocals, arrangements and mix. Absolutely incredible. 
Reservoir – Gordi, this album is a landscape of intriguing tones and textures that pack a huge emotional punch.  Definitely a huge influence on my production style. 
Black Bear – Andrew Belle, great grooves and soundscapes. Too many great elements in this album to narrow it down!  
Songs from the Movie – Mary Chapin Carpenter, if we’re just talking songwriting, this album will forever be my favorite. The stories that Mary paints with her lyrics are so captivating.  I was absolutely mesmerized by her stories and writing style even as a kid.
Last one! I have to say 25 by Adele is probably one of my most listened-to albums ever. If a song leaves me with an ache, then I’m sold! Every song on this album does that to me. There are so many incredible stories in the making of this album and the music is organic and raw, yet precise and beautiful. Every note has an emotional impact that supports Adele’s golden voice. Most of Adele’s vocals were the first recorded take, which is incredible for any vocalist.

JED: No kidding? I didn’t know that. Where did you hear about her “first take keeps?”

I think I’ve watched every YouTube video and read every article I could find on it and almost all of the producers said the same thing. Adele gets a lot of hate on her vocals, and I totally understand if that’s not your style, but you can’t deny the amount of sheer talent she has developed and mastered.

JED: That is amazing. I am surprised to hear that she gets a lot of grief for her voice – to me she’s always been amazing. To each their own I suppose. Which part of your music career do you enjoy the most – live performance, recording, writing, etc.?

I love pretty much all aspects of the music industry, but to me it doesn’t matter whether I’m in the studio or on stage. As long as I’m able to connect with others emotionally, I find purpose. To me every technical detail and every hour of practice of my craft is just a step toward loving people. Sounds cheesy, I know, but that’s what music is all about for me. Life is hard for everyone and we all desire to be understood and comforted by someone of something, even if it’s just a lyric or a passionate vocal line.

JED: Hey man it doesn’t sound cheesy to me – sounds pretty authentic. I haven’t heard many people make the connection between what they do and it’s end result on someone else’s life.

You know, I’ve done music for all the wrong reasons and at one point, I was pretty burned out. It seems to me that the best way to make a living is by encouraging others, no matter your field.  Music is just one of many ways to do it for sure.

JED: That is a great aim to have. What are three musicians today do you think are underrated or deserve more notoriety for their art?

In general, I think most artists get what they work for. An artist that isn’t willing to learn the business isn’t going to get his/her songs heard and someone who isn’t willing to know their own weaknesses is going to shoot themselves in the foot.

JED: YES.

That being said, Justin Bieber gets a bunch of bad energy just because he was a kid superstar. Try singing “Believe” and tell me he doesn’t have talent. I think that One Republic is a band that has not gotten the attention they deserved, especially on their album “Oh My My”. We’re in the age of dance music and big drops and I think the groove was just too organic for it’s time. Another one for me would be David Phelps. I think he’s possibly the most talented tenor of our time. I personally like his classical stuff best.

JED: Tell us a little bit about your current rig – what does your “rig” consist of? What instrument(s) do you play, pedals, mics, etc.?

Right now I have a pretty simple busking rig. It’s pretty much just my guitar and my voice at this point. To keep things full I use the Roland GK-3 divided pickup which essentially gives me a magnetic pickup for each string, giving me tons of options for tones and effects. I’ve created a couple custom patches on it that only use the top 2 or 3 strings to trigger bass samples using a Boss GP-10, so I’m able to run some cool bass lines without having to stop the acoustic guitar.  I also use the Boss RC-3 which allows me to not only create loops live, but also gives me the ability to download rhythm loops or any section of a song that I might want to fill out a bit from my album. All my gear runs into a little Bose speaker that I can take pretty much anywhere. Since I’m just kind of vamping up for my solo adventure for the first time, I’m not performing a lot, but once my album is released, I’ll be doing quite a few shows in coffee shops, festivals, and wherever I happen to end up. I’ve always loved the idea of busking and the freedom you have with it, so I plan to spend the next 4-5 years busking my music across the USA.  We’ll see what happens with it!

JED: That sounds like a really cool adventure. Can you tell me more about your Bose rig? I’ve thought about getting one of their portable PA rigs.

Yeah man, it’s the Bose S1 powered speaker. A friend of mine is a Bose dealer and he recommended it for busking due to the 10 hr battery life. I’m incredibly happy with it!

JED: Thanks for the recommendation man – I will investigate that. If you were given an unlimited budget for an album production to record your dream album, what would it look like?

That’s such a hard question! Right now I record all of my own stuff and due to the looper and guitar thing, I have to keep that in mind when I’m writing my songs so that I’m able to make things have a high energy and a full sound in the live show. My ideal album would probably be the exact opposite! These days, pop records usually have a different producer and sometimes co-producer on each song, but one guy I really want to work with is Ryan Tedder from One Republic. I also would want to have Ashsoan do drums on every song. His groove is unprecedented in my opinion and his knowledge of drum tones is insane. I also would want to work with guitarists and bassists such as Mateus Assato, Cory Wong, Joe Dart and Michael League. So many good musicians out there, but these guys are my heroes. Most of the songs would be recorded live in the studio to capture the magic of the energy between everyone and I would probably have them play without a metronome too.  I’d want to see what I could create by putting those guys with a bunch of straight pop songs and see what they did with it!

JED: Man you really cannot beat live – solid call. What is your favorite album or recording that you’ve made to date?

My favorite work, as of now, hasn’t been released quite yet except for short snippets on Instagram and Facebook, but of my songs that I’ve just released on SoundCloud, I would say “Same Thing, Different” is my favorite song lyrically. It expresses my struggle to understand someone else’s grieving process, yet speaks of the desire to try to be there for that person, even if it means letting down the walls and being vulnerable.

JED: What are you currently working on?

I’m currently working on my debut EP as well as preparing for a collaboration EP project that is to come after my initial album. My upcoming debut EP is going to be a bit of a concept album that is kind of about my 19th year of life.  My favorite song so far is “Wasn’t Done” which really isn’t about me, but from the perspective of my good friend who was going through a tough year as well. I wrote it after he made an Instagram post in memory of his best friend who had been killed in a car accident a couple weeks before. It was pretty traumatic. My friend, Jess, held him in his arms as he passed. It was super hard to watch Jess go through that time and I know he’ll probably never be over it completely, but the song was my effort to reach out to Jess and give him support in a way I just couldn’t through words. The album definitely covers a bit of ground as far as style. Some songs are chill Indie Pop vibes, others have hints of Hip-Hop and others are pretty folky. I’ve always held the view that an artist should create whatever expresses their vision no matter the genre so that the songs can speak both musically and lyrically. In general, for me, Hip-Hop and Rap can carry a desperate or powerful feeling while Folk can give a reminiscent or rambling kinda feeling, etc. The collaboration EP is going to be pretty Folk driven, featuring a lot of my musical heroes that I grew up listening to as a kid, so I’m super pumped. I can’t disclose who the artists will be yet, but I’m honored to be working with these cats! I’m learning so much just from working with them!

JED: Well man you’ve definitely piqued my interest. I guess I’ll just have to wait until you let us know when your EP is coming out?

I’m hoping for Fall of 2020, but we’ll see!  It’s definitely a bit harder to know an exact date when coordinating a bunch of different artists’ schedules.  It’s going to be a very intimate record, so I definitely would rather not rush it and have the time to get each song perfect.

JED: Seth it has been great to get to talk to you and catch up on your latest adventures. Let us know when that EP is going to be released! Thank you for taking some time to talk to us!

