The O Brother, Where Art Thou? movie soundtrack wasn’t just a hit; it was a cultural phenomenon that exploded onto the music scene in the early 2000s. It catapulted bluegrass musicians into the limelight and carved a permanent space for old-time music – encompassing everything from folk and gospel to children’s songs, prison work songs, blues, and beyond – in the mainstream. Two decades after its surprising success, and as a culmination of our Artist of the Month series celebrating this milestone, we delve into the lasting impact of O Brother and its subsequent tours, speaking with several musicians who experienced its transformative effect firsthand.
Sierra Hull recalls her early aspirations, deeply influenced by Alison Krauss’s prominence in bluegrass. “I grew up in a small town, and even in rural areas, you’d see posters of pop icons. For me, Alison Krauss was that level of star. So, when O Brother amplified artists I already revered, like Alison, Dan Tyminski, and Ralph Stanley, it was a significant moment.”
While already playing music, Hull was on the cusp of touring when O Brother hit. By the time Cold Mountain, another soundtrack featuring similar musical veins, emerged in 2003, she was invited to tour alongside Alison Krauss. “Being part of that second wave was incredible. I was only 12, and it was my first real touring experience, playing iconic venues like Red Rocks and the Beacon Theater. Watching Alison captivate audiences nightly was unforgettable.” She fondly remembers Ralph Stanley’s performances: “People went wild for Ralph every night. He’d wear this dazzling jacket and sometimes, mid-performance, he’d take it off and toss it to me at the side of the stage. I even got to wear it during the show’s finale – a truly special musical memory.”
Sara Watkins of Nickel Creek emphasizes the unexpected connection her band had with the O Brother Where Art Thou movie phenomenon. “Nickel Creek had just released our first album on Sugar Hill, produced by Alison Krauss, shortly before O Brother took off. Alison’s prominent role in the soundtrack coincidentally raised our band’s profile. We were mentioned in a New York Times article discussing the bluegrass scene at the time. Even though we weren’t directly involved in the soundtrack, we benefited from the heightened awareness. It significantly boosted our career momentum.”
Watkins praises T Bone Burnett’s genius in curating the soundtrack: “T Bone Burnett’s skill lies in his impeccable casting of musicians for each song. He assembled incredible talent, showcasing the depth within our music community and instilling a sense of collective pride. Seeing our heroes celebrated on such a large platform was deeply gratifying.” She recalls Ralph Stanley’s “Oh Death” performance as particularly impactful, sparking her interest in shape-note singing. “Someone pointed out the resemblance between his delivery and the old shape-note singing traditions and preachers. It was unlike anything I’d ever heard. And to this day, I always stay to hear Dan Tyminski perform ‘Man of Constant Sorrow’ – it’s a must-see.”
Dave Wilson of Chatham County Line shares a humorous anecdote about his first O Brother Where Art Thou movie experience. “I remember sneaking whiskey into the theater with our bass player to see O Brother. We sat in the back, laughing and drinking, and I distinctly remember thinking, ‘Bluegrass has truly arrived!’” Chatham County Line was already performing locally, but the O Brother Where Art Thou soundtrack’s release dramatically changed their trajectory. “The soundtrack acted as a massive advertisement for our style of music. We immediately noticed larger, more enthusiastic crowds at our gigs. Although, inevitably, people would constantly request ‘Man of Constant Sorrow,’ which we didn’t actually know how to play! Maybe we should have learned it,” he jokes.
Wilson admires the soundtrack’s musical depth. “The arrangements are brilliant, and it avoids clichés or being overly traditional. The choice of musicians was perfect – it could have easily gone wrong. I shudder to think of a Toby Keith version! Chris Thomas King’s blues track [‘Hard Time Killing Floor’] is a standout moment.” He also emphasizes the impact of the Down from the Mountain concert film: “Seeing Down from the Mountain at our local classic movie theater was even more impactful than the O Brother Where Art Thou movie itself for the folk music scene.”
