Photo by Blaine Schultz
Ricky Skaggs and Kentucky Thunder
Ricky Skaggs and Kentucky Thunder at Northern Lights Theater
Ricky Skaggs and his six-piece Kentucky Thunder gave an informal history of Bluegrass at Potawatomi Hotel & Casino’s Northern Lights Theater on Sunday night. Skaggs’ pedigree comes honestly, having played with legends Bill Monroe and Lester Flatt & Earl Scruggs before he was a teenager. Tracing his career is much like following the Mississippi River, with tributaries into progressive bluegrass, Gospel and country music.
Skaggs and company hit the ground running with the Stanley Brothers “How Mountain Girls Can Love” and later played “Rank Stanger,” recalling when The Beatles played on the Ed Sullivan show his sister was pulling her hair out in excitement. Skaggs said to his father, “they are not as great as the Stanley Brothers.” Skaggs also performed Monroe’s signature tune “Uncle Pen” as well as his own instrumental “Ancient Tones”— the term Monroe used to describe the foundation of his sound. Skaggs described the songs as having been written “back in BC” as in before COVID-19. Skaggs noted both he and his wife had it and that he spent time in the hospital. He also said guitarist Tony King was playing instead of a regular band member who was out with COVID-19.
In Kentucky Thunder, Skaggs has surrounded himself with a sextet of topflight pickers who darted in and out with solos in service to the song. The leader also gave each player a spotlight tune to shine. Banjoist Russ Carson was a blur picking Earl Scruggs’ “Ground Speed” and award-winning Bluegrass guitarist Jake Workman blazed through “Hickory Snow.” Speed-metal has nothing on these guys. Guitarist Mike Rogers paid tribute to the Osborne Brothers with “Up This Hill” and also doubled on cajon and percussion during the show. Guitarist Tony King, a Grand Ole Opry regular, completed the vocal trio with Skaggs and Rogers. Fiddler Billy Contreras’ “Fiddle Patch” took a vibrant detour into western swing. Bassist Jeff Picker provided a sonic foundation that made the stellar acoustic mix sound orchestral at times.
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But this was Skaggs’ show. He moved easily from mandolin to guitar. He introduced “Bayfield” with the story of finishing the song and debuting it at the northern Wisconsin city’s Big Top Chautauqua show. He also dipped into his era on the country charts with “Let It Be You” and the wistful ode to travel, “Highway 40 Blues.” An a capella “Down to the River to Pray,” the song resurrected thanks to the movie O Brother, Where Art Thou and Skaggs’ own “Can’t Shake Jesus” were Gospel highlights.