Follow Seth on his Instagram account.

The post Oklahoma Guitarist Seth Russell appeared first on AcoustiCult.

Gil: Emi, tell us a little bit about your origin story. How did you get into music, and what made you choose this path over others?

My grandmothers taught me to sing harmony by singing different parts to me before I could talk, and I responded by humming along so they knew I had good pitch. When I was 6, I was in an all-ages talent show and won… that set me on my way. From there I formed my family band and at 9 had a video go viral of me singing a Jimmie Rodgers tune! I’ve just kept moving ever since.

Gil: Which part of your musical career do you enjoy the most – live performance, songwriting, recording, or something else?

Writing! But really, all of it! There are different aspects to every part! I think I’m going to love producing!

Gil: What about writing do you love so much? Tell us about your writing method, and what you do to get in the creative groove.

Sure! I write a few different ways. I love to write while traveling by car, but not on the tour bus, because it’s too rowdy, with the whole family. In a car, my mom and I write well. I also like to write in hotels, especially if they are unique. Sometimes I like to take a few days and do a B&B, too. Snacks, essential oils and instruments help me stay in a creative groove. Also, soft blankets and comfy couches! I like to surround myself with unique things while I’m writing—stuffed animals, antique dolls and various oddities! I’m a little eclectic, my co-writers say!

Gil: You’ve played the Opry multiple times. What did your first time playing there feel like?

I was confident but nervous— just a little, because I respect it so!!! Standing where so many heroes stood, was such an honor. It really is my favorite venue ever.

Gil: Speaking about performing, tell us a little about your current rig. What instruments are you playing right now? Any favorites?

I love my new Fender Mustang! I’m gravitating to it! I have a Martin D-16 and a Martin Tenor I love! My custom Kala Ukes are my go-to’s! I have a Super Tenor that’s out of this world! I’m about to come out with my own signature series Kala so I’m really excited for that! Plus, I’m loving my banjolele!

Gil: What are some of your favorite musical inspirations, whether musicians or specific
albums? How’ve they had an influence on your own music?

Well, I have to say Buddy Miller is huge in my world. It’s all the little things that have made me grow. Songs are like fertilizer—they expand my world! Patty Loveless and Rhonda Vincent taught me I can do this. Patty Griffin early on, and Dolly, Loretta, and now I’m just pulling from everywhere! Brandi Carlile, Jason Isbell, Tom Waits, Queen, Merle Haggard— these people inspire me to have my own voice and write my own story!

Gil: Queen is always a solid pick. You released an album earlier this year called Family Wars. Tell us a bit about that and how it’s different than your past albums?

“Family Wars” is the best thing I’ve put out! It was produced by Tony Brown and me! I wrote or co-wrote everything on it! It’s a good representation of where I am going. He is just a master at producing. Plus, the songs were all my picks. Also, this album is more conflict-oriented than my previous ones. Most of the songs on “Family Wars” have something to do with different kinds of conflicts—political, violent or personal.

Gil: Who are some of the people playing on this album?

Justin Moses played on it. He was the 2018 IBMA Dobro Player of the Year, but he plays several instruments. He is a hometown friend of our family and has been on every one of my albums. He’s my go to guy! On accordion, we had Jeff Taylor, who is with The Time Jumpers. Kyle Jacobs plays keyboard on the song “Meanwhile In America,” which he co-wrote. The rest was all my family. My brother John played mandolin and guitar! My Uncle Bobby played drums and my dad is on bass. I played ukulele and guitar.

Gil: So what’s next for you?

Touring! Really buckling down and woodshedding my instruments! Recording and writing! Oh, and running Emi’s Closet, my new boutique in my hometown of Madisonville, Tennessee!

Gil: What made you want to open a clothing boutique?

Well, it’s more than clothing; it is unique items, too! It’s also my office. I wanted to have a place with good Internet because our home is very rural, with no Internet service, so I needed a place to work. Mom, too. Together, we found a spot in downtown Madisonville, Tennessee, and I love it! I find items all along my travels and buy things for the boutique that I think are interesting. It’s fun!

Gil: Thanks for talking with us, Emi, and best of luck with your new album. Merry Christmas!

You can connect with Emi and find out more about what she’s up to on her website, Instagram, and Facebook.

The post Interview with Americana singer/songwriter EmiSunshine appeared first on AcoustiCult.

I’ve known Harry for over 10 years, and he has continued to be a delight to watch perform. His laid-back, easy approach is certainly not inattentive, as proved by the precise and original playing he is known for. The band had a festival jam feel to it, with an ease associated with friends who play together often and can anticipate where the moment is going to go. This history of working together was particularly clear between Harry and his brother Jed Clark (guitar), swapping licks and jumping in on harmonies in perfect sync. Other band members Maddie Denton (fiddle), Cory Walker (banjo) and Nashville newcomer Travis Anderson (bass) supported in their own unique ways through a set list of jam classics, blending traditional and progressive bluegrass backgrounds with the confidence and command of seasoned performers. 

Harry’s relaxed singing, accented with the occasional off-handed yodel, was featured in ‘Rollin In My Sweet Baby’s Arms’, ‘Ghost of Eli Renfro’, ‘Darlin’ Corey’, ‘Cold Rain & Snow’ and his signature jam hit ‘Rovin’ Gambler.’ A thoughtful approach was given to Larry Sparks’ retrospective ‘Timberline’, followed by stout harmonies from Jed Clark and Maddie Denton on the historic ‘Train On The Island’. Jed, Maddie and Cory were highlighted on instrumentals throughout the night beside Harry, showcasing veteran competition chops with polish and flair that can only come from complete command of and familiarity with one’s instrument.

The Station Inn is always a fun place to go, particularly when young, fresh musicians with serious skills are performing. You can catch Harry on the road with The Wooks and The 432 Sessions Band.

All photography courtesy of StationInnTV.

The post Show Review: Harry Clark & Friends @ Station Inn 12/11/19 appeared first on AcoustiCult.

I was born and raised in Lexington, NC. Still live there today, 24 years later. I currently play guitar with the Appalachian Road Show. I also teach guitar, mandolin, dobro, and bass both over Skype and in person.

ACOUSTICULT: Tell us a little bit about your beginnings. Your origin story, so to speak. How did you get into music, and what made you choose this path over others?

My parents initially had the idea for me to start taking guitar lessons when I was seven years old. They weren’t musicians themselves at that time, but they were avid music fans, and they wanted their kids to be educated in music. They put my younger sister Samantha in a classical violin program called Suzuki when she was three years old, and I started Suzuki guitar not long after she started violin. I treated Suzuki guitar more as a school subject that I enjoyed than as a real interest of my own. In the meantime, I was listening to lots of different music aside from classical. Bluegrass started to stand out as something I really enjoyed. My parents bought great bluegrass albums and took us to bluegrass shows in North Carolina and Virginia the whole time I was playing classical. My sister and I started to try out some bluegrass material after about four years of playing classical. When I started playing bluegrass, I took off. I had found something that my ear latched on to, and I spent as much time as possible trying to chase that sound that I loved. From that point on, I’ve been hooked on music, and I’ve always operated in the same way. My whole approach is based on listening and inspiration. I hear things that make a significant impression on me, and react by either learning how to play that sound, or creating something based off of that inspiration. It’s the deepest and most important thing in my life, and that’s why I almost have no choice but to try to play music for a living. It’s not an easy path to follow, but I ultimately wouldn’t have it any other way.

