The soundtrack of O Brother, Where Art Thou? wasn’t just a collection of songs; it was a cultural phenomenon that resonated deeply in the early 2000s. It propelled bluegrass musicians into the limelight and carved out a significant mainstream audience for old-time music, encompassing everything from heartfelt folk melodies to spirited gospel hymns, poignant prison chants, soulful blues, and a rich tapestry of sounds in between. As we commemorate the twentieth anniversary of this remarkable success, and as a concluding piece to our Artist of the Month series, we’ve engaged with several musicians to explore the profound impact O Brother and its subsequent tours have had on their lives and careers.
Sierra Hull recalls, “Growing up in a small town, the Walmart in the next town over had a poster section. You’d find pop stars like Britney Spears and Backstreet Boys. In my mind, Alison Krauss was just as big as Britney Spears. So, when O Brother came out and elevated figures I already admired, like Alison, Dan Tyminski, and Ralph Stanley, it was incredible.”
Hull, already playing music but too young to tour when O Brother initially exploded, experienced the second wave of this phenomenon with Cold Mountain in 2003. “Alison was involved in both soundtracks and invited my brother and me on the tour. At 12, it was my first real touring experience, playing venues like Red Rocks and the Beacon Theater. Watching Alison captivate audiences nightly was unforgettable. And witnessing the audience’s enthusiastic response to Ralph Stanley, especially when he’d dramatically remove and gift his dazzling jacket, remains one of my most cherished musical memories.” This experience highlights the broad appeal of Oh Brother Where Art Thou songs and the artists who brought them to life.
Sara Watkins shares a similar perspective, noting, “O Brother became something we were associated with. Nickel Creek had just released our debut album produced by Alison Krauss. When O Brother was released, and Alison, being central to the soundtrack, gained even more recognition, our band also benefited. We were mentioned in a New York Times article, grouped with artists from that scene, even though we weren’t directly involved in the soundtrack. It was being in the right place at the right time. The awareness of bluegrass music just exploded, significantly boosting our career. We already had some momentum, but the soundtrack acted as a massive tailwind.” The Oh Brother Where Art Thou songs soundtrack amplified the entire bluegrass scene, not just the artists directly on it.
Watkins further elaborates on T Bone Burnett’s production genius, “One of T Bone Burnett’s talents is casting the perfect musicians for each song. He assembled incredible talent, showcasing the depth within our community and instilling a sense of pride. Seeing our heroes celebrated by a massive audience was gratifying. Ralph Stanley’s ‘Oh Death’ vocal performance particularly struck me, introducing me to shape-note singing and its powerful, old-preacher style. And to this day, seeing Dan Tyminski perform ‘Man of Constant Sorrow’ is a must-see for me.” These anecdotes emphasize the enduring impact of specific Oh Brother Where Art Thou songs and performances.
Dave Wilson of Chatham County Line recounts his initial encounter, “I remember seeing O Brother in the theater with our old bass player, sneaking in whiskey and laughing in the back row. It felt like ‘Bluegrass has arrived!’ We were already playing locally, but not full-time. The soundtrack’s release was perfectly timed for us. It was a massive advertisement for our kind of music. We noticed a change immediately, with more new faces at our gigs, clearly excited about the music. People would often request ‘Man of Constant Sorrow,’ sometimes making me wonder if they knew the soundtrack or just the movie. We never played it though – we didn’t know it!” This illustrates how the Oh Brother Where Art Thou songs became instantly recognizable and in demand.
Wilson also praises the soundtrack’s quality, “The arrangements are badass, not corny or overly traditional. Burnett chose the right artists. It could have gone wrong – imagine Toby Keith! Chris Thomas King’s blues track, ‘Hard Time Killing Floor,’ is a standout. Later, the Down from the Mountain concert film at our local classic movie theater was even more impactful on the folk scene than the movie itself.” This highlights the careful curation and artistry behind the Oh Brother Where Art Thou songs selection.
Sam Amidon reflects on the broader cultural implications, “Folk music communities can be protective, which is understandable. But I believe in sharing music I love. Considering how many people would discover the roots O Brother explored was exciting. Before, media portrayals of traditional music were often cliché or simplistic. Nothing had represented it on such a scale. Mentioning banjo often evoked Deliverance. ” Oh Brother Where Art Thou songs helped to redefine and broaden the perception of traditional American music.
