(Reprise)
The crossover star’s introspective sixth album is full of memories of his mother, who died in 2025, bringing his dextrous guitar to songs rooted in tradition and yearning
On the face of it, 2025 was a landmark year for Billy Strings. His fifth album, Highway Prayers, won him his third Grammy. The first bluegrass album in more than 22 years to debut at the top of the US album sales chart, it confirmed him as the genre’s biggest crossover star in decades. He was feted by everyone from Bob Dylan to Post Malone to Willie Nelson, the latter describing him as “the John Coltrane of bluegrass”, a pretty impressive soubriquet in anyone’s book. As the New York Times noted, he was now capable of filling the arena-sized venues that his idols – Doc Watson, Clarence White, Tony Rice, Béla Fleck – could never have dreamed of performing in, packing them out with an audience that look less like traditional bluegrass aficionados than Deadheads: a vast, mobile, hippy-ish army that call themselves Goats. They’re presumably drawn by the ease with which Strings occupies the no man’s land between country and expansive, psychedelically informed improvisation, his willingness to put acoustic guitar through umpteen effects pedals and stretch out songs for 20 minutes on stage.
It’s a side of Strings’ music that’s only hinted at on Highway Prayers’ follow-up: as Burn the Other End and Lucid Daydream draw to an end, they briefly unravel into a kind of abstraction that you can imagine as a jumping-off point for heady, out-there exploration live. But So Much for Goodbyes is an album more concerned with introspection, and understandably so. In the midst of 2025’s successes, Strings’ mother died of an overdose. His chaotic upbringing is a matter of record. His father died of a heroin overdose when he was two, both his mother and his stepfather were addicted to meth and he left home at 14 on the grounds that “there was no food in the house and my parents were strung out”. But Strings said he had “no idea” she had relapsed, and her death seeps into every corner of the album: its title and cover art – based on a collage his mother was working on the night she died; the concluding instrumental that bears her name, Debra’s Waltz; the songs that, on the surface, appear to have nothing to do with her passing.
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