As my sister and I developed as bluegrass musicians, we quickly formed a family band. I taught my Dad how to play bass from scratch, going off of what I knew from guitar and learning how to play bass myself. We ended up playing together for eleven years, recording six albums, touring all around the country, and basically having our most significant formative life experiences through music.

ACOUSTICULT: What are your favorite 5 albums, and do they influence your work? If so, in what ways?

Native American – Tony Rice: I have to include a Tony Rice album is this list, and I believe this one is my favorite, although it’s hard to choose. Tony was one of my first major influences. As I grew up, he influenced me first through guitar playing specifically, then through overall artistry. I think this album may represent his artistry most fully. There is pure acoustic tone, a broad selection of material that somehow still sounds unified, tasteful improvisation, and perhaps some of the best dynamics ever recorded.

A Decade of Hits 1969-1979 – The Allman Brothers Band: I’m not normally a fan of compilation albums, but this was my introduction to a band that’s one of my biggest musical influences by far. I found this in my dad’s music collection as I was expanding into rock after having explored bluegrass for a while. Countless rock bands have influenced me, but the ABB stood head and shoulders above all others. I was already a fan of extended instrumental jams through listening to various newgrass bands, but listening to the ABB helped me really develop that skill. In particular, I learned a lot about restraint, building the solo to a climax, and really speaking through the instrument, rather than seeing these jams as just a sequence of licks in the correct key. Dickey Betts’ playing stood out to me in particular, even though I enjoyed Duane Allman’s playing immensely. Dickey remains one of my top favorite guitar players in any genre.

ACOUSTICULT: I have this album too.

Shine On Rainy Day – Brent Cobb: Brent Cobb is one of the most honest, relatable, and down to earth singers and songwriters I’ve heard. This album does a tremendous job of capturing a lot of what I feel about the rural Southern culture that I grew up in and love so much. I also love how the actual studio recording sounds. I reminds me tonally of outlaw country albums from the 70s. All the tones are pure and real, and there’s a lot of air and space in the mix. The music can breathe, and all the instruments are distinct. Makes me hopeful that I can one day record music that captures Southern culture and sounds this good.

The Whippoorwill – Blackberry Smoke: Simply put, this is my favorite album by my favorite band. I can say a lot of the same things about this album as I did about Shine On Rainy Day when it comes to Southern culture, tones, and recording quality. Blackberry Smoke delivers those vibes more as full on badass southern rock and less as country, although there’s still plenty of country present. Charlie Starr is pretty much perfect when it comes to tone and taste on both guitar and vocals. When I play electric guitar, I use his inspiration much more directly, but when I play acoustic, I often find ways to make my playing feel like what he does, rather than sound like it. There’s a lot of gritty restraint and punchy phrasing in his playing. When I find myself overplaying, which is common as a flatpicker, thinking about Charlie’s playing often helps me put my sound back where I want it.

Glamour And Grits – Sam Bush: Sam is without question my favorite mandolin player, but again, his influence on me has just as much to do with overall artistry. Hearing him bring rock, soul, and reggae into acoustic music blew my mind when I was a kid. It’s often hard to bring those influences into acoustic music effectively without sounding corny or thin, and Sam is a shining example of how to do it right. He also has a sense of groove that is unmatched. While you can apply that directly to mandolin playing, it really helps with any instrument in any genre. In addition to everything I’ve mentioned so far, Sam also casually lays down some of the best rhythm guitar ever recorded on “The Ballad of Spider John.”

ACOUSTICULT: Which part of your music career do you enjoy the most – live performance, recording, writing, etc.?

Live performance by far. To me, that’s what everything leads up to. When I write a song, I’m thinking about how I want it to make an audience feel. Then I perform it and get to see what happens. When I record, it’s because I want an audience to be blown away by a live performance and to buy the recording in order to try to take that feeling home with them. There are so many unique, almost supernatural things that happen during a live performance. You’re sending out, riding, and receiving vibes from the audience and the other musicians. It’s a very in–the–moment thing, and it really can’t be recreated any other way.

ACOUSTICULT: What are three musicians today do you think are underrated?

I almost hate to use the word “underrated,” because all of these musicians are respected by anyone who has heard them, but here are some folks that I really want to hear more from.

Jacob Burleson, who currently plays guitar for Volume Five, is probably one of the best musicians I know. My sister and I kind of grew up jamming with him, because we often wound up at the same festivals. We ended up learning stuff off of albums like Bela Fleck’s Drive and Strength in Numbers’ Telluride Sessions and jamming those tunes when we got together. Anybody that sees Jacob play will be impressed, but what they may not know is that what he does at a V5 show is just a fraction of what he’s capable of overall. He can play so many different instruments in so many different genres, and he’s very intuitive about all of it. I really hope to see him put out some creative material of his own soon.

Abby Hartley is a great multi-instrumentalist from Arkansas.

ACOUSTICULT: My people – she was our first interview!

I’ve mostly heard her playing guitar and mandolin. She’s spent some time in the family band world like me, and I believe she’s currently playing bass with the Purple Hulls, who are also really talented folks. She’s just got a great natural feel to her picking. Always makes tasteful choices. I hope to hear a lot more from her in the near future.

Kameron Keller is a tremendous bass player and a good friend of mine. I got to play with him when I was with the Darrell Webb Band in 2018. Impeccable groove and tone. Just the real deal when it comes to bass playing. I think he’s already becoming one of those people that will often be listed as an influence for other bass players.

ACOUSTICULT: Tell us a little bit about your current rig – what does your “rig” consist of?

It’s pretty simple these days. A Wayne Henderson sunburst D18 (#522), a BlueChip TAD1R 60 flatpick, an Elliot McKinney capo, and a Levy’s leather guitar strap I’ve had since I was a teenager. I’ve been playing Wayne’s guitars since I won an OM18 he made (#399) at a youth guitar competition. I still play that guitar too. I feel very fortunate to have those guitars and to have Wayne as a friend. I’ve never played anything else that fits my style so well. I always go straight into a mic onstage. I think that’s something I picked up from people like Tony Rice. I feel like that’s the most pure way to bring across the tone of the guitar, so I always go with that, even if a pickup might give me advantages in other areas.

ACOUSTICULT: If you were given $100,000 to spend on an album production, what would it look like?

I don’t really have specifics, because I’m not very knowledgeable when it comes to recording. I would just focus on hiring the right kind of people to go for that pure vintage sound like I mentioned earlier. Something like how 70s outlaw country records sounded or how any of Tony Rice’s classic recordings sounded. Even if that means going analog and possibly making things more difficult, I’m going to chase that sound.

ACOUSTICULT: What is your favorite album or recording so far that you’ve made?

The Snyder Family Band made two albums that I felt like completed our sound: Wherever I Wander and The Life We Know. Those albums were the point at which we finally made our material varied, but unified. They’re not perfect, but they’re what I’m most proud of so far. I also have to mention playing on Adam Steffey’s album New Primitive. I was blown away that he asked me to play on that album when he could have gotten anybody in the business. Playing against his mandolin chop caused me to be inspired and to play some of the best stuff I was capable of at the time.

ACOUSTICULT: What are you currently working on?

I can’t give away too much at this time, but ever since the Snyder Family Band finished recording The Life We Know in 2016, I haven’t done much with my own creativity. I’ve mainly been working hard to play for the Darrell Webb Band and then the Appalachian Road Show. I’ve really enjoyed every bit of that, but lately I’ve been working on some material that will be launched soon as a new project where I can be creative again. Really looking forward to getting that going when the time is right.

ACOUSTICULT: We are really looking forward to your next release Zeb! Thanks for joining us!

The post Interview with Zeb Snyder appeared first on AcoustiCult.

