- Tour Schedule
"....Molly Tuttle....sings with the gentle authority of Gillian Welch, yet plays astoundingly fleet flat-picking guitar like Chet Atkins on superdrive. -Paul Zollo, American Songwriter Magazine
Molly Tuttle Band - "Rain and Snow" - Radio Bristol Sessions
Molly Tuttle - Save This Heart (OFFICIAL VIDEO)
Good Enough Official Video
Molly Tuttle Band, White Freight Liner Blues
Molly Tuttle Band, You Didn't Call My Name
Molly Tuttle Band, Girl in my Shoes
You Didn't Call My Name
Molly Tuttle Clawhammer Guitar Little Sadie
White Freightliner Blues
Martin D-18 Demonstration by Molly Tuttle | "Devil on my mind"
Save This Heart
“I love coming up with interesting guitar parts that don’t really fit––that don’t sound like any specific genre or any other guitar players,” Molly says, home in Nashville the day before heading back out to tour. “I am hoping to create my own sound. To find some new ground.”
On her debut solo EP Rise, Molly reveals the rich new ground she’s discovered. Produced by Kai Welch (Abigail Washburn, Bobby Bare, Jr., the Greencards), the seven-song collection relies on a rock-solid bluegrass foundation as Molly breaks free without breaking ties, singing and exploring what her six-string acoustic guitar can do. “This album was a big learning process for me,” Molly says. “I knew Kai would know directions to take my songs that would push me a little outside of my box. I grew a lot more confident in the direction I am heading as an artist.”
Rise further introduces Molly to a roots music audience who’s already enthusiastically embraced and elevated her. A Momentum Award from the International Bluegrass Music Association in the instrumentalist category rounded out her 2016, after she clinched first place in Merlefest’s prestigious Chris Austin Songwriting Competition. Appearances at top-tier festivals including RockyGrass Festival and on programs such as A Prairie Home Companion have expanded her audience, along with almost nonstop touring. Press response has been glowing: a Flatpicking Guitar Magazine cover was followed by praise from The Bluegrass Situation, No Depression, American Songwriter and others. Mostly recently, she’s grinning somewhat slyly on Acoustic Guitar magazine’s April 2017 cover.
Molly was ready for the attention. She began performing publicly at 11 and recorded her first album at 13. Her father Jack Tuttle has taught music in California’s Bay Area where she grew up for more than 30 years. “I really looked up to him,” Molly says of her dad. “I always heard him playing music when I was growing up.” A multi-instrumentalist––she also plays the banjo––Molly felt drawn to the guitar early. “When I was 8, I asked for a guitar, and my dad brought me home a little Baby Taylor and started showing me some simple things. From then on, I was taken with the guitar. It just seemed really natural to me.”
Not one to lounge in what comes easily, Molly decided to challenge herself by attending Berklee College of Music in Boston. “I wanted to deepen my knowledge of music, and Berklee seemed like a great fit,” she says. “They have an American roots program, which was great for me coming from a bluegrass background, but a lot of my guitar teachers were electric players who specialized in jazz and contemporary improvisation. They really pushed me to learn theory and get out of my comfort zone.” After graduating, Molly made the move to Nashville.
Anchored by her lucent vocals, smart writing, and incredible flat-picking, Rise is a direct reflection of Molly’s personal and artistic growth over the last several years. A sense of longing––for someone, for a feeling, for a state of being––pulses throughout the EP. “The songs were written over a long period of time, but throughout it, I was experiencing a lot of transitions in my life,” she says. “Going off to college, then moving from Boston to Nashville. All of this music was written from a place of dealing with a lot of change.”
“Good Enough” kicks off the EP with effervescence and wry self-awareness. Molly’s bluegrass roots are on proud display: her nimble acoustic guitar is joined by a rolling chorus of strings as she ponders the concept of satisfaction. “The idea for ‘Good Enough’ was inspired by writing songs––just never feeling like they are finished and wanting to work and work on them,” Molly says. “It’s also rooted in the discomfort of being a musician in general, having some doubts in the back of my mind about whether or not I and my music are good enough.” Ultimately, the song urges self-reliance and trust. “It’s about finding that place where success and what people say doesn’t matter,” she says. “You’re just satisfied for yourself.”
