An acoustic band born in the land of tech innovation, Front Country was unlikely to be accepted as an authentic American roots band out of the gate. Cutting their teeth in progressive bluegrass jams in San Francisco’s Mission District and rehearsing across the bay in Oakland, they fashioned their own take on roots music and Indie Folk, with the tools they had on hand. A mandolinist with a degree in composition and classical guitar. A guitarist trained in rock and world music. A bassist equally versed in jazz and newgrass. A violinist with technique that could seamlessly hop between honky tonk and electropop. And a female lead singer with grit and soul that was also a multi-instrumentalist and songwriter. In a wood-paneled country dive bar in the shadow of the San Francisco skyline, Front Country forged a sound hell bent on merging the musical past with the future. The result lies somewhere between Indie Folk and Americana, in a nether-region they’ve come to embrace as their own.
If there was any one song from their debut album that they all agreed they had never heard the likes of before, it would have to be the title track “Sake of the Sound”. A pop song with a rock arrangement, played entirely on acoustic instruments. It was almost as if bluegrass instruments had been unearthed 200 years from now in a time capsule, and were re-purposed to make post-apocalyptic modern pop music. Front Country has been drawn more and more into this peculiar aesthetic, writing and arranging songs that are simultaneously intricate, intense and infectious. They’ve been called “Roots Pop”: the past is discernible with a wink and a nod, and the future is here.