Despite setbacks due to weather, festival persevered, offering patrons well-balanced program
By Jennifer Duncan-Rankin, Rusty Odom and Matt Rankin • Photos by Bill Foster unless otherwise noted
Bristol Rhythm & Roots is truly a reunion in every sense of the word.
Each year, attendees, workers and artists are seen reuniting with embrace throughout the weekend, and, as a result, this festival possesses a family atmosphere. And when things don’t go quite according to plan, it’s family that smooths out the edges.
BRRR usually fights periodic bouts of showers throughout the weekend, but this year saw heavyweight fights with rain almost every day. It all came out in the wash, though.
Schedules were changed, and staff feverishly negotiated upcoming storms, and in the end the festival felt just right once again.
The festival has always featured ancillary events outside of the big names at the end of the night, but this year seemed to highlight the downtown community at large a bit more than usual.
One such event was the Instrument Petting Zoo during Children’s Day. For this event, which featured Knoxville luminary Evie Andrus, kids were encouraged to try out myriad instruments, including banjo, fiddle, guitar, mandolin, autoharp, mountain dulcimer, spoons and washboard. Andrus explained to BLANK how worthwhile the endeavor was the following morning. “It was three hours of pure chaos and so much fun! I have a feeling there will be some instruments under Christmas trees this year.”
Bristol is growing, just like seemingly every other town in the South, and it shows. New businesses lined the extended downtown perimeter on both sides of State Street (the thoroughfare that separates Tennessee and Virginia).
The festival will have a new talent buyer next year, so there may be a slight shift in tenor, but this has been the case before. BRRR has always been a true reunion, and we don’t expect that to change anytime soon. Below are our recaps of all three days. – Rusty Odom
Friday, Sept. 8
Old Line Skiffle
While ducking into Borderline Billiards Friday to escape the falling drizzle, I was delighted to find a rambunctious and lively crew just getting started. While the rain dampened a lot of things, it didn’t dampen the spirit of what turned out to be longtime festival favorites Old Line Skiffle. With a style equal parts jazz, rockabilly and old-timey (complete with a washboard player), this was hands-down the most fun show of the night. The incredible dance moves of their banjo player was a show unto itself that I couldn’t stop watching. With the crowd demanding “one more song!” the band closed out the set to Bill Haley & His Comets’ “Shake, Rattle and Roll,” a tune that perfectly punctuated the kind of show you’ll get from this phenomenal group. – Jennifer Duncan-Rankin
Gabe Lee
Had the weather not altered my pre-festival schedule for the evening, I likely would have missed this knockout performance inside the rustic yet acoustically marvelous Theatre Bristol. Given Lee’s noticeable growth as an artist since his fine afternoon set at Second Bell on a boiling hot day two years ago, that truly would have been a shame. Featuring accompaniment on electric bass and slide guitar, the singer-songwriter held sway over a reverent capacity crowd that made nary a peep until hollering its appreciation after each song.
Although the Nashville native’s aesthetic skewed awfully close to that of John Prine in the past, Lee seems to have found his own voice (both literally and figuratively) while still penning narrative tales that likely would have earned the approval of the late great. The final trio of tracks was excellent, but “Merigold,” taken from this year’s “Drink the River,” was particularly stunning, Lee evoking genuine emotion with clever and devastating turns of phrase delivered over a gentle fingerpicked pattern. – Matt Rankin
Watchhouse
Duo Andrew Marlin and Emily Frantz have always made beautiful music together. They create rich, haunting and ethereal sounds that are both heartbreaking and breathtaking. Starting their set with “Lonely Love Affair” off the 2021 self-titled debut under their new moniker, they were met with cheers of happiness from the large crowd, a funny contrast to the poignant but solemn songwriting drifting from the stage. Marlin’s voice is strong but also gentle and so comforting while Frantz is equally gentle and delicate. You can’t talk about these two, though, without mentioning their impeccable instrumentation. Frantz’s fiddling and Marlin’s trademark mandolin playing are just as artfully crafted as their singing and songwriting. Even more delightful, their backing band includes Knoxville’s own bashful but incredibly talented Josh Oliver. It’s always funny to me to observe an audience become overjoyed and enthralled with such serious and somber music, but I suppose when your art is just that good, it’s hard not to be joyful. – JDR
Ancient Cities
Exiting the subdued listening room of Theatre Bristol to the hustle and bustle along State Street and the shimmering strains of The Mavericks echoing from the roadway’s namesake stage was an energizing shock to the senses, and I capitalized on that renewed vigor by meeting up with the majority of the Knoxville crew (catcalling poor Josh Oliver) at Piedmont for Watchhouse before traversing back to the Tennessee side of downtown for the second half of Ancient Cities at Borderline Billiards.
