The soundtrack for O Brother, Where Art Thou? emerged as a surprising cultural force in the early 2000s. It propelled bluegrass musicians into the spotlight and cultivated a widespread appreciation for traditional American music, spanning folk, gospel, children’s songs, prison work songs, blues, and everything in between. Two decades after its unexpected triumph, and as a concluding note to our Artist of the Month series, we delve into conversations with several musicians about the profound influence O Brother, Where Art Thou? and its subsequent tours had on their careers and the landscape of American music.
Sierra Hull recalls, “Growing up in a small town, Walmart had this poster section with pop stars like Britney Spears. In my mind, Alison Krauss was just as big as Britney Spears. So, when O Brother, Where Art Thou? highlighted figures I already admired like Alison, Dan Tyminski, and Ralph Stanley, it was truly special.”
![Alison Krauss performing, alt text: Alison Krauss performing bluegrass music on stage with a microphone, highlighting her influence on young musicians.]
“I was already playing music, but too young to tour when O Brother, Where Art Thou? came out. By the time Cold Mountain was released [in 2003], I joined that tour. Alison, who was on both soundtracks, invited my brother and me. Being 12 and touring, playing venues like Red Rocks and the Beacon Theater, was incredible. Watching Alison captivate audiences nightly is a cherished memory.”
Hull adds, “Seeing the audience’s enthusiastic response to Ralph Stanley was amazing. He’d wear this dazzling jacket, and sometimes during a 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 finale. It’s among my most treasured musical experiences.”
Sara Watkins reflects, “O Brother, Where Art Thou? became a touchstone for us. Nickel Creek had just released our first album on Sugar Hill, produced by Alison Krauss, shortly before the O Brother, Where Art Thou? soundtrack exploded. Alison’s prominent role in the soundtrack, coupled with our album’s release, placed us within that burgeoning scene. I remember a New York Times feature that mentioned us in the same breath as the O Brother phenomenon. We benefited immensely, even without direct involvement in the soundtrack. It significantly boosted our career momentum.”
![Sara Watkins playing fiddle, alt text: Sara Watkins skillfully playing the fiddle, showcasing her contribution to contemporary bluegrass music and the legacy of O Brother soundtrack.]
Watkins continues, “T Bone Burnett’s genius was in assembling the perfect musicians for each song. He showcased the incredible talent within our community, making us all proud. Seeing our heroes celebrated by a vast audience was gratifying. Ralph Stanley’s ‘Oh Death’ vocal performance was a revelation. It introduced me to shape-note singing, reminiscent of old preachers and communities. And to this day, I always stay to hear Dan Tyminski perform ‘Man of Constant Sorrow’.”
Dave Wilson of Chatham County Line shares, “I saw O Brother, Where Art Thou? in theaters with our old bass player. We snuck in whiskey and laughed in the back row, thinking, ‘Bluegrass has arrived!’ We were already playing locally, but not full-time. The soundtrack was kismet. It was a massive advertisement for our music style. We saw a real change. More strangers came to our gigs, genuinely excited. People would often shout for ‘Man of Constant Sorrow,’ making me wonder if they knew the soundtrack or just the movie. We never played it – we didn’t know how!”
![Chatham County Line performing live, alt text: Chatham County Line band performing bluegrass music on stage, illustrating the renewed interest in the genre after the O Brother Where Art Thou soundtrack.]
Wilson adds, “I loved the O Brother, Where Art Thou? record. The arrangements are incredible, and it avoids being corny or overly traditional. They chose the right artists. Imagine if they’d picked someone like Toby Keith! Chris Thomas King’s blues song [‘Hard Time Killing Floor’] is a standout moment. Later, the Down from the Mountain concert film at our local theater was even more impactful for the folk scene than the movie itself.”
Sam Amidon notes, “Folk music communities can be protective, which is understandable. But I believe in sharing what excites me. Knowing the musical depths O Brother, Where Art Thou? explored, it was wonderful to think of the audience discovering field recordings and great musicians. Before O Brother, Where Art Thou?, media portrayals of traditional music were often poor, cliché, or simplistic. Nothing had shown it on this scale before. Mentioning banjo often evoked Deliverance.
