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Concert Review and Photos: Marty Stuart and His Fabulous Superlatives deliver at the Odeum

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Country legend Marty Stuart and his band The Fabulous Superlatives put on quite a show at the Greenwich Odeum Saturday, March 5, 2022.

Behind his sincere country charm, Stuart is no doubt a legendary frontman… and the trio behind him is one of the best in the music business… country or otherwise. The band demonstrated impeccable musicianship while providing a degree of showmanship rarely seen these days.

Labeled a traditional country act, the band moved through multiple musical genres, from surf to bluegrass, gospel to rock and roll. Stuart dubbed RI the “surf capital” while the band shined on a couple of guitar favorites, the opener “Graveyard,” and later, a raucous cover of the Safari’s “Wipe Out” anchored by bass player Chris Scruggs on lead. Yeah, you read that right. Look it up on YouTube, you’ll see what I mean.

The show included favorites like “This One’s Gonna Hurt You,” “Look at That Girl,” and “Tempted,” featuring Kenny Vaughn’s impressive Telecaster lead. Vaughn, known as Cousin Kenny, is a guitarist’s guitarist, and one of the best in the business. Simple as that.

Other highlights included the Travis Tritt cover “The Whiskey Ain’t Workin’” and a sublime version of “Matches,” with the road-worthy lyric “Matches, I need some matches, cause I still got one old bridge I need to burn.”

Drummer Harry Stinson stepped up on guitar for a couple of tunes, including a nice version of the Woody Guthrie classic “Pretty Boy Floyd,” underscoring the classic verse: “Through this world I’ve wandered, I’ve seen lots of funny men; Some will rob you with a six-gun, and some with a fountain pen.”

Several acoustic tunes showcased the band’s skills, and the sound quality at the Odeum was the best I’ve heard in a long time. The Willie Nelson cover “Me and Paul,” was superb and came with a great story about Willie, while the Rouse Brothers classic “Orange Blossom Special,” showcased Stuart’s out-of-this-world mandolin skills.

Further credit to the band .. when they appeared for their planned two-song encore, a heckler pleaded for Stuart to play the Marty Robbins classic, “Poor Side of Town.” Amazingly, without any prior notice or rehearsal, Stuart found the right key and sang a few verses with the band right behind him. It was a memorable moment, seeing the band pull it together off-script. You don’t see that much anymore.

If you get the chance, do not miss this band! Meanwhile, check out some impressive photos of the evening from WUN photographer Rick Farrell.

More concert photos on WUN:

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Concert Recap and Photos: Lost Dog Street Band at The Strand – What’s Up Newp (whatsupnewp.com)

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Live Review: Marty Stuart and His Fabulous Superlatives @ Wolf Trap — 4/6/23

Marty Stuart and His Fabulous Superlatives (Photo courtesy Q Prime)

“When we started this band,” said Country Hall of Famer Marty of His Fabulous Superlatives, “we didn’t have a lot of backing from Music Row,” the Nashville establishment of the heart of mainstream country music.

Yet on the first of two nights at The Barns at Wolf Trap, the band played tribute to country music in the most expansive way, covering classic songs and playing instrumentals along with originals from across their extensive catalog.

Stuart’s roots in country go back a very long way. An instrumental prodigy, specializing in the mandolin, which he busted out a few times at Wolf Trap on April 6, Marty hit the road with Lester Flatt’s band before he’d even reached adolescence. (He once remarked on being a “product of the Mississippi public education system with an 8th-grade education.”) After his time with the bluegrass great, he joined an even larger figure in the history of country music, Johnny Cash, whose signature black attire he adopted. It was with Cash he first visited the Pine Ridge Indian Reservation. Stuart asked Cash, “Why are we here?” to which Cash replied, “This is the poorest county in America. These people need our love and our hope.”

When he went out decades later with the Fabulous Superlatives, he returned to the reservation, “one of the first places to welcome us.” Marty married his wife, fellow country singer Connie Smith, there, and he was adopted as  a member of the tribe. One of the first records he released with the Superlatives was Badlands: Ballads of the Lakota , a project clearly influenced by Cash’s Bitter Tears , released some four decades previously. Thursday night’s set included the title track.

Watch Marty Stuart and His Fabulous Superlatives perform “Badlands” live on The Marty Stuart Show via YouTube:

“When we first got together,” Marty explained, “we started by playing old gospel songs,” like “Get Down On Your Knees and Pray.” Gospel has remained a major part of their oeuvre, with two records, Souls’ Chapel  and Saturday Nights and Sunday Mornings , dedicated to it.

While Cash may be Stuart’s most significant influence, he’s named for another country music legend, Marty Robbins. Years ago, Marty and his band were invited to take part in a tribute to Robbins, and they chose to play his best-known number, the western ballad “El Paso.” After they finished playing it at Wolf Trap, Marty remarked on how many words the song has — over 400!

The show started with the band displaying its instrumental prowess. “Cousin” Kenny Vaughan, on lead guitar, is a student of Bill Frissell who has played on countless sessions and toured with Lucinda Williams. Drummer “Handsome” Harry Stinson has had a long career, including serving as an inaugural member of Steve Earle’s band, The Dukes. Marty described bassist “Professor” Chris Scruggs, the grandson of Earl Scruggs (the onetime partner of Stuart’s former boss, Lester Flatt) as “country music royalty.”

