The Infamous Stringdusters may be somewhat new as a group, but its members have been around the block a few times, to say the least. Players in the group have played with just about everyone from Tony Trischka to Earl Scruggs to Lee Ann Womack, and back again. From those experiences, they come together on Fork in the Road—one of the most impressive albums by a young new band in contemporary bluegrass since Nickel Creek first appeared like a beacon with their debut.
A Changing Face of Bluegrass
Bluegrass music has really been on the verge of getting revolutionized for years now. Traditionalists have poo-pooed the new school of jam bands and grassrockers while ogling the freakish instrumental proficiency of young groups like Nickel Creek, brushing off the vague genrefication of grassrock groups like the Duhks as bluegrass/something else/something else altogether. Meanwhile, a new generation of bluegrassers has been popping up everywhere like rogue dandelions, dotting the landscape with their new brand of amalgamated hybridgrass.
The Infamous Stringdusters are one such band, adding to the slew of young groups who, like slow singular drops of red food dye, are covertly coloring the bluegrass genre a shiny shade of jamrock.
Fork in the Road
On their hugely fantastic Sugar Hill debut, Fork in the Road, the Stringdusters alight into the land of contemporary bluegrass innovation, slolemning back and forth through traditional styles and those of their own divining. The title track pops up on track number two, forceably leaping through the beginning of the record with its impressive instrumental runs and down home bluegrassy lyrics. Later come "No Resolution" and "Moon Man," which kind of ride up to their mothergenre and look at it, before cantering off in another undefinable direction.
"Poor Boy's Delight" and "My Destination" stand out staunchly, smack in the middle of the record, as two of the strongest songs in the collection. Both showcase the group's impeccable musicianship. Both songs also make no mistake about flaunting the Stringdusters' synergy as a unit, while affording enough room for each picker to shine, shine, shine.
The Bottom Line
Fork in the Road isn't all perfect, granted. Some moments feel a tad redundant, but that's a small misstep when you consider the band is just revving up.
