Poss frequently acknowledged that he didn’t have a very conventional career path. “I used to joke that I had the perfect qualifications for being in the music business,” Poss once wrote. “I had no business training; in fact, no formal music background either but I teach Sociology of deviant Behavior.”

After graduating from Duke, he took a position with County Records in Floyd, Virginia. Poss and its owner, Dave Freeman, launched Sugar Hill Records in 1978, embracing what Poss called “contemporary music grounded in traditional music roots.” A self-described “wayward academic in an entrepreneurial role,” Poss assumed full control of the label in 1980, and moved it to Durham. He operated the label from there until its sale to Welk Music Group 20 years later. He became the group’s chairman in 2002. It’s now part of Concord Music, which also owns Rounder Records.

Among the many artists of note who recorded for Sugar Hill Records during Poss’ tenure were Pat Alger, Byron Berline, Ronnie Bowman, Sam Bush, Guy Clark, Mike Cross, Rodney Crowell, Jerry Douglas, Sara Evans, Cathy Fink, Butch Hancock, Hot Rize, The Infamous Stringdusters, Chris Hillman, Wanda Jackson, Sarah Jarosz, Robert Earl Keen, Doyle Lawson & Quicksilver, Lonesome River Band, Lyle Lovett, Nashville Bluegrass Band, Nickel Creek, Tim O’Brien, Dolly Parton, Dirk Powell, The Red Clay Ramblers, Peter Rowan, Ricky Skaggs, Darrell Scott, Marty Stuart, Bryan Sutton, Chris Thile, Townes Van Zandt, Doc Watson, and Jesse Winchester.

“The identity peg for Sugar Hill is having that traditional connection to contemporary music,” Poss Told Blue ridge Outdoors in 2008. “Some have taken to describing a ‘Sugar Hill Sound,” but I am not going to try to define that. To me, it’s what connect Doc Watson to Chris Thile, ricky skaggs to Guy Clark, Townes Van Zandt to dolly Parton. They all exhibit a rootedness in their contemporary expressions of music. I like it because the music comes from a place. It’s not prefabricated or manufactured.”

Douglas and Skaggs had been part of a bluegrass group called Boone Creek, whose One Way Track album was Sugar Hill’s first release in 1978. In a May 18 Facebook post, Douglas wrote of Poss: “His dream was to have a label that mirrored the same idea as Sam Phillips and his famous Sun label, which catered to a specific audience and created a new genre, Rockabilly Plus. Barry knew an audience was there for a specific form of music (bluegrass) and there were certain bands who could grow that audience and the music would evolve with the growth of that audience.”

Douglas, who also produced a number of recordings for Sugar Hill Records, noted that he and Poss were “very close friends. Confidants really. He was like my wingman and brother at any event we collided with. We would spend hours talking about the direction of the music and the parameters he wanted his label to maintain no matter the current climate.” Poss was also godfather to Douglas’ daughter Nola. “Barry loved my family, and Jill and I, along with our children, will forever press his memory closer to our hearts.”

In addition to spending many years at the helm of Sugar Hill Records, Poss was a founding board member of the Bluegrass Hall of Fame & Museum in Owensboro, Kentucky and helped to launch the International Bluegrass Music Association (IBMA).

“Barry Poss was not just a champion of roots music and the artists that made it, but he was instrumental in the founding of our organization,” Ken White, IBMA’s executive director, said in a statement. “For that and so much more, we will always be grateful.”

Poss was a recipient of the IBMA’s Distinguished Achievement Award in 1998. The Americana Music Association also honored him with its Lifetime Achievement Award in 2006 in recognition of Sugar Hill’s pivotal role in both preserving and reinvigorating traditional music, while he was inducted into the Oak Ridge Music Hall of Fame in 2023.

Closer to home, Poss also served on the boards of the Carolina Theater, the Center for Documentary Studies at Duke University, MerleFest, the North Carolina, Folklife Institute, and WUNC-FM.

While many artists and others have shared tributes to Poss since his passing, for his part Poss once said: “It’s the artists who make the music to which I’m the most indebted. They had something important to say. They needed to be heard. And I wanted to be part of their creative lives – because it mattered.”

