The soundtrack for O Brother, Where Art Thou? wasn’t just a collection of songs accompanying a film; it was a cultural phenomenon that resonated deeply in the early 2000s. This unexpected hit catapulted bluegrass musicians into the limelight and carved a significant space in the mainstream for old-time music, encompassing everything from folk and gospel to children’s tunes, prison work songs, blues, and the rich tapestry in between. Two decades after its astonishing success, and as we conclude our Artist of the Month series celebrating Oh Brother, Where Art Thou?, we delve into the lasting impact this soundtrack and its subsequent tours had on the lives and careers of several prominent musicians.
Sierra Hull recalls her childhood perception of Alison Krauss’s stardom: “I grew up in a small town, and in the next town over, Walmart had a poster section. You’d see pop stars like Britney Spears and the Backstreet Boys. In my young mind, Alison Krauss held that same level of fame. So when O Brother came out, it was incredible to see figures I already revered, like Alison, Dan Tyminski, and Ralph Stanley, reach an even wider audience.”
Hull, already musically inclined but too young for touring when O Brother initially surged, experienced its ripple effects firsthand with the Cold Mountain soundtrack in 2003. “Alison contributed to both soundtracks and invited my brother and me on the Cold Mountain tour. I was 12, and it was my first real touring experience, playing venues like Red Rocks and the Beacon Theater. Watching Alison perform for massive crowds each night is a cherished memory.” She vividly remembers the audience’s enthusiastic response to Ralph Stanley: “People went wild for Ralph Stanley every night. He had this amazing, dazzling suit jacket. Sometimes, during his band’s performance, he’d take it off and toss it to me at the side of the stage. I even got to wear that jacket during the finale. It remains one of my most treasured musical memories.”
Sara Watkins of Nickel Creek also experienced the O Brother effect. “We became associated with O Brother in a surprising way. Nickel Creek had just released our debut album on Sugar Hill, produced by Alison Krauss, about a year and a half before the soundtrack’s release. Alison’s significant involvement in O Brother coincided with our band gaining some recognition. I remember a large New York Times article that included us in the burgeoning bluegrass scene conversation. We weren’t on the soundtrack, but we were in the right place at the right time. The awareness of bluegrass exploded, accelerating our career significantly. We already had momentum, but the soundtrack truly propelled us forward.”
Watkins praises T Bone Burnett’s production genius: “One of T Bone Burnett’s incredible talents is his ability to select the perfect musicians for each song. He assembled an amazing group that showcased the musicianship within our community and instilled a sense of pride. Seeing our heroes celebrated by such a vast audience was deeply gratifying. Ralph Stanley’s vocal performance on ‘Oh Death’ sparked a newfound respect in me. It led me to discover shape-note singing, as someone pointed out its resemblance to the vocal styles of old shape-note communities and preachers. It was unlike anything I had ever heard. And to this day, whenever I see Dan Tyminski, I make sure to stay until he performs ‘Man of Constant Sorrow.’ It’s a must-see.”
Dave Wilson of Chatham County Line humorously recalls his initial encounter with O Brother: “I remember sneaking whiskey into the theater with our old bass player to watch O Brother. Sitting in the back row, we just laughed and drank. My thought was, ‘Bluegrass has truly arrived!’ We were already playing local gigs, but hadn’t fully committed to it as a career. The soundtrack’s release felt like destiny. It served as a massive advertisement for our style of music. We definitely noticed a shift. More unfamiliar faces started attending our shows, genuinely excited about the music. A funny side effect was constant requests for ‘Man of Constant Sorrow.’ It made me wonder if they knew the soundtrack or just the movie. We never played it though – we didn’t even know how! Maybe we should have to quiet them down!”
Wilson appreciates the album’s quality: “The arrangements are exceptional, and it avoids being corny or overly traditional. Burnett chose the right artists. It could have gone wrong – imagine Toby Keith being involved! One of my favorite moments is Chris Thomas King’s blues track, ‘Hard Time Killing Floor’ [a Skip James cover]. It’s incredibly powerful.” He also notes the impact of the Down from the Mountain concert film: “The Down from the Mountain concert film, shown at our local classic movie theater, arguably had an even greater impact on the folk music scene than the movie itself.”
