Brennen Leigh moved decisively beyond the pandemic and the end of a long partnership to release three remarkable albums in less than three years. They tell a story of a traditional country artist with a strong point of view and a sharp eye for character and humor. Prairie Love Letter was inspired by growing up in rural Minnesota where she developed a love for picking and singing. The western swing project Obsessed With The West taps a friendship she made with Asleep At The Wheel during her years in Austin. Her latest is old school Nashville country with Ain’t Through Honky Tonkin’ Yet. Craig and Brennen talk about it all.

The story of Peter One is as warming as his music. As a young man in his native Côte d’Ivoire, he latched on to folk and country music more than most of his peers, until he met collaborator Jess Sah Bi, with whom he formed a celebrated, socially conscious duo in West Africa. Both had to leave the country due to political turmoil, and Peter One started over in the US, first in Delaware then in Nashville where he moved for a career in nursing. A rediscovery and reissue of his best African record reignited a music career that had been interrupted for 30 years, and this summer he’s everywhere from the Opry to Newport Folk Fest. I spend an hour with this kind and fascinating songwriter/guitarist.

Episode #250 of The String opens with thoughts about the seemingly divergent music genres of indie rock and folk music, because in my rambling through this year’s coolest, Americana chart-making albums, I came across a couple of fascinating artists who split the difference in their own ways. Cat Clyde is an exciting young songwriter from Canada whose current album Down Rounder impresses with its moody grace and confrontive lyrics. About the same time, Eric D. Johnson released yet another album under his moniker Fruit Bats, and in the wake of his award-winning work with folk trio Bonny Light Horseman, his bright and uplifting pop sounds downright rootsy. They split a fresh-sounding hour of the show.

One key reason that Dwight Yoakam exploded into country music consciousness in 1986 was the electric guitar and electrifying record production of his friend Pete Anderson. Anderson moved from his native Detroit to Los Angeles and found himself in a powerful partnership that changed the sound of country and sold around 25 million records. After more than 15 years, Anderson pursued his own interests, including a bluesier side of his guitar and record production in his own studio, including key Americana stars. Now he’s written a book compiling all he’s learned and realized about record production, and that became the basis of a fascinating conversation.

For all of the sardonic honky tonk music of his early albums and the more character-driven folk music from albums like Upland Stories and Gone Away Backward, Fulks can trace a strong bluegrass thread through his career. He grew up loving Doc Watson in North Carolina, picked up the banjo and flatpicked guitar as a kid, and joined the venerable bluegrass band Special Consensus as he established himself in the Chicago music scene. He’d touch on the genre here and there, but now he’s finally written and recorded Bluegrass Vacation, a 12-song collection that touches on classic themes and high lonesome textures.

Layng Martine Jr. earned a slot in the Nashville Songwriters Hall of Fame with numerous hits for a range of artists that included Reba McEntire, The Pointer Sisters, and Elvis himself. He thought he was retired, but when his son Tucker, one of the most respected producers and recording engineers in indie music, gave his father the studio time and resources to make his first real album as an artist as he approached 80 years old, a series of sessions in Portland, OR became Music Man. It's a joyful, sunny collection that sounds like nothing else in roots music, and Layng turns out to be a sunny and charming fellow himself. We talk about arriving in Nashville in the 70s, writing Elvis's last hit, and the renewing thrill of cutting songs he'd written between 1964 and the 2000s.

Alison Brown found her life's work early when she started playing banjo as a pre-teen growing up in southern California. But it took some time and real life experience - a Harvard degree, an MBA and a couple of years in banking - before she finally gave herself permission to chase a music career. She toured with Alison Krauss in her early days and then formed her own bands, earning her rep as an innovative, jazz-oriented virtuoso player. She's released about a dozen albums of her own composing, including the latest On Banjo, featuring guests Stuart Duncan, Steve Martin and Anat Cohen. We sat down in the studio of Compass Records, which she co-founded with her husband more than 25 years ago, for a wide-ranging talk about her instrument, her destiny, and her latest music.

Dom Flemons made history founding the Carolina Chocolate Drops, an old-time band that changed the face of roots music in the 21st century. Through found songs and tunes learned at the feet of old masters, they won a Grammy Award, played the Grand Ole Opry, and opened up new lanes for Black musicians finding their voice in folk. Since parting ways in 2013, Flemons has been a lynchpin of the folk music scene, an “American songster” who plays a wide range of instruments and who puts on magnetic solo shows. His 2018 concept album Black Cowboys dug up more potent history and earned a Grammy nomination. For his first album since then, he goes inward and leans into his life of songwriting for the first time, resulting in the vivacious and eclectic Traveling Wildfire.

William Prince grew up on country and gospel music in rural Manitoba on the Peguis First Nation reserve, getting a grounding from his minister/musician father. Now Prince is a musical minister of sorts, making a strong mark on north American folk music with his sincerity, gravitas and beautiful baritone voice. His formal debut won Canada's JUNO Award for best contemporary folk album, and his twin releases in 2020 were well attuned to the spiritual yearning of the pandemic lockdown. Now Stand In The Joy, produced by Dave Cobb, is a rich portrait of contentment and gratitude.

Canada’s coolest couple - more than 12 years into their joint venture called Whitehorse - went on a creative tear, releasing three albums in two years, all of which came with a portfolio of daring and whimsical graphic design, photography and video. The albums flow, from the zesty indie-rock leaning Modern Love in March 2021 to the psychedelic pop wonder whirl of Strike Me Down, which arrived six months later. Then in January of this year came I’m Not Crying You’re Crying, their most overtly country album yet.