A fresh face on stage was immediately noticed by long-time fans of The Rage. British Columbia native Michael Kilby filled in for regular Rage dobro player Brent Burke, as smoothly as can be expected for an apparently last-minute call. Kilby also supplied a third fiddle voice to ‘Last Best Place’ and ‘Just Someone I Used To Know’, filling out instrumentals to match the in-your-face harmonies from Vincent, Harris and Williams. Whether this is a long-term fill-in or very temporary, hopefully we will see more of this promising young instrumentalist soon.

Vincent’s famous bus rolled out of the American Legion fairly soon after the show to make its way to South Carolina and Pennsylvania, reminding us that a queen’s work is never done. Rhonda Vincent and The Rage will be featured next week on the Wednesday night Grand Ole Opry show here in Nashville. For tickets visit www.opry.com, or to listen online go to www.wsmonline.com.

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My name is Jason Bailey. I live in Nashville, Tennessee and have lived here for several years however originally, I am from Birmingham, Alabama. Primarily I play mandolin but I also play the whole mandolin family: mandola, octave mandolin, bouzouki, mandocello as well as other instruments like tenor banjo, electric mandolins, and guitar.

ACOUSTICULT: Tell us a little bit about your beginnings. Your origin story, so to speak. How did you get into music, and what made you choose this path over others?

Music has always been important and interesting to me.  When I was very young I would listen to my Walkman all the time and typically would go to sleep while listening to music. 

ACOUSTICULT: What would you listen to during the day and while going to sleep?

At that time I don’t really recall what all I was listening to. I know I listened to the radio, and I had this cassette of Paganini that I loved as well as whatever albums my Dad was spinning (Anything from Bob Marley, Jimi Hendrix to Crosby Stills and Nash, and obscure albums like Stephen Stills’ Manassas). 

ACOUSTICULT: What were your early musical influences?

Other than listening to some great albums, I recall in 3rd grade seeing a violinist and thinking I want to do that.  I did briefly take lessons but unfortunately I broke the rental violin we had and stopped taking lessons. After that, I was just listening to music and being amazed at how it could make you feel so many different things. 

Then, when I was in high school I got my first guitar, an electric Squier Strat. I started learning classic rock and grunge rock (it was the early 90’s).  Shortly thereafter I got an acoustic guitar after hearing the MTV Unplugged concert that Neil Young did in 1993. For me the “acoustic” sound really clicked.  There was something special to me about both the character of an all acoustic band as well as the fact that the album was live. 

That really began my journey into acoustic music. The summer after graduating high school, my dad came home from a garage sale with a cheap mandolin. It really spoke to me for some reason. Then, I had a friend that was an accomplished guitarist and when I got the mandolin he said I really needed to check out the Garcia/Grisman albums. I knew who Jerry Garcia was but not that David Grisman guy. Oh my! Did that change everything. I had no idea that genre of music (Dawg and jazz/jam/grass) even existed. I proceeded to buy everything Grisman had put out and then went looking for CDs of the musicians that played with him; Tony Rice, Sam Bush, Ricky Skaggs, Stephane Grappelli, etc. etc. Then, I went on to seeking out the musicians who played with all of them as well. This was all before the internet and YouTube. I had to go to the local CD store and look through the CDs and read liner notes.  Nevertheless, by the time I started my sophomore year in college I decided the music thing was something I really wanted to dig into more deeply and declared my major as music. It was hard for me at first since I couldn’t read music, yet. But I stuck with it and am thankful I did.

ACOUSTICULT: What are your favorite 5 albums, and do they influence your work? If so, in what ways?

This is a very difficult question.  My favorite albums change as time goes on and as more people release incredible music. But I will break it down into 5 albums that I think had the biggest affect on me early on. These are listed chronologically and not by rank.

1. Bob Marley – Legend (or any Marley).  This was the first music I truly enjoyed as a young kid and still resonates with me today.  Truly fantastic musicians. Every instrument is played with passion, restraint, sensitivity and an incredible rhythmic pocket. Nothing has a better feel than Bob.
2. Jerry Garcia / David Grisman – The first album they put out had the biggest influence for me but everything that Grisman was involved with had a huge impact on my mandolin playing early on.  The way they fused together bluegrass, swing jazz, gypsy jazz, folk and jam band sounds is amazing.
3. Tony Rice – Manzanita.  For me this was the first album I heard that the bluegrass sound really blew me away.  I had listened to other older and more traditional bluegrass but at that time I had a hard time listening past some of the lesser sonic quality of an old recording to really hear what the music was really saying.  Manzanita helped me to understand and enjoy bluegrass. When I heard Tony’s modern approach to some of the tunes it made me want to dig deeper and see where all this came from.
4. Stephane Grappelli – Just One Of Those Swings.  This album is just smooth and very well recorded.  It was done live and the energy is just as amazing as the playing.  This album really got me more interested in jazz music.
5. Matt Flinner – The View From Here.  Flinner became my next big wave of musical influence.  On paper he does a lot of what the previous mentioned artists have done, fusing bluegrass with jazz, celtic, and other genres.  However, Flinner’s tone, right hand technique and especially his compositions all really stood out to me as being something special.

ACOUSTICULT: Which part of your music career do you enjoy the most – live performance, recording, writing, etc.?

I absolutely enjoy all of it!  As long as I am being musical, preferably with friends, then I am happy!

ACOUSTICULT: What are three musicians today do you think are underrated?

Gosh, that is also a very difficult question to try to answer. There are so many great yet unknown musicians everywhere and all over the world. In fact, I often say that 99.99% of humans are actually musicians wether they have played an instrument before or not.  

On another note,  I think I personally have underrated a lot of musicians by not truly understanding what it is they do.  The more I learn, listen and really dig deep into an artist music, I almost always hear new things that pretty much guarantee that I am more impressed than I originally was with their art. 

ACOUSTICULT: Are there 3 that particularly stand out in your world as people who don’t get sufficient recognition for their talent?

My first thought is pretty much everyone I know. But that is more than three people.  Since I have to answer the question however, I’m going to pick three names that are known accomplished musicians who get recognition but that I think should be getting even more recognition. Before I name them I should say that I am lucky and blessed to know and get to make music with tons of incredible musicians, known or unknown.  I could easily talk about each one and what makes them such great musicians. But you said pick three so, here are the three names that I pick: Ross Martin (guitar), Shad Cobb (fiddle), and Kenny Smith (guitar). These folks have depth and skill truly at the absolute highest level. Although they are well known in certain circles and are true professionals i think for me I can’t praise their skill enough. If anyone reading this doesn’t know who any of these folks are then please go find them!  

ACOUSTICULT: Tell us a little bit about your current rig – what does your “rig” consist of?

My rig is a bit varied.  Sometimes I just play one of my best acoustic mandolins, Gilchrist or Heiden, on a mic. You can’t go wrong there. Other times I will plug in. In fact, I plug in most of the time for live performance. Being plugged in opens the world to a lot of different options that are completely unavailable to the true acoustic tone of being on a mic. I typically will use either my Gilchrist or my Collings MT, run it through the Tone Dexter pre amp, and then depending on the needs of the gig/song I might have any combination of these pedals in the signal chain. Distortion, Delay, Octave pedal, Organ simulator, Leslie rotary simulator. Also, I will often go all electric and use either a Rono 8 string or a mid 50’s Gibson EM-200 and run them through a Fender Super Reverb.  These particular electric mandolins have fantastic tone and a touch response that is not too dissimilar to a nice acoustic mandolin when run clean however with also all of the advantages and character of very nice magnetic pickups run through vintage tube amps. 

