Rhiannon Giddens traces the banjo from her ancestors to Beyoncé
Summary
Rhiannon Giddens discusses her new album, "Hope Is the Thing with Feathers," and her role as artistic director of the Silk Road Ensemble. She reflects on reclaiming the term "crone" to describe her current life stage and the emotional toll of performing difficult Black history for predominantly white audiences. Giddens also shares how her banjo work on Beyoncé’s "Texas Hold 'Em" helped validate the instrument’s African origins within the Black community. The conversation covers her apprenticeship in the Black string band tradition, her move to Ireland, and her perspective on maintaining hop…
Topics discussed
Introduction: Rhiannon Giddens' career and Beyoncé collaboration
Performance of 'Step Away Blues'
Reclaiming the word 'crone' and entering a new life chapter
The emotional toll of performing Black history for white audiences
Finding acceptance in Black communities: Sing Sing and Beyoncé
The creation and performance of 'Texas Hold 'Em'
Impact of mainstream success and advocating for Black banjo history
The African origins and cultural history of the banjo
Performance of 'Freight Train' and Elizabeth Cotton's legacy
Elizabeth Cotton's rediscovery during the folk revival
Show break and return to interview
Growing up in rural North Carolina and early musical influences
Performance and discussion of 'Who Are You Dreaming Of'
The Black String Band tradition and mentor Joe Thompson
Performance of 'Black Annie' and the ancestral connection to music
Living in Ireland and immersing in Irish music
Singing an Irish song and comparing it to Dolly Parton
Dolly Parton's legacy as a musician and humanitarian
Ancestry, poverty, and the necessity of hope
Performance of 'Hope Is the Thing with Feathers'
Closing remarks and credits
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