If “Good Enough” is bluegrass reassurance, second track “You Didn’t Call My Name” is genre-defying grace. Molly’s guitar sets a dreamy, roots-pop pace as she sings achingly about missed opportunities. “I wrote the song right before I left California,” she remembers. “I was feeling a lot of things were unfinished there.”
Even as she stuns listeners with her original songs and collects songwriting awards, Molly’s identity as a guitarist and vocalist influences how she writes. “I think my songwriting goes into who I am as a musician,” she explains. “Writing songs inspires different things on guitar, and vice versa.”
Frenetic “Save This Heart” is a perfect example of Molly’s process. “I came up with the guitar part, and then the words and story started falling into place because the guitar had an urgency to it,” she says. “It’s a song that came out of guitar playing first.” The track is a mesmerizing showcase of Molly’s clawhammer guitar mastery. Even when she could easily fall back on the magic of her fingers, she never shortchanges listeners lyrically: “Your letters get shorter, days get longer / I call across the border, it’s static on the line / Save this heart of mine,” vividly captures the panic of realizing you might be too late.
Molly had the melody for “Friend and a Friend” for years before settling on its traveling musician storyline. Reveling in its bluegrass bones, the song builds, growing bigger and stronger like the “friend and a friend” fanbase she’s singing about. Instrumental “Super Moon” exudes the spontaneity of the song’s recording process: Molly and drummer Jano Rix had never played the tune together before, and their virtuosic chemistry is a joy.
“Lightning in a Jar” breathes new life into a familiar metaphor, and Molly says the moving portrait of nostalgia may be her favorite track on the EP. Her haunting vocals steal ears away from her subtly brilliant playing, underscoring just how much of a triple threat she truly is. “I was thinking about when I was a kid, growing up and visiting my grandparents in Illinois,” she says. “It was a totally different environment than California. It was a magical time, and I was just trying to capture it––my childhood memories.” EP closer “Walden” rearranges Thoreau lines and mixes them with Molly’s own to create stunning musical commentary on impermanence. “I was thinking a lot about climate change,” she says. “In California, we are dealing with really big fires, and it’s so sad. I know people whose houses have burned down. I was thinking about how we relate to the planet.”
When asked what she hopes listeners experience listening to Rise, Molly doesn’t hesitate: “I hope it can bring comfort to and move people. I wrote some of these songs to try to bring positivity to tough situations. Really, I just want to bring people joy.”
Molly Tuttle Nominated for THREE 2017 IBMA Awards
Emerging Artist Of The Year
Female Vocalist Of The Year
Molly Tuttle's 'Rise' debuts at #2 on Billboards Bluegrass Albums Chart
FOR IMMEDIATE RELEASE:
Molly Tuttle's Rise Debuts at #2 on Billboard's Bluegrass Albums Chart
Nashville, TN -- June 15, 2017 -- Award-winning songwriter and virtuoso instrumentalist Molly Tuttle turns a new corner with Rise , her debut as a solo artist, which hit #2 on Billboard's Bluegrass Albums chart this week. Produced by Kai Welch , the seven-song EP was independently released on June 2nd, and celebrated with a sold-out release show at Nashville's Station Inn on June 3rd.
Already a familiar face in bluegrass circles and folk festivals, where she's been performing since the age of eleven, Tuttle widens her reach with Rise. "I wanted to push outside the box," she says of the EP, whose songs mix the fiery fretwork of her acoustic guitar with banjo, fiddle, drums, pump organ, electric guitar, and other flourishes. "It was a good step to finding my own sound, and not staying tied to the traditional bluegrass sound. I grew up playing bluegrass and I still love it, but I'm influenced by other styles of music, too. I really wanted to create something original."
Written during a period of intense change that found Tuttle moving from California to Boston to Nashville, Rise covers a wide swath of ground, showing the full range of its maker's abilities. She writes every song here, singing them in a voice that's both pure and pointed. On an album that also features appearances by several all-stars of the roots music world - including Kathy Kallick, Darrell Scott, The Milk Carton Kids , and Sarah Jarosz's longtime cellist, Nathaniel Smith - it's the 24 year-old Tuttle who shines the brightest.
