Music
Press
Let’s get one thing straight: Betse Ellis is one badass fiddle player. She has an uncanny ability to make that instrument weep and wail while making it play hot potato with the bow…Ellis has put together a debut solo album filled with plenty of traditional numbers, a couple blues songs courtesy Memphis Minnie and a classical piece that, while slightly out of place, reminds us that Ellis is no one-trick pony. - Ink Magazine
Let’s get one thing straight: Betse Ellis is one badass fiddle player. She has an uncanny ability to make that instrument weep and wail while making it play hot potato with the bow…Ellis has put together a debut solo album filled with plenty of traditional numbers, a couple blues songs courtesy Memphis Minnie and a classical piece that, while slightly out of place, reminds us that Ellis is no one-trick pony. - Ink Magazine
Onstage, Ellis plays like a pistol with a saw in its hand, rocking back and forth like some bastard love child of Alison Krauss and Sid Vicious. - No Depression
Onstage, Ellis plays like a pistol with a saw in its hand, rocking back and forth like some bastard love child of Alison Krauss and Sid Vicious. - No Depression
It’s a striking sound – unvarnished vocals, absolutely fiery fiddling and a variation in tempos from quietly beautiful to ferocious…The original songs are strong, and the musicianship is never less than stellar. This is a diverse, well-played, really terrific album. - When You Motor Away
It’s a striking sound – unvarnished vocals, absolutely fiery fiddling and a variation in tempos from quietly beautiful to ferocious…The original songs are strong, and the musicianship is never less than stellar. This is a diverse, well-played, really terrific album. - When You Motor Away
There are obscure fiddle tunes from the Ozarks and plenty of rousing numbers (including a cover of the Clash’s “Straight to Hell”), but Ellis asserts herself as a wholly individual artist here, influenced as much by tradition as she is by the rock and roll desire to tear it down. - No Depression
…there’s much more to the recording than just fiddle with full band plugged-in tracks and a Clash cover too, Ellis also plays a host of other instruments on the recording including tenor guitar, viola, cello and piano, with her eclectic influences from Memphis Minnie to Pete Townshend; Chrissie Hynde to Beck; John Cale to Haxel[sic] Dickens, and her love of regional Ozark folk styles she’s created an album that manages to link the traditional and contemporary into something both original and engaging. - Beat Surrender
…there’s much more to the recording than just fiddle with full band plugged-in tracks and a Clash cover too, Ellis also plays a host of other instruments on the recording including tenor guitar, viola, cello and piano, with her eclectic influences from Memphis Minnie to Pete Townshend; Chrissie Hynde to Beck; John Cale to Haxel[sic] Dickens, and her love of regional Ozark folk styles she’s created an album that manages to link the traditional and contemporary into something both original and engaging. - Beat Surrender
Discography
High Moon Order (2012, Free Dirt Records)
Don't You Want To Go? (2009, Free Dirt Records)
Photos
Bio
Badass fiddler and Ozark fireball Betse Ellis brings an edgy fire to every note she bows, strums, sings or shouts. Part old-time celebrant and part contemporary songwriter, Betse is committed to purveying the breadth of possibilities within the folk format. She blends traditional source material with her own original works and presents a diverse sound that refuses to be labeled concretely. Citing influences from John Hartford to Joe Strummer, she traverses musical realms and pushes the boundaries of how folk music can be understood and imagined in the modern age.
Notorious for her powerful stage presence, Betse weaves tales of folklore and personal history throughout her performances, offering audiences an intimate live experience that is strikingly honest, uplifting, intense and humorous all at once. On stage she is a tour guide, taking listeners on a musical journey that explores her own “personal folk”, including reimagined punk and art rock compositions given new life through her own brand of fiddling prowess and passionate vocals. Betse’s presence is undeniably dynamic; one minute she’ll shred hairs from her bow on a fast-paced tune—shouting lines fervently over her fiddle—and the next she’ll quietly serenade a heart-breaking confessional song on tenor guitar. Her expertise at the challenging task of singing while fiddling distinguishes her as a solo artist, as well as an acclaimed instructor of fiddle workshops across America.
A classically trained violinist, Betse became dedicated to old time fiddle styles, especially Ozark styles, when she realized this music related directly to her regional heritage. Recognizing the deep soul present in the source music inspired Betse to spend the last 20 years of her life learning, performing, and teaching these styles. In 2009, Betse released her debut solo album Don’t You Want to Go? (Free Dirt Records), which earned her an Independent Music Award nomination; her work with The Wilders, the acclaimed “hillbilly riot” band of which Betse is a founding member, won the IMA for Best Alt. Country album (Someone’s Got to Pay) the same year. Prior to embarking on the development of her solo career, Betse toured internationally with The Wilders and contributed her fiddling, singing and songwriting talents on their numerous studio albums. In addition to her time with The Wilders, she has played in several roots and rock groups in and around her home base of Kansas City, Missouri.
Betse’s new, full-length studio album was released June 18, 2013 under Free Dirt Records; High Moon Order evolves from the raw, straightforward approach of Betse’s previous solo work to a sound that’s uncommonly complex and captivating. The album consists primarily of original compositions, with a few traditionals and old Ozark tunes imprinted with Betse’s own personal style and delivery.
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