After the instrumental introduction, the set continued with the lead track of Nashville, Vol. 1: Tear the Woodpile Down . Then they went deep into Stuart’s back catalog, playing a tune from before the Superlatives days, “Tempted.” Moving on, he mentioned how Merle Haggard died seven years on March 6, which was also his birthday; this year, he would’ve been 86. Everyone knew exactly what was coming, and they weren’t disappointed as they were treated to a fantastic cover of “Mama Tried.”

Several years ago, Stuart and the Superlatives toured with original Byrds Roger McGuinn and Chris Hillman to celebrate the 50th anniversary of the seminal country-rock album Sweetheart of the Rodeo . The Byrds’ influence was already apparent on Stuart’s last album, Way Out West , especially on the psychedelic track “Time Don’t Wait,” which closed the main set. It’s come even more to the front of what they did in material from their upcoming album, Altitude , songs like “Sitting Alone” and “Space,” which closed the show. ( Altitude, a “cosmic country” album, is due for release on May 23 via Snakefarm Records .)

Watch a visualizer for “Sitting Alone” by Marty Stuart and His Fabulous Superlatives on YouTube:

Each member of the Superlatives got to take a turn as a featured performer, beginning with Vaughan, who played “Country Music Got A Hold on Me” and “Nights Like That.” After “The Whiskey Ain’t Workin'” and “Wipe Out” (Marty declared Vienna “the surf music capitol”), Scruggs took his turn with Bob Wills’s “Brain Cloudy Blues,” which was, he noted, originally sung by Tommy Duncum. Stinson played McGuinn and Bob Dylan’s “The Ballad of Easy Rider” and Woody Guthrie’s populist outlaw ballad “Pretty Boy Floyd,” emphasizing the line, “Some will rob you with gun, some with a fountain pen.”

Marty Stuart and His Fabulous Superlatives are one of the tightest bands I’ve seen, and not just in country music — in any genre. Most bands wouldn’t attempt the variety of music they play, especially not the well-known instrumentals. They do what they do at the highest level of proficiency, but it’s never pretentious: Thursday night was, as are all of their shows, a really great, fun time, with the audience clapping along with many of the songs. There’s a lot of joy in what these guys do, a true love of the music and performing.

I just saw this band in Bakersfield 10/25/24. These guys are incredible musicians and singers. Marty’s voice is only getting better. No exaggeration. I absolutely love seeing and hearing these guys. Crystal Palace show was great and this one at the Fox Theater was just as good or better. One of the best concerts I’ve been to and I’m 61.

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Tiny Desk Premiere: Marty Stuart and His Fabulous Superlatives

Suraya Mohamed

Credit: Photo: Estefania Mitre/NPR

When Marty Stuart arrived, his cheerful smile and charismatic personality beamed. He had a charming swagger and it was immediately clear we were in the presence of a country and bluegrass music legend.

When Stuart was just 12 years old, he went on the road for the first time with a Pentecostal gospel bluegrass group called the Sullivan Family Gospel Singers. Almost 55 years later, he's still performing and is a five-time Grammy winner, Country Music Hall of Famer and AMA Lifetime Achievement Award recipient.

Those accolades only hint at the artistry of Stuart and his longtime band The Fabulous Superlatives. Looking around the room during his Tiny Desk performance, people in the audience were visibly captivated by this undeniable demonstration of musical excellence — beautiful harmonies, precise rhythmic precision and perfectly blended arrangements all sewn together with a casual flair that was simple and fun.

Recorded just a few days before Easter, the set ends appropriately in the spirit of the church. "When we first put our band together, the way we learned to sing together was singing gospel songs," said Stuart. "I was in love with the Staple Singers as always, Mavis and Pops and Cleotha and Pervis, and they are all like family and so bluegrass music all figured in. So we finally got around to writing a few songs for ourselves and here's one we got to do called 'Heaven.' "

• "Streamline"
• Marty Stuart: vocals, guitar, mandolin
• Kenny Vaughan: guitar, vocals
• Chris Scruggs: bass, vocals
• Harry Stinson: drums, vocals

TINY DESK TEAM

• Producer: Suraya Mohamed
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• Production Assistant: Ashley Pointer
• Photographer: Estefania Mitre
• Tiny Desk Team: Maia Stern, Hazel Cills
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• Marty Stuart And His Fabulous Superlatives

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A year ago, almost to the day, I gave a glowing review to a Marty Stuart show at The State Room for Salt Lake magazine. It was, in hindsight, definitely one of the best shows I saw in 2016 and perhaps one of the best I’ve ever seen in my life. Tonight, Stuart and his band, His Fabulous Superlatives, again played Salt Lake’s best small venue—and three songs in, I knew once again that Stuart and his band were once again going to claim their rightful space at the top of my Best Shows of the Year list.

I knew so early in this time because the show was nearly identical to the one I had seen a year before, in all the best ways. Now—of course there were were differences. This time the band wore black and pink suits that would make Nudie Cohn proud, not blue. And this time the setlist included material from the band’s new album, Way Out West , instead of a steady stream of classic country and gospel favorites.

But, the fundamentals of this show remained the same.

This band is good. This band is really, really good. From guitarist “Cousin” Kenny to “Professor” Chris Scruggs (yes, there’s a relation) to “Handsome” Harry Stinson to, of course, frontman Marty Stuart (hey, Marty, how come you don’t give yourself a cool nickname like the members of your band have?)—these gentlemen are musician’s musicians, seamlessly moving from surf music in the song “Mojave” to the sweet harmonies and Kenny Vaughn’s remarkable guitar-playing in the Marty Robbins classic “El Paso.” Their strength is in the way they make it look both easy and fun—always smiling.

