In this episode of Americana Podcast: The 51st State, Robert Earl Keen sits down with Billy Strings to talk about learning to play, the craft of songwriting, and the evolving world of Americana music.

Born William Apostol and raised in rural Michigan, Billy Strings grew up surrounded by bluegrass. By the time he was a teenager, his blistering flatpicking had already earned him a reputation as a prodigy among pickers and players. Years of relentless practice and countless small gigs eventually carried him from Midwestern bars and festivals to some of the biggest stages in roots music.

For years, bluegrass lived mostly in whispers. You might hear it referenced in liner notes, spot it in a citation, or see it pop up in the occasional New Yorker cartoon. But something has changed. The conversation has gotten louder, and the reality is harder to ignore.

Bluegrass music is considered cool now.

It should not come as much of a surprise. Bluegrass has always carried a rich and vibrant history stretching back to the early twentieth century. It is a genre that holds tight to regional identity, creative freedom, and remarkable musicianship. At the same time, it has always fostered a deeply communal culture of learning, where songs, skills, and stories move naturally from one player to another.

What the music needed was a new voice. New chapters. New songs added to the bluegrass canon.

That is where Billy Strings comes in.

Over the past several years, Billy has emerged as one of the most influential figures in modern bluegrass. His albums Home and Renewal helped push the genre into new territory while earning widespread acclaim, including multiple Grammy Awards, with Home winning Best Bluegrass Album. His live shows have developed a devoted following, blending traditional bluegrass musicianship with the improvisational spirit of jam bands and the storytelling roots of Americana.

Billy Strings makes music that is rooted in bluegrass but stretches well beyond it. His songwriting reflects a deep understanding of the power of a well-crafted song. His lyrics move easily between personal reflection, observations about economic and ecological change, and the everyday questions that shape a life. All of it is supported by remarkable musicianship and production, where intricate playing and layered sonic details often create moments that feel almost like soundscapes.

Trying to describe how good he is can be difficult.

Some things are simply easier to hear than to explain.

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In this episode of Americana Podcast: The 51st State, we listen for a different kind of music.

Not the kind that starts on a stage. The kind built into process. The low hum of a sewing machine. The steady rhythm of hands at work. The quiet beat of something being made with intention.

The story begins in Tupelo, Mississippi, a town forever tied to music. Gospel, blues, and early rock and roll left their fingerprints here. Rhythm lives in the ground, and making something, whether a song or a pair of jeans, has always meant putting a little of yourself into the work.

Blue Delta Jeans was founded here by Josh West and Nick Weaver. Two men who believed craft still mattered, and that manufacturing could carry the same soul as the music that shaped its region. What they built was not about chasing trends. It was about slowing things down, listening closely, and letting process lead.

This episode explores the connection between music, labor, and culture. The same values that shape a song shape the things we wear. Authenticity. Repetition. Imperfection. Time.

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In this episode of Americana Podcast: The 51st State, host Robert Earl Keen sits down with one of the most quietly influential voices in American songwriting: James McMurtry.

For decades, McMurtry has carved out a singular space where songs are more than melodies. His writing is built on gritty character studies, moral landscapes, and moments of hard-won clarity—stories that feel lived in, observed, and unafraid to sit with complexity. From the early days of his debut album Too Long in the Wasteland to the lived-in wisdom of his most recent work, his catalog reads like a map of roads traveled and lives encountered along the way.

Born in Fort Worth, Texas, McMurtry spent much of his youth in Northern Virginia before finding his footing as a songwriter in Tucson, Arizona, studying English and Spanish while cutting his teeth in small rooms and local venues. After time spent traveling—including a period living in Alaska—he returned to Texas, working odd jobs, playing bars and open mics, and gradually forging a life as a working songwriter. For much of his adult life, he’s been based in Lockhart, just south of Austin, though his music has carried far beyond those borders.

In this conversation, Robert and James reflect on the long arc of a songwriting life—from early guitar lessons and teenage gigs to his first record, Too Long in the Wasteland, and through to his latest album, The Black Dog and the Wandering Boy. Along the way, they talk about craft, observation, patience, and what it means to tell the truth in song without flinching.

It’s an intimate, thoughtful look at an artist whose work doesn’t chase trends or spotlight—but endures, quietly and honestly, exactly where it belongs.

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