Sam Amidon reflects on the folk community’s reaction: “People in the folk world can be protective of the music, which is understandable. But I believe in sharing what excites me. Knowing the depth O Brother explores, it was wonderful to think about how many people would discover field recordings and these talented musicians. I was grateful because mainstream portrayals of traditional music were often cliché and simplistic. Nothing had depicted it on this scale before. Before Oh Brother, Where Art Thou?, mentioning banjo often evoked Deliverance. That was the common reference point.”
Amidon emphasizes the soundtrack’s authenticity: “O Brother miraculously presented this music authentically. It showcased diverse facets of American music, beyond just blues and bluegrass. ‘Folk music’ is such a broad category, often misunderstood beyond those two genres. O Brother highlighted singing games, banjo tunes, and various other traditions. It was surprisingly inclusive, casting a wide net. While contemporary discussions might focus on problematic aspects of ‘Americana,’ it’s important to remember its initial nuanced and groundbreaking impact compared to what preceded it.”
Woody Platt of Steep Canyon Rangers connects O Brother‘s anniversary to his band’s formation: “The twentieth anniversary of O Brother closely aligns with our band’s twentieth anniversary. We formed in Chapel Hill, North Carolina, around the movie’s release. Growing up in the Carolinas, we were all exposed to bluegrass and old-time music, but we didn’t fully immerse ourselves until college. We were relatively new to the genre when the movie came out. We might not have fully grasped the movie and tour’s impact on bluegrass, old-time, and mountain music then, but we felt a buzz playing in bars on Franklin Street in Chapel Hill. We lacked a ‘before’ to compare it to; it was just our reality.”
Platt admired the soundtrack and film: “I loved the movie, particularly the album. Hearing Ralph Stanley and Dan Tyminski in a film, seeing artists I respected, was incredible. In retrospect, the timing of our band’s beginnings was fortunate. We were having fun and finding joy in this music that had been a niche but suddenly gained national attention. I have no doubt the movie fueled this awareness. It’s fascinating because it wasn’t heavily marketed; it just happened organically. People simply became captivated by this music.”
Molly Tuttle’s childhood memories are intertwined with O Brother: “The movie came out when I was seven. I remember my dad showing it to me in grade school. I loved it, and the music resonated because I already loved bluegrass and old-time music. Seeing it in a movie was exciting and new. My dad teaches bluegrass, and after the movie’s release, he had a surge of new students.”
Tuttle highlights its lasting legacy: “It’s had a lasting impact on bluegrass popularity. Being young, I didn’t know many soundtrack musicians by name, so it introduced me to artists who became favorites. The Down from the Mountain documentary further introduced me to Emmylou Harris and Alison Krauss. Many of these artists, like Gillian Welch and John Hartford, became major influences, and O Brother was my gateway to their music. I’ve performed ‘I’ll Fly Away’ and ‘Angel Band’ often, and even performed ‘Man of Constant Sorrow’ with Dan Tyminski at the IBMA awards.”
Dom Flemons recounts seeing Ralph Stanley on the O Brother tour: “I saw Ralph Stanley on the O Brother tour in Flagstaff, Arizona, in 2000. It was at a high school. I saw a poster while in college there. I had started playing banjo, guitar, and harmonica. The place was packed, and his performance was incredible. Watching him perform ‘Oh Death,’ he pulled out a paper, joked about his age, and sang it off the page, blowing everyone away.”
Flemons emphasizes the soundtrack’s historical significance: “O Brother is a milestone album for several generations. With many older musicians of those styles passing, the soundtrack became a perfect vehicle to introduce younger audiences to 1920s and 30s music. It reminded people of those great old recordings. That’s where I went – to the old RCA Victor and Columbia recordings.
“It’s a perfectly structured record, starting with the chain gang prisoners, then ‘Big Rock Candy Mountain,’ ‘You Are My Sunshine’ with Norman Blake, and Chris Thomas King’s ‘Hard Time Killing Floor,’ which itself revived Skip James. People mention Ghost World and Devil Got My Woman, but O Brother really ignited this resurgence. People started casually incorporating these songs into shows and festivals, and more people seemed to know them, often performing them like the O Brother recordings. These are observations from before I was a professional musician, and it was amazing to witness.”
The Oh Brother, Where Art Thou? soundtrack not only achieved commercial success but, more importantly, it reignited a passion for traditional American music in a new generation, leaving an indelible mark on the musical landscape and the careers of countless artists.