To put it more simply, they are fabulously superlative. It’s not just a clever name.

Stuart’s hauntingly beautiful solo version of “Orange Blossom Special” on his mandolin— with a story you should hear from the man himself to go with it—stood out again as a highlight of the night, as did the encore version of “Long Black Veil” which, to my dismay, featured the only pedal steel playing of the whole night. Once again, as was the case a year before, each member of the band got his own time to shine at the microphone each featuring songs that seemed to harness the power of the music that has heavily influence the band’s overall sound—shades of Jerry Lee Lewis, Roy Orbison, Buddy Holly reigned supreme—and even a Pete Seeger cover.

And yes, they played tracks from the new album—lots of it. It served up an opportunity for the band to flex its musical muscles on everything from a guitar-driven psychedelic rock narrative about pills that was equal parts Hunter S. Thompson and Alice in Wonderland to the more fitting standard country music song about a big rig driver.

Last year when I saw Marty Stuart and his Fabulous Superlatives I felt like I’d witnessed something special that I’d never see again. This year, I felt dejå vu. But you see, I think that was actually the most beautiful part of this show. Because I realize now that I didn’t witness anything special that first night. I just saw the show that these four men put on every night, in every city they go to. And I’ll be damned if that’s not special.

I would watch this show every single night, and like the band itself, I would do it with a smile on my face. 

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Marty Stuart and His Fabulous Superlatives Award Scottsdale Center For The Performing Arts A Binding Ride In History, Showmanship & Chops (SHOW REVIEW/PHOTOS)

• By Joe Baker
• One Comment

Marty Stuart and His Fabulous Superlatives had the crowd on the edge of their seats throughout the entirety of their sold-out concert on April 28th at the Virginia G Piper Theater at the Scottsdale Center for the Performing Arts.

The four-piece started off with their theme song “La Tingo Tango” a twangy surf instrumental from their rare 2008 release Cool Country Favorites followed by their hillbilly barnburner, “Tear The Woodpile Down”, featuring exciting dual telecaster leads by Stuart and second guitarist, Kenny Vaughan. Stuart then sang a few of his classic hit songs, starting with 1991’s “Tempted”, the first song of the night to feature the incredible three-part harmonies of Stuart, drummer Harry Stinson, and bassist Chris Scruggs. 1993’s “Whiskey Ain’t Workin’ Anymore” earned Stuart and former Bud Light drinker Travis Tritt a Grammy for Best Country Collaboration with Vocals , with Stuart playing hot guitar licks that had echoes of Johnny Paychecks’s pedal steel player, Lloyd Green. 

Next came the “Arizona debut” of the Byrds-like “Sitting Alone” from their forthcoming album, Altitude , complete with 12-string Rickenbacker electric guitar and soaring vocal harmonies. This was followed by the Waylon Jennings classic “Just To Satisfy You”, opening with several minutes long jam with Stuart and Vaughan trading solos, while dedicating it to “all the folks who used to see Waylon at JD’s” in reference to the two-story Scottsdale nightclub where Jennings first developed a big following in the mid-60s. 

The band soon got back to surf territory as each band member received their formal introductions, to much applause, before “Cousin” Kenny Vaughan took lead vocal duties for the next couple of songs, both originals from his solo album, V .  These were the roadhouse rocker, “Country Music Got A Hold On Me” and the jump-blues swing of, “Hot Like That”, the latter featuring some very tasty lead playing by Vaughan and the first tune of the night with Chris Scruggs switching his electric bass for an upright. 

What will likely be the most memorable song of the night for many in the audience came next with Marty Robbins’, “El Paso”, The band played this western classic flawlessly with gorgeous three-part harmonies that would make the Glaser Brothers proud, and Vaughan played all of Grady Martin’s original Spanish guitar lines. Like Waylon, Marty Robbins first made a name for himself in the greater Phoenix area before being swept away by Nashville. Marty Stuart said his mom named him after Robbins and they received a standing ovation for their efforts and a massive roar of applause.

Stuart then did a tribute to the Lakota tribe of South Dakota’s Pine Ridge Reservation, of which he and his wife, Connie Smith, are adopted members, with the driving “Badlands”, from his 2005 release, Ballads Of The Lakota .

With Chris Scruggs back on upright bass, it was time for him to show what an incredible singer he is with the Bob Wills and his Texas Playboys classic, “Brain Cloudy Blues”, and the first song of the night with Stuart tearing it up on mandolin. With the same instrumentation, they took on the surf tune, “Wipe Out”, in which their drummer played the classic drum solo solely by slapping his hands on his cheeks and with Scruggs doing some serious slapping his upright bass.

Next, it was drummer Stinson’s turn to shine, as a vocalist. It took about one line of Woody Guthrie’s, “Pretty Boy Floyd”, for the audience to be in total awe of his vocal mastery. Twice during the song he held a single note for an impossibly long time, receiving an ecstatic roar of approval from the crowd. Soon to follow, he strapped on an acoustic guitar and sang Roger McGuinn’s iconic, “Ballad Of Easy Rider”.

Beautiful and moving four-part harmonies came next with the Gospel spiritual “Get On Your Knees And Pray”. Stinson’s high tenor lines were a dead ringer for the song’s author, Bill Monroe. Stuart was left alone on stage for the next number, a stunning solo mandolin version of the classic fiddle tune, “Orange Blossom Special”, introduced with an amusing anecdote of when Stuart met the song’s eccentric author, Ervin Rouse. The set ended with the audience clapping along to another one from, Way Out West , “Time Don’t Wait On Nobody”.

