There are times in life when you are unexpectedly overcome with emotion. Taking our seats at the Greek Theater in Los Angeles this past Sunday, we were treated to something more than exceptional.
From the moment 27 time Grammy Award winning Bluegrass legend Alison Krauss began to sing the opening song, of the new album, Arcadia, “Looks Like the End of the Road,” my heart pumped tears.
Described as a “bitterly mournful waltz about disillusionment and despair.
“It's the end of the circus
And I'm feeling sad like a clown
My makeup is drowning in
Blood, sweat and tears
From my heart and I fear that
When I look around
I lost what I found
When I started off
Never thought I'd cross
The lines that were drawn
A long time ago
Are buried and gone
In lies and ego
And I drank it down
But can't cover up
The lives that I've lost
I've run out of luck
Goodbye to the world that I know
Looks like the end of the road
Isolate in the darkest of nights
And I'm down to the wire
Surrounded by fire
Pull the plug from the jug
But you can't wash it out of your mind
Or stay ahead of the crime.”
I was there again — on the roadmap of history weaving it’s way through my skin like old age spots. I take it all in as anthem to healing. Music is like that, but nothing speaks deeper than the songs, poems and laments of the hills.
Holding up my dress, I envision the feet of many — pounding sorrow into beauty. I thought of the recent floods in the South.
I vividly saw why my husband has adored bluegrass music for many years, despite his beginnings in jazz, rock and orchestra music. It’s the emotions of musical notes, storytelling lyrics and sounds, whose roots go back to the early Scottish-Irish-English immigrants seeking solace in America’s Appalacian region.
John is part of a little bluegrass trio, playing local beer pubs on occasion in SoCal. It’s wear he works it all out (a literal foot-stomping workout) from head to toe, playing modern covers — bluegrass style. Small children go crazy over them :)
The iconic Alison Krauss and Union Station formed almost 40 years ago, when Krauss was a teenager, have recorded seven studio albums together. It’s been 14 years since the last one. Until now.
Released, March 28th, 2025, the Arcadia album is every bit solid and uncompromising. From the haunting song, The Hangman, to the mostly true story of Granite Mills, depicting the fatal 1874 fire at the Granite Mills textile mill in Fall River, Massachusetts and North Side Gal, which made me want to get up and beg to be swung around the dance floor — it treats you to the inarguable vocal performances of Krauss and Russell Moore, who replaced Dan Tyminski (famous for George Clooney’s voice in “Oh Brother Where Art Thou) - I wrote a bit about Tyminski here in an EDM piece where there’s some work (images) of most of Alison Krauss’s band.
Every square inch feels purposeful even if the audience is tasked with intent listening to understand the breadth and scope of the moments, like in the first song where Moore comes in after the line “looks like the end of the road,” wailing oh oh oh…
If you want to fall in love with the dobro and the master behind it, or as my husband said, no less than three times while watching, “he is pure magic,” then Jerry Douglas carries the tone and weight throughout both the album and the show, although each member comes with something special.
Here’s Douglas (below) soloing Chick Corea’s “Spain” on dobro! - I N S A N E (except for the guy who had to go somewhere during it. Just “hold it” why don’t you?) Things one NEVER expects. But expect no less with this group. There’s a fiddle solo by multi instrumentalist bluegrass phenom, Stuart Duncan (sitting in with the band), that is so over the top amazing, I think I grabbed John’s leg and it still hurts he says (j.k.).
The overall talent is pure gold. One can only imagine how fluid and fun it is to record whenever Krauss is ready. Her approach of waiting and song collecting is what makes it all so special. She takes her time.
Krauss’s well spoken southern soft sense of humor is an absolute highlight of the show. Intimate and full to the end, leaving us gifted with no less than six standing ovation songs (from standing once) — most were old “a cappella” style southern spirituals, like “Down To the River to Pray.” (below)
The Arcadia tour is a buffet of perfectly curated songs from old favorites to new. In her interview with CBS Senior Culture broadcaster Anthony Mason, he asks her how she picks songs? Her unexpected answer? “I see them like a movie.” I couldn’t relate more. A moving picture.
I was first introduced to her voice by my husband and then heard her sing “Simple Gifts” with Yo Yo Ma on cello (via my classical listening). I played it in the car, for our youngest son Ian, on his way to school one day. He was almost eight years old and immediately asked his dad to accompany him, on double bass, while he sang it for his school’s talent show. I remember thinking what a cool kid, then watched many evenings as John transposed the song from cello to bass and practiced with the “funny kid.”
Then I saw Cold Mountain and realized it was Alison Krauss and Sting singing “You Will Be My Ain True Love,” which I referenced in a piece I wrote awhile back called Get Up and Run.
Alison Krauss, the person, is infectious. A recognizable voice, a bit reminiscent of Dolly Parton, without the makeup, hair and well, other things :) A tiny fiddle master, you can’t help but love her. Afterall, she also made an album with Zeppelin’s Robert Plant (I felt it was kinda boring - but cool at the same time).
I’ll let the interview below speak for itself. I watched it twice, and after the show, I am an official Alison fangirl. All coming from a 70’s girl that plays dashboard drums to yacht rock (and great rock), loud funky jazz and classical music. I’ve listened to Arcadia at least a dozen times while writing this.
Oh, and my favorite band back then? Chicago.
To say Alison Krauss and the members of Union Station are bluegrass royalty is an understatement. Influencer, popular, mega social accounts, etc., is not what this genre of music attracts. They are humbly seated above all the noise, unknowing, just living a purpose embedded in soul. If more families, more people, took note of the genre that became a calling, a love letter, a protest for the working conditions of coal miners, a way to sing about it, listen to it, rather than dominate it — the world would be more heavenly.
I highly recommend catching this tour and/or opening yourself up to something new that’s really old. Or just listen to the new album. Most of these musicians are high demand studio musicians as well as performers in their own individual bands. They have all crossed over to other genres, playing with talent you are probably more aware of. Jerry Douglas actually just got done working with Eric Clapton. But then… 1600 albums?
While I was lost under real musical stars I remembered what a privilege it was to photograph most of these band members.
Don’t ever think you can’t thrive at any age. Live life the way you are made and never let anyone tell you, (or society tell you), you can’t, you’re too old, or not popular enough to make it matter. It always matters. It is breath.
As I went down in the river to pray
Studying about that good old way
And who shall wear the starry crown
Good Lord, show me the way…
Merry Belated Christmas John. ox
Highlighted again: Jerry Douglas (dobro hero of the world, vocals — recorded on 1600 albums!), Barry Bales (bass master, bass vocals), Stuart Duncan (genius fiddler, mandolin, guitar, banjo, vocals) and Ron Block (banjo, guitar, vocals, insanely talented songwriter) All except Alison Krauss (fiddle, vocals) and Russell Moore (6 IBMA Vocalist of the Year awards, guitar).