Bluegrass Prodigy Molly Tuttle Embraces Effervescent Pop: ‘I’ve Gravitated Toward a More Open-Ended Sound’

Molly Tuttle, an accomplished guitarist, composer and vocalist, has risen to prominence within bluegrass music. Her renown was forged through early performances with her family ensemble The Tuttles With AJ Lee, solo ventures and the ensemble Golden Highway—a tribute to her Californian upbringing. In a historic milestone, she became the first woman to receive the International Bluegrass Music Association’s Guitar Player of the Year award.

Reflecting on her Grammy-winning collaborations with Golden Highway—Crooked Tree (2022) and City of Gold (2023)—Tuttle says these achievements fortified her confidence and inspired her to broaden her musical horizons.

Her forthcoming solo album, So Long Little Miss Sunshine, set for release on August 15 via Nonesuch Records, epitomizes this adventurous spirit. Departing dramatically from her traditional bluegrass roots, the 12-track collection weaves together elements of folk-pop, country and rock, subtly infusing her signature bluegrass flair.

“When I heard the finished mixes, I sensed echoes of Sheryl Crow’s spirit—and I absolutely love that,” Tuttle admits, citing one of her greatest inspirations.

Over the past five years, amid more than 100 annual performances with Golden Highway, the creation of her 2024 EP Into the Wild and witnessing Crooked Tree secure IBMA Album of the Year, Tuttle amassed songs that defied easy categorization. Many of these compositions were co-written with her partner, Ketch Secor of Old Crow Medicine Show.

“Bluegrass is the music of my upbringing, with its distinct framework,” she explains. “While you can stretch its boundaries, you’re still composing within a defined genre. I gravitate toward songs that don’t neatly fit into any box, and embracing that less-defined sound made this album both thrilling and daunting.”

At the suggestion of manager Ken Levitan, Tuttle shared her demos with producer Jay Joyce—renowned for his work with Cage the Elephant, Miranda Lambert and Eric Church. “Ken believed Jay would push my guitar playing into fresh territory,” she says. “Jay encouraged longer, more expressive solos throughout the record, challenging the typical collaborative bluegrass approach and giving each solo its own narrative arc.”

The album was tracked last fall at Joyce’s Neon Cross Studio in East Nashville, with contributions from drummer Jay Bellerose, percussionist Fred Eltringham, bassist Byron House and Secor on banjo, fiddle, harmonica and harmonies. “We recorded in a shared space around the console,” Tuttle recalls. “It fostered a creative camaraderie—no glass between us, just musicians and producer collaborating side by side.”

Opening with the brooding “Everything Burns,” Tuttle chose the track to establish a commanding guitar presence from the outset. From there, the mood brightens across upbeat cuts like “That’s Gonna Leave a Mark” and the sun-soaked “Summer of Love,” while her spirited cover of Icona Pop and Charli XCX’s “I Love It” adds playful contrast. Introspective songs such as “No Regrets” and “Golden State of Mind” explore themes of personal growth and acceptance.

Her musicianship remains as assured and precise as ever. Tuttle revisits the banjo on “No Regrets” and the closing track “Story of My So-Called Life,” marking her first recorded banjo performances since her teens.

“Story of My So-Called Life” traces her evolution—from her studies at Berklee College of Music to her journey chasing musical dreams. Meanwhile, “Old Me (New Wig)” began as a breakup song but evolved into a metaphor for shedding outdated habits. “We realized midway that it wasn’t about ending a relationship with someone else, but with an old version of ourselves—our insecurities and destructive patterns,” she laughs. “That hook, ‘I got a new wig to get you out of my hair,’ has become a fan favorite for its playful empowerment.”

The album’s artwork reinforces this theme: a grid of Tuttle sporting a variety of wigs alongside a central, bald portrait. Each hairstyle corresponds to a song— a braided blonde look for “Rosalee,” a dark wig for “Everything Burns”—while the unadorned image celebrates her alopecia areata diagnosis at age three. “Embracing wigs as creative expression has freed me from having to justify my appearance or invite pity,” she reflects. “It’s simply part of my artistic identity.”

She drew inspiration from her collaboration with Ringo Starr on his country-tinged album Look Up, honoring the Beatles’ Let It Be cover’s four-square concept. What began as four wig variations expanded to nine in an ambitious 12-hour shoot— a project she calls “utterly rewarding.”

Earlier this year, Golden Highway—featuring bassist Shelby Means, banjoist Kyle Tuttle, fiddler Bronwyn Keith-Hynes and mandolinist Dominick Leslie—opted to disband so its members could pursue solo endeavors. Keith-Hynes, Means and Kyle Tuttle have since launched individual projects. “It felt like the right moment for all of us to pause,” Tuttle explains.

For her upcoming tour—including summer festivals and the fall’s The Highway Knows Tour—Tuttle has assembled a new band with drummer Megan Jane, bassist Vanessa McGowan, multi-instrumentalist Ellen Angelico and guitarist/mandolinist Mary Meyer. They debuted together at New York’s Mercy Lounge in May.

“I’m hopeful Golden Highway will reconvene when our schedules align,” she says. “For now, it’s goodbye with the promise of a future reunion.”

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