Bluegrass thrives on collaboration—an art form built on shared melodies, traded solos, and voices rising together in harmony. While long steeped in tradition, forging bonds of solidarity, this musical space has been laced with feminine grace along the way. For Shelby Means and Hayley Skreens, these connections have been not only meaningful but essential in shaping their musical journeys. This spirit of connection has been the foundation of their musical journeys.
From Means’ work with bands like Della Mae, Sally & George, and Golden Highway to Skreens’ roles in Wheels North, and Stryder, both artists have found inspiration and strength in the bonds they’ve formed along the way. Whether co-writing songs, stepping into new roles to support a project, or lifting up fellow musicians, their careers are a testament to the power of partnership. In a genre that has historically been male-dominated, their collaborative approach not only amplifies their voices but also helps shape a more inclusive future for bluegrass.
Hayley:
They’ve completely shaped who I am, both personally and musically. As an extrovert, I thrive on collaboration and meeting people – whether they are listeners, musicians, or other artists.
Shelby:
In 2021, Golden Highway was conceived. We were coming out of the pandemic, so rough for independent musicians and the crews… just the whole industry. The whole world was suffering and we were wringing our hands like, man oh man, what are we going to do? Molly Tuttle made the call and Golden Highway was such a cool thing to sink into.
Shelby Means, known for her work with acts like Della Mae and Sally & George, has spent years navigating the bluegrass world. Reflecting on the camaraderie among women in the genre, she shared, “Molly Tuttle and Golden Highway have been so great. I’ve gotten to play with so many bluegrass heroes while being in such a super tight bluegrass band myself. As a bass player, I’m very comfortable with the collaboration role. It’s a community instrument.”
For Hayley Skreens, a banjoist and upright bass player, the sense of community among women in bluegrass has been a driving force, “One thing I love about the Midwest music community is its strength – especially for women. When I bought an upright bass during the pandemic, I wasn’t planning to play it seriously. But then Fox Crossing Stringband needed a bassist. That motivated me to step up. Playing with an all-female group was such an inspiring experience.”
Shelby:
It’s hard to play bass all by yourself. We had some time off so I did some Sally & George shows down in the Virgin Islands. Sharing as a duo band is really fun because we get to experiment with our new songs. My husband, Joel Timmons, and I each sing about the same amount of songs and we both support each other. It’s such a nice fluid thing, you know?
Hayley:
After Under the Willow disbanded, Mark Frystak and I started Make It a Double, mostly exploring covers. We clicked musically and otherwise. After 4-5 years of that, we knew we wanted a band that became Wheels North. I feel confident in my ideas and open to input.
Wheels North will be playing Blue Ox Music Festival this year, 2025.
Hayley:
Until now, my process has been mostly solitary, and I am now experiencing the most collaborative writing experience of my life with both of my current projects, Wheels North and Stryder. (formerly Highwater) I know when a song is coming — I get squirrely. I have to write immediately, no interruptions.
Unmatched energy is a common thread when women come together in bluegrass. The history of the genre has long been male-dominated, yet today, many women are making their mark – not only as vocalists but as instrumentalists and bandleaders. The presence of organizations like the International Bluegrass Music Association (IMBA) Women in Bluegrass initiative and mentorship opportunities have helped foster spaces where women can thrive.
Shelby:
When I was living in Memphis I was singing along to Lady Gaga’s “Poker Face” on the radio. That was so my jam! I don’t know about the wild pop star side of Lady Gaga but her character Joanne and her album Joanne was so cool. I could really see myself in her as well. I don’t think Bluegrass is ready for all that Lady Gaga encompasses fashion-wise but one day I will wear a meat dress to IMBA.
I had to learn ‘Million Reasons.’ I started performing it with Sally & George. Joel told me to send it to our producer, Maya DiVitry. When Maya heard it, she said, “We’re doing it.” That was just so wonderful to hear; so great for the full band to perform. They interpreted it in such a beautiful way. Jerry (Douglas) has some really beautiful dobro hooks throughout the chorus. He had the idea for the intro, like, oh! You’ll want some ambiance here to start it and then Bryan was like, oh! I’m going to do my thing here. He went back and decided to double the guitar part. It was just so beautiful to watch and listen. Those guys are such awesome musicians. Hearing the song and seeing my vision, then making it even better was just so wonderful.
I like this song, too, because lyrically, it’s up for interpretation. Is it about a lover? Is it about a job? Is it about an industry? What is it to you?