"I've always listened to a lot of songwriters who don't feel the need to stick to any one genre," she explains. "Hazel Dickens was one of my first influences. She was part of the bluegrass family, but her songs stood out and just sounded like her. Growing up in the Bay Area, Laurie Lewis was another inspiration. She's a great songwriter and a fantastic instrumentalist. Gillian Welch and Dave Rawlings were huge influence, and I listened to them obsessively when I was starting to write songs." Tuttle also lists Bob Dylan, Joni Mitchell, and The Smiths as additional influences, pointing to a record collection that's just as diverse as her own music.
With Rise, Molly Tuttle cements her place in the roots-music community. Recorded in engineer Erick Jaskowiack's studio outside of Nashville, the record is a tribute not only to her instrumental, vocal and songwriting chops, but her storytelling ability, too. Tuttle has never defined her ambitions so clearly, and with Rise, she's moving upward.
"I took the title from a line in Walden from Thoreau, where he compares the human spirit to water," she says of the EP. "He writes, 'The life in us is like the water in the river. It may rise this year higher than man has ever known it.' That feels really relevant to me. It describes how I'm feeling with my music, and where I'm at with creating my own sound, and where we're at in the world right now. I knew it needed to be the title of the record."
This summer, Tuttle will hit the road in support of Rise with stops at key festivals including Middlebury Festival On The Green, Grey Fox, Red Wing Roots, Sugar Maple Festival, Grand Targhee, Mountain Song, and more.
For more information, please visit https://www.mollytuttlemusic.com/. For review copies, please reply to this email.
Molly on the cover of Acoustic Guitar
Molly x American Songwriter
Molly x Nashville's News Channel 5
Molly x NPR
Molly x Bluegrass Situation
July 12 - Middlebury Festival On The Green - Middlebury, VT
July 14 - Grey Fox Bluegrass Festival - Oak Hill, NY
July 16 - Red Wing Roots Music Festival - Mount Solon, VA
Aug. 5 - Sugar Maple Festival - Madison, WI
Aug. 12 - Grand Targhee Bluegrass Festival - Alta, WY
Aug. 16 - West Whately Chapel - West Whately, MA
Aug. 18 - Rockwood Music Hall - New York, NY
Aug. 19 - Long Island Bluegrass Festival - Copiague, NY
Sept. 7 - Theatre On The Green - Cheraw, SC
Sept. 8 - Motorco Music Hall - Durham, NC
Sept. 9 - Mountain Song Festival - Brevard, NC
Sept. 22 - Watermelon Park Festival - Berryville, VA
Sept. 24 - Amesbury Music Festival - Amesbury, MA
Oct. 19 - Wimberley, TX - Blue Rock Studios
Oct. 21 - Blooming Bluegrass Festival - Farmers Branch, TX
Nov. 3 - Stoughton Opera House - Stoughton, WI
Nov. 16 - Fingerlakes Live - Geneva, NY
Nov. 17 - Hudson Valley Bluegrass Assoc. - Poughkeepsie, NY
Nov. 18 - Fire In The Kitchen Concert Series - Madison, CT
Watch Out for Molly Tuttle's Rapid "Rise"
San Francisco bluegrass? Yes, and, too, the voice of an Appalachian spring and a young woman pickin’ like a Stanley brother. Coming out of a Stanley-like family of acoustic wizards, Molly Tuttle has distinguished herself to the point of gracing beautifully the cover of Acoustic Guitar, a somewhat rare gender occasion there. Her new EP album “Rise” has now arrived, dripping with this irony and accomplishment.
You may have heard the lovely “Save this Heart,” a tune that’s gotten some play and has staying power. It remains in my consciousness like I’ve known it forever. The young lady has a way of writing songs that are deceptively simple yet musically deep and with provocative picking. About half of this short album are love songs.
She seems chased by a broken heart wanting to linger. But, she writes about it well, again, simply, but with grit, with, as she says here, an edge of poison in that sugar. The rhymes are neat and nicely placed, the stanzas succinct and rhythmically tight.
your letters get longer/the days get shorter/I call across the border/it’s static on the line/save this heart of mine/darling don’t forsake my hand/I swear the light is not too far/think I finally understand/what you’ve seen clearly from the start/do you feel me in your blood/am I the poison in your veins/deep down I’ve known you were the one/is it too little too late
Molly Tuttle Plots Debut Solo EP Rise
Nashville-based songwriter and multi-instrmentalist Molly Tuttle is already well regarded throughout the roots and bluegrass communities, despite not yet having released a solo collection to her name. That’s all about to change, though, as Tuttle prepares to release Rise, a seven-song EP slated for June 2.
