Then came The Whites—Sharon, Cheryl, and their mother, Buck. These ladies brought harmony that felt like a warm hug on a cold porch. They didn’t just sing backup; they wove their voices into the melody like a third instrument.
Sharon’s high tenor could cut glass, and Cheryl’s rhythm guitar work was so clean it made you jealous. They proved that bluegrass harmony doesn’t have to be all grit—it can be angelic and still kick butt. Try listening to “You’re the First One” without smiling. I dare you.
20:20 with Missy Raines - NoteWorthy Music
The New Guard: Badasses in Bib Overalls
Now, let’s zoom to today. Sierra Hull is a name you need to know—she’s a mandolin prodigy who started playing at age 10. By 16, she was onstage with Alison Krauss. Her fingers move so fast it’s almost obnoxious. But here’s the kicker: she makes it look easy, like she’s just doodling while you’re barely keeping up.
And then there’s Molly Tuttle, who won a Grammy for Best Bluegrass Album in 2026. She’s technically a flatpicker, but her playing feels like a conversation—sassy, confident, and unapologetically female. Her lyrics about heartbreak and growing up? They’re not whiny. They’re sharp.
Oh, and let’s not skip Alison Krauss, who practically invented modern bluegrass crossover. She’s got 27 Grammys, people. Twenty-seven. And she still looks like she just stepped out of a folk album cover from 1994. That’s not a diss—it’s a vibe.
FIRST LADIES OF BLUEGRASS @ COUNTRY MUSIC HALL OF FAME THEATRE - Music