The Earls of Leicester, which also was the top winner in the 2015 International Bluegrass Music Awards, pay homage to the musical legacy of Lester Flatt and Earl Scruggs and their band, the Foggy Mountain Boys. Besides being named Entertainer of the Year again, the bluegrass supergroup’s bandleader, Jerry Douglas, was again named Dobro Player of the Year, while bandmate Barry Bales repeated as Bass Player of the Year and Charlie Cushman was named Banjo Player of the Year.

Last year, The Earls of Leicester also took home trophies for Album of the Year for its self-titled debut release, Instrumental Group of the Year and Gospel Recorded Performance of the Year, while member Shawn Camp was named Male Vocalist of the Year. Also in the group is Johnny Warren (fiddle).

Flatt Lonesome has been garnering considerable attention, accolades and radio airplay. Launched in 2011 by siblings Kelsi Robertson Harrigil (mandolin), Buddy Robertson (guitar), and Charli Robetrtson (fiddle), along with neighbor Dominic Illingworth (bass) and longtime friend Michael Stockton (dobro), and joined by Paul Harrigil (banjo) the following year, the band released its eponymous debut album in 2013.

During the awards show, members of Flatt Lonesome expressed thanks to their parents for teaching them how to sing. “We wouldn’t be Vocal Group of the Year without them,” said Charli Robertson, while twin brother Buddy remarked: “I’ve spent a lot of hours picking in the house with dad growing up and if it weren’t for him, I wouldn’t be who I am today.” Commenting on winning Album of the Year, older sister Kelsi Harrigill said: “This is our first album to have the majority of material to be all original and that is a huge deal to us. We want to pay tribute to those who came before us but we also want to show people what’s in our hearts…”

Earlier this year, Flatt Lonesome was named Best Overall Bluegrass Band and took home Album of the Year honors during the 42nd annual SPBGMA Awards.

A listing of all the award winners appears below.

2016 International Bluegrass Music Awards

Entertainer of the Year: The Earls of Leicester
Female Vocalist of the Year: Becky Buller
Male Vocalist of the Year: Danny Paisley
Vocal Group of the Year: Flatt Lonesome
Instrumental Group of the Year: Frank Solivan & Dirty Kitchen
Song of the Year: “You’re the One,” Flatt Lonesome
Album of the Year: Runaway Train, Flatt Lonesome
Gospel Recorded Performance of the Year: “All Dressed Up,” Joe Mullins and the Radio Ramblers
Instrumental Recorded Performance of the Year: “Fireball,” Special Consensus featuring Rob Ickes, Trey Hensley and Alison Brown
Emerging Artist of the Year: Mountain Faith
Recorded Event of the Year: Longneck Blues, Junior Sisk and Ronnie Bowman
Banjo Player of the Year: Charlie Cushman
Bass Player of the Year: Barry Bales
Dobro Player of the Year: Jerry Douglas
Fiddle Player of the Year: Becky Buller
Guitar Player of the Year: Bryan Sutton
Mandolin Player of the Year: Sierra Hull

Inductees into the Bluegrass Hall of Fame: Clarence White; the Rounder Founders: Ken Irwin, Marian Leighton Levy and Bill Nowlin

Distinguished Achievement Awards: Bluegrass Unlimited Magazine, Boston Bluegrass Union, SiriusXM Radio’s Bluegrass Junction, Bill Emerson, Jim Rooney


The International Bluegrass Awards Show was a centerpiece of the International Bluegrass Music Association (IBMA)’s five-day World of Bluegrass, which is considered the genre’s annual industry gathering and family reunion. Held in Raleigh for the fourth consecutive year, World of Bluegrass also featured a wide array of professional development seminars, meetings and forums, artist showcases and late-night hospitality functions, an exhibit hall, plenty of networking and relationship-building opportunities, and the Wide Open Bluegrass Music Festival.

Speaking during the awards show, Douglas said: “This is unbelievable fun, and we’re going to keep doing it.”

