The New Bluegrass Blueprint: East Nash Grass’s ‘All God’s Children’ is a Joyful, Fearless Masterpiece
By Christian Lamitscka for Country Music News International Magazine
The release of All God’s Children by East Nash Grass (ENG) solidifies the quintet’s position not merely as the newest powerhouse in contemporary bluegrass, but as its boldest innovators. Coming off their 2024 IBMA “New Artist of the Year” win, this album is a confident, cohesive statement. It masterfully blends breakneck instrumental virtuosity with layered, soulful songwriting, proving that bluegrass can be steeped in tradition yet completely untethered from expectation.
The Rise of East Nash Grass
East Nash Grass is less a band that formed and more a collective that coalesced. Its origins lie in a legendary, years-long weekly residency at Dee’s Country Cocktail Lounge in Madison, Tennessee, where some of Nashville’s most in-demand session and touring musicians would gather to play purely for the love of the music. This “romper room” environment forged an ensemble with unparalleled chemistry, tight precision, and an infectious, slightly irreverent energy.
The core lineup is a veritable supergroup of award-winners and veterans:
- Harry Clark (Mandolin, Lead/Harmony Vocals)
- Cory Walker (Banjo, Harmony Vocals)
- James Kee (Guitar, Lead/Harmony Vocals)
- Maddie Denton (Fiddle, Lead/Harmony Vocals)
- Jeff Partin (Bass, Dobro, Lead/Harmony Vocals)
Individually, members have worked with genre titans like Dan Tyminski, Rhonda Vincent, and Sierra Hull. Collectively, they’ve created a sound that critics have dubbed a “joyful tribute to the many ways life gets good.” All God’s Children, released on Mountain Fever Records, perfectly captures this spirit across ten dynamic tracks, showcasing a rare blend of five new originals, two covers, two tunes from friends, and a reimagined traditional piece.
Track-by-Track Breakdown
1. “All God’s Children” (2:51)
The album opens with the title track, a high-spirited number that immediately challenges any preconceived notions the title might inspire. Far from a solemn gospel piece, this is an anthem of gathering and community. Featuring a lead vocal by James Kee, the track has a warm, inviting feel, highlighted by a surprising cameo: the joyful background vocals of David Grier’s seven-year-old son, Nash. It’s an immediate, high-energy declaration of the band’s thematic focus on connection and finding light.
2. “Hill Country Highway” (2:04)
This is a brisk, life-on-the-road song that plays into classic bluegrass themes of travel and introspection, led by Harry Clark’s vocal. With a runtime just over two minutes, it’s a tight, focused dose of pure picking, detailing the perils and musings that come with navigating endless highways. Clark’s mandolin break is concise and melodic, fitting the urgent pace of the journey described in the lyrics.
3. “Followin’ You” (3:18)
One of the album’s lead singles, “Followin’ You,” is a thoughtful, romantic love song delivered sweetly by fiddler Maddie Denton. Denton’s voice, often compared to Alison Krauss, brings a smooth, earnest sincerity to the track. The arrangement is exquisite, with Cory Walker’s banjo and Gaven Largent’s guest dobro weaving intricately around Denton’s melody, building to strong, three-part harmonies in the chorus. It became a fan-favorite, enjoying a lengthy run on the charts.
4. “Git Along Little Yearlings” (3:25)
ENG leans into their love for deep cuts with this cover of a classic Jimmy Driftwood tune. This track has an old-timey, storytelling spirit, chronicling a fraught wagon train journey. It is a fantastic showcase for the ensemble’s ability to handle traditional, narrative material with reverence. The driving rhythm and communal feel make it feel plucked straight out of a 1950s radio broadcast, demonstrating their traditional bona fides.
5. “In Such a Short Time” (2:45)
A blistering, uptempo barn-burner. James Kee takes the lead vocal again on this track about love at first sight, where the speed of emotion matches the speed of the instrumental delivery. The energy here is ferocious—Maddie Denton’s fiddle blazes, while Cory Walker’s banjo rolls with manic precision. It’s a spectacular example of their “new-grass” muscle, utilizing high technical skill for raw, joyous effect.
6. “The Love We Gave Up” (3:27)
Jeff Partin takes the spotlight with a lead vocal on this more mid-tempo, lamenting original. Partin, also an accomplished dobro player, delivers a soulful, country-leaning ballad about a relationship fading due to lack of effort from both sides. The track provides essential dynamic contrast to the album’s frenetic pace, foregrounding the vocal delivery and emotional weight.
7. “Bend in the Road” (2:31)
Another successful single and a definite album highlight, co-written by Harry Clark and Cory Walker. This track hit #1 on the Bluegrass Today Grassicana Chart, thanks to its playful, slightly cryptic lyrics (“turtle waitin’ in an old pothole”) and irresistible square-dance feel. Harry Clark’s vocal performance and the track’s structure—designed to feel both spontaneous and perfectly structured—perfectly embody the band’s ethos of finding fun within the boundaries of tradition.
8. “Redbird” (2:20)
Written by Amanda Fields and Megan McCormick, “Redbird” is a wistful, soulful waltz featuring a tender lead vocal from Maddie Denton. It’s a simple, poetic song that allows the band to showcase their beautiful vocal harmonies and the melodic interplay between the fiddle and mandolin. It’s a moment of reflective calm and emotional clarity on the album.
9. “Lonesome Song” (2:50)
This track leans toward a traditional country ballad feel, with Kee singing the lead about profound loneliness despite the beauty of the surrounding natural world. The instrumentation supports the melancholic mood, contrasting “blue” feelings with the brightness of the music. It’s a heartfelt and relatable reflection on heartache, grounded by the band’s crisp execution.
10. “Jump Through the Window” (2:51)
The album closes with perhaps its most adventurous track: a string-band reimagining of a traditional Liberian chant. Originally an instrumental, the band gives it a dynamic new arrangement. This track is a gripping, high-octane jam that lets the pickers truly unwind. It’s a powerful demonstration of their “no rules” mentality and their ability to successfully fuse global rhythms and deep-rooted bluegrass picking, leaving the listener energized and excited for whatever they tackle next.
Summary
All God’s Children is an essential listen for anyone following the trajectory of modern string music. East Nash Grass delivers an album that is simultaneously technically dazzling and remarkably accessible. By sharing the vocal spotlight and demonstrating flawless interplay, the band proves that their collaborative spirit is their greatest asset. It’s a joyous, complex, and undeniable triumph of contemporary bluegrass.