Article Contributed by Jake Cudek
Published on 2026-04-13
Photo: Courtesy of the artist
On March 27th, jam grass originals Yonder Mountain String Band presented their 12th studio album Good As True to the world. Released on the Thirty Tigers label and featuring eight tracks of that unique sound that the band has given audiences for nearly thirty years, this latest production showcases once again the talents of the quintet to swing across the spectrum of music and lyric while delivering on that factor that has consistently pulled both new and old fans to the stage night after night on their endless tour of sharing everything they have.
The album starts off with “Brand New Heartache” from the proficient soul of multi-instrumentalist Nick Piccininni. This punchy number has a nice climbing phrase, a bass driven motor hum, and plenty of car references to set up the album and listener for open road travel through a changing landscape of emotion and color that once again shows that this band is never running on empty.
Speaking to the truth that is the longevity of the group, “Long Ride” comments on themes that no matter the struggle and triumph, there is only one direction to go and that is forward. This one led by founding member guitarist Adam Aijala has a musical bounce to it that creates that feeling of the bumpy trail of life, but is sung with a confident cadence that anchors the narrative outlook to overcoming whatever happens and enjoying the subject of the title.
“The Lie” leads in with a lone mandolin progression and the sorrowful croon of Piccininni and seems to be both the band’s political comment on the current state of affairs as well as the timeless struggle of the common person under the thumb of those in power. The narrator’s lament drives home that no regime can choose how we live or die. Building a nice head of steam midstream and wrapped in some impressive harmonizing, the end is nothing short of pure celebration in spite of the dire predicament.
The track “Blind” has Aijala once again delivering some great verse in this reflective piece that speaks to the burden that comes with the conflict of personal choice versus the “what ifs” of the existential crisis. Weighing in on the concept of the free wheeling outlook against the stability of home and human connection, the tale teller speaks on the proverbial crossroad while remaining unchanged, their heart and mind still filled with unsettled wonder of what could have been. Although the listener can hear the heavy message in the script, the music for this one is so very light and sweet and the feeling of the hook and melody makes one want to hit repeat again and again. Of note, Aijala’s flatpicking is nimble and sincere and serves as the perfect centerpiece to the tune.
Although the music of “Nothing New” has a nice flow to it, captained by Aijala and hosting some great banjo work from Dave Johnston and delightful fiddle from Coleman Smith, the voice in the story cuts into dark waters. The author sits in judgment and remarks on another’s inability to change. Seeing this life wasted by self-imposed helplessness and ignorance, the result is a bitter void absent of empathy. This one starts and finishes with a slant that is without redemption or forgiveness for the scrutinized. That stated, it may be personal preference, but this set of ears was hoping that the object would have found ‘something new’, possibly even at the hands of the critic. Even though the state of discontent beats at the heart of this one, the musicality is quite remarkable. The rise and fall of the movements alongside the stops just hits right at all points and the transition of instrumentation from one player to the next holds a quality of support that is full of irony given the dissenting verse.
No Yonder album would be complete without the warm baritone of Dave Johnston’s voice and “One to One Another” is just such a piece. Standing in reprieve to the preceding track, this one in its simplicity oozes with tolerance and understanding. It has been stated that the greatest truths often are found in uncomplicated packages and this tune hits that meaning from the start. In a little under two minutes, Johnston conveys the human connection through glimpses of imagery, both blatant and obscure, leaving the understanding to the listener within the context that we all experience varying degrees of cold, the undertone being perspective is at the heart of all things being human.
Opening up with an enticing rev that plays throughout the entirety of the tune, bassman Ben Kaufmann leads listeners through certainly one of the highlights of the album. “Almost Always” plays and feels like it comes from a deeply personal place in this founding member’s emotional bank. The emotive piece is both visceral and cerebral and the way Kaufmann presents here is mature, present, and patient. Although some of the depictions hit with biting conviction, the pulse and life of the tune never turns the moment lukewarm, but breathes with vibrance and vitality from start to finish. The middle gets back-to-back solos from Smith and Piccininni, the violin peaking chaotic until its final note, only to be caught by a playful mandolin run that returns the sound to the comforting embrace of the main theme.
Closing out the production, the band puts Dave Johnston behind the wheel once again to deliver on “Barroom Feather”: a lyrically impressionistic piece that seems disjointed and connected all in the same breath, one lyric affixed to the other in creative ambiguity. For the vinyl edition of the album, this sixteen minute ride features some great tonal conversation caught on the fly in the studio. In perfect juxtaposition, this final track would be from where the band would pull the album title Good As True rather than giving away its root early on.
Overall, Yonder Mountain String Band’s latest creation is exactly what one would expect from this talented group: another well executed testament to their years of creating music and song fueled by experience and produced in a way that is true to their sound, both as individuals as well as the sum of their parts. Producing another full album of original ideas, their second in less than eighteen months, it is clear that this band of brothers believes that the studio creation is just as important as the improvisation shared by them on a nightly basis. The production value is top notch per the usual and the execution makes for an album that is overall accessible, enjoyable, and for the long time fan, desirable, creating excitement about seeing these new works play out in the live setting.
From a lyrical standpoint, lines are certainly blurred between what seems to be some incredibly personal themes and those of modern topics that affect us all, making one wonder where the inspiration comes from for many of these passages. With no liner notes speaking to specifics, the listener is left to interpret the exposed roots and derive their own meaning and myth from what is presented. Within this context potential, maybe the resultant interpretation is exactly what the band meant when they titled the album Good As True as yet another way to muddy the waters between their own historical influence and spinning yet more tales of the human condition. Whatever the origin or reason, this latest captured moment in time once again sees a union of musicians on the move, wanting more, and staying as ‘good as true’ to themselves and the continued dream that is the one and only Yonder Mountain String Band.
