Sister Sadie has been making a big impact on the bluegrass music scene, most recently being recognized as IBMA's Vocal Group of the Year for 2019, 2020 and 2021, as well as taking home the Entertainer of the Year Award in 2020. The Nashville-based all-woman quintet formed in 2012 after an impromptu jam session at Nashville’s Station Inn. Their 2016 debut album, and Sister Sadie II released in 2018, both feature Dale Ann Bradley (guitar), Tina Adair (mandolin), Deanie Richardson (fiddle), Gena Britt (banjo) and Beth Lawrence (bass).  Late in 2020, I understand that Dale Ann Bradley left the group to concentrate on her solo career. During 2021, when Jaelee Roberts (guitar) and Hasee Ciaccio (bass) joined up, the band was featured in a special exhibit at the Country Music Hall of Fame and Museum called “American Currents: State of the Music.” In 2022, Mary Meyer (mandolin) joined the band, replacing Tina Adair who left to pursue her solo career.

This is their near perfect showcase debut album, released in 2016. During the opening five tracks, we hear four different lead singers, as well as a driving instrumental (“Ava’s Fury”) written by Deanie Richardson. Dale Ann Bradley’s lead vocals have plenty of mountainous character in “Unholy Water,” and Gena Britt’s radiance may be a little more subdued in the driving up-tempo “Don’t Me Stories.” When Tina Adair sings lead on “Don’t Let Me Cross Over,” she brings an emotional depth to the song that is both inspired and inspiring. Beth Lawrence only sings her evocative lead on “Falling,” and there’s an ache in her voice as she presents a thoughtful message about unrequited love.

Sister Sadie is a band with several stars, and each can confidently carry the show with their singing full of freshness, vigor and clarity. Their blended harmonies and instrumental chops also justifiably earn much praise. The slower waltz-timed “Look What I’m Trading for a Mansion” might have been a good, optimistic closer, but it’s just found at the midway point before Sister Sadie rhythmically embarks on more radio-friendly fare. Tina Adair’s rendition of the enchanting ballad, Harley Allen’s “Mama’s Room” displays the symbiotic relationship between a good singer and a good song.  (Joe Ross, Roots Music Report)