Rhiannon Giddens is ready to meet a major moment of revival in Black music history, with banjo in hand
Rhiannon Giddens is by the river, holding a torch symbolizing tradition, and she’s extending an invitation for anyone interested to come along and ignite their own torches as well.
Rivers have historically served as both sanctuaries and sources of enjoyment. Previously, artist Giddens was working on her latest collection of traditional banjo and fiddle melodies with Justin Robinson, titled “What Did the Blackbird Say to the Crow.” They were capturing a few tracks at Mill Prong House in Red Springs, N.C., last summer. Upon entering the house, which dates back to a plantation established in 1795, Giddens was taken aback by the palpable energy she encountered.
As a cinema enthusiast, I’d rephrase it as follows: “I recognized those working in these fields,” I admitted. “I identified the individuals serving within this house – and they bore a striking resemblance to me. Then, upon gazing at a wall display, like an old class photo of white gentlemen from Chapel Hill, at the end of the American Civil War, I spotted a familiar surname from Mebane [N.C.] among them… It was as if a storm had struck me. I had to rush to the river.
In a snapshot taken by a photographer, she was kneeling beside the water on the verge of rainfall, pondering: “How many individuals have sought solace at this river throughout its history? How many people, across the generations, who have visited this farm-turned-mansion-turned-private property, have paused right here, troubled for some reason or another?
As I sat down to pen my thoughts about this captivating performance, I couldn’t help but feel the burden of history, sorrow, yet also the vibrant spirit and melodious heritage, that Amelia Giddens shoulders so gracefully. She invites us, her audience, on a journey to uncover and embrace these stories and traditions, just as she did at her debut Biscuits & Banjos Festival in her beloved North Carolina, and now continues with her enchanting Old-Time Revue tour. Mark your calendars for June 18, as this extraordinary spectacle will grace the iconic stage of the Hollywood Bowl – an event not to be missed!
This event will showcase Rhiannon Giddens collaborating with Steve Martin and Ed Helms on the banjo, as well as a reunion of the female banjo supergroup Our Native Daughters. “Lots of banjos,” she exclaims. “This gathering promises to be fantastic. I suggested titling it a ‘Banjo Festival,’ but they wouldn’t allow it,” she chuckles, discussing with The Times over Zoom.
It appears that Giddens, aged 48, effortlessly blends humor with melancholy. Since her encounter with fiddle player Joe Thompson in 2004, she has been dedicated to preserving and revitalizing the authentic Black roots of banjo and string band traditions. In the liner notes for “Blackbird,” she is referred to as an elder, a title she accepts: “To someone who’s 18, I am indeed an elder.” She explains, “I’m almost 50, and we are the half generation. We’re the point five, because our parents didn’t adopt this tradition.
Rhiannon Giddens is leading the charge in a cultural resurgence among Black artists. She’s not only part of the renowned Carolina Chocolate Drops, but also has a successful solo career. Her compositional brilliance was recognized with the Pulitzer Prize for “Omar”, an opera she created. Additionally, she serves as the director of the Silkroad Ensemble. Artists like Beyoncé, whose country album “Cowboy Carter” includes Giddens playing the banjo, are also part of this movement, reviving and redefining their cultural legacy.
In 2021, a waterway served as part of another iconic image from Black Southern culture in the movie “Sinners.” Rhiannon Giddens, who was a musical advisor for Ryan Coogler’s hit film, provided her banjo for the soundtrack track “Old Corn Liquor.” Despite plans to appear onscreen at the main juke joint, her schedule didn’t allow it. Although she confessed she isn’t keen on horror movies and doesn’t intend to watch it, she remains a fan of the film.
“I think what they’ve opened up with the whole conceit behind it is super important,” Giddens says.
Essentially, “Sinners” can be seen as an enlarged, cinematic portrayal of her own work. It explores the fact that a significant portion of our well-known pop music originated from Black communities in the South, yet was often appropriated by white artists such as Elvis, the Rolling Stones, and the country/folk music industries. Furthermore, it delves into how music serves as a means to travel through time, enabling us to communicate with individuals who have gone before us in history, like reaching out during a séance.
According to Giddens, “Beyoncé, ‘Sinners,’ and Biscuits & Banjos form a unique cultural triad that I hadn’t foreseen. I am incredibly grateful for its emergence because it’s been a creative drought… We’ve all been working in isolation, and it often feels like we’re shouldering our own burdens.
During the Durham festival held in April, Taj Mahal, Christian McBride, the Legendary Ingramettes, among other musical greats, performed. Giddens mentioned that “many of my current favorite musicians” were present. She also took part in a biscuit competition and contra dances, dance forms that initially drew her to this type of music.
She expresses that everyone was eager, yearning for an opportunity, longing to experience joy collectively and celebrate our shared humanity.
According to Giddens, the significance couldn’t be greater. They and Robinson acquired their melodies and craft straight from Thompson before his passing in 2012; they were performing his music together in Ojai not long ago when it suddenly struck me how vital our work was, she says, “as if I could hear the fullness of the sound we created together.” She exclaimed: “If either of us is involved in an accident, this tradition will cease to exist.
She aimed to capture the melodies that were handed down from Thompson, along with those from Etta Baker and other traditional North Carolina string band musicians, which led to the creation of the “Blackbird” album. However, she strongly believes that the only authentic way to pass on this tradition is by playing together in person.
As a musician, I found my core shaped profoundly by learning from Joe. Listening to recordings can be informative, yet having a direct, living connection like I had with him is priceless, particularly in today’s digital era.
Over the last two decades, Giddens has successfully passed on her traditional skills to numerous pupils, among them being her nephew Justin “Demeanor” Harrington – a multi-talented individual skilled in playing both banjo and bones, as well as rapping. He is currently accompanying her in her Old-Time Revue’s tour.
For Giddens, this will mark their debut at the Bowl. Similarly, Amythyst Kiah from Johnson City, Tennessee, who plays the banjo, and one of Our Native Daughters, will make their first appearance. This group originated in 2019 when they recorded a one-off album in a compact Louisiana studio, inspired by the transatlantic slave trade and the frequently unheard stories of pain and resilience from Black women.
Kiah suggests that music is capable of making people more open, which means they can approach difficult topics more comfortably through music instead of simply discussing them directly.
The robust quartet, comprising Allison Russell, Leyla McCalla, and another member, previously performed their songs across various venues prior to the pandemic. Later, they showcased their banjos at Carnegie Hall in 2022. Now, as Kiah puts it, “We’re playing in a stadium,” which is astonishing.
According to Giddens, the high-profile Bowl event isn’t typically something he engages in. He admits it feels a tad outside his comfort zone, and let’s be honest, the sheer scale of the venue is giving him quite a scare!
In essence, it’s just another stretch of water, more accurately speaking, it’s the very same river that Giddens has been welcoming people to visit for the past two decades.
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2025-06-16 22:01