u/officialbillystrings

Written by Billy Strings

  January of 2026 was a busy and beautiful month for me. I spent the first 10 days writing as much as I could to prepare for the upcoming recording sessions that I had scheduled with the band. I finished a handful of songs that I had sketches of and probably wrote another 10 songs during that first part of the month. On the 10th, we loaded into Jack White’s studio, which he graciously offered up to the band and I to begin recording our next studio album. The vibes were relaxed as we began constructing the songs and recording demos of them. My plan was to learn the songs and record them with no intention of actually capturing the album on the first round. In the past, we have learned the songs, worked up arrangements on the spot, and recorded them in their infantile state. I learned that almost every time the songs would grow and flourish out on the road. The more we play them, the better they get. I always wished we could go back and re-record them once we really have them under our fingers. They always gain weight and smooth themselves out once we play them on stage a bunch, but then it’s too late. The album is already out! So this time I really just wanted to learn them and play them, not settling on any of the performances we captured, in order to give us time to digest them fully and really understand them. I was dead set on giving the songs a chance to be the best that they can be.

  The first week or so, we had a lot of fun recording without the pressure of needing that perfect take. We let ourselves live in the illusion that none of this mattered and that we were just trying to get the rough drafts down. Still doing our very best, but under no self-inflicted strain or burden. I think this allowed us to stay relaxed and just throw our colors at the canvas to see what kind of paintings we could make. We tried different recording techniques and different arrangement ideas until we sort of settled on doing it all live, just sitting in a circle with no headphones. Playing together in the room. This turned out to be the way the record was made.

  After about a week at Jack’s, we had recorded roughly 18 songs of the 28-ish songs that I had on the table. We then moved over to Sound Emporium room A to continue our sessions. This room is very comfortable for me as I have made a few records here and worked on many sessions in the space. I’m very at home here. We started with some of the songs we had already done over at Jack’s, and though I told the band we were still not necessarily trying to get the album done during these sessions, I really was. I just didn’t want it to feel that way. I wanted to continue the work we had begun and go farther and deeper into more songs, and I felt that we had already recorded really good versions of them over at Jack’s, and now we knew what we needed to do. So we got to work. We all set up in a circle again and sat in front of old ribbon mics recording straight to tape. In the past, I have not been shy of modern studio tricks like isolation, overdubbing, editing, using plug-ins, and all the tools that musicians have at their disposal these days to capture my music. This time, I felt different. So many of my favorite records were made before computers. Back when musicians would just play the songs in front of microphones and record it live. Albums made in the 60’s and 70’s by Bill Monroe and the Bluegrass Boys, The David Grisman Quintet, The Bluegrass Album Band, Tony Rice, J.D. Crowe and the New South, and all the cats that used to have to bust out the razor blade and actually cut the tape if they wanted to make an edit. I was on the other side of the fence this time around. I wanted to make this record the old-school way. Luckily, we had T Bone Burnett there to guide us. And guide us, he did.

  I have worked with T Bone on a few different projects the last few years, and we became good friends. I asked him if he’d be interested in producing my next album and was so elated when he seemed very into the idea. As I was writing these songs, I would send him voice memo versions recorded on my phone or demos that I made at my home studio, where I played all the instruments and sang the harmonies with myself. He would immediately text me right back and say something like “This is great! Keep going, boy!” His enthusiasm and passion for it all gave me such a drive. I have great respect for the man, and I couldn’t even believe that he was going to do this record with me, so it gave me so much encouragement. I can’t say enough about him. As we made our way deep into this album, I realized why he is who he is. He had such a way of bringing good ideas to the table and getting the best performances out of all of us without ever being overbearing or pushy. There is just no ego involved, and it made the whole process from start to finish extremely pleasant. 

  We had been working hard for many days, and at some point, I felt the best thing to do was give the guys a little break. Alex and Billy flew home for a couple of days, and I returned to the studio to write more. During those few days, my long-time collaborators, Aaron Allen and Jon Weisberger, pulled up, and we wrote a few songs. I also had the great opportunity to write with Joe Henry, Daniel Tashian, and others. Some of my favorite songs on the record came from these days: Mill Town Flood, Lay Me Down, and Carry Us Home. I had the momentum and wanted to keep it going. I figured the more, the merrier. T Bone was there with me every step of the way, on the edge of his seat, just reeling with excitement for the project.

  This album came at a time in my life when I had a lot to write about. I had just lost my mother last June and still felt the talons of grief piercing my back. Before she passed, she and I had planned on trying to use some of her poetry to make songs from, but that just hasn’t panned out yet. A lot of her poetry is very stream-of-conscious, and I just couldn’t figure out how to put it to a tune. Maybe someday I will. Another dream we had was having her make art for the next record cover. She was an amazing artist and was constantly working on many different things. She would call me all the time and tell me about how she was painting this or gluing this thing to that to make some UFO alien battle with cowboys and fairies. All her pieces had a story. The piece we ended up using for the cover was the one she was working on the night she died. I believe her intention was to show it to me when it was finished to see if I would use it for the cover. Although I don’t believe she had the chance to complete it, I am so happy we were able to fulfill that dream. I never got to say goodbye to her. That’s why I wanted to call the album “So Much For Goodbyes.” When I mentioned it to my manager, his interpretation of it was different from mine. I was sad that I didn’t get to say goodbye, but when I told him the name of the album, he heard it from a different perspective. It’s not goodbye. She’s not gone. She’s very much still with me. So much for goodbyes.

  During the making of the album, we had quite a few guests come in and play or sing. Making records in Nashville is always great for that. There’s always somebody who can play whatever instrument you’re hearing in your head. We were working up 10,000 Miles From A Friend when I had the thought, “Man, a bass harmonica would sound great on this.” Moments later, in walks Mickey Raphael to play it with us. When I needed pedal steel, T Bone called Paul Franklin, and he was there the next day. I got Alison Krauss, Del McCoury, Tim O’Brien, Chris Henry, Lindsay Lou, and Dan Taminski to come sing on a few numbers. Alwyn Robinson came to play drums on a couple of songs. My friend PJ George was just there to visit when Daniel and I were working on Mill Town Flood, and he jumped in and started helping us write it, and he ended up playing harmonium on the track. Bryan Sutton came through to play Carry Us Home with me and ended up on another tune as well. It was just a really fun time having all of these amazing musicians who I have such respect for in the room making contributions to the album. None of it felt like work. We were all just having fun making music. It was a dream come true for me. 

  To me, this record stands out among my other albums because it feels a bit more mature. I wasn’t trying to break any boundaries or change the face of bluegrass. I wasn’t trying to make some big psychedelic journey through space with effects pedals and synthesizers. I wanted something real. The songs were not written and recorded with any intention other than to get some things out of my mind that I had been feeling. I never thought about what someone might think about these songs. The thought of someone hearing them and analyzing them never really crossed my mind. I was just searching for the truth. I made this record to honor my mother. To notice and embrace this very significant period of grief in my life and make art from it. To turn my heartbreak into songs while using my guitar as a coping mechanism as I always have. It’s always been there for me to lean on through the hard times, and I figure it always will… until it’s my time to say goodbye.

🎞️ 
Directed by Bryan Schlam
Executive Producer Justin Medley
Produced by Loren Greene
Cinematographer Doug E. Porter
Production Company LOS YORK