ACOUSTICULT: If you were given $100,000 to spend on an album production, what would it look like?

Can I use that money to make 10 different albums? 

ACOUSTICULT: Ha! Best answer yet. In theory if it were allocated only to one project, what would that look like?

I don’t think I have ever thought about spending that much on a single album.  I mostly like recording music, for my own albums at least, where you go in and play the songs live (or as close to live as possible) and then pick the best versions to release. I prefer recording the sounds of real people playing tangible instruments and how we all interact together in a live setting.  Although that type of album isn’t cheap, it costs nowhere near 100k. I guess if I was given that much money for a single album I would probably just have to give most of it back.

ACOUSTICULT: What is your favorite album or recording so far that you’ve made?

My favorite is generally whatever is my latest work. Waltz For Somebody is my most recent release and really explores the more mellow jazz side of my playing.

ACOUSTICULT: What are you currently working on?

As far as albums are concerned; currently, I am writing a bunch of tunes.  There is not a particular goal at the moment but when I catalog and arrange enough cohesive material I will start the next recording project. Other than that, I am always working on better technique and timing.  

ACOUSTICULT: Be sure and let us know when the wheels start turning on your next project Jason! Thanks for taking some time to sit down and chat with us!

I will definitely keep you posted on future projects.  Thank you for thinking of me for this interview. It is a pleasure and an honor and I can’t wait to learn about all sorts of great musicians from your series. Thank you Jed!  

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My name is Hillary Klug, and I fiddle and dance. I’m Tennessee born and raised. I lived most of my life out in the country. 18 years in Fayetteville, Tennessee and 7 years in Lynchburg, Virginia. I moved to Nashville about 18 months ago, and I love it.

Tell us a little bit about your beginnings. Your origin story, so to speak. How did you get into music, and what made you choose this path over others?

I was born and raised in Fayetteville, Tennessee with an older brother and sister. We were homeschooled, and we were very involved in church. I started clogging at age 8, but I didn’t even know what a fiddle was until I randomly started taking lessons at age 13. My best friend started taking group violin lessons, and she asked me to join her. I knew it would be a bad idea because my family didn’t have extra money for things like violins or lessons, but I mentioned it, and my mom was actually cool with it. She helped me buy a violin. We split the cost 50/50, but we made a deal that if I ever quit lessons, then I would have to pay her back for her half of the instrument. I started group violin lessons, and it was terrible. It took us three months just to learn Twinkle Twinkle. I was a proactive kid, and I went ahead in the book and figured out how to read music, and where the notes were (we had tapes), and I listened to the audio CD, and I learned three songs on my own. But when I proudly played them for the class, the teacher scolded me and told me I shouldn’t be playing those songs yet. So that was the end of violin lessons. What kind of teacher doesn’t reward a student’s excitement and proactivity? 

The deal with my mom was that I couldn’t quit, right? So where would I continue my lessons? I happened to meet a fiddle teacher at the local contra dance. It’s such a coincidence that we even happened to go to the dance. My sister has some hippie friends (one of whom she had a crush on), and they invited us to the dance. Jim Wood and his wife were there leading the band, and the band was full of their students and local old-time musicians. The old-time scene was thriving, and I was just learning that the fiddle and violin are the same thing. I started fiddle lessons with Jim Wood as my mentor, and I made a bunch of friends who also played old-time music, and I developed my skills playing in the contra dance band every other week. 

Nobody in my family plays music or dances, and I had no idea that the world of old-time music and dance existed, but the more I learned, the more I was drawn to it.  Mostly because my family has no heritage, traditions, or culture. I took on fiddling as dancing as my identity, and I plugged myself into the old-time community. My folks were very encouraging, and they took me to lessons, and jam sessions, and festivals.  

I met Thomas Maupin at these festivals. He’s the six time National Buck Dance Champion and he’s received the National Heritage Award for his contribution to the arts. He’s a National Treasure and a living legend. He became my dance mentor, encouraging me to develop my clogging into more of a buck dance style. 

My mentors changed my life, and it wasn’t just about the fiddle or the dance. Thomas’ family took me in as one of their own. I spent late nights at their house working on school work after long days teaching fiddle students. Thomas and I went out and fed the goats and weeded the garden and picked the okra. He taught me the old-time way through his words and actions. He’s an inspiration to me in the way he keeps the tradition alive. He’s always teaching, encouraging, and demonstrating. Thomas’ passion and dedication has been recognized by the many awards he’s received. I’m honored to be one of his proteges, and it’s my privilege to carry on the buck dance tradition.

My fiddle mentor, Jim Wood, was a huge part of my life, and he did way more than just teach me the instrument. He held me accountable for my actions. He challenged me to develop strong values. He taught me ethics, analytical psychology, and religion. We had many intellectual conversations about existential issues. He helped me with my English degree by proofreading many of my papers (he also has a degree in English). His family adopted me as their own. They instilled in me the habits of daily practice and exercise. We even played music together in church as a string trio. Because of them, I am disciplined, I am focused, I hold myself to higher standards, and I push myself beyond my limits. 

Because of them, I am disciplined, I am focused, I hold myself to higher standards, and I push myself beyond my limits. 

There are tons of stories I could share, but one that really stands out is the first time I ever pushed myself. I guess I was soft and weak. I didn’t do anything if it was too hard or required too much work. Jim invited me on a 13 mile bike ride one time (back before I did any regular exercise). He knew there was an impossible long and steep hill, and he wanted to teach me to push myself. Since I was out of shape, I was worn out before we even got to the hill. It was so hard and painful, but when I finally made it to the top, I was so proud of myself. Through that experience, I learned so much about discipline and pushing myself. Now I continue to exercise everyday. Sometimes it doesn’t feel good, but it is so rewarding. I’m stronger both physically and mentally. I don’t give up when things get hard or painful. The discipline has spread to every area of my life. Practice, business, and relationships.

I put the fiddle and dance together at age 22 when I started street performing in downtown Nashville. I went to compete in a fiddle contest, and I didn’t realize parking was gonna be so expensive until it was too late. I had already taken a ticket and pulled into the garage. I was a starving college kid, and I don’t know if I had the money to get out of the garage. But I had my fiddle and I was wearing my cowboy boots. And I knew street performing was a thing. So after the contest, I took my fiddle and my boots over to Broadway, and I set out my case for tips. I started playing, but nobody wanted to listen. It was very frustrating having so many people look at me funny or ignore me. But I didn’t give up. I tried harder. I started tapping my foot. A few people noticed. I started stomping my foot. A few people actually stopped to watch. Then I started moving my feet, and people started taking pictures and videos. People loved the fiddling and dancing, and they tipped me plenty of money to pay for parking.

Before I left, I met some other street performers who regularly performed on Broadway. They encouraged me to come back. They gave me advice and told me the rules. I came back the next week with a dance board and an amp. I wasn’t very good at playing and dancing at the same time, but nobody cared. It’s the street, and you don’t have to be polished or professional. It was a great platform for me to develop my skills. I experimented, and after hours and days and weeks and months of performances, I figured out what would draw the biggest crowds. What would hold the audiences’ attention the longest. I would dance in boots for the cowgirl look. That’s what the tourists wanted to see. Since I was playing by myself, I needed a fuller, more rhythmic sound. I started cross-tuning so I could play constant double stops. My bowing became mostly Georgia shuffle, and you can hear my style developing on my first album, which I released in June 2018. Shortly after, I added vocals. Because doing two things at the same time isn’t enough. Gotta do three things at once. Singing, dancing, and fiddling.

