Album info



Label: Rounder

Genre: Country

Subgenre: Bluegrass

Artist: Billy Strings

Album including Album cover

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  • 1Taking Water04:12
  • 2Must Be Seven03:28
  • 3Running03:01
  • 4Away From The Mire07:46
  • 5Home07:40
  • 6Watch It Fall04:43
  • 7Long Forgotten Dream04:31
  • 8Highway Hypnosis05:10
  • 9Enough To Leave03:44
  • 10Hollow Heart02:38
  • 11Love Like Me02:56
  • 12Everything's The Same02:58
  • 13Guitar Peace04:07
  • 14Freedom02:37
  • Total Runtime59:31

Info for Home

Billy Strings has been hailed as the future of bluegrass, transcending tradition and genre with his high velocity, flat-picking guitar technique and intense, confessional songwriting. HOME, Strings’ remarkable second studio album, is undoubtedly the Michigan-born, Nashville-based artist’s bravest excursion thus far, reshaping bluegrass into his own exceptional form, completely rewiring the aesthetic with elements of punk, country, folk rock, and genuine psychedelic exploration to fashion something altogether original and all his own. From the jump, Strings has infused bluegrass with his own experiences and inspirations, adopting traditional sonic and lyrical idioms to confront contemporary social truths. Songs like “Away From The Mire” and the remarkable title track are rooted in the past but as now as next week, animated by electrifying musicianship, inventive production, and Strings’ irrepressible ambition. HOME marks a landmark on this constantly moving artist’s ongoing creative journey, its fearless songs and freewheeling approach recasting string-based American music in his own inimitable image.

“I’m starting to feel at home in my life,” Strings says. “I know that’s kind of a vague statement but I feel like I’m starting to feel at home in my career, in my relationship with my life partner, all those things. I feel like I’m settling in and starting to actually be content here.”

Born William Apostol, the Lansing, MI native was raised up on bluegrass guitar by his stepfather, Terry Barber, a gifted amateur picker in his own right. Dubbed Billy Strings by an aunt who presciently saw his burgeoning ability, he “got into electricity” in his teens and began fusing high-speed technique with his own equally breakneck charisma in a middle school grindcore band.

“I learned to play music playing bluegrass,” Strings says, “but I learned how to perform in a metal band.”

Growing up in rural Michigan taught Strings even more valuable lessons, forcing him to confront true hardship and struggle amongst his friends and family. His interests eventually returned to bluegrass, drawn in by its honesty, spirit, and seemingly infinite capacity for reinvention. Since moving to Nashville in 2016, Strings has been welcomed into the Americana community with open arms even as his work proudly expands its parameters. After making an auspicious solo debut with 2016’s self-titled EP, Strings impelled bluegrass towards heretofore-uncharted new terrain on his extraordinary debut album, TURMOIL & TINFOIL. Released via Strings’ own Apostol Recording Company, the markedly powerful collection rocketed Strings to the forefront of contemporary Americana, debuting at #3 on Billboard’s “Top Bluegrass Albums” chart whilst earning critical applause equivalent to its popular success. “Roots music is at its best when it places greater emphasis on telling powerful stories than it does adhering to any conventional genre boundaries,” raved American Songwriter. “With that in mind, TURMOIL & TINFOIL is a great roots album.”

Then as now, Strings and his crack band – including banjo player Billy Failing, bassist Royal Masat, and mandolin player Jarrod Walker – honed their sound by performing more than 200 gigs a year, traveling America’s blue highways and byways in a black Sprinter van to bring their music to the people.

“Once I got my feet on the road I haven’t settled down,” Strings says. It’s been about six or seven years since I’ve had a day job. I wake up in the morning, I jump in the van, we drive to the gig, we load in, soundcheck, and we play. It’s 1:00 in the morning by the time I even talk again. It goes so fast.”

HOME was recorded in January 2019 during a rare hiatus from the road, mere days after Strings’ sold-out three-night New Year’s Eve run at Pontiac, MI’s Flagstar Strand Theater. With TURMOIL & TINFOIL producer Glenn Brown (Greensky Bluegrass, Marcus Miller) back at the helm, Strings and Co. spent six days working at Nashville’s legendary Blackbird Studios’ Studio D followed by an additional week at Zac Brown’s Southern Ground Nashville.

“I might’ve been home longer than I’d been in the last few years,” he says. “I got to sleep in my own bed every night for the first time in I don’t even know. That’s the first time that’s happened in probably five years.”

Rightly hailed for their precision picking and groove-locked on-stage interplay, Strings and the band played it equally live in the studio, simply counting off and letting the songs take flight. Traditional recording techniques were eschewed for more of “a rock ‘n’ roll approach” utilizing an array of old compressors and vintage microphones. As ever, Strings took great pleasure in seeing just how far he can push bluegrass without abandoning its core tenets. Songs like “Running” and “Highway Hypnosis” see Strings in forward motion once again, wedding guitar, banjo, bass, and mandolin, with harmonium and eastern percussion, classical string arrangements, and a distinctive distortion Brown creates by running Strings’ vocals through a 1950 Bell PA head meant for electric guitar.

