Summarize and humanize this content to 2000 words in 6 paragraphs in English
Billboard Women in Music 2025
Alison Krauss will sell no high, lonesome sound before its time. Her fans don’t have to be reminded — although we will anyway — that it’s been 11 years since the last tour by her bluegrass band, Alison Krauss & Union Station, and an even longer 14 since the group’s last album. She and the other members have had side hustles, of course, like Krauss spending the last three summers on the road with a Robert Plant co-bill, which is no one’s idea of slumming. But in the roots music world, the Union Station reunion has true event status.
The newly released “Arcadia” album picks up more or less where AK&US left off nearly a decade and a half ago. There’s been a key personnel change, with co-lead vocalist Dan Tyminski taking his leave and being replaced by Russell Moore, already a bluegrass star in his own right as leader of the band Russell Moore and IIIrd Tyme Out. “Time-outs” are something that’s ripe for discussion among patient Krauss fans, but when Variety got down to a discussion with the singer-fiddler about the wait for “Arcadia,” she made it sound like it’s the most natural thing in the world to wait and find the perfect set of songs. When that voice comes out of the speakers, and all the sounds that come with it. you’ll be hard-pressed to argue that something this timeless should have been rushed, by her or anyone’s standard. (Scroll down for the full, very long list of 2025 spring and summer tour dates.)
When we last talked with you, it was about four years ago, when your album with Robert Plant came out. And we asked about the prospect of an album or tour with Union Station, since it had been so long at that point, and you indicated that it would all come in good time. So now in good time is here at last.
You know, it’s funny because I think when we did that interview, I had just found that song “Looks Like the End of the Road.” So if I remember right, that period of time is when I wrote the guys and I was like, “I think I’ve got our tune.” So it’s kind of funny thinking back that it’s four years ago already.
And we know you don’t like to start in on a record until you have a core song in mind for it, and “Looks Like the End of the Road” was that for you on this project. What is it for you about the importance of having a sort of anchor song that is going to set the tone or get you in the mood?
I guess for me, I have to hear the first song, (thinking) as a listener. When we go into record, I always know what’s gonna be the first song. We kind of know what the sequence is before we go in, a lot of times, or at least that first tune, you know? And I didn’t know what the first song was yet until that one showed up — I guess you could call it an anchor song. And sometimes those anchor songs change. You find something else that then becomes what you build the record around.
It’s such a beautiful song, butit’s almost funny in a way to start the record with a song about “the end of the road.” Some people might save that for the climax of the album, but you’re starting with the end.
But the end of something is another beginning, so it has a double meaning to me.
You’re coming off three summers in a row touring with Robert, which was a good deal of time out on the road. Do you think in terms of long cycles, and giving each cycle its due seems appropriate to you, or does it just kind of work out that way?
It kind of works out that way. It’s not as planned as maybe it should be. But you wait and things become kind of more obvious. I didn’t want to wait this long to put out a new record with the guys. But when you look back at it, we didn’t find that last song till 2021. We had all these other ones for years, but as soon as it comes up, we’ll move fast. It may take a while for it to be done. But I don’t think it’s good to sit on inspiration terribly long.
So some or most of these songs do go back longer than that core one you found in 2021? Do you know what the furthest back is that you’ve sort of been holding on to any of them?
Yeah, I know that that song “Snow,” we’ve had since 2010. And then I think “Hangman” as long, almost. I could look back and see where I saved things. “Richmond on the James” close to as long. At least 10 years with “The Wrong Way.” I think the newest one was “Light Up Ahead,” and I think I heard that in 2021, around the same time as “Looks Like the End of the Road.” So those are the newest ones, but the other ones, 10, 15 years probably. Because I never stopped looking, you know.
What’s the key to finding the right songs for you?
You have to see the story of yourself in it when you’re doing it. It has to be true to you. Some of the older songs that you may know already, they already have their identity someplace in your mind, but every now and then, you find something that you see yourself in. You can always relate, but you have to be able to picture yourself — that that’s your story.