Doing two things at the same time isn’t enough. Gotta do three things at once. Singing, dancing, and fiddling.

I never dreamed of being a “dancing fiddler,” but here I am. Usually fiddlers don’t have solo careers. Fiddlers have to join a band, right? So it’s weird how it all happened for me. I had a video go viral on Facebook, and then my social media blew up, and I had people calling me for gigs around the world, and companies wanted me to endorse their products. 

It started with a completely unprofessional iPhone video of me on my back porch playing and dancing my original tune, “Le Petit Chat Gris.” It has reached over 9 million views on Facebook. Right when I released my CD, people started ordering it and streaming it. I actually made money. I didn’t expect that. It’s just fiddle music. I didn’t know people would be interested. I mostly just made it in order to prove to myself (and everyone else) that I could play. As silly as it sounds, I had no idea I could actually sell it. But it was the best coincidence to have a viral video at the same time as a CD release. Marketing genius. I couldn’t have planned it better.

My life has completely changed in the 18 months since then. I have over 739 thousand followers on Facebook with 14 viral videos. The biggest video has over 61 million views. I made my first national TV appearance, and I appeared in the movie “Wild Rose” dancing and playing my original tune.  My tune is also on the soundtrack. I played my first international show in January 2019 in London, and it was sold out! I played with the Nashville Symphony at the Schermerhorn in February. I’ve made 4 European tours this year performing solo, teaching workshops, and performing with orchestras.  I’m now endorsing a string company, two fiddle companies, and a bow company! 

I’m playing on Thomastik-Infeld strings. I particularly like the Dominants for recording. Krutz sent me a fiddle, and I love performing and recording with it. I shot a video with Mairead Nesbitt, and she brought me a carbon fiber bow from her instrument line. The bow had hot pink hair, and it looked so awesome in the video. Mairead is also sending me a fiddle to play, and I can’t wait to check it out!

I’m really slowing down for the year. I’m able to focus on being a content creator. I have several projects in the works, so stay on the lookout!

What are your favorite 5 albums, and do they influence your work? If so, in what ways?

1. The red and blue albums from the Beatles. No, it doesn’t influence my work, but it’s good music, and it really helped me through the long drives back and forth to college or to Nashville. I also like the Beatles’ other albums, but the red and blue are my favorites for singing along. I know every word.
2. Queen’s greatest hits. No, it doesn’t influence my work, but it’s good music, and same as the Beatles, it helped me through long drives. I love singing along, and I know every word.
3. Several of Kenny Baker’s albums. I always thought it was cool how Kenny could be considered both a bluegrass and an old-time fiddler.  I transcribed many of his old-time tunes, and he influenced my earlier fiddling (before my street performing).
4. Fiddling Arthur Smith. He’s a Tennessee fiddler, and one of the earlier fiddlers to record. I transcribed most of his music, and he was a huge influence in my earlier fiddling (before my street performing)
5. I listened to a lot of bluegrass such as Tony Rice and Ricky Scaggs and Bluegrass Album Band and Doc Watson and Bill Monroe. I wanted to play bluegrass, but it never really worked out. I never had a good outlet for it. I also listened to a lot of Irish such as Kevin Burke, Lunasa, Bothy Band, and Planxty. I had a big Irish fiddling phase, but it’s more of a hobby for me now. I’m releasing some Celtic music on my YouTube channel, and my next album with probably be Celtic.

Which part of your music career do you enjoy the most – live performance, recording, writing, etc?

Content creation! I love making videos for my different social media outlets! I love traveling and performing, but I’ve been performing solo, and I really look forward to being able to perform with a band. I don’t like recording audio as much because I’m so critical of myself. It’s never good enough. I always judge myself so harshly.

Content creation – that’s a unique viewpoint, something that Acousticult is all about! What are three musicians today do you think are underrated?

1. My fiddle mentor, Jim Wood. He’s the best musician nobody’s ever heard of. He plays a million different genres and instruments. He’s a virtuoso, and he’s a creative genius. He doesn’t have social media or a website, so in this day and age, he virtually doesn’t exist. You should know he has a studio out in Lynchburg, TN. He has recorded several of his own records, and does phenomenal work recording and producing records for other artists. He has a knack for it. He’s brilliant. He did my first record. He’s producing my next record. He’s the perfect accompanist for my music. He knows exactly what I like for rhythm and arrangements and harmonic variations and dynamics. I’ve never played with anyone better. (If you want to contact him, send him an email!)
2. My friend Rick Taylor of Huntsville, AL. He’s the best songwriter nobody’s ever heard of. He’s written and recorded many phenomenal songs with intense passion and emotion. His melodies are resonant to the core of your soul. You know the music is strong when it gets stuck in your head after hearing it just once.  Rick is coming out with a new record soon called “The Edge of Light,” and I hope it gets some traction in the music business. People should hear him. (If you want to look him up, here’s his website)
3. Elijah Vincent from Utah. He’s another gifted songwriter and musician. I’ve heard him recording in the studio, and I’ve heard his album.  His songs are phenomenal and incredibly deep. His lyrics are so gut wrenching, I cried the first time I heard his music. His music is very moving and inspiring to me. I don’t know what he’s done since he created his record.  I know he’s playing some shows, but I don’t know if anyone is listening to his music. I hope he gets some traction in the music business and get his music out there. It’s seriously worth listening to. (If you want to look him up, his Instagram is @elijah_vincent_ )

The music industry is tough. I could name several more phenomenal artists who play or write amazing music that nobody listens to. And then there’s mediocre musicians who everybody listens to.  And I don’t want to insult anyone, but I just want to point out that it takes more than just talent. It takes tons of time and energy and business skills. Sometimes it’s all about knowing the right people, or having tons of money to spend on promotion and marketing. There’s no universal formula. I have much respect for independent artists, and I wish them all good luck.

I couldn’t agree more. Tell us a little bit about your current rig – what does your “rig” consist of? 

I play fiddle, dance, and sing all at the same time. I have to be wireless, so I have two Shure wireless transmitters and receivers. I use a Bartlett fiddle mic and a CountryMan vocal mic. I have boundary mics for my dance board. I use a few fiddles for each performance, and I keep them in separate tunings so I can change keys really fast. I usually perform and record on my 50’s Roth, and my new Krutz. I also have a Juzek strung up with different strings for DDAD tuning.

If you were given $100,000 to spend on an album production, what would it look like?

I would continue to record at Jim Wood’s studio with Jim Wood producing my record. He’s the best accompaniment for my fiddling, and he knows my tastes better than I do. I love what he does with my music, and I’d be excited to see what he could do with a bigger budget. I imagine that could involve big name session musicians and more intricate arrangements and instrumentation. I would use a lot of the money for producing music videos to go with the various tracks. I’d also invest a little in promoting the album.

$100,000 would be fun for creating an album and videos, but it’s really not good business for a fiddle record. There’s no way to make your money back on fiddle music. There’s just not a big enough market for it. Perhaps I could explore other genres and maybe delve into Americana or Celtic music.  With a greater audience and potential for radio airplay, perhaps it would be a more realistic investment. 

What is your favorite album or recording so far that you’ve made?

I’m really proud of my “Triple Threat Cotton Eyed Joe” YouTube video. I worked really hard on the triple fiddle arrangement and the triple dance choreography. It’s done really well on YouTube.