After leaving the stage for less than a minute, the band played three songs for their encores starting with, “The Ballad Of Paladin”, the theme for the 1950’s TV western, Have Gun – Will Travel, after which Stuart introduced the song’s author, 88-year-old country music legend, Johnny Western, a local resident since 1963. He stood up to great applause from the audience. Next came Buck Owens’ instrumental, “Buckaroo”. This was followed by having another legend stand up, Buck and Bonnie Owens’ son, Buddy, who was born in nearby Mesa in 1948. This must-see band ended their brilliant concert with, “Space”, another from their soon-to-be-released album, Altitude, featuring more tight vocal harmonies and with Marty playing a sitar-guitar.

In the wave of mainstream Americana hitting festival stages of late; Marty Stuart and His Fabulous Superlatives remain rooted in showmanship, professionalism, tradition, and musical virtuosity that is hard to come by these days. 

Follow Western Swing, Jazz, and Blues artist and historian Joe Baker here.

Photos by Elias Butler Photography  IG (@eliasbutlerphotos) and Twitter (@EliasButlerAZ)

Copyright © Elias Butler Photography 2023

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MARTY AND THE SUPERLITIVES WERE SHINING IN ARIZONA BOTH IN TUCSON’S FOX THEATER AND SCOTTSDALE’S PREFORMING ARTS. HONESTLY, BEST CONCERT I HAVE EVER SEEN….

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Live Review: Marty Stuart and his Fabulous Superlatives, The Long Road Festival – August 27th 2022

Annual country roots and Americana weekend The Long Road Festival took place again on the August Bank Holiday at Stanford Hall. Fifteen thousand cowboy hats and pairs of boots turned their eyes and ears to The Rhinestone Stage on Saturday night, where Chris Young was due to play – only thanks to Covid, he didn’t. Instead, Marty Stuart and his Fabulous Superlatives and three special guests treated them to a double set, a considerably more favourable trade.

Legend Marty Stuart has been touring with his Fabulous Superlatives since 2002, having started with Johnny Cash in the 80s. If anyone knows how to put on a double-length show at short notice, it’s him. He kicked off the show with the instrumental song ‘ Graveyard ‘ where “Cousin Kenny”, a tall man with a pale, sparkly suit and a telecaster, sets the scene for a showcase of great talent. “Cousin Kenny” is Kenny Vaughan. The latter has been a Fabulous Superlative since the start and toured previously with Lucinda Williams. Having trained with jazz guitarist Bill Frisell his skill is apparent from the first bar. The set then bounced from Rockabilly songs like ‘ Tear The Woodpile Down ‘ in which all members sang, to a new song ‘, Sittin’ Alone ‘, which had a more 60’s sound, and ‘ Tempted ‘, which has a crooner vibe. The variety of styles shows the length and breadth of the band’s tenure. It was still surprising when drummer Harry Stinson announced that he was “going surfing” and played ‘ Mojave ‘ and ‘ La Tingo Tango ‘! Reminding the crowd of his time with Johnny Cash, Stuart played ‘ Ring of Fire ‘ with reverence to such a classic and a cheeky glint of his flair.

To lengthen the set, guitarist Kenny Vaughan played two of his songs from the album ‘ V ‘, ‘ Country Music Got A Hold On Me ‘ and ‘ Hot Like That ‘. His high voice is strikingly in contrast to his appearance. Next, bassist “Professor” Chris Scruggs took centre stage. His grandfather is bluegrass banjo wizard Earl Scruggs – Marty Stuart toured with Lester Flatt of Flatt and Scruggs before going solo. Scruggs played a rock n roll classic showing his musical pedigree, showmanship, and great voice.

The first of the special guests was Nashville scenester, Andrew Combs. Stuart seemed to have a genuine affection for the guitarist from Texas, and the pair appeared to have a real connection. Combs and he played ‘ Too Stoned to Cry ‘, a song which hit the crowd right in the feels. Next up was Kezia Gill. Introduced as “Kez-aye-ya” by Stuart, the Nottingham woman responded naturally and confidently to sharing a stage with a titan of the scene. Gill blasted out ‘ These Boots are Made for Walking ‘ and was joined by Stuart on guitar. To finish the extraordinary guest slots, Sunny Sweeney asked, “ How about some Waylon Jennings? ” The audience roared their approval. The pair played ‘ Good Hearted Woman ‘, getting the viewers to sing the chorus, which they did into the night.

Finally, perhaps playing for time, Stuart retold the story of meeting the writer of ‘ Orange Blossom Special ‘ before playing it expertly on the mandolin. A perfect end to a showcase of skill and aplomb.

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Marty Stuart and His Fabulous Superlatives: Tiny Desk Concert

When Marty Stuart arrived, his cheerful smile and charismatic personality beamed. He had a charming swagger and it was immediately clear we were in the presence of a country and bluegrass music legend.

When Stuart was just 12 years old, he went on the road for the first time with a Pentecostal gospel bluegrass group called the Sullivan Family Gospel Singers. Almost 55 years later, he's still performing and is a five-time Grammy winner, Country Music Hall of Famer and AMA Lifetime Achievement Award recipient.

Those accolades only hint at the artistry of Mary Stuart and his longtime band The Fabulous Superlatives. Looking around the room during his Tiny Desk performance, people in the audience were visibly captivated by this undeniable demonstration of musical excellence — beautiful harmonies, precise rhythmic precision and perfectly blended arrangements all sewn together with a casual flair that was simple and fun.

