Welcome to The Pluck

Banjo Fire: Hard‑Driving Bluegrass with Anthony Howell

On this episode of The Pluck, Jonathan sits down with Mississippi banjo man Anthony Howell, a national champion known for his hard‑driving Scruggs‑based style, modern twists, and viral social media videos. They talk about growing up homeschooled with Mel Bay mandolin DVDs, finding the banjo through Alan Sibley, and putting in eight-hour practice days to win the Winfield National Banjo Championship. Anthony breaks down rolls, right‑hand tone, Keith tuners and that 1929 Gibson TB‑3, and where he draws the line between straight-ahead bluegrass, “newgrass,” and going too far out. He also previews his upcoming album Banjo Aficionado, plays his new single “End of the Line [https://show.co/Dn3taKl],” and shares how he’s building a DIY career with session work, house-band gigs, Patreon [https://www.patreon.com/cw/AnthonyHowell], and a new ToneSlabs thumbpick model. If you pick, sing, or just love hard-driving bluegrass banjo, you’ll feel right at home in this one. The Pluck Learn more at thepluck.studio [https://www.thepluck.studio/]. Subscribe for updates and exclusive content from The Pluck. Credits This podcast contains recordings of “End of the Line” and “Highway 19,” used with permission from Anthony Howell. Chapters 0:00 Intro & Anthony’s Background 1:20 Social Media Consistency & Algorithm 3:05 Keith Tuners Demo 6:10 Banjo Anatomy (Flathead vs Archtop) 12:20 How Anthony Got His 1929 Gibson TB-3 14:35 Early Music: Mandolin, Guitar, Banjo 17:00 Alan Sibley Lessons & Support System 20:10 Homeschooled Practice Grind 22:35 Banjo Rolls Explained (Forward, Backward, Thumb) 26:40 Weaving Melody & Rolls 29:20 Special Effects (Palm Mute, Whammy Bar) 34:00 8‑Hour Practice Days 37:30 Bluegrass Tradition vs Newgrass Line 40:55 “End of the Line” Live 48:35 DIY Career: Sessions, Patreon, ToneSlabs Pick 52:40 “Ground Speed” Contest Arrangement Live 58:20 Self‑Criticism as a Performer 1:01:30 Ground Speed Breakdown 1:10:05 Right‑Hand Technique & Fingerpick Angle 1:15:20 Tabs vs Ear Learning 1:18:40 Banjo Practice Advice 1:23:45 Highway 19 Live 1:33:25 Highway 19 Writing Story 1:36:00 Band Listening Dynamics 1:39:00 Outro & Album Preview

Curiosity + Structure in a Guitarist’s Career with Jason Vieaux

In this inaugural episode, Grammy‑winning classical guitarist Jason Vieaux shares how curiosity and structure have shaped his career: managing rapid repertoire shifts, collaborating with top composers, and balancing performance with innovative recording projects. You’ll hear his approach to intentional practice and scheduling, working with non‑guitarist composers on challenging pieces, and the often‑overlooked skill of sight‑reading that accelerates learning. Perfect for classical guitarists, composers, educators, and serious students, this conversation offers clear, actionable insights to build a sustainable guitar career that’s both creatively adventurous and structurally sound. Chapters 00:00:06 Opening — The Philosophy of The Pluck 00:01:50 Touring Life & Maintaining Major Series 00:02:42 Calendar Discipline & Practicing Early 00:04:34 Preparing for First Rehearsals 00:08:40 Recording vs. Performing 00:17:44 Working with Non-Guitarist Composers 00:38:12 Early Training & Chamber Music Foundations 00:46:05 “Your Technique Sucks” — Mechanics vs. Facility 00:58:46 Sight Reading as a Career Multiplier 01:13:21 The Pat Metheny Record & Arranging by Ear 01:30:53 Pandemic, Family, & Career Shock 01:44:32 Upcoming Concerts in Sarasota and Naples 01:46:40 Closing Remarks Learn More Explore more about The Pluck and Jason Vieaux: * The Pluck – thepluck.studio [https://www.thepluck.studio/] * Jason Vieaux – jasonvieaux.com [https://jasonvieaux.com/] Subscribe to stay updated on new episodes and exclusive pluck content. Credits This podcast contains an excerpt of ‘Letter from Home,’ composed by Pat Metheny and performed by Jason Vieaux, used with written permission from Azica Records [https://azica.com/].

Welcome to The Pluck

The Pluck is the place for all things plucked strings. In this short intro, I share what the show is about, who it’s for, and why we’re digging into how the pros write, record, and play music for plucked‑string instruments—guitar, bass, banjo, mandolin, harp, and more. If you work with plucked strings and want clearer, more idiomatic parts that feel good under the hands and hold up on stage and in the studio, you’re in the right place.