I’m also proud of my first album which is an exploration of the old-time cross-tuning tradition. I used 13 different tunings for the 17 tracks. Some of the tunings are traditional and some of them I invented. I changed the keys of some tunes. I tried different octaves for some tunes. I took some tunes that are normally played in standard tuning, and I tried them cross-tuned. I’m a tuning geek. Don’t get me started on tuning or I will geek out and bore you to death. The guitarist, Jim Wood, also used a bunch of different tunings. He used 12 total, and he also invented a few of those. We listed the different tunings in the liner notes. We also used 432hz tuning for the entire project (as a matter of fact, I mostly play in 432hz).

My album is available on my website and my Facebook shop and also most digital platforms.

So Hillary, what are you currently working on?

I have several projects that I’m working on and planning. I’m working on another album of fiddle tunes, and I’m hoping to have it done around Christmas or New Years. It’ll have 13 tracks; 11 vocals and 2 original instrumentals. My fiddling will be mostly cross-tuned and sawing on it in my old-time Georgia shuffle style. The CD will have some Celtic flavor with bouzouki and DADGAD guitar.  It’ll have some old-time elements with bass, mandolin, and banjo. I’m also hiring a cajon player to add energy and make the CD more appealing to a wider audience. I’m even incorporating a song that sounds more Americana. So yeah, it’ll be a good fusion of different genres and sounds.

I’m also working on producing a few books of sheet music along with a play-along CD. I have the music typed up, and the audio recorded. I just need to go through the business of designing a cover and having it printed and published. For those beginning fiddlers who want to learn basic fiddle tunes or any of my tunes from my first record, stay tuned for this project.

I’m always thinking about creating content for my social media outlets. I’m always researching to figure out what works best for the different platforms and different audiences. I’m always developing my craft by learning new songs and techniques and dances. I do a lot of photos and iPhone videos and professional videos. I like to use different locations and outfits and hairstyles and makeup. I like to collaborate with other artists and feature dancers and musicians. I put a lot into it, and I really enjoy it. It’s so rewarding being able to preserve the old-time fiddle and dance traditions and share them with the world. Just think about how many people are listening and watching who would otherwise never be exposed to this type of music and dance.

I have one more project I want to try, and it might be silly, and it probably won’t work, but I’m gonna try it for fun. I have a friend who does electronic music. I met her at the Nashville Symphony. We’re talking about doing a collaboration together with one of my original fiddle tunes. She’s gonna make it into an electronic track. Then we’ll do a video to go along with it. I’m so excited. I’m inspired by the song “Hey Brother” by Dan Tyminski and Avicii. 

My third album will be Celtic. I eventually want to do a bluegrass record and a Christmas record. I have a bunch of ideas to keep me busy for a while.

Thank you for being willing to chat with us Hillary. It’s been fantastic to take such a detailed look behind the scenes. Congratulations on your videos and music!

Be sure to visit Hillary’s website at www.hillaryklug.com.

The post Fiddler and Dancer: Interview with Hillary Klug appeared first on AcoustiCult.

I’m a musician and songwriter based in Lexington, North Carolina. My primary instrument is the fiddle, but I also spend a lot of time on rhythm guitar, and I’m a vocalist. I gave up trying to put a particular genre label on my music a long time ago, but it is based in Southern and Appalachian traditions and heavily influenced by rock. 

ACOUSTICULT: Tell us a little bit about your beginnings. Your origin story, so to speak. How did you get into music, and what made you choose this path over others?

My parents enrolled me in Suzuki violin lessons when I was three years old. (The Suzuki program, part of the classical music world, puts an emphasis on training young people to have good ears and solid technique.) I caught on pretty quickly. My brother started Suzuki guitar lessons a couple months after me, and since we had similar repertoires we started playing duets, first at home and then for local events. Along the way we began learning songs that weren’t in the Suzuki books, like some Irish fiddle tunes and some folk songs, and then we got involved in a weekly jam session at the Cook Shack in Union Grove, NC, which swung us in the direction of bluegrass and also exposed us to a lot of old country music. We bought our dad a bass for his birthday about four years in, and once my brother taught him how to play, we formed an acoustic trio that ended up touring the country for about eleven years and releasing six albums before retiring in October of 2018. 

Music has introduced me to friends that have become like family and has shown me parts of the country I would have never seen otherwise. But most importantly, it connects with people in a way that is nothing short of supernatural. I can’t begin to imagine my life without it, so choosing this path has felt like a no-brainer. It definitely comes with its challenges, but it’s worth it. 

ACOUSTICULT: What are your favorite 5 albums, and do they influence your work? If so, in what ways?

This is an ever-changing list, but at the moment, it includes, in no particular order:

• “Leftoverture” by Kansas, which embodies what I love about prog rock. I really admire the complexity of the music, and the lyrics have always kept me thinking and interpreting, no matter how many times I’ve heard the songs. It’s one of those albums that you can listen to with your brain turned off or analyze every piece – either way, it’s amazing. Steve Walsh is a big influence for me vocally, as well.

• “The Whippoorwill” by Blackberry Smoke. The band is one of my absolute favorites, and I think this album is their masterpiece. The songwriting and the musical approach have had a huge impact on my own work. I also get vocal ideas from the lead singer, Charlie Starr.

• “Full Moon Fever” by Tom Petty. Every track is brilliant. Tom Petty had a way with words that made it clear he just got it. He understood life – the good and the bad – and he knew how to turn it all into music. If I can end up having even a sliver of that tendency I’ll be happy.

ACOUSTICULT: I have to say – this album might be my first exposure to music ever. My parents have videos of me when I was an infant rocking back and forth on my hands and knees in-time to a song off of that album. I wish I could remember which tune it was? Maybe “A Face In The Crowd?” Guess I need to go home and dig through the home movies.

I love it. What a great album to grow up with.

• “Forever and a Day” by the Kruger Brothers. They have quite possibly been the greatest inspiration to me of any musicians I’ve ever heard, and this album in particular has always gripped my heartstrings. Forever grateful for their work.

• “Shake Your Money Maker” by The Black Crowes. This one’s a current obsession of mine. I’m positive it will influence my work – it’ll just take some time for me to see in what ways it does so.

ACOUSTICULT: Which part of your music career do you enjoy the most – live performance, recording, writing, etc.?

For a long while now, I’ve thought that writing and arranging songs is one of my favorite parts of the job, because it allows for the most deliberate creativity. I can take all the time and effort I need to dial something in the way I like it, and it’s always exciting to speculate about the way the tune will be received by the audience. However, I’ll have to say, there are few things that beat the feeling of a good live performance. Some of the happiest moments of my life have been on stage.

ACOUSTICULT: What are three musicians today that you think are underrated?

Charlie Starr from Blackberry Smoke is an absolute force of nature. He writes songs that are deep and down-to-earth at the exact same time. He sings in an utterly genuine way (his live performances are identical to his recordings) and plays a killer guitar. Blackberry Smoke does have a great following, but I think they deserve the status of a modern-day Lynyrd Skynyrd. 

Brent Cobb is a country singer-songwriter I’ve been listening to a lot in the past couple of years, ever since I discovered him. His work, like Starr’s, is completely honest and full of heart, and his vocal delivery is both skilled and conversational, which complements his songwriting style. I would love to see him at the top of the industry – we need more music like his to be catching the general public’s attention.

Zeb Snyder, my brother and the guitarist for the Appalachian Road Show, is someone I will always acknowledge as well, because I’ve never met anyone else with his level of investment in music. He just absorbs it and lives it, and you can hear that in his playing. It has always inspired me.

ACOUSTICULT: Tell us a little bit about your current rig – what does your “rig” consist of?

