The Dead South have never been about constant reinvention, but about full commitment totheir own singular way. With confidence in their sound and style and trust in each other, TheDead South arrive at the cusp of explosive globalsuccess in an enviable, and well-earned,position: total autonomy. It doesn’t really matter what you call their music-progressivebluegrass, alternative Americana, country, folk and western, what matters is that this is theirs,and people from all different backgrounds, beliefs, experiences, languages and ages love it.True blue right through, The Dead South don’t shy away from ruffling traditionalists’feathersfrom time to time, as they flawlessly execute banjo rolls and lightning-fast mandolin tremolos,3-part harmonies and songs of classic themes-murder ballads, disloyalty, ghosts and the like, allwith a wink and a smile. As they continue their climb to the top, The Dead South have learnedan important lesson: If you’re going to be outsiders, you’dbetter be great.Confirmed by the passion of their Dead South cosplaying fans, who go to concerts in the band’ssignature look, this four-piece acoustic set from the middle of the Canadian prairies have foundtheir people. Good Company, as they call themselves, is a global community of vastly dissimilarfolks who might not see eye to eye, but who stand shoulder to shoulder at the gigs

SUNNY WAR

“…her right thumb plunks the bass part while her forefinger upstrokes notes and chords, leaving the other three fingers unused. A banjo technique, it’s also used by acoustic blues guitarists. Her fingers are long and strong – Robert Johnson hands – in jarring contrast to the waif they’re attached to. The walking bass line sounds like a hammer striking piano keys in perfect meter, while the fills are dynamic flurries – like cluster bombs. I haven’t heard a young guitarist this dexterous and ass-kicking in eons.” - Michael Simmons, L.A Weekly