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Molly Tuttle |

A virtuoso multi-instrumentalist and award winning songwriter with a distinctive voice, Molly Tuttle has turned the heads of even the most seasoned industry professionals. Her lovely voice, impeccable guitar playing, and sensitive song writing make her a star on the rise. Molly has appeared on A Prairie Home Companion, Hardly Strictly Bluegrass, was featured on the cover of Flatpicking Guitar Magazine, and won first place in the prestigious Chris Austin Songwriting Competition at Merlefest.
"....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)

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

Molly Tuttle speaks softly. Her voice is both lilting and lucid, and when she says that she wants to create music that is truly original and unmistakably hers, her quietness shifts into a steely audacity that’s charming and almost funny––she’s only 24, after all. But then, you remember her songs. And it hits you: brash, beautiful originality is exactly what Molly is doing.

“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 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.”


Brittney McKenna

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.


Jeffrey Pepper Rodgers





5/27/2017 Strawberry Music Festival
Grass Valley, CA
6/02/2017 John Hartford Memorial Festival
Morgantown, IN
6/03/2017 Station Inn
Nashville, TN
6/09/2017 - 6/10/2017 Pagosa Folk n Bluegrass Festival
Pagosa Springs, CO
6/14/2017 - 6/17/2017 CBA Music Camp
Grass Valley, CA
6/15/2017 - 6/18/2017 CBA Fathers Day Festival
Grass Valley, CA
7/12/2017 Middlebury Festival on the Green
Middlebury, VT
7/13/2017 Club Passim
Cambridge, MA
7/14/2017 Grey Fox Bluegrass Festival
Oak Hill, NY
7/16/2017 Redwing Roots Music Festival
Mount Solon, VA
8/05/2017 Sugar Maple Traditional Music Festival
Madison, WI
8/07/2017 - 8/11/2017 Grand Targhee Camp
Alta, WY
8/12/2017 Grand Targhee Festival
Alta, WY
8/16/2017 Watermelon Wednesdays
West Whately, MA
8/19/2017 Long Island Bluegrass Festival
Copiague, NY
8/25/2017 - 9/01/2017 NimbleFingers
Sorrento, BC
9/07/2017 Theatre on the Green
Cheraw, SC
9/08/2017 Motorco
Durham, NC
9/09/2017 Mountain Song Festival
Brevard, NC
9/22/2017 Watermelon Park
Berryville, VA
9/24/2017 Amesbury Harvest Fair and Country Music Festival
Amesbury, MA
10/07/2017 Ross's Landing
Chattanooga, TN
10/19/2017 Blue Rock Studio
Wimberley, TX
10/21/2017 Blooming Bluegrass Festival
Farmer's Branch, TX
11/03/2017 Stoughton Opera House
Stoughton, WI
11/17/2017 Unitarian Fellowship
Poughkeepsie, NY
11/18/2017 North Madison Congregational Church
Madison, CT
1/20/2018 Calliope: The Pittsburgh Folk Music Society
Pittsburgh, PA
3/02/2018 Progress Energy Center - Fletcher Hall
Raleigh, NC
3/10/2018 DC Bluegrass Festival
Tysons Corner, VA

Artist Management

McLachlin Management International 
DJ McLachlin and Andrew Stokes