Album info

Album-Release:
2022

HRA-Release:
01.04.2022

Album including Album cover

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  • 1She'll Change02:41
  • 2Flatland Girl (feat. Margo Price)02:35
  • 3Dooley's Farm (feat. Billy Strings)03:41
  • 4Big Backyard (feat. Old Crow Medicine Show)03:17
  • 5Crooked Tree03:52
  • 6Castilleja03:16
  • 7The River Knows03:33
  • 8Over the Line03:01
  • 9Nashville Mess Around02:32
  • 10San Francisco Blues (feat. Dan Tyminski)04:04
  • 11Goodbye Girl03:21
  • 12Side Saddle (feat. Gillian Welch)02:44
  • 13Grass Valley03:50
  • Total Runtime42:27

Info for Crooked Tree


Acclaimed singer, songwriter and musician Molly Tuttle releases her anticipated Nonesuch Records debut, Crooked Tree, with her new bluegrass collective Golden Highway.

Recorded live at Nashville’s Oceanway Studios, Crooked Tree was produced by Tuttle and Jerry Douglas and features collaborations with Sierra Hull, Old Crow Medicine Show, Margo Price, Billy Strings, Dan Tyminski and Gillian Welch. The album explores Tuttle’s love of bluegrass, which she discovered through her father, a music teacher and multi-instrumentalist, and her grandfather, a banjo player. Across these thirteen tracks, all of which were written / co-written by Tuttle, she honours the bluegrass tradition while also pushing the genre in new directions.

“I always knew I wanted to make a bluegrass record someday,” Tuttle says. “Once I started writing, everything flowed so easily: sometimes I’ve felt an internal pressure to come up with a sound no one’s heard before, but this time my intention was just to make an album that reflected the music that’s been passed down through generations in my family. I found a way to do that while writing songs that feel true to who I am, and it really helped me to grow as a songwriter.”

In celebration of the new music, Tuttle and Golden Highway—Bronwyn Keith-Hynes (fiddle), Dominick Leslie (mandolin), Shelby Means (bass), and Kyle Tuttle (banjo)—will embark on an extensive headline tour beginning tonight with shows at Seattle’s Tractor Tavern (two nights), Portland’s Mississippi Studios (two nights), Los Angeles’ Roxy, Salt Lake City’s State Room, Boulder’s Fox Theatre, Asheville’s The Grey Eagle and Nashville’s Station Inn, among several others.

In addition to Tuttle (vocals, guitars), Douglas (dobro), Keith-Hynes (fiddle) and Leslie (mandolin), Crooked Tree also features musicians Darol Anger (fiddle), Ron Block (banjo), Mike Bub (upright bass), Jason Carter (fiddle), Viktor Krauss (upright bass), Todd Phillips (upright bass), and Christian Sedelmyer (fiddle) with additional harmony vocals from Tina Adair, Lindsay Lou, and Melody Walker.

Raised in Northern California, Tuttle attended Berklee College of Music and moved to Nashville in 2015. In the years since, she has released two full length albums: her 2019 debut, When You’re Ready, and …but i’d rather be with you, a covers album released in 2020. NPR Music praised When You’re Ready saying, “Tuttle applies remarkable precision to her pursuit of clarity … handsomely crafted melodies that gently insinuate themselves into the memory,” while the Wall Street Journal added, “stunning acoustic guitar-picking … invigorating, mature and attention-grabbing first album.” Additionally, of …but i’d rather be with you, the New Yorker said, “the record’s star is ‘She’s a Rainbow’ … in Tuttle’s reading, the song uses a bluegrass spirit to look to the past—and a feminist allegiance to peek at the future.”

An award-winning artist, Tuttle was named Instrumentalist of the Year at the 2018 Americana Music Awards and the International Bluegrass Music Association’s Guitar Player of the Year in both 2017 and 2018, the first woman in the history of the IBMA to receive the honor. Tuttle has performed around the world, including shows with Sam Bush, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam as well as at several major festivals including Bonnaroo, Newport Folk, and Pilgrimage.
„Molly Tuttle sings with the gentle authority of Gillian Welch, yet plays astoundingly fleet flat-picking guitar like Chet Atkins on superdrive.” (American Songwriter)
„Her songs, singing and solos, much like her demeanor, tend to have an inward-looking elegance to them; they’re the outward expressions of a searching mind and a longtime dedication to cultivating her craft.” (NPR)
Molly Tuttle, guitar, vocals
Golden Highway:
Bronwyn Keith-Hynes, fiddle
Dominick Leslie, mandolin
Shelby Means, bass
Kyle Tuttle, banjo
Additional musicians:
Old Crow Medicine Show
Darol Anger, fiddle
Ron Block, banjo
Christian Sedelmyer, fiddle
Jason Carter, fiddle
Mike Bub, upright bass
Viktor Krauss, upright bass
Todd Phillips, upright bass
Tina Adair, backing vocals
Lindsay Lou, backing vocals
Melody Walker, backing vocals