The Tar Heel State’s own Balsam Range, last year’s Entertainer of the Year and previous winner for Album and Song of the Year, was honored as Vocal Group of the Year, while its “Moon Over Memphis” was named Song of the Year. The acoustic quintet’s Tim Surrett was named Bass Player of the Year.

During the show, Balsam Range performed another one of its songs “Stacking Up The Rocks,” a cappella. Other performers included Flatt Lonesome, the Gibson Brothers (hosts of the event), The Del McCoury Band and Hot Rize.

Alison Krauss joined singer-guitarist Larry Sparks and his band, the Lonesome Ramblers, on a medley of his signature songs after inducting him into the International Bluegrass Music Hall of Fame. Sparks recently released a new album to mark his 50th year in bluegrass music. Also inducted into the Hall of Fame was banjoist Bill Keith – whom Bill Monroe had hailed as the first banjo player who could play banjo songs in a fiddle style and with a fiddler’s virtuosity. Musician and author Jim Rooney and fellow banjo player Alan Munde sang Keith’s praises in inducting him, while banjoist Noam Pikelny – a founding member of the Punch Brothers and last year’s Album and Banjo Player of the Year winner — played Keith’s tune “Beating Around the Bush” in tribute.

The 26th Annual International Bluegrass Music Awards is the centerpiece of the International Bluegrass Music Association (IBMA)’s five-day World of Bluegrass event that continues through Saturday, Oct. 3, with the Wide Open Bluegrass festival featuring free and ticketed events. Awards were voted on by the professional membership of the IBMA (www.ibma.org), the trade association for the global bluegrass music community. Prior to the evening awards show, winners of five 2015 Distinguished Achievement Awards were recognized.

A listing of all the award winners appears below.

2015 International Bluegrass Music Awards

Entertainer of the Year: The Earls of Leicester
Female Vocalist of the Year: Rhonda Vincent
Male Vocalist of the Year: Shawn Camp
Vocal Group of the Year: Balsam Range
Instrumental Group of the Year: The Earls of Leicester
Song of the Year: “Moon Over Memphis,” Balsam Range
Album of the Year: The Earls of Leicester, The Earls of Leicester (produced by Jerry Douglas)
Gospel Recorded Performance of the Year: “Who Will Sing for Me,” the Earls of Leicester
Instrumental Recorded Performance of the Year: “The Three Bells,” Jerry Douglas, Mike Auldridge, Rob Ickes
Emerging Artist of the Year: Becky Buller
Recorded Event of the Year: “Southern Flavor,” Becky Buller with Peter Rowan, Michael Feagan, Buddy Spicher, Ernie Sykes, Roland White and Blake Williams
Bluegrass Songwriter of the Year: Becky Buller
Banjo Player of the Year: Rob McCoury
Bass Player of the Year: Tim Surrett
Dobro Player of the Year: Jerry Douglas
Fiddle Player of the Year: Michael Cleveland
Guitar Player of the Year: Bryan Sutton
Mandolin Player of the Year: Jesse Brock

Inductees into the Bluegrass Hall of Fame: Bill Keith and Larry Sparks
Distinguished Achievement Awards: Alison Brown, Murphy Henry, the International Bluegrass Music Museum, “Bashful Brother” Oswald Kirby and Steve Martin

The global performing arts marketplace and conference featured more than 1000 artist showcases (music, theatre, dance, comedy and more), a large EXPO Hall with nearly 400 exhibitors, daily plenary sessions and keynote speakers, and a wide array of professional development workshops and forums. It is hosted by APAP, a Washington, D.C.-based national service, advocacy and membership organization dedicated to developing and supporting a robust performing arts presenters field and the professionals who work within it. 9Last year’s APAP Conference featured a professional development session on Presenting Bluegrass: Engaging New Audiences. An article on that is archived on AcousticMusicScene.com and may be viewed by clicking on this link:

From the moment Balsam Range kicked off its showcase at the New York Hilton, the conference’s host hotel, with “Moon Over Memphis,” it seemed clear that the group that has headlined concert halls, theaters and festivals throughout North America since its formation eight years ago was doing just that.