Sam Amidon reflects on the folk community’s sometimes protective stance on their music. “People in folk music can be very protective, which is understandable. But I believe in sharing music you’re passionate about. Knowing the diverse musical landscape O Brother explored, it was exciting to think about the vast audience about to discover these field recordings and incredible musicians. I was grateful, because mainstream portrayals of traditional music had often been reductive or cliché. O Brother depicted it on an unprecedented scale. Before, mentioning banjo might evoke Deliverance; that was the common reference point.”
Amidon continues, “O Brother achieved the miraculous – it presented this music authentically. It showcased various facets of American music beyond just the industry categories of blues and bluegrass. ‘Folk music’ is such a broad term, often misunderstood outside those genres. O Brother highlighted singing games, banjo tunes, and many other traditions. It was surprisingly inclusive, casting a wide net. While contemporary perspectives might critique aspects of the ‘Americana’ genre it helped popularize, it’s important to remember its initial impact was far more nuanced and progressive than anything before.”
Woody Platt of Steep Canyon Rangers notes the parallel between O Brother‘s 20th anniversary and his band’s formation. “Steep Canyon Rangers formed around the time O Brother Where Art Thou movie was released. We were college seniors in Chapel Hill, North Carolina. Growing up in the Carolinas, we were naturally exposed to bluegrass and old-time music, but we didn’t fully immerse ourselves until college. We were just starting to explore this music when the movie came out. We sensed a growing excitement while playing in bars, but we lacked a before-and-after comparison; it was just our reality.”
Platt appreciated both the film and especially the O Brother Where Art Thou soundtrack. “Seeing Ralph Stanley and Dan Tyminski in a film, artists I admired, was incredible. Looking back, the timing was perfect for us as a band. We were having fun and finding joy in this music, which was previously quite niche but suddenly garnered national attention. The movie undoubtedly fueled this wider awareness. It’s fascinating because it wasn’t heavily marketed; it was an organic phenomenon. People just connected with the music.”
Molly Tuttle recounts her childhood introduction to O Brother. “I was seven when the O Brother Where Art Thou movie came out, and my dad showed it to me. I loved it instantly, and the music resonated deeply because I already loved bluegrass and old-time music. Seeing it in a movie was new and exciting. My dad, a bluegrass teacher, saw a surge in new students after its release.”
Tuttle emphasizes the soundtrack’s lasting legacy. “It had a profound and lasting impact on bluegrass popularity. Being so young, I didn’t know many of the soundtrack musicians by name, so it introduced me to artists who became my favorites. The Down from the Mountain documentary further familiarized me with Emmylou Harris and Alison Krauss. Gillian Welch and John Hartford, among others from that era, became major influences, and O Brother was my gateway to their music. I’ve performed ‘I’ll Fly Away’ and ‘Angel Band’ numerous times, and even sang ‘Man of Constant Sorrow’ with Dan Tyminski at the IBMA awards.”
Dom Flemons witnessed Ralph Stanley on the O Brother tour in 2000. “I saw Ralph Stanley on the O Brother Where Art Thou movie tour in Flagstaff, Arizona. The show was packed, and his performance was captivating. When he sang ‘Oh Death,’ he dramatically pulled out a piece of paper, joked about his age, and then delivered a mind-blowing performance from that paper.”
Flemons sees O Brother as a pivotal album across generations. “O Brother remains a milestone, bridging generations. With many older musicians of those styles passing away, the soundtrack became a perfect vehicle to introduce younger audiences to 1920s and 30s music. It reminded people of the incredible old recordings available. That’s where I went – discovering the RCA Victor and Columbia recordings, which was transformative for me.” He praises the soundtrack’s structure: “It’s perfectly structured, from the chain gang opening to ‘Big Rock Candy Mountain,’ ‘You Are My Sunshine,’ and Chris Thomas King’s ‘Hard Time Killing Floor’ – which itself revived Skip James’s music. While Ghost World and Devil Got My Woman also contributed, O Brother really ignited a broader revival. People started incorporating these songs into performances, and audiences were suddenly familiar with them, often referencing the O Brother versions. These are observations from before my professional music career, and it was amazing to witness.”
The O Brother, Where Art Thou movie soundtrack’s 20th anniversary serves not just as a celebration of a successful album, but as a reminder of its profound and lasting impact on the landscape of American music, revitalizing interest in bluegrass, old-time, and roots music for a new generation.
