Sturgill Simpson has spent his career building a reputation for reinvention. On Cuttin’ Grass, Vol. 1: The Butcher Shoppe Sessions, he takes a step back. This is a live-in-the-studio record of bluegrass covers, recorded with a small band and no overdubs. It is not a statement of ambition. It is a celebration of craft.
The album is a collection of 20 songs, mostly standards of the genre, played with the kind of warmth that comes from a room full of musicians who know each other’s parts by heart. Simpson sings with a loose, almost conversational delivery, and the band swings behind him without ever reaching for a big finish. It is the sound of a man enjoying himself.
Opening With “All Around You”
The record starts with “All Around You,” a gentle ballad that sets the tone immediately. It is a slow, deliberate reading, and it announces that this is not a record about spectacle. Then comes “All the Pretty Colors,” a jaunty tune that picks up the pace without losing its easy grace.
“Breakers Roar” is a standout. It is a driving instrumental that shows off the band’s collective strength, and Simpson’s banjo playing is particularly sharp here. “I Don’t Mind” follows, a mid-tempo number that lets the vocal take center stage. It is a solid performance, but it does not quite hit the same heights as the opener.
“I Wonder” is a brief, introspective piece that feels like a palate cleanser. It is not a song that demands attention, but it holds the album together by giving the listener a moment to breathe. “Just Let Go” picks the tempo back up, a lively number that benefits from the band’s tight interplay. “Life Ain’t Fair” is a quick, witty observation delivered with a smile.
“A Little Light” is a short instrumental interlude, barely over a minute, that functions as a bridge. It is pleasant but forgettable. “Life of Sin” brings the energy back up with a driving rhythm that feels almost danceable. “Long White Line” is a slower, more reflective piece, and it gives Simpson a chance to stretch his voice.
“Living the Dream” is a rollicking number that could have been a single in another era. It is the most radio-friendly moment on the record, and it works because the band commits to the groove. “Old King Coal” is a traditional piece that feels like a throwback, and it is rendered with respect rather than reverence. “Railroad of Sin” is a brief, humorous interlude that shows off Simpson’s sense of timing.
Mid-Album Highlights
“Sitting Here Without You” is a tender ballad that slows everything down. It is a quiet highlight, and it demonstrates that Simpson can be emotionally direct even when the production is sparse. “Sometimes Wine” is a longer, more contemplative piece that explores a relationship through a glass of wine. It is a good song, but it does not quite reach the heights of the earlier numbers.
“The Storm” is a driving number that builds tension before releasing it. It is a strong performance, and it shows off the band’s ability to shift dynamics within a single track. “Time After All” is a mid-tempo number that feels like a conversation between friends. It is pleasant but unremarkable. “Turtles All the Way Down” is a humorous interlude that breaks the mood with a joke.
“Voices” is a standout. It is a complex arrangement that showcases the band’s range, and Simpson’s vocal is particularly expressive here. It is one of the best tracks on the record. “Water in a Well” closes the album with a slow, atmospheric piece that feels like a meditation. It is a fitting end, though it is not a grand finale.
What Works
The best moments on Cuttin’ Grass, Vol. 1: The Butcher Shoppe Sessions are the ones where the band sounds like a unit. “Breakers Roar,” “Living the Dream,” and “Voices” are the clearest examples of this. These tracks feel effortless, as if the musicians were simply having fun in the studio and captured the magic.
Simpson’s vocal performances are consistently strong, but they are at their best when they are relaxed. The ballads, like “Sitting Here Without You” and “Water in a Well,” benefit from his willingness to let the emotion breathe. The humor, especially in “Railroad of Sin” and “Turtles All the Way Down,” adds a human touch that keeps the record from feeling stiff.
| Track | Length | Strength |
|---|---|---|
| Breakers Roar | 2:30 | Driving instrumental |
| Voices | 3:38 | Complex arrangement |
| Living the Dream | 2:31 | Rollicking highlight |
| Water in a Well | 3:47 | Atmospheric closer |
What Does Not
Not every track lands. “A Little Light” and “Time After All” are pleasant but slight. They do not add much to the overall picture, and they feel like filler rather than essential pieces of the puzzle. The humor in “Turtles All the Way Down” is welcome, but it is a minor detour rather than a destination.
The record also suffers from a lack of contrast. Because it is a covers record, there is a sameness to the arrangements that can wear thin over the course of 20 tracks. The band is clearly talented, but the material does not always give them enough to do.
The Verdict
Cuttin’ Grass, Vol. 1: The Butcher Shoppe Sessions is a record about connection. It is about a group of musicians playing together in a room, capturing a moment that feels immediate and honest. It is not a masterpiece, but it is a very good album.
The highlights are strong enough to justify the purchase, and the weaker tracks do not drag the whole down. This is a record for fans of bluegrass and for anyone who wants to hear Sturgill Simpson at his most relaxed. It is not a career-defining statement, but it is a warm, inviting listen.
- All Around You3:09
- All the Pretty Colors2:19
- Breakers Roar2:30
- I Don’t Mind4:30
- I Wonder3:15
- Just Let Go3:02
- Life Ain’t Fair2:01
- A Little Light1:44
- Life of Sin2:18
- Long White Line2:21
- Living the Dream2:31
- Old King Coal2:53
- Railroad of Sin2:13
- Sitting Here Without You1:56
- Sometimes Wine3:56
- The Storm2:31
- Time After All2:14
- Turtles All the Way Down2:19
- Voices3:38
- Water in a Well3:47
