Alison Krauss stands as one of bluegrass and country music’s most decorated artists, with 27 Grammy Awards to her name—more than any other female artist in history. Her angelic soprano voice has defined contemporary bluegrass for over three decades, bridging traditional mountain music with mainstream accessibility in ways that honor both worlds. What makes Krauss exceptional isn’t just technical precision, though her vocal control is legendary; it’s her ability to convey profound emotion through restraint, letting silence and space work as powerfully as sound itself.
Backed by her longtime band Union Station, Krauss has crafted a catalog that spans traditional bluegrass standards, contemporary country ballads, and genre-defying collaborations that have introduced acoustic music to audiences who might never have discovered it otherwise. Her production choices consistently favor authenticity over trend-chasing, resulting in recordings that sound timeless rather than dated. Whether she’s interpreting a centuries-old murder ballad or lending her voice to a modern songwriter’s creation, Krauss brings the same meticulous artistry and emotional honesty that has made her a touchstone for quality in American roots music.
This collection showcases the breadth of Krauss’s artistry, from her earliest Union Station recordings through her groundbreaking collaboration with Robert Plant and her recent solo work. Each song demonstrates different facets of her genius—her gift for harmony, her interpretive sensitivity, and her band’s extraordinary musicianship. These tracks aren’t just the best Alison Krauss songs; they’re essential listening for anyone who appreciates vocal excellence and instrumental mastery in American music.
“When You Say Nothing at All” – Crossover Magic
Originally recorded by Keith Whitley and later popularized by Ronan Keating, Krauss’s 1995 version from Now That I’ve Found You: A Collection became her signature crossover hit. Her interpretation strips away country-pop production in favor of sparse acoustic arrangement that puts her crystalline voice front and center. The mandolin and acoustic guitar create delicate framework that never overwhelms, while Krauss’s vocal delivery transforms the romantic lyrics into something simultaneously intimate and universal.
What distinguishes this version is Krauss’s restraint—she never oversings or adds unnecessary embellishment, trusting the melody and lyrics to carry emotional weight. The production, overseen by Krauss herself, exemplifies her aesthetic philosophy: pristine clarity, natural reverb, and instrumental voices that complement rather than compete. The song reached number three on the Billboard Hot Country Songs chart and introduced Krauss to pop audiences, proving that acoustic purity could achieve mainstream success.
This recording remains a masterclass in interpretive singing, with Krauss finding melodic variations that feel spontaneous rather than calculated. Through quality headphones, you’ll appreciate the warmth of the acoustic instruments and the way her voice sits perfectly in the mix without artificial enhancement. The song’s enduring popularity has made it a wedding favorite and demonstrated Krauss’s ability to make familiar material feel freshly discovered.
“The Lucky One” – Union Station’s Showcase
From the 2001 album New Favorite, “The Lucky One” features Krauss’s most commercial-sounding production while maintaining bluegrass integrity. The song’s upbeat tempo and optimistic melody contrast with many of her melancholy ballads, showcasing Union Station’s ability to deliver joy without sacrificing musical sophistication. Dan Tyminski’s harmony vocals blend seamlessly with Krauss’s lead, creating the signature Union Station sound that has influenced countless bluegrass and Americana acts.
The instrumental breaks feature virtuosic playing from Ron Block on banjo and Jerry Douglas on dobro, each taking solos that demonstrate why Union Station is considered one of bluegrass’s premier ensembles. The production balances traditional bluegrass instrumentation with contemporary clarity, making the track accessible to mainstream country radio while earning respect from bluegrass purists. The song won the Grammy for Best Country Performance by a Duo or Group with Vocal, validating Krauss’s approach of respecting tradition while embracing modern production values.
Lyrically, “The Lucky One” explores themes of gratitude and perspective, with Krauss’s delivery conveying genuine warmth rather than saccharine sentiment. The arrangement’s dynamic shifts—from intimate verses to full-band choruses—demonstrate the band’s collective musicianship and their intuitive understanding of how to serve a song rather than dominate it.
“Down to the River to Pray” – O Brother Awakening
Featured prominently in the Coen Brothers’ 2000 film O Brother, Where Art Thou?, this traditional spiritual became one of Krauss’s most beloved recordings. Her a cappella arrangement, featuring layered vocal harmonies that she recorded herself, creates an ethereal, timeless quality that transcends the song’s historical origins. The absence of instruments forces complete focus on the melody and lyrics, showcasing Krauss’s vocal purity and her ability to create rich textures through harmony.
The recording’s sparse production—essentially just voices and subtle ambience—demonstrates remarkable confidence in the material and performance. Krauss’s approach honors the song’s traditional roots while making it accessible to contemporary listeners who discovered it through the film. The O Brother soundtrack sold over eight million copies and won the Grammy for Album of the Year, introducing Krauss and traditional American music to audiences worldwide.
This performance highlights Krauss’s deep connection to traditional material and her reverence for the music’s spiritual and cultural significance. The layered harmonies create a choir-like effect that evokes the song’s communal, worship-oriented origins, while her clear lead voice maintains individual expression within collective sound. The track’s success proved that audiences hungry for authenticity would embrace traditional music when presented with artistry and conviction.