Recorded just a few days before Easter, the set ends appropriately in the spirit of the church. "When we first put our band together, the way we learned to sing together was singing gospel songs," said Stuart. "I was in love with the Staple Singers as always, Mavis and Pops and Cleotha and Pervis, and they are all like family and so bluegrass music all figured in. So we finally got around to writing a few songs for ourselves and here's one we got to do called 'Heaven.' "

• "Streamline"
• Marty Stuart: vocals, guitar, mandolin
• Kenny Vaughan: guitar, vocals
• Chris Scruggs: bass, vocals
• Harry Stinson: drums, vocals

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Marty Stuart at Brown County Music Center: Reviewed

There’s no such thing as a bad Marty Stuart show, and this was no exception. Marty had to call out a fan for recording on her phone.

The weather was perfect in the small town of Nashville, Indiana, for a Saturday night. The air inside the venue was comfortable, and surprising that this wasn’t a sold out show, but that made for a much more intimate experience for the roughly 1100 fans in attendance.

This tour is to support the release of Stuart’s newest album, Altitude. I think the concert included five of them, and they were all very well received. Stuart pulls from country music’s wide array of influences and lineages with his music, exactly what Marty and his superb backing band The Fabulous Superlatives are doing this tour with this new cosmic country-inspired album.

Stuart comes by these influences genuinely. Starting out at age 12, he was hired by Lester Flatt, of the famous duo “Flatt and Scruggs”, which many of you know are the roots of bluegrass. He was part of the touring band with Johnny Cash, and he’s come full circle with the latest Fabulous Superlative, Chris Scruggs (grandson of Earl Scruggs, from the aforementioned “Flatt and Scruggs”)

The concert was fantastic, with each band member, “Cousin” Kenny Vaughn, “Handsome” Harry Stinson, and “Professor of Bass” Chris Scruggs being showcased,

It’s difficult to find one highlight of this show, because there were just too many. Stuart told the story about having been named after the great singer, Marty Robbins. When one the genre’s best studio musicians, Grady Martin was inducted into the Country Music Hall of Fame, Stuart was asked to perform El Paso, the Marty Robbins classic, because Grady Martin had performed on that track.

Stuart is great at these, having also performed at the Johnny Cash Postage Stamp introduction in 2013 , but was hesitant because he wanted to get it right, and knew he had some big shoes to fill. So they practiced, and practiced, and last night, they performed El Paso, here. That may have been the “best” highlight. It was right after that, when Marty had to tell a fan to put her phone away, after asking her if she got the whole video of that song.

Prior to the show, there was an announcement that due to copyright concerns, fans were asked not the take photos or record the performance, but very few listened to that. There’s a photo below of Marty expressing displeasure at a couple of them in the first couple of rows. He told the crowd not to watch it through a screen, to feel the show in their hearts and to take that home with them. Good advice.

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‘I’m a roads scholar!’ Marty Stuart’s five decades at the country university

Since joining his first band aged 12, Stuart has played with the likes of Johnny Cash and the Byrds and is now building a country music museum. He explains the roots of his lifelong passion

W hen Roger McGuinn and Chris Hillman honoured the 50th anniversary of the Byrds’ 1968 album Sweetheart of the Rodeo by touring it for the first time, there was only one man who could lead their backing band: Marty Stuart. When Ken Burns began filming 2019’s Country Music documentary series, it was Stuart who guided the director through the genre. From Porter Wagoner to Johnny Cash , many Nashville icons have called on Stuart to play with them. Stuart is country’s ruling polymath – a musician whose skill on guitar and mandolin is matched by his encyclopaedic knowledge and vast enthusiasm.

If you only go to one country music concert, then let it be Marty Stuart’s – he’s about to tour the UK for the first time in five years, so the opportunity awaits. “I like playing the UK,” says Stuart. “First of all, I think there is an appreciation for authentic country music over there that sometimes gets lost in America. I love your knowledge of what we do play, of the roots of our music.”

Affable and engaging, Stuart, 63, wears a wry grin, elaborately tailored stage suits and a shock of salt-and-pepper hair. His band the Fabulous Superlatives’ dynamic performances are a high-wire act involving shared harmonies, a capella gospel numbers, honky tonk pathos and kinetic country rock. Unsurprisingly, they command a broad church. Recently, he says, “we played for a Grateful Dead-type audience and they loved what we did. I think music engages with pretty much all who hear us.”

Stuart has been obsessed with country music from infancy. Born in Philadelphia, Mississippi, he joined country-gospel group the Sullivan Family aged 12 and, upon sharing the stage with Lester Flatt’s bluegrass group one evening, the 13-year-old mandolinist made quite an impression. So much so he was invited to join Flatt, who had scored huge crossover success as half of bluegrass duo Flatt and Scruggs by contributing the theme music to TV series The Beverly Hillbillies (and Foggy Mountain Breakdown to Bonnie and Clyde’s car chase). Thus, in 1972, Marty’s formal education ended and he began criss-crossing the US playing mandolin with Flatt – well before he was old enough to drive a car or buy a beer.

Didn’t his parents worry about him playing bluegrass instead of getting a formal education? “I don’t think they would have let me go on the road with Black Sabbath,” replies Stuart. “I had to live with Lester and his people and it was very structured. I tried to study while touring but” – he laughs – “I’m a roads scholar! I tried by way of correspondence but there was nobody on the bus that could help me. They were all old guys and I let it all go about the ninth grade.”