“O Brother was a miracle in its authentic portrayal,” Amidon continues. “It showcased diverse facets of American music beyond just blues and bluegrass, encompassing singing games, banjo tunes, and more. It was surprisingly inclusive. While contemporary Americana might have problematic aspects, initially, O Brother was remarkably nuanced compared to previous representations.” The soundtrack’s nuanced approach to Oh Brother Where Art Thou songs was key to its widespread acceptance and influence.
Woody Platt of Steep Canyon Rangers connects the film’s release to his band’s beginnings, “The twentieth anniversary of O Brother is close to our band’s formation. We started in college in Chapel Hill, North Carolina, when the movie came out. Growing up in the Carolinas, we were exposed to bluegrass and old-time music, but we didn’t fully embrace it until college. We were relatively new to the genre when the movie was released. We may not have fully grasped the movie and tour’s impact on bluegrass and related genres then, but we felt an increased buzz playing in bars in Chapel Hill. But we had no prior experience to compare it to.” The rising tide of interest in bluegrass, fueled by Oh Brother Where Art Thou songs, lifted many boats.
Platt expresses his personal appreciation, “I loved the movie and especially the album. Seeing Ralph Stanley and Dan Tyminski in a film, artists I admired, was incredible. Looking back, the timing was perfect for us to start. We were having fun, finding joy in this music, which was previously niche but suddenly had national appeal. I have no doubt the movie fueled this awareness. It’s fascinating how it happened organically, without significant marketing. People just connected with the music.” This organic growth underscores the genuine appeal of Oh Brother Where Art Thou songs.
Molly Tuttle shares her childhood experience, “The movie came out when I was seven. I loved it, and the music resonated because I already loved bluegrass and old-time music. Seeing it in a movie was exciting. My dad, a bluegrass teacher, saw a surge in students after the movie’s release.” Oh Brother Where Art Thou songs inspired a new generation of musicians and fans.
“It’s had a lasting impact on bluegrass’s popularity,” Tuttle adds. “Being young, I didn’t know many soundtrack artists by name initially. It introduced me to future favorites. The Down from the Mountain documentary further familiarized me with artists like Emmylou Harris and Alison Krauss. Gillian Welch and John Hartford became major influences, and the soundtrack was my gateway to their music. I’ve performed ‘I’ll Fly Away’ and ‘Angel Band’ often, and even ‘Man of Constant Sorrow’ with Dan Tyminski at the IBMA awards.” For many, Oh Brother Where Art Thou songs served as an entry point into a wider world of roots music.
Dom Flemons recounts a direct experience with the tour, “I saw Ralph Stanley on the O Brother tour in Flagstaff, Arizona, in 2000 at a high school. The place was packed. His performance was amazing. During ‘Oh Death,’ he humorously pulled out a piece of paper, put on glasses, and sang, blowing everyone’s minds.” This firsthand account highlights the tour’s reach and the powerful performances of Oh Brother Where Art Thou songs live.
Flemons emphasizes the soundtrack’s historical importance, “O Brother is a milestone album for generations. With many older musicians of those styles passing, the soundtrack was perfect for introducing younger audiences to ‘20s and ‘30s music. It reminded people of fantastic older recordings, which is where I went next – exploring RCA Victor and Columbia recordings.” Oh Brother Where Art Thou songs acted as a bridge to the past.
“It’s a perfectly structured record,” Flemons concludes, “starting with chain gang songs, then ‘Big Rock Candy Mountain,’ ‘You Are My Sunshine,’ and Chris Thomas King’s ‘Hard Time Killing Floor,’ reviving Skip James. While Ghost World and ‘Devil Got My Woman’ are noted, O Brother amplified this revival. People started incorporating these songs into shows and festivals, and more people seemed to know them, often performing them like the O Brother versions. These are observations from before I was a professional musician, and it was amazing to witness.” The carefully curated selection and presentation of Oh Brother Where Art Thou songs cemented its lasting impact and appeal.
The Oh Brother, Where Art Thou? soundtrack did more than just sell records; it reignited a passion for American roots music, introducing timeless songs to new audiences and revitalizing the careers of the artists who kept these traditions alive. Its legacy continues to resonate, influencing musicians and shaping the landscape of American music two decades later.
