Biography

What’s a bluegrass band to do when their influences—and their talents—run too widely to be contained within a single style? If you’re Mountain Home Music Company’s Sister Sadie, the award-winning female-forward ensemble, the answer is this: kick off the fall with “All Will Be Well,” a straight-up bluegrass single that meets the expectations of fans eager for new music since January’s full-length No Fear, then follow it up with an irresistible country throwback that’s likely to send a listener in search of the nearest honky tonk hardwood floor.

“‘Make Me Stay or Make Me Go’ brings to mind everything I loved about 90s country,” says founding member and on-stage sparkplug Deanie Richardson, who spent the decade working with artists like Patty Loveless. “This was written by three of my favorite writers: Jessi Alexander, Al Anderson and Gary Nicholson. It screams sawing fiddles and a good ole line dance!”

Indeed, within a few seconds of its acoustic opening, “Make Me Stay or Make Me Go” strikes out for new ground with a flourish of drums, the twang of a Telecaster and the moan of a pedal steel guitar before lead singer Jaelee Roberts launches into the song’s memorable plea:

Last night I put the top down
And drove to the edge of town
A part of me just kept on goin' when I turned around
Why did I turn around?
…
I don't know why you wanna keep me guessin'
I try to keep holding on
Just tell me what I want to hear or please just tell me ‘no’
Baby, make me stay or make me go

First recorded by Alexander for her 2005 debut, “Make Me Stay or Make Me Go” nods in the direction of the sound that artists like The Chicks once took to the top of the charts — despite all that’s going on sonically, fellow founding member and harmony singer Gena Britt’s banjo makes its presence known — even as Roberts’ unmistakable voice leads “the Sadies,” as they call themselves, down their own musical path. Underpinned by Maddie Dalton’s upright bass, and with contributions from fellow Sadie Dani Flowers (harmony vocals), guests Mary Meyer (mandolin), Seth Taylor (guitars) and country sessioneers Russ Pahl (pedal steel) and Catherine Marx (Hammond B-3 organ), it’s a powerhouse performance that proudly presents a whole new side of the bluegrass favorites.

“Who didn’t love country music in the 90s?” asks Richardson. “I feel like it’s creeping around the corner again, too — at least I hope it is. This is all of us Sadies tipping a hat to the country music we love so much with our bluegrass instrumentation and some very talented friends to help.”

About Sister Sadie
Sister Sadie, which launched in the wake of an ostensibly one-off show at Nashville’s World Famous Station Inn in 2012, has both embraced and transcended its all-female identity, earning acclaim that includes being named as the International Bluegrass Music Association’s Entertainer of the Year in 2020, as well as Vocal Group of the Year in 2019, 2020 and 2021. Members range from acclaimed veterans to rising newcomers, who have won individual recognition, too, with founding member and fiddle player Deanie Richardson named as Fiddle Player of the Year in 2024 and banjo player/vocalist Gena Britt — SPBGMA’s reigning Banjo Player of the Year — having participated in three award-winning collaborative projects.The lineup is rounded out by 2024 IBMA Female Vocalist of the Year and Mountain Home recording artist Jaelee Roberts (guitar), Dani Flowers (vocals and guitar), bassist Maddie Dalton, winner of one of IBMA’s Momentum Instrumentalist of the Year Awards in 2023, and mandolinist Rainy Miatke. The band’s previous release, Sister Sadie II, earned them a GRAMMY nomination for Best Bluegrass Album in 2019.