With this album, as with past Union Station albums, of course you’re alternating singers with a male singer in the band. And with that, sometimes you’re also alternating really emotional, timeless songs that tend toward the sad — the ones you tend to sing — with a kind of news reporting from some mass tragedy, which has been what the guys sing. It’s kind of an interesting balance where it goes from the personal to the societal or the historical and back again.
Yeah. I’ve always felt like with Dan’s voice, Russell’s voice, Ralph Stanley’s voice, they’re a man against the elements. You know, it’s a bigger theme. Occasionally with our band, there’s been love songs that Dan sang. But it was a joke Dan always made with me: “OK, what am I gonna be now? Am I gonna be a soldier or a farmer or a sailor or a sharecropper?” But I do love those themes. I feel like that sound, that bluegrass tenor, it’s just a big message. It’s a message of survival. So I always have those kinds of songs for the other side of our band.
Speaking of that other side, we understand that Dan Tyminski dropped out early in sessions for this album. And you found Russell, who certainly fits the Dan mold for doing those types of songs you’re talking about, with his aptitude for them. Did you have a moment of panic about replacing Dan or did Russell come to mind pretty quickly?
Yeah, Russell came to mind quickly, and I brought it up to the guys when we had a meeting… because to me, these records wouldn’t be our band without that other message, without that strong tenor singer. It just wouldn’t be us, you know? So when this came up, we got together and Jerry said, “Well, what do you think?” And I said, “Russell Moore.” And everybody went, whoa. I didn’t think he would do it, because he’s got his own group that he’s ran for the past 32 years. But the way we’ve structured this is that if we’re gonna go half the year, then there’s opportunity for everybody to not lose momentum on the other projects they work on. Russell’s band is his main gig, and we wouldn’t want to ask anybody to sacrifice any of that for this. So it all worked out great. Everybody felt good about the way the schedule would be.
Russell has all the accolades and is so renowned within the bluegrass world. But renown aside, what musically most appealed to you about having him in there?
Oh, it’s that voice. You know, he’s like the voice of a generation of this kind of music. He was a hero. I think the first time I actually heard him sing was before I even met any of these guys. I didn’t know any of the guys in the band yet, but I remember it was at the Kentucky Fried Chicken Bluegrass Festival in 1985 that I saw him play with Doyle Lawson and Quicksilver. He was like 21. I didn’t meet him, but I saw him play. I was sitting there with my mouth hanging open, it was so shocking, and he was so great and so powerful and so stoic. The way he sings, it’s the epitome of that kind of bluegrass singing where there’s just no shuck and jive. It’s just all power, and that’s who he is. Even though he’s from Texas, so he says things a little bit differently, and it’s just wild to hear that in the trio now. He doesn’t change himself. And you hear, just like Dan was always Dan, Russell is always Russell, with how he says what he says.
My brother (Viktor Krauss) was in there working on this stuff and he’s like, “Oh, gosh, the way he says this word is so wild, you know?” But Russell’s very stoic. That’s what’s so magical about all those ballad singers through the years: They tell this story and the emotion stays the same. They don’t put any drama in there. It’s so intense when you hear these stories told with such — I mean, this is the only word — catholicism. So when he came in, the first song he sang on the record when we recorded was “Granite Mills,” and he came in and did that and blew our minds. I mean, I think of the fortune of this band through the years… We played with Dan 30 years; this would’ve been his 30th year, and now we also get to work with Russell. It’s an amazing gift that we would have this opportunity now. I almost can’t believe it.
It’s funny — I was looking at the track list before hearing the record, and saw “North Side Gal” there and thought, “Oh, great, Allison’s going to be singing a JD McPherson song after being out with him on tour for several years,” he having been a member of your and Robert’s bad, as well as your opening act. But of course, I should have guessed that you’d give “North Side Gal” to the male singer. In any case, was that something you heard out on tour you realized you could adapt?
Well, actually, I heard that song of JD’s in 2011, when it came out, and so I had wanted to do that since then, so I was like, “Oh, the next record we make, I wanna do this song.” There’s a song called “Foggy Mountain Special” that, if you hear it, you’ll hear our version version of JD’s song, because of the way it was played. It’s this instrumental that Earl Scruggs recorded years ago, and it’s a well-known bluegrass tune. And when I heard JD’s song, I’m like, “Oh, we ought to do it like ‘Foggy Mountain Special.’” So, you’ll hear the similarities. But, yeah, I heard that in 2011, so I held onto that one for a long time too. I’m glad nobody else picked it up.
