Last updated: 5 hours ago
What started as a (semi-)traditional bluegrass band in the trenches of the storied folk, bluegrass, and Americana scene in Boston a decade ago has bloomed into an ensemble of players who shapeshift across genres. Even the expansive “progressive bluegrass” label doesn’t come close to capturing their musical scope.
Chris Sartori's upright bass anchors everything with an undeniable, articulate groove. Dan Bui's mandolin is thick, crisp, and propulsive. Kathleen Parks' fiddle and Anh Phung's flute are at constant play, often augmented with effects pedals for layered musical textures, psychedelic sounds, and wild solo trading, somewhere in the ether between bluegrass and jazz. Out in front of the ensemble, Parks’ lead vocals are an instrument unto herself: equal parts mystery, power, haunt, and a search for the edges. And she's surrounded on all sides by the voices of her bandmates, who bring on whatever harmonies, unities, whistles, and howls the night requires.
Chris Sartori's upright bass anchors everything with an undeniable, articulate groove. Dan Bui's mandolin is thick, crisp, and propulsive. Kathleen Parks' fiddle and Anh Phung's flute are at constant play, often augmented with effects pedals for layered musical textures, psychedelic sounds, and wild solo trading, somewhere in the ether between bluegrass and jazz. Out in front of the ensemble, Parks’ lead vocals are an instrument unto herself: equal parts mystery, power, haunt, and a search for the edges. And she's surrounded on all sides by the voices of her bandmates, who bring on whatever harmonies, unities, whistles, and howls the night requires.
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