Produced by Kai Welch, Rise features a number of Tuttle’s friends and contemporaries, including Darrell Scott, the Milk Carton Kids, and cellist Nathaniel Smith. On new track “Save This Heart,” Tuttle finds herself joined by songwriter and multi-instrumentalist Scott, who lends scorching pedal steel licks to the sweetly dark tune.
“It was a truly inspiring experience to have Darrell Scott come and play lap steel on this one,” Tuttle says. “His musical sense is so deep and intuitive. He immediately knew what the song needed, and we didn’t want to stop tracking because he kept surprising us with new ideas.”
Next-Gen Pickers: 6 Rising Stars are Carrying on the Bluegrass Tradition by Making It Their Own
Bluegrass was all in the family for Molly Tuttle, whose father, Jack Tuttle, has taught aspiring pickers and fiddlers at the Northern California acoustic music mecca, Gryphon Stringed Instruments, since 1979. “I always wanted to be able to play like my dad,” she recalls. “He would play Western swing songs and bluegrass standards like ‘Sitting on Top of the World.’” Molly picked up the guitar at age eight, and at 11 started gigging with her siblings and dad as the Tuttles.
As a teenager, she expanded her chops transcribing solos by David Grier and other flatpicking luminaries, and then dug deeper as a guitar performance major at Berklee College of Music. Along the way, she says, “I got really into Gillian Welch’s singing and songwriting, and through that, I got obsessed with Dave Rawlings’ guitar style. He has such a unique voice. I was really inspired by that.”
At 23, Tuttle is a masterful flatpicker and clawhammer player (on both banjo and guitar) as well as a fine, Alison Krauss-esque singer—the International Bluegrass Music Association (IBMA) honored her as an up-and-coming instrumentalist with a 2016 Momentum Award, along with Billy Strings. Now based in Nashville, Tuttle performs solo, with the old-timey group the Goodbye Girls—one of many young bands on the scene that started at Berklee College of Music—and with her own Molly Tuttle Band.Read more...
|Jeffrey Pepper Rodgers|
|11/18/2017|| North Madison Congregational Church
|11/19/2017|| Doc's Farm
|1/18/2018|| Eclipse Company Store & Craft Beer Hall
||The Plains, OH|
|1/19/2018|| G.A.R Hall
|1/20/2018|| Calliope: The Pittsburgh Folk Music Society
|1/21/2018|| Mountain Stage-Culture Center Theater
|1/24/2018 - 1/27/2018|| Celtic Connections
|3/02/2018|| Progress Energy Center - Fletcher Hall
|3/04/2018|| Back Porch Festival
Academy of Music
|3/08/2018|| Floyd Country Store
|3/09/2018|| The Prism Coffeehouse
|3/10/2018|| DC Bluegrass Festival
||Tysons Corner, VA|
|3/11/2018|| The Little Theatre
||New Cumberland, WV|
|3/24/2018|| Old Town School of Folk Music
|4/13/2018 - 4/14/2018|| Spring Skunk Music Fest
The Goodbye Girls
|4/20/2018|| Wildflower Pavillion
|4/21/2018 - 4/22/2018|| Durango Bluegrass Meltdown
|5/18/2018 - 5/19/2018|| Berkeley Bluegrass Festival
||Berkeley , CA|
||Pigeon Forge, TN|
|6/01/2018|| Graves' Mountain Festival
|6/02/2018 - 6/04/2018|| Ogden Music Festival
|6/15/2018 - 6/16/2018|| CBA Fathers Day Festival
||Grass Valley, CA|
|7/13/2018|| Boothbay Harbor Opera House
||Boothbay Harbor, ME|
|7/15/2018|| Green River Festival
|7/23/2018 - 7/26/2018|| RockyGrass Academy
|7/27/2018|| RockyGrass Festival
|9/14/2018 - 9/15/2018|| Walnut Valley Festival
|10/24/2018|| Modlin Center for the Arts
|10/26/2018|| University of Vermont Lane Series - UVM Recital Hall
|McLachlin Management International|
|DJ McLachlin and Andrew Stokes|