There is a song on this album called “The Hangman,” based on an old poem about demogogues, that some people have thought is maybe intended as an allegory for our current times or political situation. But it sounds like this one, too, goes back too far to have been picked as a purely topical commentary.
No, it wasn’t. It’s kind of funny, with what I was saying about how Dan said, “What am I gonna be? A sharecropper, a soldier…?” when he would make those jokes. And there’s this song by Styx — remember “Renegade”? I always loved that song; the words to that are so awesome and I’m always like, “Oh, I wish there was a bluegrass song that had that same poetry in it.” And so I was looking for poems (to adapt) for Dan, and I just typed in “Hangman poem,” and that that poem came up. So picture my glee when I saw it; I was just out of my mind. I’m like, this is crazy.
So I then sent it to my brother and I’m like, “Will you write a melody to this? And will you put it in G?” Because the bluegrass people, they have that F sharp — they sing an F sharp like that and it’s awesome. The money note is the F sharp, and then if you’re really gonna kick it into gear, you’ll sing a G — like, the men kind of blast that when they sing lead. So that’s the melody that Vik came up with. And there’s lots of verses to it (the original poem) and we of course edited it down for this story. And it’s probably one of my favorite things we’ve done. I felt like it was really innovative just from start to finish. It’s one of our standout recordings.
But it’s wild because Russell is really known for his ballad singing, and it was awesome to have a… I’ve said that word now 50 times. It was great to have such an amazing showcase that had the message of our band — and as far as that hamburger and fries, that he was covering that man-against-the-elements (slot) and singing the ballad. And to do something so fresh and new… I love that it’s the first song that people hear him sing on this album.
This album has some really just amazingly recorded Dobro, as always. Sometimes, on the songs you’re singing, it’s almost like you’re doing a duet with the Dobro.
Yes, I think so too. He’s amazing.
Is there any way to describe why your voice goes so well with the Dobro, and why, historicially and now, that’s such a potent combination?
I don’t know if it’s my voice goes so well with the Dobro, or if Jerry (Douglas) goes so well with everyone. He really is that magical person. So I can’t say (it’s me). I just think that’s really all Jerry.
Alison Krauss & Union Station album cover
ShoreFire
For a record label this time around, you’re reunited with the Rounder founders, which, besides being something that rhymes, represents a team that historically has worked well with you. What can you say about Down the Road Records?
Well, those are the original people who signed me and they’re really evangelists for folk music and acoustic music and traditional American music. It’s their passion, and I love who they are and I love that desire to get it out. I mean, Ken signed me, and I know with Marian too, and the other partners, that it’s their calling. These things have to be heard because it’s important to American history. With all the traditional music they recorded through the years, they’re like encyclopedias. I love their purpose and what they stand for as people, and I’m glad to be back.
Finally, how you think it will feel being out there again with Union Station, not having done it for a minute, or for 11 years, to be precise? There’s some people who, if they were in your position, would be out there on the amphitheater circuit every summer doing this.
Oh, I think it’s gonna feel like a million bucks. We played on the 100th anniversary of the Opry. They just did a TV show with that, and we had some rehearsals there and, I mean, we’re all ready to go. We start the real rehearsals tomorrow, and I wish we were starting today. I’m champing at the bit. I can’t wait to start hacking through these old tunes again.