Flatt was forced to disband his outfit due to failing health in 1978. So Stuart joined Johnny Cash’s band (and married Cash’s daughter Cindy in 1983). It was a friendship that would endure even after Stuart set off on his own in the late 80s. “Every day with John was a life lesson,” says Stuart. “He was a country boy, but he was a worldly country boy – he could talk with a head of state or a farmer. He was very down to earth.” He pauses. “I miss his humour. I miss his wisdom. I miss playing music and hanging out with him. His songs pretty much tell you who he was as a person.”

Stuart’s enthusiasm for working with his elders found him producing the likes of Porter Wagoner and producing then marrying singer Connie Smith. Stuart first saw Smith sing at a country fair when he was 11 years old, even then telling his mother “one day I’m gonna marry her”. In 1997 he did, and they remain together today.

“Connie got Covid bad,” says Stuart. “She was hospitalised for 11 days and almost died. She had struggled for months and months and months to get back to normal but she’s kind of there now – she’s back to singing and we have made a new record and she’s performing again at the Grand Ole Opry.”

Stuart produced Smith’s 2021 album The Cry of the Heart, yet he hasn’t released anything of his own since 2017’s Way Out West, a fine album that found the participation of Native American musicians emphasising Stuart’s broad view of “American music”.

“I had a period of making big production records in the 90s that got me into the charts and won me a wide audience,” says Stuart, “and I’m grateful for that. But I dislike the sound of those records – like a lot of mainstream country they were trying to sound like what you hear on pop-rock radio. That’s not what I’m about. I prefer to pursue my own vision. I might not get on country radio these days but this doesn’t bother me.” And new material? “I have three albums in the can – they’ll be out soon.”

Stuart is a long-term collector of all kinds of country memorabilia – I once met him in Nashville and he showed me such artefacts as Johnny Cash’s Martin guitar and Patsy Cline’s cowboy boots. Having raised the necessary funds, he’s now building a Congress of Country Music in his home town, a cultural and education centre, museum and concert hall dedicated to preserving traditional country.

“Mississippi is a pretty interesting place because if you go up into the north state you have the Elvis Presley birthplace in Tupelo,” Stuart explains. “Across the delta BB King has a beautiful cultural centre dedicated to the blues and delta culture. The father of country music, Jimmie Rodgers, is from Meridian, 35 miles away from my home town, so I feel I’m helping celebrate Mississippi’s musical riches.”

Stuart sees the Congress as a place to celebrate interracial solidarity. “In Philadelphia we have Choctaw culture, Black culture and white culture and all three communities want the Congress to go ahead. Charley Pride was from Mississippi and we will be celebrating his legacy alongside that of Ray Charles, who took country music to a whole new audience. There will be gospel and blues artists performing. We are inclusive.”

For Philadelphia, I note, the cultural centre must be a blessing: Stuart’s home town has been blighted ever since the abduction and murder of three civil rights workers who were arrested while driving through Philadelphia in 1964. “Well, thank you for recognising that,” says Stuart, “because that is at the heart of the mission for me. The abductions and murders were a horrible event and there has been a dark cloud over Philadelphia for all these years. Already, the town is getting his life back. So it’s wonderful to stand back and see people smile again and see the town rebuilt around this thing.”

As far as traditional country goes, I mention how surprised I was when Stuart and his Fabulous Superlatives joined the surviving Byrds to tour Sweetheart of the Rodeo, the album that stands as the genesis of country rock: don’t the Nashville hardcore avoid LA fusionists?

“Not at all,” he says. “I bought the LP from a discount bin in the nearest record shop to Lester Flatt’s house when I was 15 and it blew my mind. It was the first time that I’d ever heard country music, bluegrass, gospel and folk and rock’n’roll collide successfully.” Even when Stuart was touring with Flatt, he kept his ears open to what was happening in California. “We played at Michigan State University in 1973 and the headliners were Eagles. Opening for us was Gram Parsons and Emmylou Harris . Gram had just returned from hanging out with the Stones and he had black fingernail polish and was talking in some bullshit cockney accent.” He laughs at the memory. “It was fun to hang out with him.”

There’s another connection to the Byrds, too. “Their late guitarist, Clarence White, was the brother of Lester Flatt’s mandolin player, Roland White – and it was he who recommended me to Lester. I now own Clarence’s guitar and I played it on the tour. So you could say I’ve gone full circle by being a Byrd.”

Unfortunately, the Sweetheart of the Rodeo tour never reached Europe. “I don’t know why,” says Stuart, “because we got to have so much fun. Me and the band, we were like teenagers – we got to be the Byrds! There was a magic about those shows. People love those songs and they love Roger and Chris. I think we gained a lot of new fans, people that probably didn’t know who we were.”

The same was true of Ken Burns’ acclaimed Country Music series. “We worked on that show for eight years,” says Stuart. “It was a labour of love. I love the documentaries that Ken makes and whatever he puts his brand on you’re automatically keyed into a different stratosphere of people – people who are deeply interested in history but have probably never heard country music before. Without question a lot of people came to see our shows after they saw that. And they keep coming back.”

Stuart agrees that Burns’s series did more to introduce the beauty and complex, sometimes difficult, character of country music to a general audience than any other previous effort. For anyone yet not converted, he says, just listen to the stories the songs tell. “The original themes of country music – love, drinking, rambling, gambling, heartache, divorce, mother, faith, home, sin, redemption, murder – are universal and, if you pick up the Guardian this morning, you will find every one of those themes there. So when traditional country music speaks to those life themes, to the human condition, I think it crosses borders and has universal appeal.”

