Christopher McCracken for Bluegrass Pride - 8 May 2026
We love being queer, and we find a lot of joy in it [...] We think if the world is
gonna change in the way that it needs to, that it’s very important for our
revolution to be based on joy, and what brings us joy and chasing after that.
-Katie Gavin
You never would’ve known that the drive from Spokane was Hell. Or that a bass bridge
had been left behind in Minneapolis and was still making its way home.
Such was the show that Della Mae put on for the good people of Polaris Hall on a
Portland Friday night.
The Dellas (as they call themselves) know what they’re doing, and they aren’t afraid to
show you so. Celia Woodsmith conducted the magic and sang lead behind a guitar and,
occasionally, a washboard. (How many bands do you know with branded washboards?)
Kimber Ludiker, a hometown-ish hero, used her five-string fiddle to kick you right in the
teeth. Vickie Vaughn slayed the borrowed bass and sang harmonies that raised the hairs
on the back of your neck. Avril Smith won the Shiniest Pants Award, along with Best
Pedalboard and Most Tasteful Licks.
The set was comprised largely of songs from Magic Accident, but there was also fan
favorite “Boston Town” and a cover of Maya de Vitry’s “Working Man”. People were
dancing everywhere you looked. Some by themselves; some with their partners; and one
couple could’ve taught a Western swing class. Who knew the revolution would be
choreographed?
Magic Accident brings us more of what we’ve come to love from Della Mae: tight
harmonies, brilliant songwriting, and — practically oozing out of the seams — a sense
that someone else gets it. It’s a sonic group hug.
The title track reminds us of the serendipity it takes to be alive — nevermind to live well. On stage, Kimber explained how “Family Tree” traces generational trauma and its
impacts; how passing it on is a choice, not a sentence. “Nothing At All” joins one of my
favorite categories of song, the Domestic Bliss Special, exhorting the delights of a simple
dinner out with your partner and a day filled with not much of anything. “Takes All
Kinds” provides the most stunning harmonies on the record, complemented by Vickie’s
fill-in lines and shifting role among the moving chords.
Listen through Della Mae’s discography and a clear change appears. The first
records establish what, and who, the Dellas are: they’re women, writing from women’s perspectives, taking their cues from bluegrass and old time music. While unafraid to get
political, the most topical songs are based in history, or gesture at a timeless narrative.
But in 2020, Della Mae reset and came out swinging with Headlight — a record tackling
sexual assault, infertility, and the strength needed to carry on in no uncertain terms.
They followed it with Family Reunion, centered on “The Way It Was Before”, their
clearest statement yet that we are in the present, talking about today’s issues. The voices
of women from the past echo through these songs, but we are here, now, adding our
voices.
While tackling these injustices head-on, Della Mae doesn’t lose sight of the joy needed to
sustain the revolution. I dare you to listen to “Wild One”, “Dry Town”, and “Lifeline”
straight through without once smiling, tapping your feet, nodding, or singing along. It’s
impossible. The songs radiate buoyancy. For my money, that’s where the magic is.
I know where I can go if I need to meditate on the cost of chasing dreams; if I want biting
political satire delivered in the bluegrass style; or to hear gun violence activism delivered
by another kickass all-woman outfit.
What Della Mae offers is a firm belief in progress, grounded in joy and built to last. They
understand that community is what keeps us going. It’s nothing less than a recognition
that the fights of our times are here to stay, and we need to keep our eyes up to move
forward.
What a gift that is. What allies to have in the struggle.