Commenting on the accolades and success that Balsam Range has achieved to date, Tim Surrett (bass and dobro) said: “It’s amazing. We would have laughed if you would have told us eight years ago that this would happen.” Surrett, who also co-founded the Mountain Home Music Company (the label for which Balsam Range records) noted that although the group’s members all hail from the same county and live just 15 minutes from each other in western North Carolina, they had been playing in different bands and touring all over the world. “We just got together to pick a little.” The group takes its name from a mountain range in NC’s Smoky Mountain region.

The Depue Brothers Band, Matuto, and Mipso mixed things up a bit during their respective showcases. The DePue Brothers Band perform what they call “Grassical” music – fusing bluegrass and classical, along with elements of jazz, blues and rock. Matuto is a New York City-based ensemble fronted by guitarist Clay Ross. The band plays what it calls Brazilian bluegrass — a lively and very danceable blend of northeastern Brazil’s infectious folkloric rhythms and rootsy Americana (including bluegrass, swampy Louisiana two-steps and spirituals). Besides Ross on guitar and vocals, Matuto features violin, accordion, bass, drums and various Brazilian percussive instruments. The band has been an international musical ambassador through American Music Abroad – a partnership between American Voices and the U.S. Department of State’s Bureau of Educational and Cultural Affairs. Mipso, which bills itself as North Carolina’s renegade traditionalists performing ‘dark holler pop,’ is comprised of four recent college graduates – three of whom grew up with the bluegrass tradition but who, along with their fiddler, give it a little bit of a twist. The quartet’s sound is a blend of bluegrass, contemporary country, folk, gospel and pop.

Bluegrass Sampler Platter Showcase Provides Some Tasty Morsels

The Gibson Brothers, Sierra Hull, Tim O’Brien, Bryan Sutton and The Travelin’ McCourys were part of an extended four-hour Bluegrass Sampler Platter showcase that drew a large crowd (not limited to APAP attendees) to Manhattan’s City Winery.

Opening the show, top-notch guitarist Bryan Sutton, who hails from the mountains of western North Carolina near Asheville, exclaimed: “It sort of feels like a New York City on Sunday night – a place where I don’t have to worry and don’t have to hurry.” Sutton showed off the guitar chops and intricate finger-play that have earned him much critical acclaim and numerous awards (including a Grammy and being named three times as IBMA Guitarist of the Year). Although best known for his flat-picked acoustic guitar playing, Sutton also played banjo on a couple of numbers – while Rob McCoury joined him on banjo on another.

Next up was Sierra Hull, a classy young mandolinist with a beautiful, crystalline voice. Accompanied by Ethan Jodziewicz on stand-up bass, she moved effortlessly between instrumentals and songs during her set. Now in her early 20s, Hull has gravitated more towards the singer-songwriter side of Americana roots music from the more traditional bluegrass of her teen years – although her repertoire reflects a wide range of musical styles. Like Matuto, she was an international cultural ambassador last year through the American Music Abroad program sponsored by the U.S. Department of State.

Hailed in bluegrass music circles for their tight vocal harmonies, The Gibson Brothers have received numerous International Bluegrass Music Awards – including Entertainer of the Year (2012 and 2013) and Vocal Group of the Year (2011 and 2013). Although guitar-playing brothers Eric and Leigh Gibson perform a lot of original material with band-mates Mike Barber (bass), Jesse Brock (mandolin) and Clayton Campbell (fiddle), their set was heavily sprinkled with renditions of songs by such other notable brother acts as The Everly Brothers, The Louvin Brothers (whom Leigh calls “kind of the gold standard of brother acts in terms of country music”) and the Monroe brothers. The Gibson Brothers signed to Rounder Records last summer and their first release for the label, Brotherhood, due out in February, pays homage to the brother acts that have inspired them since growing up on a diary farm in upstate New York.

