DANNY BARNES

A good song has a way of speaking to everybody” Danny Barnes says. “I have faith that more people are going to hear my songs, which is really what I have to offer. I’m not one of those virtuoso instrumentalists, I can’t compete with those guys, but the one thing I can do is write really good songs.” Part Southern gentleman, part humble artist, Barnes is being more than a bit self-effacing with this statement. Widely regarded as one of the most innovative and genre-bending artists of his craft, Barnes' musical interests are both varied and adventurous, and he incorporates that versatility into a progressive approach to an instrument that is musically polarizing and steeped in tradition. Although he demonstrates an appreciation for the history of the bluegrass, country, and folk music from which the banjo's reputation was born, his inventive take is what truly separates him from his contemporaries…using the banjo as his ‘weapon of choice’ to play non-traditional music like rock, fusion, and jazz with electronic percussion and loop elements. He has come to redefine the banjo’s perceived image in an eclectic career for which genre definitions have merely been a polite suggestion. From his early days as the driving force behind the impressive Austin-based Bad Livers, a band of pioneering Americana missionaries, through a prolific solo career and the development of his trademark 'folkTronics' project, a startling approach that incorporates digital technology and various effect pedals to stretch the tonal range of the instrument, Barnes has always listened to his proudly offbeat inner voice. His skills as an instrumentalist and his open embrace and infectious love of music for music’s sake, have brought him to share the stage and record with a wide array of marquee artists that reads like a who’s who among broad musical landscapes, ranging from bluegrass greats Bela Fleck, Del McCoury, and Sam Bush, newgrass stars Yonder Mountain String band, to Americana artists Robert Earl Keen, Lyle Lovett, and Nickel Creek, to Jam friendly Gov’t Mule, Leftover Salmon, and Keller Williams, to jazz and blues instrumentalists Bill Frisell, Chuck Leavell, and John Popper, to members of the punk and metal Butthole Surfers, Dead Kennedys, and Ministry. On his new album, 'Rocket' (to be released on November, 8th on ATO Records), Barnes continues to push the envelop and reinvent the wheel with the creation of the 'Barnjo'; a prototype of a hard body electric banjo with pickups that allow him to showcase his love for rock and roll, and his passion for melding genres together in a style that is quite frankly, all of his own making. Yet, on this new album, it is his uncanny songwriting voice that steps to the forefront. On his last album, the critically acclaimed ‘Pizza Box’, Barnes found an ally in Dave Matthews (co-founder of ATO Records). “In the process of developing these ideas, one of the things I ended up doing a few times with my friend Dave, was to sit around and eat sandwiches and swap songs; new stuff we were working on. "Here's one..….(jam) ….now play one of yours! (jam)", it's a great way to spend a day.” Having played several shows with Dave Matthews Band in recent years, Danny was invited to perform on the band's latest platinum release, Big Whiskey and the GrooGrux King. Throughout the process, the two had become friends, and Matthews’ enthusiasm for Barnes brought this body of work to light, with Matthews even contributing backing vocals on some of the songs(including lead single, “Overdue”) and the cover art illustration of the album.