I had been underwhelmed by the group’s appearance in the Scruffy City as a trio last fall, but I am happy to report that, as a full-strength four-piece, the North Carolina-based band absolutely slaps. Shredding ferociously from the modest platform in the foyer of the brightly lit pool hall, AC brought the good noise in its first of three performances over the course of the weekend. Justin Faircloth’s variety of keys provided psychedelic depth and an additional warmth that had been sorely missing in Knoxville. It was an enlightening set, and I am very glad to have been wrong about these guys. Seeing them rock out so hard and completely win over the sparse audience on hand was a nice way to end Friday’s action. – MR
Holy Roller
Though this festival may be a bit niche at times, it sure does throw up some surprises. Walking into a packed-to-the-rafters Stateline Bar & Grill, I was expecting to hear more awesome, folky and traditional music. But, boy howdy, I was way off. The festival guide mentioned Americana, folk and country influences, but nah. This band was straight-up dirty rock ’n’ roll – and an incredible one at that. Starting off with their brand-spanking-new single “When the Rain Came Down,” I was delighted with the raucous contrast to what I’d been hearing throughout the day. Their brand of rock may be seasoned with traditional influences, but it has a heavy dose of blues and even a bit of ’90s indie, too. Everyone on that stage could wail, and their energy was explosive. As they’ve toured with festival favorites and Knoxville regulars Flipturn (part of the Second Bell and New Ground families, as well), we hope to see them stop in our neck of the woods sooner rather than later. – JDR
Saturday, Sept. 9
Orbital Planes
This alternative quintet from Southwestern Virginia made its BRRR debut with a blazing outdoor set on the 6th Street Stage on what was an equally steamy Saturday afternoon. Initially delivering adept, slightly tweaked covers of AM-radio and modern-rock favorites, the band really kicked into gear when it began playing some of its original tunes, which showcased the strengths of each member and highlighted the shared musicianship of the nascent unit, which has been together for just about a year.
Jenna Greene’s robust vocals and stage presence were matched by lead guitarist Brad Albert’s prowess on the axe, with the latter channeling Eddie Hazel in what sounded like an abbreviated, Appalachian-style version of “Maggot Brain.” The set featured varied instrumentation throughout, with mandolin and brass factoring in especially prominently in parts. Greene revealed that the group had been in the studio, so look for some recorded material to be surfacing soon. – MR
Dallas Wayne
While our noisy neighbors on the other side of the Cumberland Plateau hog all the attention, the northeast corner of the state is where country music planted its first seeds. This is where living legend Dallas Wayne has set up shop for the past few years, as well, and festival attendees were lucky enough to catch a truly memorable performance at the lovely Paramount Theatre of what can only be described as pure, classic country. Accompanied by a married couple on the dobro and stand-up bass to form a trio which had never been onstage together before Saturday afternoon’s performance, Wayne joked, told stories and sang songs ranging from hilarious to heartbreaking. His songwriting is impeccable, as evidenced by the moving but relatable “Under the Overpass.” His delivery was characteristic of a person who has been at it for decades, and he has. Luckily for us, talent never goes out of style. – JDR
The Leftovers
The weekend’s weather made for some interesting shifts in plans, including folks being forced into the nearest indoor shelter. Such was the case when I wandered into Theatre Bristol Saturday afternoon where I was welcomed out of the storm into a super fun, hootin’ and hollerin’ set by local bluegrass outfit The Leftovers. With guitars, banjo, mandolin and stand-up bass, the five-piece treated the room to some old-fashioned picking that absolutely livened up the gray and dreary day outside. – JDR
Sierra Hull
Like on Friday, inclement weather dramatically affected the plan for Saturday, forcing some performers offstage, causing several cancellations and making organizers scramble in order to reschedule headlining sets. The mandolin prodigy from Middle Tennessee was one artist whose time onstage was interrupted. During her second song, Hull informed the sizeable crowd gathered around the State Street Stage that there would be a delay.