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Marty Stuart  And His Fabulous Superlatives Rocked Robins Theatre With Some Old School Country

January 15, 2022

Marty Stuart and his Fabulous Superlatives rode into Robins Theatre last night and proceeded to put on an old school country music show.   Musicianship, storytelling and great American songs were on display all evening long.

Stuart has been around for a long time, but he and his band truly enjoy what they do.  Their smiles are genuine and they make sure that everyone in the audience is having a good time.

They played something for everyone, from old school country, to rockabilly to surf music.  Stuart and company had everyone singing and clapping along for the entire show.

The show kicked off with an instrumental and then they played a couple of Stuarts  early hits "Tempted" and "This One's Gonna Hurt You (for a long, long time).

Early in the set, Stuart noted that he was "happy to be playing real music in front of real people."

His backing band, known as the Fabulous Superlatives which features Kenny Vaughan on guitar, Paul Martin on bass and Harry Stinson on drums were fabulous indeed.  Stuart also allowed each band member to take over on lead vocals on different songs throughout the set. 

Besides playing his own songs, Stuart paid homage to some country legends by playing songs by George Jones "The Old, Old House," Waylon Jennings "I've Always Been Crazy" and Willie Nelson's "Me and Paul."   They also played the most fun version of "Wipe Out" that I have ever heard or seen.

Of course, Stuart didn't ignore his own catalog as "Matches" and "The Whiskey Ain't Workin'" were highlights in the set.

They sure don't make 'em like Marty Stuart anymore.  Some of these younger country acts should take a note or two from this Country Music Hall of Famer.  

The Shootouts , an up and coming honky-tonk band opened up the show with a great 30 minute set of original material.   The band easily won the crowd over as they left to a standing ovation. 

Photos and review by Greg Drugan

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ALBUM REVIEW: Marty Stuart Reaches New Creative Heights with ‘Altitude’

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Near the end of his new album, Altitude , over the locomotive drive of the track “Tomahawk,” Marty Stuart delivers the song’s key observation: “There’s absolutely nothing new underneath the sun.”

That pretty much goes for music too. So, the question facing any artist is: How do you keep it sounding fresh and vital?

Marty Stuart and His Fabulous Superlatives (photo by Alysse Gafkjen)

Stuart has figured it out. A country music warhorse who began playing with Lester Flatt when he was just 14, the Mississippi native has forged a five-decade career in which he has become known for his love and encyclopedic knowledge of country music. But as an artist, he has not let himself be straitjacketed by the music’s traditions. Especially since the 1999 concept album The Pilgrim , he has stretched country music’s boundaries with terrific results that match his expansive creative ambitions. Call him a progressive traditionalist.

On Altitude, Stuart is again backed by his longtime band, the fittingly named Fabulous Superlatives – guitarist Kenny Vaughan, drummer Harry Stinson, and bassist Chris Scruggs. And once again, they do not repeat themselves.

Whereas 2017’s Mike Campbell-produced Way Out West wallowed in evocatively airy atmospherics that conjured the American Southwest, the self-produced Altitud e takes many of its cues from the cosmic cowboy stylings of The Byrds and The Flying Burrito Brothers. The overture, returned to twice on the set, is even called “Lost Byrd Space Train.”

Vaughan’s ringing 12-string helps drive “Sitting Alone,” which shares a sense of alienation with the acoustic reverie “Space” (“I feel so ‘out’ with the ‘in’ crowd”), accented by Stuart’s sitar. “Vegas” is a twang-banger that borrows the tagline of Byrds and Burritos alumnus Gram Parsons’ “Ooh Las Vegas.” Similarly tangy licks inform the swaggeringly propulsive “Country Star,” with another 12-string turn by Vaughan. “Night Riding” adds some bluesy bite, while the exhortative “Time to Dance” features a searing guitar solo that is the album’s most rough-edged and cathartic.

Like “Space,” the dreamily seductive, string-kissed “The Sun Is Quietly Sleeping” flirts with hippie-dippy-ness. But in general Stuart keeps everything grounded in the emotional honesty that is the hallmark of the best country. That’s especially evident on the stark, acoustic-textured “The Angels Came Down,” a quietly moving tale of personal redemption.

The title song is the closest Stuart and his Superlatives come to traditional country. It’s a straight-up honky-tonk shuffle, abetted by steel and twin fiddles. On it, Stuart sings about getting to a height “where all that’s old is new.” With Altitude the album, he has again reached that lofty level.

Altitude by Marty Stuart and His Fabulous Superlatives is out May 19 on Superlatone.

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Headlining Tour Resumes on March 24 Before Performing at Stagecoach Festival on April 29 and Touring with Chris Stapleton This Summer March 22, 2023: Today, the 5-time GRAMMY winner, Country...

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Marty Stuart & His Fabulous Superlatives will be joining Chris Stapleton for some dates on the All-American Road Show this summer!   Tickets go on sale Friday, February 10 @...

Congress of Country Music

Future home to the largest private collection of country music artifacts in the world.

Marty Stuart’s Congress of Country Music is the spiritual home of country music – a cathedral where the spirits of country music legends and the fires of today’s creative souls converge.

In Philadelphia, Mississippi, it will celebrate the rich cultural heritage of country music through live musical performance and educational programming.