![Sam Amidon playing banjo, alt text: Sam Amidon playing a banjo, representing the modern folk musician influenced by the traditional sounds popularized by the O Brother soundtrack.]
“O Brother, Where Art Thou? was a miracle in its authentic portrayal. It showcased diverse facets of American music beyond just blues and bluegrass. ‘Folk music’ is broad, often misunderstood beyond those genres. O Brother, Where Art Thou? highlighted singing games, banjo tunes, and more. It was surprisingly inclusive. While contemporary Americana has complexities, O Brother, Where Art Thou? was originally much more nuanced than what preceded it.”
Woody Platt of Steep Canyon Rangers says, “The 20th anniversary of O Brother, Where Art Thou? aligns with our band’s formation. We started in college in Chapel Hill, NC, when the movie came out. Growing up in the Carolinas, bluegrass and old-time music were always around, but we dove into it in college. We were new to it when the movie came out. We felt an excitement playing in bars in Chapel Hill, but had no comparison point. It was just our reality.”
![Steep Canyon Rangers performing, alt text: Steep Canyon Rangers performing bluegrass music, demonstrating the continued vibrancy of the genre two decades after O Brother Where Art Thou.]
Platt reflects, “I enjoyed the O Brother, Where Art Thou? movie, but loved the album. Hearing Ralph Stanley and Dan Tyminski in a film, seeing artists I admired, was incredible. Looking back, the timing was perfect for our band’s start. The music we played, once niche, suddenly had national appeal. The movie undeniably fueled this awareness. It’s fascinating because it wasn’t heavily marketed; it just organically resonated and people embraced the music.”
Molly Tuttle recalls, “I was seven when the movie came out. My dad showed it to me, and I loved it. The music resonated deeply because I already loved bluegrass and old-time. Seeing it in a movie was new and exciting. My dad, a bluegrass teacher, saw a surge in students after O Brother, Where Art Thou?”
![Molly Tuttle performing with guitar, alt text: Molly Tuttle playing guitar and singing, a contemporary bluegrass artist who discovered the genre through the O Brother Where Art Thou soundtrack.]
“It had a lasting impact on bluegrass popularity. Being young, I didn’t know many soundtrack musicians by name, so it introduced me to future favorites. The Down from the Mountain documentary further introduced artists like Emmylou Harris and Alison Krauss. Gillian Welch and John Hartford, who were big influences, were introduced to me through O Brother, Where Art Thou?. I’ve performed ‘I’ll Fly Away’ and ‘Angel Band’ often, and even ‘Man of Constant Sorrow’ with Dan Tyminski at the IBMA awards.”
Dom Flemons recounts, “I saw Ralph Stanley on the O Brother, Where Art Thou? tour in Flagstaff, Arizona, in 2000. It was at a high school. I saw a poster and went. I was learning banjo then. The place was packed, and his performance was amazing. During ‘Oh Death,’ he pulled out sheet music, joked about his age, and sang it, blowing us away.”
![Dom Flemons playing banjo, alt text: Dom Flemons playing a banjo, illustrating the connection between O Brother soundtrack and the resurgence of interest in traditional banjo music.]
“O Brother, Where Art Thou? is a milestone album. With many old-style musicians passing, it perfectly introduced younger generations to 1920s and 30s music. It reminded people of great old recordings. That’s where I went – to RCA Victor and Columbia recordings.
Flemons concludes, “It’s perfectly structured, starting with chain gang songs, then ‘Big Rock Candy Mountain,’ ‘You Are My Sunshine’ with Norman Blake, and Chris Thomas King’s ‘Hard Time Killing Floor,’ reviving Skip James. While Ghost World and ‘Devil Got My Woman’ were there, O Brother, Where Art Thou? amplified it. People casually brought those songs back to shows and festivals, and more people knew them, often performing them like the O Brother, Where Art Thou? versions. I observed this before becoming a professional musician, and it was amazing to witness.”
The O Brother, Where Art Thou? soundtrack’s legacy endures, not just as a collection of songs, but as a cultural event that reignited interest in American roots music and continues to inspire musicians and audiences alike. Its impact on bluegrass and related genres remains undeniable, twenty years on.