When she finally resumed the show nearly two hours later, it was as if no time had elapsed at all. Hull and her talented band breezed through a truncated set – shortened to 45 minutes to ensure maximum exposure for the great Allison Russell and legendary Nickel Creek – that demonstrated their virtuosity and ability to appeal to diverse audiences. As traditionally based and nuanced as the music is, there is a distinct pop sensibility to it that suggests crossover success might loom for the young bluegrass star. – MR
Adia Victoria
Making the most of her three quarters of an hour onstage in the rain on Piedmont Avenue, Victoria proved herself to be a tour de force, a consummate performer who held the large rapt crowd in the palm of her hand. Like the music itself, the artist’s stage banter was pointed, impassioned and powerful, but it was more moving and poignant than it was overtly political or preachy. Overall, it was an inspired and inspiring experience, one that included metal-style riffage springing from the familial band’s instruments, guttural roars emanating deep from within the singer’s slight frame and shrieks levied at the heavens as she lay prone on her back. – MR
Ed Snodderly
Radio Bristol Farm & Fun Time Show
When I saw the description of this show, I couldn’t help but imagine that masterpiece called “Hee Haw.” While not as campy, this show offered lots of laughs, some storytelling and, of course, great music. For eight years, volunteer-supported Radio Bristol has hosted this variety show with their own Kris Truelsen serving as emcee. Shot live before being edited for syndication on PBS, this show does an amazing job of celebrating the rich musical tradition of the area. With Bill and the Belles onstage and the proceedings headed up by Truelsen, the show started off surprisingly with a little R&B tune I recognized but couldn’t quite name before heading into a super fun rendition of Jim Croce’s “Rapid Roy.” Truelsen and his crew appeared in between guest acts with songs and even cute jingles for local businesses and sponsors such as Eastman Credit Union and Toyota of Bristol.
The guests for this show included an appearance by this year’s festival darlings Palmyra, a Richmond folk trio blessed with a talent for witty songwriting, great picking and exquisite vocals. Kelsey Waldon also gave a wonderful performance. Her most recent album, “No Regular Dog,” was produced by Shooter Jennings and released on the late, great John Prine’s label Oh Boy Records. Contemporary and sassy, Waldon was a hoot. The third and final guest spot went to the rambunctious and rocking TK and the Holy Know Nothings to get the crowd moving. Though there weren’t any donkeys braying, dad jokes or cornstalks nearby, there was still plenty of down-home country humor, good music and great times. It’s safe to say this early evening show really hit all the right notes. – JDR
Thrift Store Cowboys
The Airbnb a Bristol pal of ours graciously offered to us for our stay came with a caveat that I had forgotten about until Saturday morning, when a steady drumbeat awakened me from a slobbery slumber. With Kris “Tugboat” Killingsworth having moved back to Texas recently and Jon Whitlock now manning the skins for the Daniel Fluitt-led outfit, Thrift Store Cowboys needed to squeeze in a day-of practice for that evening’s show, and the basement of a house on the Virginia side of the state line made for an ideal rehearsal space. And for me, a refreshing shower and a couple renditions of “Nothing” were better day-starters than even the strongest cup of joe could provide.
