High Horse: Diverse Folk Traditions Meet Alt-rock Energy

In the middle of the woods during the bleak days of winter, progressive-acoustic band High Horse got together and made a record. From a fiddle suite to Celtic, bluegrass, old time and even “jazz-grass” and indie rock influences, the record runs the gamut. 

Produced by notable mandolin player Jacob Joliff, the 2024 release was a great showcase of what this Boston-based quartet of classically trained musicians has to offer. The eponymously titled release featured 12 tracks of original compositions and covers, with musical diversity as its underlying keynote.

“Everyone plays bluegrass and folk, and grew up with that, but we all come at it from different angles,” explained High Horse fiddle player and music composer, Carson McHaney. Included in the mix is use of the cello, played by bandmate Karl Henry. They are joined by musicians Noah Harrington (bass) and G Rockwell (guitar and banjo). The group strives to marry the “energy of alternative rock” to more organic and roots-oriented forms.

“We’ve got this really low, or bass-heavy sound because we have a cello and a bass,” he said. “And what’s cool about having alternative instrumentation is that we have so many colors.” Those “colors” are painted by diverse folk traditions.

McHaney said he grew up in northern California and was exposed to all sorts of music as a child. 

“My dad loved bluegrass, and we always had records spinning in the house,” he said. It was common to hear music by David Grisman, or the soundtrack to “Oh Brother, Where Art Thou?” Another early influence was the “non-traditional” Boston-based outfit, Crooked Still. He said the influence of this group still affects High Horse today.

“I remember seeing them at different west coast festivals,” he said. “They also had a cello.”

While McHaney got his start in the world of classical music, he soon made the switch to a more roots-oriented approach. What High Horse does is too broad to pigeonhole – and the band itself describes the music as unclassifiable. It probably aligns most closely, however, with Americana. 

“I decided that my job opportunities are limited if only playing classical music,” he explained. “It’s been a through-line through my life, fiddle playing and music of all sorts.”

McHaney said various acoustic styles appeal to him for one simple reason: It feels more “real.”

“Acoustic instruments have no filter…it’s just human-to-human, through acoustic sound.”

It’s not just the sound of everything unplugged that appeals to McHaney. It’s also the culture of the people who listen to it.

“What’s amazing about bluegrass and folk music is how big this umbrella has become,” he said, noting that two top performers today are Del McCoury and Billy Strings. “They are so different but still have a lot in common.” Today, bluegrass is open and welcoming to all.

“The music there [in bluegrass] is so inviting, and it invites so much individual and band creativity,” McHaney said, adding that he loves the “jamming tradition” and the “tradition of learning by ear.”

High Horse just completed a month of touring in Colorado, and for the remainder of the year, will be “touring pretty much every month, or every other month.”

McHaney said High Horse hopes to have new work available soon. In addition to having a live EP or two on the backburner, a new studio EP “should be coming out, possibly later this summer.”

“I just think High Horse is a really exciting band,” McHaney summarized, “and I’m so excited to be a part of it.”

https://www.highhorseband.com/