Tim O’Brien has been a key player on the American roots music scene for years. An acclaimed singer-songwriter and multi-instrumentalist, the Grammy Award-winner and two-time IBMA Male Vocalist of the Year also has had his songs recorded by numerous other artists. But this was his night to shine, and so he did – primarily on guitar and vocals. Noted mandolinist, clarinetist and composer Andy Statman joined him for a few songs from a new Superstring Theory album featuring The Andy Statman Trio with O’Brien and fiddler Michael Cleveland. A lightning-fast-paced number featuring dueling mandolins was among the set’s highlights.

The Travelin’ McCourys – featuring the sons of Del McCoury and their band-mates – closed out the evening with a varied set of music that ranged from songs with four-part harmonies and a high & lonesome sound to more straight-ahead bluegrass and break-neck speed instrumentals during which each player was afforded an opportunity to lead. Enhancing the sound throughout the set was Bryan Sutton on guitar, while all of the evening’s artists were invited on stage to close out the night with a little pickin’ party.

Best American Roots Performance

• “Statesboro Blues,” Gregg Allman and Taj Mahal
• “A Feather’s Not a Bird,” Rosanne Cash
• “And When I Die,” Billy Childs Featuring Alison Krauss & Jerry Douglas
• “The Old Me Better,” Keb’ Mo’ Featuring The California Feet Warmers
• “Destination,” Nickel Creek

Best American Roots Song

• “A Feather’s Not a Bird,” Rosanne Cash
• “Just So Much,” Jesse Winchester
• “The New York Trains,” The Del McCoury Band
• “Pretty Little One,” Steve Martin And The Steep Canyon Rangers Featuring Edie Brickell
• “Terms of My Surrender,” John Hiatt

Best Americana Album

• The River & the Thread, Rosanne Cash
• Terms of My Surrender, John Hiatt
• Bluesamericana, Keb’ Mo’
• A Dotted Line, Nickel Creek
• Metamodern Sounds in Country Music, Sturgill Simpson

Best Bluegrass Album

• The Earls of Leicester, The Earls of Leicester
• Noam Pikelny Plays Kenny Baker Plays Bill Monroe, Noam Pikelny
• Cold Spell, Frank Solivan & Dirty Kitchen
• Into My Own, Bryan Sutton
• Only Me, Rhonda Vincent

Best Blues Album

• Common Ground – Dave Alvin & Phil Alvin Play And Sing The Songs Of Big Bill Broonzy, Dave Alvin & Phil Alvin
• Promise of a Brand New Day, Ruthie Foster
• Juke Joint Chapel, Charlie Musselwhite
• Decisions, Bobby Rush With Blinddog Smokin’
• Step Back, Johnny Winter

Best Folk Album

• Three Bells, Mike Auldridge, Jerry Douglas & Rob Ickes
• Follow The Music, Alice Gerrard
• The Nocturne Diaries, Eliza Gilkyson
• Remedy, Old Crow Medicine Show
• A Reasonable Amount Of Trouble, Jesse Winchester

Best Regional Roots Music Album

• Light The Stars, Bonsoir, Catin
• Hanu ‘A’ala, Kamaka Kukona
• Love’s Lies, Magnolia Sisters
• The Legacy, Jo-El Sonnier
• Ceremony, Joe Tohonnie Jr.

Among the nominees for Best Contemporary Instrumental Album are Chris Thile and Edgar Meyer for Bass & Mandolin. Thile also is part of Nickel Creek. Bass & Mandolin also is in the mix for Best Engineered Album, Non-Classical, as is Keb’ Mo’s Bluesamericana. Glen Campbell’s very moving/poignant “I’m Not Gonna Miss You,” co-written with Julian Raymond and the final song recorded by the ailing country music legend, is among the nominees for Best Country Song of the Year.

The Grammy Awards will be presented by The Recording Academy on Sunday, February 8, 2015. A live broadcast of the major award presentations will air on CBS television stations from the Staples Center in Los Angeles, California.

Balsam Range, which takes its name from a majestic mountain range that surrounds part of its home county in western North Carolina, where the Smokies meet the Blue Ridge, formed in 2007. Besides Melton on vocals and fiddle, its members include Tim Surrett (bass, vocals), Caleb Smith (guitar, vocals), Darren Nicholson (mandolin, vocals) and Mark Pruett (banjo). Balsam Range was previously recognized for Album of the Year (Papertown, 2013) and Song of the Year (“Trains I Missed, 2011).