“The studio gives you the freedom to do whatever you want,” he says. “You can add piano, or I could play a 12-string guitar, or we could all get xylophones – it’s endless possibility. I like making records like that. I think about how the Beatles did it, those guys were trying everything they could think of.”

Strings’ commitment to anything-goes musical freedom is matched by his increasingly potent lyrical ambitions, penning stark, confessional songs that serve to chronicle the current state of the nation as he sees it. Songs like “Enough To Leave” and “Away From The Mire” – the latter penned as a direct letter to two friends who died from heroin overdoses – reveal a songwriter uniquely capable of coloring in such dark matters as addiction, gun violence, mass incarceration, the battle against inequality, and the suicide epidemic with resonant imagery and heartfelt personal understanding.

“I just put it all out there,” Strings says. “I say what I’m thinking and it’s coming straight from my heart. It could be a personal thing or it could be a very broad. Hopefully by keeping it honest and true and actually putting my real feelings out, people will recognize that and appreciate it. But that’s not why I do it. It’s therapeutic for me. Putting these songs out helps me to get over this shit.”

Like any great tunesmith worth his salt, Strings digs deep into himself to find some answer within, building universal tales of decline and redemption from his own unique experiences growing up and on the road.

“It wasn’t like I had some shitty childhood,” he says, “but there were some lean months. I saw a lot of substance abuse; I saw a lot of crazy shit. I was not a good student in high school; I hated all my teachers and thought they hated me. I didn’t even try. I thought I was going to be a nobody, like a lot of the folks I knew that ended up in prison or overdosed or suicide. But I climbed out of that hole, man. I’m on solid ground now and I’m running towards the light. All these things happening, it just feels so good I could cry. I never thought I could do anything or even have a roof over my head.

“All that stuff is in there, that’s where I draw my inspiration from. It’s not that I’m living in the past or anything, but when I do write a song, I feel like I always go back to writing what I know and whatever it is that I’ve learned here. There’s the dark stuff but also more positive. I’m making my folks proud and that is a great feeling.”

HOME sees featured appearances from Strings’ Nashville former housemate, TK Award-winning guitarist Molly Tuttle (lending vocals to “Must Be Seven”), fiddler John Mailander (Bruce Hornsby, Peter Rowan, Tony Trischka), Detroit-based tabla player John Churchville, and 14x GRAMMY® Award-winning dobro master Jerry Douglas. Strings – who made his Grand Ole Opry debut in March 2019, performing two original songs on the legendary broadcast – is unabashedly exultant at his current place at the bluegrass table, evidenced by an ever-growing list of collaborations with some of the music’s greatest heroes.

“It goes back to me never thinking I was going to be anybody or anything,” Strings says. ”When I was seven years old my dad called me from across the house and said, ‘All right, son. Sit down.’ I thought I was in trouble or something. He said, ‘Sit down,’ and then he puts on DOC & DAWG by Doc Watson and David Grisman, and said, ‘You need to know this.’ So then, years later, I get to introduce my dad to David Grisman in person. I get to sing ‘The Lonesome River’ with my dad and Del McCoury on stage at the Ryman. That’s the stuff. It makes me so proud to be able to do that.”

A 21st century artist through and through, Strings has made perhaps an even more important bond with his contemporary peers, including flat-picking icon Bryan Sutton and southern rock guitarist Marcus King, teaming with the latter for the spectacular King & Strings jam at last year’s Rooster Walk Festival in Martinsville, VA. Further all-star collaborations, including King & Strings II, are promised, as are countless headline dates, festival sets, a rare solo tour, and support dates with Greensky Bluegrass, including an eagerly awaited double bill at the world famous Red Rocks Amphitheatre in Morrison, CO.

“I like to throw myself out there and make myself feel vulnerable,” Strings says. “It lights a fire under my ass.”

Indeed, that same plucky spirit drives Strings and his band’s near-nightly live adventures. Bluegrass has long been a font for improvisational creation, allowing infinite space for musicians to push each other to new heights of exploration and interaction. Strings and his fellow players keep that tradition alive by diving headlong into extended, expansive jams, seamlessly creating whole new worlds with an unstoppable charm, kinetic energy, and a profound connection with the audience.

“When those doors open up,” Strings says, “we truly have no idea what lies beyond. When we’re on stage and all of a sudden we get into a space, it’s like, OK we’re going to go, we have no fucking idea what’s going to happen. Just like everybody else in the room. And that’s where it gets magic.