Unfortunately, catching our friends’ performance in their return to BRRR meant missing out on Margo Price’s largely concurrent set. But any FOMO we may have felt didn’t linger once the former took to the Machiavelli’s Outdoor Stage. An all-star lineup that included Robert Richards, Sam Quinn and Jonathan Keeney in addition to the aforementioned Fluitt and Whitlock produced one of the finest sets I’ve witnessed from the collective. Not even two ill-timed broken guitar strings could derail the group, whose members all looked as though they were having a ton of fun. Highlights included “Dirtied Your Knees,” “Beneath the Shoes,” “Nothing” (natch) and a barn-burning, set-closing version of “Bright Fire.” – MR
Larkin Poe
The spacious, tree-lined grounds surrounding the stage at Cumberland Square Park provide an idyllic setting for a laid-back listening experience, but this roots-rock sister act was far more interested in conjuring black magic with its howling vocals and powerhouse blues riffs, which echoed creepily through the darkened foliage back to the Sugarlands tent near where the Knoxville gang had gathered. Because of the earlier rain delay, the Lovells and Nickel Creek both began at 10 p.m., so we caught the first half of Larkin Poe before ambling down Lee Street toward State. – MR
Nickel Creek
There are certain groups that really take you back, and Nickel Creek is one of mine. I recall seeing them at a smaller stage at Bonnaroo – likely in 2005, but don’t hold me to it. At that point in my life, I didn’t yet have the right words to explain what I liked and had never heard the terms “Americana” or “alt-country,” but I knew I loved what I heard from this group.
Though I would have liked to have SEEN this show, the crowd had swollen to such a large size at the State Street Stage that I had to settle for a very obstructed view. This was a minor inconvenience, though, as what I heard was just as perfect as it was nearly 20 years ago. Sara Watkins still has the most perfectly angelic voice, and Chris Thile sounds just as earnest as ever. With Watkins’ brother Sean, the trio wooed the crowd with such hits as “Reasons Why” and “The Lighthouse,” with Thile’s endless energy and enthusiasm serving as an incredibly entertaining contrast to their more staid and peaceful numbers.
I love festivals because of the opportunity for discovery. Seeing acts like this one over the weekend certainly rejuvenated my love of folk, bluegrass, Americana and country, but I really hope someone had an experience like I had way back when. Whether it was with Nickel Creek or someone else, there’s no beating that “a-ha” moment of learning something about one’s self by giving something new a chance. How lucky we are to have the chance to explore. – JDR
Sunday, Sept. 10
Hoot & Holler Storytelling
When I saw this listing on the program, I had no clue what to expect, really. I know Appalachia has a rich tradition of storytelling, with nearby ETSU’s Appalachian Studies program offering up classes explicitly for this cultural jewel, so I figured it was likely somewhat in that vein. I let everyone in our group know whatever it was, it was at the top of my must-see list for the weekend.
Unfortunately, a previous engagement had me running a bit behind, so when I finally reached the doors of Theatre Bristol, I found a line of equally interested festivalgoers. After 10 to 15 patient minutes, when I had almost accepted my fate, a sweet volunteer allowed my single self inside. Though I’d missed the first three guests, I’d gotten there just in time to hear what couldn’t have been a more relatable story.
You see, we here at BLANK are gluttons for punishment, and a few years ago we decided to take on the seemingly insurmountable task of throwing music festivals. Starting in Market Square with BLANKFest before taking the party across the river to Suttree Landing Park for Second Bell, we only this year decided to take a pause. The work that goes into putting on such a production is exhilarating but exhausting – and risky as can be – and we all needed a break. As a matter of fact, we would normally be throwing our own shindig this around this time of year, which is why so many of our crew were available to take a trip to Bristol this time around.
How fortunate was I, though, when the weekend was getting me a bit nostalgic for running myself ragged, that up on the stage was none other than FloydFest co-counder Erika Johnson. Johnson took us through the highs and lows of planning, finding a space, booking acts and, of course, funding the darn thing. Through some luck, charm and questionable financial decisions, FloydFest was born in 2002. She spoke of creating magic, which is the jet fuel for such a project. But she also spoke of obsessing over ticket sales, parking nightmares , portable toilets (making sure everyone can pee safely takes ridiculous effort) and the most likely derailment that’s hardest to plan for: weather.
Good storytelling can place the listener right in the middle of all the action. You feel things, you learn things and you’re enriched on the other side while all the while being entertained. While I doubt others in the room had the same degree of first-hand experience as I do with Johnson’s story, they were all engaged and knew they’d made the right choice by attending this show.
