Earlier this month I caught the Infamous Stringdusters at the Exit/In, and I was reminded once again why I think they’re one of the bellwether groups in bluegrass. They have been blowing me away for the six years they’ve been together. For my taste, they strike a near perfect balance between the traditional and the contemporary. They are masters of their instruments, great singers and powerful arrangers, so accusations of musical mediocrity that fly from some quarters at some jamgrass bands can’t be leveled at them. To a man, they love traditional bluegrass music and it shows in just about every song, even their cover (a show closer done entirely acoustically on the floor surrounded by fans) of “Walking On The Moon.”
And yet their relationship to “bluegrass” music and the bluegrass trade group IBMA has grown complicated. How and why was the subject of a long and fascinating conversation I had with Stringdusters banjo player Chris Pandolfi at lunch the day of the show. To the great benefit of all, Chris sat down a couple days later and wrote a remarkable narrative essay that covered what he’d said that day. Many in our community have already flagged it as a “must read” and I absolutely agree. When I prattle on about what’s best for bluegrass, I’m doing so as a student of its history and a fan. But Chris has the authority that comes from having walked the walk and built an exceptional, growing band in these very difficult times. It is hard to see how anyone could read this and not buy into the broader big-tent vision of bluegrass that many of us are arguing for. Here’s just one highlight:
Bluegrass people need to stop lamenting the current state of affairs and open their minds. It’s already happening: big shows, enthusiastic crowds and a fun, inclusive vibe that encourages unlimited growth. I would say that in a musical sense ‘bluegrass’ is very healthy, changing and growing faster than ever before. There are younger players, new influences, cool people and amazing original music that’s indicative of a vibrant musical evolution. But the problem is, it’s just called bluegrass less and less. Imagine: the bluegrass world embraces a big band on the fringes, they make the cover of Rolling Stone or Spin along with the word ‘bluegrass,’ and suddenly there’s a intense new vitality for the term and all of its aspiring acts, whether they want to play in clubs or churches. There would be a mobility open to bands, a pre-cut path to one of many scenes, big or small, without the risk of being branded ‘non-bluegrass’ by the fans. The pieces are already in place and it’s waiting to happen, but the traditional fans will have to be a part of it at the get go, even if that just means acceptance. IBMA just has to get the ball rolling.
Without the belief and support of bands like the Stringdusters, IBMA’s Bluegrass Nation initiative would be futile. With them, and bands like them and unlike them, the sky’s the limit. More art. More gold and platinum acts that can sell out amphitheaters. More awareness among American teens and students about bluegrass and its virtues. We owe Panda a debt of gratitude for making his case so clearly and persuasively.