This year’s coveted Album of the Year award was presented to Noam Pikelny for Noam Pikelny Plays Kenny Baker Plays Bill Monroe. Pikelny, a founding member of the Punch Brothers and formerly part of Leftover Salmon and the John Cowan Band, also was named Banjo Player of the Year. Accompanying the first recipient of the annual Steve Martin Prize for Excellence in Banjo and Bluegrass (2010) on the album were bluegrass stalwarts Stuart Duncan (a fiddle player with whom he’s been playing a number of duo shows this year), Bryan Sutton (guitar), Ronnie McCoury (mandolin) and Mike Bub (bass). Pikelny plans to tour next month with Aoife O’Donovan.

Amanda Smith was named Female Vocalist of the Year. The award for Emerging Artist of the Year went to Flatt Lonesome, while veterans Special Consensus, now in its 39th year as a band, won its first awards for both Instrumental Recorded Performance of the Year and Recorded Event of the Year. Although The Boxcars topped the list of nominees with 10 individual and collective nods, only member Adam Steffey took home an award (Mandolin Player of the Year).

Awards were voted on by the professional membership of the IBMA, the trade association for the global bluegrass music community. Hosted by artists Jerry Douglas and Lee Ann Womack, the awards show featured live performances by Balsam Ridge, The Boxcars, Claire Lynch (Song of the Year winner), Gibson Brothers, Della Mae (2013 Emerging Artist of the Year), Blue Highway, Noam Pikelny, Del McCoury Band, and Frank Solivan & Dirty Kitchen (Instrumental Group of the Year), as well as individual performances by each of the evening’s hosts.

Original members of the Seldom Scene – Ben Eldridge, Tom Gray and John Starling – received a standing ovation as they were inducted into the Hall of Fame and recognized the late John Duffey and Mike Auldridge in their acceptance speech before being joined by current band members in a performance of their hit song “Wait A Minute.” Bluegrass historian Neil Rosenberg also was inducted into the Hall of Fame. Fiddle players Michael Cleveland, Stuart Duncan and Jason Carter joined Rosenberg’s fellow Canadians, The Spinney Brothers, in a special performance to celebrate his achievement.

The awards show – which was broadcast live on Sirius XM Satellite Radio’s Bluegrass Junction and streamed live by Music City Roots — was the centerpiece of IBMA’s five-day World of Bluegrass event that continues through Saturday, Oct. 4 with the Wide Open Bluegrass festival featuring both free stages and ticketed performances. Its annual business conference, as well as a Bluegrass Ramble (an innovative series of showcases), extended from Sept. 30 through Oct. 2.

A listing of the award winners, including the recipients of the IBMA’s Distinguished Achievement Award, appears below.

The 2014 International Bluegrass Music Awards

Entertainer of the Year: Balsam Range
Vocal Group of the Year: Balsam Range
Instrumental Group of the Year: Frank Solivan & Dirty Kitchen
Male Vocalist of the Year: Buddy Melton
Female Vocalist of the Year: Amanda Smith
Emerging Artist of the Year: Flatt Lonesome
Album of the Year: Noam Pikelny Plays Kenny Baker Plays Bill Monroe – Noam Pikelny (artist) Gabe Witcher (producer), Compass Records
Song of the Year: “Dear Sister” – Claire Lynch (artist), Claire Lynch and Louisa Branscomb (writers)
Instrumental Recorded Performance of the Year: “Thank God I’m A Country Boy”- Special Consensus with Buddy Spicher, Michael Cleveland and Alison Brown (artists), Country Boy: A Bluegrass Tribute to John Denver (album), John Martin Sommers (writer), Alison Brown (producer), Compass Records
Gospel Recorded Performance of the Year: “Won’t It Be Wonderful There” – Dailey & Vincent (artist), Brothers of the Highway (album), Mildred Styles Johnson (writer), Jamie Dailey and Darrin Vincent (producers), Rounder Records
Recorded Event of the Year: “Wild Montana Skies” – Special Consensus with Claire Lynch & Rob Ickes (artists), Alison Brown (producer), Compass Records
Mandolin Player of the Year: Adam Steffey
Dobro Player of the Year: Phil Leadbetter
Bass Player of the Year: Barry Bales
Fiddle Player of the Year: Jason Carter
Guitar Player of the Yearr: Bryan Sutton
Banjo Player of the Year: Noam Pikelny