“That’s what we’re going for, that magic moment when the music lines up and all the people line up and everybody’s feeling just right, everybody’s there together. That thing that happens there is pure magic – maybe the only real magic that exists on the planet.”

With its sonic flair, dazzling technique, and forward-thinking enthusiasm, HOME is a strikingly assured manifestation of an increasingly matchless musical vision. Billy Strings is utterly unto himself, a once-in-a-lifetime guitarist, singer, and songwriter whose ingenuity, versatility, and sheer sense of commitment affirm his spot as one of the most visionary and idiosyncratic artists in all of contemporary American music.

“It’s hard for me to fathom because it’s literally been my dream since I was a child,” says Billy Strings. “I got this little kindergarten book that I made when I was like four or five years old and one of the pages in there is like, ‘What do you want to be when you grow up?’ And I drew a picture of a dude with a banjo and said, I want to be a bluegrass player. This is what I’ve always wanted to do. I feel like this is what I was always meant to do. This is what I was put here to do and somehow I ended up being able to do it. I’m the luckiest guy ever.”

Billy Strings

Billy Strings
One of the top emerging artists across all genres of music, Billy Strings has made his most ambitious album to date with Renewal, a 16-song collection that effortlessly positions him as a singular talent—one who reveres the history of the acoustic music that inspired him, while pushing it forward into new spaces and audiences through his incredible live shows.

Serving as a reflection of Strings' diverse musical influences, Renewal reaches well beyond bluegrass with elements of heavy metal, jam bands, psychedelic music and classic rock—even though it's still primarily an acoustic record. The album follows his Grammy Award-winning project, Home, as well as industry recognition ranging from Pollstar's Breakthrough Artist of the Pandemic to the International Bluegrass Music Association's Guitar Player of the Year and New Artist of the Year.

“I've learned, you've just got to let the song do its thing,” shares Strings. “So that's what I try to do—write songs and let them come out however they do.”

Guided by producer Jonathan Wilson (Roger Waters, Father John Misty), Strings and his band were given the space to explore new textures and unusual instrumentation on the album, resulting in a more expansive sound that still embraces his roots.

“After winning the Grammy, I went into the studio with newfound confidence. And was inspired by Jonathan's studio and vibe. More than ever before, I trusted myself to experiment and push myself musically.”

Strings shares a more personal and honest point of view on Renewal, with a writing credit on 13 of its tracks. Collaborating with some of his favorite co-writers, Strings shows through his lyrics that he's determined to overcome any setback, from a crumbling relationship in “Know It All” to the greater scheme of things on “This Old World.” Although there is darker imagery, an optimistic thread runs throughout Renewal—and its title is no coincidence.

“I called my last record Home, and then a few months later that's where we all got stuck,” Strings says. “Right now, we're heading back into opening back up, and doing some more touring with real concerts and real shows. Hopefully we can renew everything. I think it's an interesting word. It reminds me of how every morning is a renewed day and another chance.”

A Michigan native who's lived in Nashville since 2015, Strings didn't set out to become known as a singer, although he's become recognized as one of acoustic music's most expressive vocalists. His melodies are often breezy but there’s often a counterpoint within the lyrics, especially on songs like “The Fire on My Tongue.”

“I never set out to be the best singer. My goal was just to master expressing myself through bluegrass music and so many of those players just sing how they talk. Then, when I grew up, I learned that I liked Black Sabbath, Jimi Hendrix, and Led Zeppelin, so that influenced me, too. A song on this record like Red Daisy’ is totally a bluegrass song, but there’s also a song like ‘Leaders’ that I wrote with my buddy Steve Poltz. Who even knows how to define that one?”

The musicianship throughout Renewal is outstanding, as Strings surrounds himself with touring bandmates Billy Failing (banjo, vocals, piano), Royal Masat (bass, vocals), and Jarrod Walker (mandolin, vocals, guitar), as well as guests John Mailander (violin), Spencer Cullum Jr. (pedal steel) and Grant Millikem (synth). In addition to producing, Wilson plays percussion, celesta, and harpsichord. The instrumental tracks “Ice Bridges” and “Running the Route” especially show the camaraderie of the sessions.

Strings grew up playing traditional bluegrass with his dad until he was introduced to a new generation of younger artists embracing acoustic music. That revelation led to his own willingness to branch out beyond bluegrass and his ability to pull in fans from every corner of the live music scene, which is evident through recent collaborations with everyone from Luke Combs to RMR, Del McCoury to Fences. Renewal is simply the next step in that creative evolution.

“I listen to this album now and it's emotional,” he says. “I could sit there and tweak it forever, but there's a point where it's like building a house of cards. Yeah, I could add an extra tower on top, but it might collapse. I've always doubted myself, and I still do, but this album makes me think, ‘Hey, you're doing all right, kid. You just need to keep going.’”

This album contains no booklet.

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