These accolades underscore what his records already prove—Falle is more than a regional storyteller; he’s a voice shaping the sound and soul of modern bluegrass. If Wanted in Kentucky was the culmination of lessons learned and a breakthrough moment on the global stage, Hillbilly Irish is the confident next step in the journey—a celebration of

ancestry, community, folklore, and the raw storytelling power of bluegrass.

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The title track, “Hillbilly Irish” (feat. Carley Greer), sets the tone. It’s not just a nod to heritage—it’s a rousing celebration of the Scots-Irish blood that pulses through Appalachian culture. With Jim Hoke’s pennywhistle dancing over tight dobro and banjo runs, the song bridges continents, connecting the stone-walled pubs of Ulster with the tobacco barns of

Eastern Kentucky. Greer’s voice pairs beautifully with Falle’s, both seasoned and stirring, as they sing of faith, migration, and hard-earned freedom.

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This spirit of remembrance and reverence flows throughout the album. “Miss West Virginia,” a poignant tribute to the late Mel Ann Pennington, is heartbreaking and graceful, elevated by Greer’s haunting harmonies. Falle honors her with storytelling that’s both deeply personal and

universally touching.

 

One of the album’s greatest strengths is its emotional range. “Love Raised the Roof” celebrates Appalachian barn-raising culture with a warm, gospel-tinged groove. It’s the sound of neighbors working together with muddy boots and full hearts, banjos chiming like church

bells over the hills.

 

In contrast, “Where Sorrow Has No Song” delves into the devastating 1958 Prestonsburg School Bus Disaster. Falle sings this historical ballad with a raw reverence, backed by plaintive fiddle and restrained harmonies. It’s one of his finest narrative efforts to date—a song that belongs alongside bluegrass classics of loss and memory. But this record isn’t all solemn reflection.

 

Instrumentals like “Dance Like the Devil’s Chasin’ Ya” and “Fiddle Me Irish” bring barn dance energy, thumping with old-time fury. These tracks show Falle’s musical dexterity and his reverence for the joy found in Appalachian string traditions. “Kitchen Jamboree” adds another joyous chapter, capturing the Appalachian tradition of families and neighbors gathering in kitchens with food, song, and faith to keep community alive. With its stomping chorus and gospel overtones, it feels like both a hymn and a hoedown.

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Falle continues his deep dive into regional folklore and Americana on tracks like “Hobo,” co-written with Jonathan Holmberg. It captures the wistful ghost of the working-class drifter, with harmonica and dobro painting a lonesome, romantic picture of the rail-bound nomad.

Equally vivid is “Peaceful River,” a moving reflection on Appalachian burial customs and the eternal tie between land and loved ones. Falle’s vocals are at their most tender here, proving he doesn’t need to shout to move you.

 

“Old Crow (The Kentucky Legend)” barrels down the track with rollicking force, a tribute to Bourbon County’s equine roots, fast and sharp as a gallop at Keeneland. And Hillbilly Irish doesn’t shy away from the darker shadows of Appalachian life: “The Beatitudes of Bubba Ray” paints a Southern Gothic portrait of a smooth-talking neighbor who cloaks vice in scripture, while “I Broke Bread with the Devil” digs into betrayal and manipulation by those who wield faith as a weapon. These songs add grit to the record, balancing the joy with raw honesty.

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The tradition runs even deeper on Falle’s rendition of the Irish folk classic “Whiskey in the Jar,” where he connects his project directly to 17th-century Irish balladry. Backed by pennywhistle and bodhrán, his version feels both reverent and fresh, a reminder that the roots

of bluegrass stretch back across the Atlantic. “Eminent Blood” closes in prophetic fire—Falle’s fiercest statement yet. A protest ballad

against a powerful, land-grabbing energy giant, the song brims with righteous anger, biblical imagery, and defiance. It’s coal dust, scripture, and justice rolled into a searing Appalachian gospel.

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What makes Hillbilly Irish more than just a good bluegrass record is its cohesion. This isn’t a scattershot collection of pickin’ and grinnin’ tunes—it’s a narrative arc, a spiritual and sonic journey that begins in the green hills of Ireland and ends in a holler where love, death, music, and memory intertwine.

 

Producer Jonathan Yudkin’s fiddle and mandolin lines weave seamlessly into the fabric of each song, while the all-star band—Marty Falle (lead vocals, guitar), Carl Miner (guitar), Mike Bub (acoustic bass), Josh Metheny (dobro), Matt Menefee (banjo), Rob Ickes (dobro), Justin

Alexander (banjo), and Jim Hoke (harmonica, pennywhistle, accordion, flute)—plays with both precision and soul. On vocals, Falle is joined by a trio of powerhouse background singers—Carley Greer, Ashley Lewis, and Kim Parent—whose harmonies elevate the record with depth and warmth. Together, they don’t just support Falle’s vision—they magnify it.

 

And the cover art? Original work by Disney artist TJ Matousek, based on a photo by Amber Falle, ties the project together with striking visual flair. It’s as personal and handcrafted as the music itself.

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With Hillbilly Irish, Marty Falle has not only written his strongest record yet—he’s crafted a bluegrass masterpiece. Building on the global success of Wanted in Kentucky and carrying the recognition of being hailed as a “Bluegrass Poet” and profiled in Bluegrass Unlimited’s

feature “Marty Falle’s Blueprint for Bluegrass Success,” this new album proves he’s no one-hit wonder, but a visionary voice in modern roots music.

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It’s a deep-rooted, finely detailed, emotionally rich album that honors the past while sounding entirely fresh. It dances. It mourns. It testifies. And above all, it belongs—to Kentucky, to Appalachia, to Ireland, and to anyone who’s ever found faith, fire, or family in the sound of strings and stories. Don’t just stream it. Sit with it. Let it play start to finish, like a good book or a holy revival. Because that’s how Marty Falle meant it.

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— Jim Capaldi for Country Music News International Magazine