Hayley can relate to that type of collaboration especially when it happens spontaneously, “I feel fully present now that we are truly co-writing. It feels amazing to make progress together. I used to play mandolin, but it’s not for me anymore. Bass has really changed me as a musician – I feel like it’s what I’m meant to do. My grandmother always taught us we can do anything at any time. That mindset guides me in music and in life. Can I tell you about my grandmother?
“I’m half Japanese and my grandmother is a huge inspiration. She is 97 and incredible. During WWII she was interned in Jerome, AK but freed herself through education. At age 14 she went to college to become a teacher. That gave her freedom she wasn’t supposed to have. Her fearlessness, doing what she wanted when she wanted has shaped my life.
“Music isn’t about gender or race – it’s for everyone. But representation does matter. If I buy a ticket to a festival, I want to see people who look like me on stage. As an Asian American, I’m proud of my heritage even if I don’t always feel it.”
Shelby Means emphasized the power of representation in inspiring the next generation, “You know what? Now that I’m thinking of it, most of my producers have been men. All of them up until Maya DiVitry. I did some harmony singing for Rebecca Frazier. They produced that whole vocal session but not the overall thing… I’m not sure. Maya was so awesome to have by my side. That was a real undertaking and she is a real sister, that is for sure. She is there as you select the songs. She came to Charleston to help Joel finish up some of his recordings while workshopping and massaging songs with me. She and I ended up having two co-writes on this new album. Knowing someone like Maya was available to produce records made this undertaking more plausible and appealing.
“The core band is Bryan Sutton on guitar, my brother Jacob Means on mandolin, Ron Block on banjo, Bronwyn Keith Hynes on fiddle, Jerry Douglas on dobro – and yes, I tapped Molly Tuttle and Kyle Tuttle to sing harmony with me. My single “Streets of Boulder” is an easy step from what I’ve been doing with Golden Highway to what I’m doing now as I step out on my own. The friends I have made along the way and all the amazing meet-ups. It’s incredible to capture that moment with ‘Streets of Boulder.’ I’m looking forward to what is to come. I’ll always be collaborative. I’ll always be in the bluegrass scene in some way or another, whether that is me solo putting the band together or being in someone else’s totally awesome band playing in Telluride. Different times call for different measures.”
Beyond the stage, the bonds of sisterhood extend into everyday support. From sharing gig opportunities to providing a listening ear on the road, women in bluegrass often act as each other’s champions. The sense of solidarity not only strengthens their individual careers but enriches the genre as a whole.
Hayley:
My band Stryder initially started as a bit of a joke. Mark Frystak and Mark Messer were playing in the garage calling themselves the Highwater Marks. I popped in and asked them if they would like to add a little bass. It felt like a side project but as we started booking gigs and expanding, we were kindly reminded that Art Stevenson and Highwater have been around for 45 years already. Out of deep respect, we reached out and Art was incredibly kind. He had heard of us and wished us well! We all wanted to avoid confusion so we brainstormed on a new name. We landed on Stryder because it feels flexible and fitting for our music.
Shelby:
Sally & George were looking for more songs to record on our album and as luck has it I was able to co-write with Melody Walker. I was in a band called Della Mae and Melody was in Front Country. We were on a similar circuit at the time, we’d become friends out on the road. When we both found ourselves in Nashville, I was getting more established as a songwriter. I thought it would be cool to try a co-write with Melody so we sat down in an afternoon and just started deep dive talking about feelings.
Four hours later we emerged with ‘Listen Sister’ without any instruments. We just had our voices. Melody had an iPad, I had a notebook and pen. ‘Listen Sister’ came out melodically and lyrically. She went home and added chords, I think on the piano. That was super cool. It’s so awesome to experience co-writing with Melody Walker. Melody! Who is now a Grammy Winner for her song “American Dreaming” with Sierra Ferrell? She deserves that!
Within this rich legacy of Bluegrass music, women have continuously carved out spaces of their own, shaping the genre with resilience and artistry. Among them, Shelby Means and Hayley Skreens stand as prime examples of how collaboration and community can elevate not just the music, but the musicians themselves.
As bluegrass continues to evolve, the role of women within it becomes increasingly vital. With artists like Hayley Skreens and Shelby Means forging ahead, the landscape around the bend will embrace a richer, more inclusive sound – one that truly is representative while also honoring tradition. Joining hands and creating together in solidarity will always be a gesture worth the grip.