What I didn’t know, until the end at lest, is that this Roanoke collective does regular open calls, so others can have the opportunity to share in this unique and timeless tradition. So next time you’re on the socials, stop on over to the page “Hoot and Holler: Our Stories. Out Loud.” Who knows, you might have that special talent for painting pictures with words yourself. – JDR
AJ Lee & Blue Summit
Following a delightful midday interview with the personable members of Old Line Skiffle was this early afternoon set by a versatile assemblage of bluegrass players who traded licks and vocal duties in equal measure throughout a set that included both old standards and dynamic modern tunes. Though they all hail from the Bay Area of the Golden State, this was the closest approximation to a Southeastern Sunday church service that I witnessed all weekend. – MR
Time Sawyer
This folk-rock band, another Second Bell/BLANKFest alum (there were five in total this year at BRRR), drew an impressive crowd at Cumberland Square Park on a pleasant afternoon that was perfectly suited to the group’s upbeat blend of bluegrass, roots music and country. – MR
Sam Quinn & the Cartwright Brothers Band
Though music festivals generally like to rotate their lineups, most of them have a fixture or two – performers that are expected to be somewhere on the bill – where it would be pretty weird and/or disappointing if they were absent. For BRRR, Mr. Quinn is one of those favorites, with the emcee even mentioning this year was his 17th time gracing a stage at the festival.
This year, the crowd was fortunate enough to hear Sam’s current iteration, a power group from right here in Knoxville made up of some of the best musicians this region has to offer. Don’t get me wrong; there was still plenty of the trademark depression carols Quinner is known to croon so beautifully, but it was nice to see a dash of loud guitar and drums added to the mix to congeal with the gorgeous harmonies that you’d normally expect from this crew.
I couldn’t help but giggle to myself as I looked around the crowd because I don’t think all those in attendance understood just how much personality was up on that stage. Being one of the funniest and most self-aware people I’ve ever met, Sam is as great with his banter in between songs as he is with his singing. I’ll say, though, the other four aren’t just members in a a backing band. Each individual is incredibly talented, hilarious, awkward and fun. As the sky teased a few sprinkles toward the end of the show, I was disappointed to see it end. Finding their music online isn’t the easiest, and as Quinn pointed out, most hadn’t heard any of these songs before Sunday’s performance anyhow. I was having a great time, and, thankfully, with the encouragement of the crowd and the kindness of the stage manager (it was that stage’s last show), we were all treated to a little encore by what may be my favorite Sam Quinn project yet. – JDR
Daniel Donato’s Cosmic Country
A contemporary, collaborator and friend of Billy Strings, Donato embraces a similar philosophy regarding music as a live spectacle, and the embodiment of that ideology was on full display Sunday on State Street. The young guitarist’s glitzy take on traditional country music is an exercise in decadence, cramming as many hooks, solos and flourishes as he can into each and every song while still respecting the conventions and structures of the genre. As BLANK photographer Bill Foster correctly pointed out during this set, though, the effervescent energy of Nathan “Sugar Leg” Aronowitz is the group’s secret weapon. His maniacal playing on the keys imbued the music with added dimension, glammy sheen and a gritty psychedelic edge. – MR
Marty Stuart & His Fabulous Superlatives
Not gonna lie: Most of my Marty Stuart exposure is from the his commercial success in the ’90s with such WIVK smash hits as “Tempted” and “The Whiskey Ain’t Working Anymore.” I’m aware he’s been around since the ’60s and that he’s a Grand Ole Opry mainstay and bluegrass legend, but I just didn’t really ever go exploring his back catalog. I’ll admit this was a huge mistake on my part because what I saw on that stage this Sunday afternoon was insane. This was the end of the last day of the festival, and my battery was almost dead. But after Stuart started with some surf/rockabilly number, bringing the crowd to a roar, I was fully charged! If you go to enough shows, you can pick up when someone is just going through the motions, and this was the opposite of that. I was watching this man have the time of his life! He worked in his chart-toppers, but he also played some amazing bluegrass and even a cover of Woodie Guthrie’s “Pretty Boy Floyd.” This show was nothing I was expecting and everything I needed, and I’ve been throwing Stuart’s music into my drive-to-work mix ever since. Take my advice: If you have the chance to see this man live, DO IT. – JDR