Special Awards (presented earlier in the day on Oct. 2)

Bluegrass Songwriter of the Year: Tim Stafford
Broadcaster of the Year: Kyle Cantrell, Bluegrass Junction, Sirius XM
Print/Media Person of the Year: Chris Jones, writer at Bluegrass Today
Bluegrass Event of the Year: Bluegrass Underground
Best Graphic Design for a Recorded Project: Lou Everhart (designer), Lonely Comes Easy, Chris Jones & the Night Drivers, Rebel Records
Best Liner Notes for a Recorded Project: Neil V Rosenberg, Noam Pikelny Plays Kenny Baker Plays Bill Monroe, Noam Pikelny, Compass Records

Distinguished Achievement Award recipients: Bill Keith, Deering Banjos, the European Bluegrass Music Association, Hillbilly at Harvard, and The Delmore Brothers.

Tim’s music is unique yet familiar. It’s fun, it’s comforting, it’s real.

How would you describe your CD Chicken and Egg?

It’s a lot of fun is what it is. Swingin’, rockin’, bluegrass and old time mashin.’ And the songs are the story of my extraordinarily typical American life. True songs, as Bill Monroe would say. Enough humor to cut the sadness and make it almost welcome. I hope so anyway. I like all the songs and have no regrets about how it came out. That’s unusual. I got to do what I do, with the right help from a stellar core group of Bryan Sutton, Stuart Duncan, Mike Bub, and Dennis Crouch. I get to sing my dad’s own words on a couple songs, and that helps me because he died last fall and I miss him.

If someone was not familiar with your music at all, which recording would you suggest that they listen to first?

Chicken and Egg is about perfect, but you could try Traveler, or Fiddler’s Green, or Rock in My Shoe.

You were recently on the road with Mark Knopfler from Dire Straits. What was it like being part of his band? What kind of audiences did you play for?

We played for hard-core Knopfler fans. Tickets sold out soon after the tour was announced. Smaller halls – {seating] from 1500 to 4000. I was filling in for a buddy on maternity leave, but then he wanted me to stay on through the bigger venues in Europe all the way through July. My part was the North America tour. Great gig in Boston! I learned a lot — how well you can be rehearsed, for instance. Also, how good the production can be, and how to play less to make a bigger sound. It’s serious business; he doesn’t mess around. I liked playing electric guitar on a few. Killer players. Mark’s a true gentleman, commands a lot of respect and gives plenty back.

Your songs have been recorded by a number of very well-known musicians. Do you have any favorites and, if so, what stands out about that musician’s take on your song?

Kathy Mattea’s version of “Untold Stories” was remarkably close to how I imagined it. A great groove. Hot Rize’s version was good but more of a compromise to the original feel. I love that too, though. If a song is good, it can live many lives, and it won’t wear out. I’m always honored and proud when anyone else sings my song, whether it’s Garth Brooks or a Facebook fan.

Do you have any plans to record any more with your sister, Mollie?

We’re planning a family band record. It’s gonna be cool. Her husband Rich, daughters Brigid and Lucy, my sons Jack and Joel. All Roger Miller songs. [We’re] getting the list of songs and who sings ‘em now.

Like many of us, Kathy Sands-Boehmer wears many hats. An editor by profession, she also operates Harbortown Music and books artists for the Me and Thee Coffeehouse in Marblehead, Massachusetts. In her spare time, Kathy can be found at local music haunts all over New England. This and many previous Q & A interviews with artists are archived at www.meandthee.org/blog/txp/, as well as in the Features section of AcousticMusicScene.com.