The $30 million project will create a 50,000-plus-square-foot campus featuring the historic and recently renovated Ellis Theater, a newly constructed museum, classrooms, a community hall, meeting and event space, and a rooftop performance venue.

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• Who is opening for Chris Stapleton's tour?

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How to buy chris stapleton tickets: dates and prices compared for 2024 concert tour.

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Chris Stapleton's hit tour runs through the rest of 2024 and early 2025, but tickets are selling out fast. If you're hoping to catch the country music star live, he has plenty of concert dates to attend this year, and there are many ways to buy Chris Stapleton tickets.

The All-American Road Show has been ongoing since 2017 and serves as Chris Stapleton's first solo headlining tour. However, after more than seven years on the road and nearly 200 shows, the "Tennessee Whiskey" singer will close the concert series in 2025. With the end of the horizon in sight for his long-running tour, the opportunity to catch Stapleton's All-American Road Show is growing slim with each passing show.

We've got you covered if you're looking for how to get tickets to Chris Stapleton's All-American Road Show concert tour in 2024. Here's our breakdown of the tour schedule, purchasing details, and prices for original and resale tickets. You can also browse ticket specifics on StubHub and Vivid Seats at your leisure.

• See also: Zach Bryan tickets | Bruce Springsteen tickets | Billy Joel tickets  | Adele tickets

Chris Stapleton 2024 tour schedule

There are still over 40 shows remaining on the All-American Road Show Tour this year, with tickets for a few shows in 2025 already available. While his final 2024 show will land on December 7 in Las Vegas, Chris Stapleton's tour will conclude on March 8, 2025 in Auckland, New Zealand.

All concert times are listed in local time zones.

How to buy tickets for Chris Stapleton's 2024 concert tour

You can buy original tickets for Chris Stapleton's 2024 concert tour on Ticketmaster or Live Nation. However, the number of remaining original tickets is limited, as many concerts have been on sale for several months.

Plenty of resale tickets are also available through verified vendors such as StubHub and Vivid Seats . You'll find better luck getting seats through these resale sites for Chris Stapleton's shows that have already sold out of original tickets.

Ticket prices to see Chris Stapleton this year vary by date, location, and demand for each show. The cheapest standard original ticket prices start from $55 for Houston on August 24 to $465 for December 7 in Las Vegas. Resale ticket prices are generally comparable to original tickets or come in cheaper.

On StubHub, tickets range from $16 for Ridgedale, Missouri, on June 13 to $352 for Las Vegas. Similarly, Vivid Seats' cheapest available Chris Stapleton tickets range from $15 to $356 for the same dates. Overall, the two resale sites have comparable ticket prices, with Vivid Seats' options typically coming in at slightly lower prices.

VIP packages are also available at many Chris Stapleton shows for premium prices. Stapleton's All-American Road Show Tour offers two VIP experiences: the Single Barrel Experience and the Small Batch Experience. According to Chris Stapleton's website , Single Barrel VIP tickets start at $379, and Small Batch VIP tickets begin at $169. You can also use this site to check out which tour dates offer these VIP experiences.

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Who is opening for Chris Stapleton's tour?

Chris Stapleton is touring alongside George Strait and Little Big Town for many of his All-American Road Show tour performances. On other 2024 occasions, the country star is joined by special guests Grace Potter, Nikki Lane, Marcus King, The War and Treaty, Allen Stone, Tedeschi Trucks Band, Marty Stuart, Miranda Lambert, Willie Nelson & Family, and Sheryl Crow.

Here's a breakdown of when and where each artist will perform with Chris Stapleton:

George Strait & Little Big Town

• May 4 - Indianapolis, IN
• May 11 - Jacksonville, FL
• May 25 - Ames, IA
• June 1 - Charlotte, NC
• June 8 - East Rutherford, NJ
• June 29 - Salt Lake City, UT
• July 13 - Detroit, MI
• July 20 - Chicago, IL
• December 7 - Las Vegas, NV

Grace Potter

• May 9 - West Palm Beach, FL
• May 10 - West Palm Beach, FL
• June 26 & 27 - Los Angeles, CA
• August 1–3 - Gilford, NH
• August 21 - Birmingham, AL
• August 22 - North Little Rock, AR
• August 24 - Houston, TX
• June 6 - Camden, NJ
• June 7 - Bristow, VA
• July 11 - Darien, NY
• July 12 - Burgettstown, PA
• July 18 - Toledo, OH
• July 19 - Columbus, OH
• July 25 - Nampa, ID
• July 26 - Ridgefield, WA
• August 9 & 10 - Nashville, TN

Marcus King

• May 22 - Rapid City, SD
• May 24 - Sioux Falls, SD
• May 31 - Cuyahoga Falls, OH
• June 12 - Kansas City, MO
• June 13 - Ridgedale, MO
• June 15 - Arlington, TX

The War and Treaty

Allen Stone

Tedeschi Trucks Band

Marty Stuart & His Fabulous Superlatives

• October 16 - Manchester, England
• October 17 - Glasgow, Scotland
• October 20 - Dublin, Ireland
• October 22 - Birmingham, England
• October 23 - London, England

Miranda Lambert

Willie Nelson & Family

• July 27 - Seattle, WA

Sheryl Crow

Chris Stapleton already has several international tour dates lined up for his ongoing concert series. The country star has five shows confirmed in England, Scotland, and Ireland in October, as well as six shows in Australia and two performances in New Zealand throughout February and March of next year.

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