Alison Krauss & Union Station
Randee St. Nicholas
Arcadia 2025 Tour Dates:4/17 – The Louisville Palace – Louisville, KY*4/18 – The Louisville Palace – Louisville, KY*4/19 – Mershon Auditorium – Columbus, OH*4/25 – Cadence Bank Amphitheatre at Chastain Park – Atlanta, GA4/26 – Live Oak Bank Pavilion – Wilmington, NC4/27 – Koka Booth Amphitheatre – Cary, NC4/29 – Bell Auditorium – Augusta, GA4/30 – The Adderley Amphitheater – Tallahassee, FL5/2 – The Wharf Amphitheater – Orange Beach, AL5/3 – Brandon Amphitheater – Brandon, MS5/4 – BJCC Concert Hall – Birmingham, AL5/6 – Orpheum Theatre – Memphis, TN5/12 – First Security Amphitheater – Little Rock, AR5/13 – The Criterion – Oklahoma City, OK5/15 – Saint Louis Music Park – Maryland Heights, MO5/16 – Walmart AMP – Rogers, AR5/17 – Starlight Theatre – Kansas City, MO5/29 – Smart Financial Centre – Sugar Land, TX5/30 – Whitewater Amphitheater – New Braunfels, TX5/31 – The Pavilion at Toyota Music Factory – Irving, TX6/3 – PNC Pavilion – Cincinnati, OH6/4 – Devon Lakeshore Amphitheater – Decatur, IL6/6 – BMO Pavilion – Milwaukee, WI6/7 – The Chicago Theatre – Chicago, IL6/8 – The Ledge – Waite Park, MN6/10 – Vetter Stone Amphitheater – Mankato, MN6/11 – Bayfront Festival Park – Duluth, MN6/13 – McGrath Amphitheatre – Cedar Rapids, IA6/14 – Denny Sanford Premier Center – Sioux Falls, SD6/15 – The Astro Amphitheater – Omaha, NE6/16 – Hartman Arena – Park City, KS6/18 – Red Rocks Amphitheatre – Morrison, CO6/19-6/22 – Telluride Bluegrass Festival – Telluride, CO6/20 – Dillon Amphitheater – Dillon, CO6/21 – Kit Carson Park – Taos, NM7/11 – Arizona Financial Theatre – Phoenix, AZ7/12 – The Rady Shell at Jacobs Park – San Diego, CA7/13 – Greek Theatre – Los Angeles, CA7/15 – Santa Barbara Bowl – Santa Barbara, CA7/16 – The Mountain Winery – Saratoga, CA7/18 – Grand Theatre – Reno, NV7/19 – Redding Civic Auditorium – Redding, CA7/20 – Edgefield Amphitheater – Troutdale, OR7/22 – Wine Country Amphitheater – Walla Walla, WA7/23 – Outlaw Field at the Idaho Botanical Garden – Boise, ID7/26 – Theatre at the Brick – Bozeman, MT7/27 – BECU Live at Northern Quest – Airway Heights, WA7/29 – Grey Eagle Resort & Casino – Calgary, AB7/31 – TCU Place – Saskatoon, SK8/1 – Centennial Concert Hall – Winnipeg, MB8/18 – Kresge Auditorium – Interlochen, MI8/19 – Massey Hall – Toronto, ON8/21 – Everwise Amphitheater at White River State Park – Indianapolis, IN8/22 – Ascend Amphitheater – Nashville, TN8/23 – The Tennessee Theatre – Knoxville, TN8/24 – The Tennessee Theatre – Knoxville, TN8/26 – Soldiers and Sailors Memorial Auditorium – Chattanooga, TN8/28 – The Dome – Virginia Beach, VA8/29 – Allianz Amphitheater at Riverfront – Richmond, VA8/30 – Earl Scruggs Music Festival – Mill Spring, NC9/6 – Michigan Lottery Amphitheatre – Sterling Heights, MI9/7 – Jacobs Pavilion – Cleveland, OH9/9 – Wolf Trap – Vienna, VA9/10 – The Met Philadelphia presented by Highmark – Philadelphia, PA9/12 – Beacon Theatre – New York, NY9/13 – Beacon Theatre – New York, NY9/14 – Freeman Arts Pavilion – Selbyville, DE9/16 – Veterans Memorial Auditorium – Providence, RI9/17 – Leader Bank Pavilion – Boston, MA9/19 – BankNH Pavilion – Gilford, NH9/20 – The Green at Shelburne Museum – Shelburne, VT9/21 – Artpark Mainstage Theater – Lewiston, NY9/23 – Salem Civic Center – Salem, VA9/24 – Credit One Stadium – Charleston, SC9/26 – The Saint Augustine Amphitheatre – St. Augustine, FL9/27 – The BayCare Sound – Clearwater, FL9/28 – Hard Rock Live – Hollywood, FL
