Billy Strings Renewal – a long way from traditional bluegrass

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Billy Strings also known as William Apostol shows his musical and songwriting prowess as he combines bluegrass, rock, psychedelia and more to produce an hour of outstanding music on his new album Renewal (Rounder Records).

Strings (vocals, guitar) is joined on Renewal by his touring band of Billy Failing (banjo, piano), Royal Masat (bass), and Jarrod Walker (mandolin, guitar). Also playing on fifteen of the sixteen tracks is John Mailander (violin) which means they have the classic bluegrass line up of instruments. Strings music isn’t just informed by bluegrass, he has a history of playing tracks by Hendrix and Pearl Jam as well as time spent in his teens in a death metal band. More recently he has released singles with indie rock band Fences and rapper RMR.

The album also has contributions by Spencer Cullum Jr. (pedal steel) and Grant Millikem (synth). Producer Jonathan Wilson plays a variety of instruments including percussion, celesta, and harpsichord. Of the sixteen songs on the album Strings has writing credits on thirteen of them. Typically he writes with one or both of Jon Weisberger and Aaron Allen, and there are two songs that are full band compositions. The other three songs are written by mandolinist Walker in collaboration with Christian Ward.

Billy StringsMost of the songs were debuted during Strings run of six nights at the Capitol Theatre, New York, in February this year, to replicate and pay respect to the Grateful Dead’s six nights on the same stage on the same dates half a century earlier.

The musicianship throughout Renewal is outstanding, with Strings and band playing as a cohesive ensemble, using their virtuoso musicianship to create invigorating and imaginative songs. The music is rooted in bluegrass but throughout the album the band breaks out of that genre to head off into country, rock or ambient. Lyrics are often framed in the first person as Springs describes people, places and the state of the world.

The album opens with two upbeat bluegrass songs. Know It All and Secrets. On Know It All many of the key musical interactions are in place, the guitar, banjo, mandolin and violin hand off from one to the other and the bass is plucked steadily in the background providing a constant. Lyrically it is a tale of learning from your mistakes in relationships “Well the night we met I thought you were the one Yes and when you left I nearly came undone” which Strings sings in an old sounding voice.

The theme of love going wrong is continued on Secrets on which Springs sings of revealing love to another person and pondering past foolish errors. “And when I look at my reflection in the mirror I can see some man I’ve never even seen The wasted life I left behind me.” The lyrics reveal that Springs is nervous about revealing his love for another “..I’m lifting back the cover of my heart, dear And hoping that you’ll do the same for me.”

Both these songs are powered along at speed by the bass with the primary instrument  moving between banjo, violin, guitar and mandolin.

The pace slows down for the tender Love and Regret. This song has slow strummed guitar and bass notes that are underpinned by the use of a synthesiser. Strings deep vocals convey the emotions of the songs title. The lyrics of these first three songs are all in the first person increasing the connection of the audience to the feelings expressed.

Heartbeat of America  is a six minute opus that starts with a lengthy instrumental section which moves around in speed and tone. The vocals are at times almost spoken word which adds to the dramatic tension created by the music. The final line of the song could sum up Strings approach to his art,  “Now I’m seeing music that nobody else can see With all the colours like a symphony surrounding me”

In The Morning Light is a very raw exploration of self doubt “I’m not sure I deserve the love I receive.” It is supported by a very moving video of couples at various stages in their relationships including old age and carrying on after the death of a loved partner. Delicate picking of the guitar, synthesiser sounds and moments of silence create a suspenseful and sad musical mood. Springs vocals sound like someone philosophically reflecting back on their life.

After the introspection of In the Morning Light  the next track This Old World has a welcome upbeat mandolin momentum. There are rueful lyrics about things going wrong “I thought my life was cruising then it crumbled all away.” The instrumentals between each verse decorate the lyrics and the track ends like a raucous dance party.

The three Walker/Ward compositions are Show Me The Door, Red Daisy and Running The Route.  Show Me The Door has a relaxed tempo with Callum’s steel guitar work giving it a strong country feel. It has haunting melodies that are in contrast to the fast, light Red Daisy which showcases Walker’s mandolin picking. Their third track is the instrumental, Running The Route which features lively and strident banjo playing, These three tracks provide progressive bluegrass that builds on the legacy of the music of Bill Monroe and Flatt and Scruggs

Hellbender is a quickly told and speedily played tale of drinking and over indulgence. The lyrics use simple rhymes and your attention is focussed on the music as the lead is passed from one instrument to another. This is followed by the sad song, The Fire On My Tongue, about “those who die young and the weariness of we who stay behind.” There is great interplay between the guitar, mandolin and banjo with the bass notes prominent. Nothing’s Working is a classic tale of being  lonesome which has stunning violin work during the dark verses and brighter sounding choruses.

Hide and Seek and Fireline are the two songs written by the band. Hide and Seek is a nine minute intricate musical journey that builds to a frenzied climax. Musically it alternates between fast picking and then slowing down with a stutter before speeding up again. The melody is carried by one instrument and then another as it creates a feeling of anticipation.

Fire Line addresses ecological concerns with the oil industry. It has descending chords progressions under an increasingly dramatic vocal. There are dark and menacing sounds as Springs sings of “careless wind”, “lost bridges” and “fire in your eyes.” Between these two songs there is the fierce instrumental Ice Bridges which showcases Springs fast flat picking guitar playing as he slides around the fretboard.

The final track Leaders is a long way from traditional bluegrass. It is a very eastern influenced track with slow drone and prominent mandolin. The lyrics end the album with the thought that “We are not the leaders anymore” and that “There should have been some other way.”

Throughout this double album the interplay by the band is seamless as the textures and dynamics serve the songs and entertain. Acoustic instruments, expert playing and traditional song themes are the starting point for seventy minutes of broad sonic exploration. Whilst Billy Strings name is on the cover and his playing is fantastic this is marvellous full band album.

John Bradbury

Marty Duda had a talk with Billy String this week. Watch the interview HERE.

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John Bradbury
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