My main fiddle is a bit of an enigma; when my luthier discovered it, he estimated that it was around 250-300 years old. He thinks it was made by Thomas Newton, although there’s no way to tell for sure, since there’s no label anywhere on the fiddle except for a partially-obscured London address on the back. Regardless of where it came from, though, it’s one of the best fiddles I have ever encountered. I also play a beautiful Jimmy Edmonds fiddle that I use for alternate tunings, so usually they’re both on the road with me. My guitar is a 1955 Martin O-18. It’s a total beast. For my bows, I use two CodaBows (a carbon fiber brand). Both of them are from the Diamond collection. They’ve been super reliable over the years, and knowing they’re more durable than wooden bows gives me peace of mind when I’m traveling.

ACOUSTICULT: If you were given $100,000 to spend on an album production, what would it look like?

I’d definitely select an engineer and a studio that would support a relaxed creative process and that would be game for a fairly raw finished product. I want recordings that sound like a live performance would, which is rare nowadays, but it’s something I recognize in most of my own favorite albums and artists. Being able to take my time and focus on producing something that captured the spirit of the music, not just the notes, would be ideal.

ACOUSTICULT: What is your favorite album or recording so far that you’ve made?

I think that would have to be the Snyder Family Band’s last album “The Life We Know.” We feel like we had really found our sound at that point, so it was a rewarding album to record. I have done a lot more songwriting since then, but I see my originals on that album as a step in the direction I’ve ended up taking, so that makes me look back on it fondly. It was also my best recording experience so far as a vocalist.

ACOUSTICULT: What are you currently working on?

At this moment I’m off the road. In my day-to-day life, I’m a junior at High Point University pursuing a mathematics major and a minor in history. But my musical wheels are constantly turning, even during the semesters. I’ve been writing a lot of songs, listening to and studying loads of music, and teaching fiddle lessons via Skype. I’ve got some big plans in the works that I can’t share yet, but they’ve got me really excited for the near future. I can’t wait to hit the road again.

ACOUSTICULT: You’ve got me on the edge of my seat Sam. Please keep us in the loop on your upcoming venture. Great to catch up!

The post Musician & Songwriter, Samantha Snyder appeared first on AcoustiCult.

My name is Justus Ross and I am 15 years old. I live in Piedmont, Missouri and I like to try to play music every chance I get.

ACOUSTICULT: Man, there are definitely worse ways to spend your time! Tell us a little bit about your beginnings. Your origin story, so to speak. How did you get into music?

When I was very young (probably 3 or 4) I bought a Lightning McQueen guitar from Walmart and tried to pluck out a few songs. Just like any other child wanting to be a rock star I would thrash and bang the guitar on the ground. 

ACOUSTICULT: It sounds like you had the right idea early on.

When I turned 6 I began taking lessons from an older fella that lived near me named O.D. Mitchell. He has now passed on, but he taught me the basics of blues music and bluegrass. I played for years with my family. 

ACOUSTICULT: Tell us a little about playing in your family’s band. What was that like?

We traveled as The Ross Family Bluegrass Gospel Band for a good 3 years. My sister Charity played fiddle and sang, Alex Clayton played banjo and sang, my Mom played mandolin, my Dad played bass, and I played guitar & sang. We traveled playing churches and small bluegrass venues. We had a wonderful time meeting and making new friends in the bluegrass community! I recently joined the band Po’Anna. That band is Emalee Flatness, Maddie Dalton, Becca Ash, Alex Clayton, and myself. They are all some of my very best friends. 

After years and years of teachers like Jake Workman and Rodley& Bobby Lewis, studying guys like Clay Hess, David Grier, & Kenny Smith, listening to solo after solo and lick after lick, I came to love music. It really has changed so many parts of my life for the better. Thanks to all for encouraging, supporting and pushing me and my dreams to be better than I was yesterday.

ACOUSTICULT: What are your favorite 5 albums, and do they influence your work? If so, in what ways?

Not in any order,

•  “Rain” and “Just Another Story” both by Clay Hess. 
• “No Escape” by ClayBank 
• “I Am A Drifter” by Volume Five
• “Some Day” by Blue Highway 

And many more. I always find myself listening to these albums every time I mow the lawn or drive down the road! These and many more albums were included in those hours and hours spent learning licks and styles to find the feeling I was looking for. I’m still working on that.

ACOUSTICULT: Which part of your music career do you enjoy the most – live performance, recording, writing, etc.? 

Definitely live performances because you really just never know what’s gonna happen. But recording man, there’s just nothing like hearing something like that come together.

ACOUSTICULT: What are three musicians today do you think are underrated?

1. Darrel Turnbull. Darrel’s mind with music is so solid. He knows some things! His picking is so clean and tasteful. He’s the most humble musician I have ever met. He’s always there for some wise advice and he’s a great friend of mine. 
2. Clay Hess. Clay can pull stuff out of the air like it’s nobody’s business! You just never know what to expect. He’s about as smooth and effortless as it gets. The power is there and his note placement will make you rethink every g-run you do. He gives his music moods and that’s something a lot of people miss. Tasteful! Tasteful! Tasteful! He’s changed the way I think about guitar and music in general. He’s a genius. It takes about 2 seconds of his playing and listening to the way he thinks musically to see that. 
3. Tim Crouch. Tim is just simply from another planet. I met him years ago in Mountain View, Arkansas. I had no clue who he was. He was just casually hanging out in a ball cap and t–shirt jamming with everyone. He has blown my mind every time I’ve heard him since. Very kind fella! 

ACOUSTICULT: All three of these players are my favorites, and under-appreciated in my opinion. Tell us a little bit about your current rig – what does your “rig” consist of?

Hayes guitar, Elliot capo, Bluechip pick, Reunion Blues guitar case/Hiscox guitar case, Elixir medium gauge nanoweb strings. All the very, very best, in my opinion.

ACOUSTICULT: Tell us a little more about your Hayes. What are the specs on it?

This guitar impresses me every time I pick it up. It seems like every time I play it something new shows up and blows me away. It’s got the clarity and sustain of a violin, warmth and smoothness of a piano all while still giving that powerful boom everybody loves. It’s a hoss in every meaning of the word! It consists of an Adirondack/red spruce top and an absolutely beautiful mahogany back and sides. It also has stainless steel frets. Rick Hayes is an amazing master luthier!

ACOUSTICULT: If you were given $100,000 to spend on an album production, what would it look like?

That album would have to be sooooo perfect. It would have every one of my heroes on it. It would have to be something I would never want to stop listening to. A desert island type of album. It would have people like Dan Tyminski and Clay Hess, Allison Krauss. Just all of the legends obviously. Like I said “perfect.”

ACOUSTICULT: What is your favorite album or recording so far that you’ve made?

“With Love, Carolina” with Po’Anna. Super fun project to work on with a couple special guests. (Ron Block and Clay Hess)

ACOUSTICULT: Where did you record that? Tell us about the sessions, who mixed it, who mastered it, who played what on it?

Clay Hess at 7flat Records mixed and mastered it. Worked all of his magic there in Darrel Turnbull’s parent’s basement believe it or not. Ron Block played banjo on “I Don’t Know Why” which is just mind boggling still to think about. and Clay played banjo and bass on everything else. They both just “killed it” as you could imagine.

ACOUSTICULT: What are you currently working on?

Honestly, playing cleaner and putting more feeling into my playing will always be the grind. As far as projects nothing right now, but that should change soon!

ACOUSTICULT: I sure hope so man, your guitar playing sounds fantastic and I can’t wait to hear what you come up with next. Thanks for joining us for a chat, Justus!

The post An Interview With Justus Ross appeared first on AcoustiCult.