Molly Tuttle
speaks softly. Her voice is both lilting and lucid, and when she says that she wants to create music that is truly original and unmistakably hers, her quietness shifts into a steely audacity that’s charming and almost funny––she’s only 25, after all. But then, you remember her songs. And it hits you: brash, beautiful originality is exactly what Molly is doing.
“I love coming up with interesting guitar parts that don’t really fit––that don’t sound like any specific genre or any other guitar players,” Molly says, home in Nashville the day before heading back out to tour. “I am hoping to create my own sound. To find some new ground.”
On her debut solo EP Rise, Molly reveals the rich new ground she’s discovered. Produced by Kai Welch (Abigail Washburn, Bobby Bare, Jr., the Greencards), the seven-song collection relies on a rock-solid bluegrass foundation as Molly breaks free without breaking ties, singing and exploring what her six-string acoustic guitar can do. “This album was a big learning process for me,” Molly says. “I knew Kai would know directions to take my songs that would push me a little outside of my box. I grew a lot more confident in the direction I am heading as an artist.”
Rise further introduces Molly to a roots music audience who’s already enthusiastically embraced and elevated her. Her 2017 win for Guitar Player of the Year from the International Bluegrass Association (IBMA) was history-making, as the first woman to ever be nominated for the honor, and the accolades kept coming in 2018 as Folk Alliance International’s International Folk Music Awards awarded her Song of the Year for her song “You Didn’t Call My Name.”
Anchored by her lucent vocals, smart writing, and incredible flat-picking, Rise is a direct reflection of Molly’s personal and artistic growth over the last several years. A sense of longing––for someone, for a feeling, for a state of being––pulses throughout the EP. “The songs were written over a long period of time, but throughout it, I was experiencing a lot of transitions in my life,” she says. “Going off to college, then moving from Boston to Nashville. All of this music was written from a place of dealing with a lot of change.”
“Good Enough” kicks off the EP with effervescence and wry self-awareness. Molly’s bluegrass roots are on proud display: her nimble acoustic guitar is joined by a rolling chorus of strings as she ponders the concept of satisfaction. “The idea for ‘Good Enough’ was inspired by writing songs––just never feeling like they are finished and wanting to work and work on them,” Molly says. “It’s also rooted in the discomfort of being a musician in general, having some doubts in the back of my mind about whether or not I and my music are good enough.” Ultimately, the song urges self-reliance and trust. “It’s about finding that place where success and what people say doesn’t matter,” she says. “You’re just satisfied for yourself.”
If “Good Enough” is bluegrass reassurance, second track “You Didn’t Call My Name” is genre-defying grace. Molly’s guitar sets a dreamy, roots-pop pace as she sings achingly about missed opportunities. “I wrote the song right before I left California,” she remembers. “I was feeling a lot of things were unfinished there.”
Even as she stuns listeners with her original songs and collects songwriting awards, Molly’s identity as a guitarist and vocalist influences how she writes. “I think my songwriting goes into who I am as a musician,” she explains. “Writing songs inspires different things on guitar, and vice versa.”
Frenetic “Save This Heart” is a perfect example of Molly’s process. “I came up with the guitar part, and then the words and story started falling into place because the guitar had an urgency to it,” she says. “It’s a song that came out of guitar playing first.” The track is a mesmerizing showcase of Molly’s clawhammer guitar mastery. Even when she could easily fall back on the magic of her fingers, she never shortchanges listeners lyrically: “Your letters get shorter, days get longer / I call across the border, it’s static on the line / Save this heart of mine,” vividly captures the panic of realizing you might be too late.
Molly had the melody for “Friend and a Friend” for years before settling on its traveling musician storyline. Reveling in its bluegrass bones, the song builds, growing bigger and stronger like the “friend and a friend” fanbase she’s singing about. Instrumental “Super Moon” exudes the spontaneity of the song’s recording process: Molly and drummer Jano Rix had never played the tune together before, and their virtuosic chemistry is a joy.
“Lightning in a Jar” breathes new life into a familiar metaphor, and Molly says the moving portrait of nostalgia may be her favorite track on the EP. Her haunting vocals steal ears away from her subtly brilliant playing, underscoring just how much of a triple threat she truly is. “I was thinking about when I was a kid, growing up and visiting my grandparents in Illinois,” she says. “It was a totally different environment than California. It was a magical time, and I was just trying to capture it––my childhood memories.” EP closer “Walden” rearranges Thoreau lines and mixes them with Molly’s own to create stunning musical commentary on impermanence. “I was thinking a lot about climate change,” she says. “In California, we are dealing with really big fires, and it’s so sad. I know people whose houses have burned down. I was thinking about how we relate to the planet.”
When asked what she hopes listeners experience listening to Rise, Molly doesn’t hesitate: “I hope it can bring comfort to and move people. I wrote some of these songs to try to bring positivity to tough situations. Really, I just want to bring people joy.”

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