Billy Strings – Highway Prayers

When my son first mentioned that he had seen a bluegrass artist, Billy Strings, perform early evening on the big stage at Lollapalooza (Chicago) in the summer of 2022 to a “full house” (I assume at least 40,000 people), I was impressed. Who the hell is this guy? I checked out a few of his albums on streaming, and the music was pretty cool: a mix of straight bluegrass songs (both originals and traditional songs) and bluegrass/rock/jam band fusion originals. I liked it, but it did not slay me. But I assumed, like most jam bands, the music needs to be consumed live, so I went to see him the first chance I could (in the spring of 2023 in Phoenix). That slayed me! Visually Strings brings a rock show aesthetic to the performance – lots of astounding lights, he plays loud, and he and his band absolutely shred – they are the Metalica of bluegrass bands.

Fast-forward to earlier this year, when Strings released his first live album, Billy Strings: Live Vol. 1, where he captures the live magic on a recording. The live album destroys his studio catalog. He has a new studio album, Highway Prayers, and he has figured out how to coax magic out of the studio – it is not the live sound, but something else. The songs are a bit looser, and they have more diversity. Although there is plenty of bluegrass, there are also pop, jazz, folk, and country elements. The album is original material written by Strings and various co-writers.

Per Billy’s website:

“Recorded in Los Angeles and Nashville, the album features Strings and his longtime band—Billy Failing (banjo, vocals), Royal Masat (bass, vocals), Jarrod Walker (mandolin, vocals) and Alex Hargraves (fiddle)—as well as additional contributions from Jon Brion (bass, drums, percussion – who also produces), Matt Chamberlain (drums), Jerry Douglas (dobro), Jason Carter (fiddle), Lindsay Lou (backing vocals), Nathaniel Smith (cello), Taneka Samone (backing vocals), Cory Henry (piano), Peter “Madcat” Ruth (harmonica, jaw harp) and Victor Furtado (clawhammer banjo).”

Highway Prayers elevates and evolves the Billy Strings sound. I highly recommend Highway Prayers and Billy Strings: Live Vol. 1 as entry points for new listeners. Below is a brief track-by-track commentary. I have also included the various videos that Billy has posted to augment the audio. As the album title suggests, there are many road themes here.

“Leaning on a Travelin’ Song” is a classic “On the Road” song in traditional bluegrass style.

“In the Clear” – is another road song, but now the road is starting to weary our narrator. He is trying to figure out his messed up life:

“Well here I am pulled over now
Just crying on the shoulder
Down the road that I’ve been driving on for days
So I aim my moral compass
But it’s spinning like a wheel
And you could take that many different ways”

This is another straight-ahead bluegrass original.

“Escanaba” is a bluegrass/jazz fusion instrumental that reminds me of David Grisman’s Dawg Music.

“Gild the Lily” is the song that separates Strings from the bluegrass traditionalists. It is a bluegrass pop fusion. It is a gorgeous ballad with the sweetest version of Billy’s voice—it is high and lonesome.

“Seven Weeks In County” has a spaghetti western vibe. It is a prison song, but our narrator is not blaming others for his incarceration—he is accountable for his sins. An elaborate cheesy western video supports the song.

“Stratosphere Blues / I Believe in You” is my favorite cut on the album. This is pure psychedelia, which is more common with Pink Floyd than Doc Watson. This is the kind of stuff that makes Strings a rock star.

“Cabin Song” is a classic bluegrass cutting session – the band shredding. Despite the band’s joyful sound, this is a lost love lament.

“Don’t Be Calling Me (at 4 AM)” is a country song with a bluegrass feel. The narrator is annoyed at an old lover looking for a hookup.

“Malfunction Junction” is another instrumental with a Grissman Dawg Music vibe and a sprinkle of psychedelia.

“Catch and Release” – reminds me of early ’60s Dylan talking blues and John Prine’s stoner humor. There are not enough fishing songs.

“Be Your Man” is a gorgeous country pop fusion. Strings songs don’t typically have a piano on his song – Cory Henry’s piano is a brilliant addition. I love this line: “It occurred to me I might’ve been the class clown then, but now I’m just a fool.”

“Gone a Long Time” is yet another traditional bluegrass-sounding original. This is a road-weary song.

“It Ain’t Before” features jaw harp and harmonica and reminds me of the Ozark Mountain Daredevils.

“My Alice” is a ballad in which the narrator fantasizes about killing his boss for inappropriately staring at his wife. There are few ballads in the Strings catalog, and I wish there were more.

“Seney Stretch” is an instrumental that shows off Strings’ gorgeous acoustic guitar tone and sense of melody. It reminds me of what the Dixie Dregs used to do: a diverse jazz/bluegrass fusion sound.

“MORBUD4ME” is stoner humor and more of a skit than a song. It has amazing vocal harmonies done in the form of a round.

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“Leadfoot” is a bluegrass song with a rock’ n’ roll attitude. It is about a guy who races his car in the street and dies behind the wheel.

“Happy Hollow” is another straight-ahead bluegrass song. A sentimental memory of a place.

“The Beginning of the End” is a lovely concluding song. It is not a goodbye, but a see you later.

“Richard Petty” is an acapella coda to the album. If you have ever seen Strings in concert these days, acapella songs are an absolute delight.

If you want to witness the whole album via the videos, there is a version that pulls them all together:

Highway Prayers is an hour and a quarter of pure joy. It is an excellent introduction to Billy Strings for the uninitiated and a perfect summary of the Billy Strings concept for longtime fans.