“Whiskey Lullaby” (with Brad Paisley) – Devastating Duet
This 2004 collaboration with Brad Paisley tells a tragic story of alcoholism and lost love with unflinching emotional honesty. Krauss and Paisley’s voices blend perfectly, their harmonies creating the aching beauty that makes this song simultaneously heartbreaking and captivating. Producer Frank Rogers crafted arrangements that support the narrative—sparse verses that feel lonely and isolated, building to choruses where strings add cinematic sweep without overwhelming the vocal performances.
The song’s structure follows two perspectives on the same tragic relationship, with Paisley singing the man’s verse and Krauss delivering the woman’s perspective. Their combined delivery on the chorus creates devastating unity in despair, while the production’s restraint allows the lyrics’ stark imagery to land with full impact. The steel guitar and fiddle work throughout adds traditional country authenticity while the overall production maintains contemporary clarity.
“Whiskey Lullaby” reached number three on the Billboard Hot Country Songs chart and won the CMA Award for Musical Event of the Year. The song became a country music classic, frequently cited as one of the saddest songs in the genre’s history. Krauss’s contribution demonstrates her ability to inhabit a character and narrative completely, delivering lines about death and despair with conviction that never feels exploitative or melodramatic.
“Baby, Now That I’ve Found You” – Bluegrass Interpretation
The title track from her 1995 compilation album takes the Foundations’ 1967 pop hit and reimagines it as an acoustic showcase. Krauss’s arrangement transforms the song’s bubbly Motown-influenced original into something more contemplative and emotionally complex. Union Station’s instrumentation—featuring prominent mandolin, dobro, and upright bass—creates propulsive rhythm while maintaining the space that defines Krauss’s production aesthetic.
The vocal arrangement includes intricate harmonies that showcase both Krauss’s lead and the band’s backing vocals, creating textures that reward repeated listening through quality audio equipment. The instrumental breaks feature nimble playing that never sacrifices melody for technical display, with each musician contributing solos that advance the song’s emotional arc rather than simply showing off chops.
This recording demonstrated Krauss’s gift for recontextualizing pop songs within bluegrass tradition, a skill she would continue developing throughout her career. The song’s commercial success—it charted on both country and adult contemporary formats—proved that bluegrass-based arrangements could appeal beyond traditional audiences when executed with this level of artistry and accessibility.
“Forget About It” – Contemporary Bluegrass Excellence
From the 1999 album of the same name, this upbeat track showcases Union Station’s instrumental virtuosity and Krauss’s ability to deliver playful, spirited performances. The song’s arrangement features complex instrumental interplay, with banjo, mandolin, and dobro trading melodic lines in conversations that demonstrate the band’s collective musicianship. Dan Tyminski’s harmony vocals add texture and depth, creating the rich vocal sound that has become Union Station’s calling card.
Producer Krauss balanced the recording to let each instrument occupy its sonic space while maintaining cohesive ensemble sound. The mix allows listeners to follow individual instrumental voices or appreciate the full band’s collective groove, demonstrating the production philosophy that has made Krauss’s recordings reference-quality for acoustic music. The song’s energy and instrumental excitement made it a concert favorite where the band could extend solos and showcase their improvisation skills.
“Forget About It” won the Grammy for Best Bluegrass Album, further cementing Krauss’s position as the genre’s most prominent contemporary voice. The recording demonstrates that traditional bluegrass instrumentation and sensibilities could create exciting, dynamic music that engaged listeners raised on rock and pop without compromising authentic bluegrass values.
“Please Read the Letter” (with Robert Plant) – Unlikely Perfection
The lead single from Krauss’s 2007 collaboration with Led Zeppelin’s Robert Plant, Raising Sand, reimagines a track Plant originally recorded with Jimmy Page. The production by T Bone Burnett strips away rock bombast in favor of atmospheric, haunting arrangements featuring Marc Ribot’s guitar and Jay Bellerose’s drums. Krauss and Plant’s voices create unexpected magic—his weathered rasp contrasting beautifully with her pristine clarity in harmonies that shouldn’t work but absolutely do.
Burnett’s production aesthetic favors space, reverb, and unusual instrumental textures that create otherworldly atmosphere. The arrangement builds gradually, adding layers while maintaining restraint that allows the vocals to carry emotional weight. This approach represents a departure from both artists’ typical contexts, yet the collaboration feels natural rather than forced, each performer bringing out unexpected dimensions in the other’s artistry.
The song won the Grammy for Record of the Year, with Raising Sand winning Album of the Year and introducing both artists to new audiences. The collaboration demonstrated Krauss’s versatility and willingness to step outside bluegrass comfort zones, while the album’s critical and commercial success validated artistic risk-taking. This recording remains essential listening for understanding Krauss’s range and her ability to adapt her voice to radically different musical contexts.
“So Long So Wrong” – Title Track Triumph
The title song from Union Station’s 1997 album showcases everything that makes the band special—intricate instrumental work, gorgeous harmonies, and emotional depth within traditional bluegrass framework. The arrangement features complex tempo changes and dynamic shifts that demonstrate the band’s technical abilities while serving the song’s narrative about relationship dissolution. Krauss’s vocal delivers the lyrics’ sadness without melodrama, finding the emotional truth in understatement.
The instrumental breaks feature some of Union Station’s finest recorded performances, with each musician contributing solos that advance the song’s mood and story. Jerry Douglas’s dobro work particularly stands out, his sliding notes creating crying effect that comments on the lyrics like a second voice. The production captures the band’s live interplay while adding studio polish that makes every note crystal clear.
“So Long So Wrong” won the Grammy for Best Bluegrass Album and demonstrated Krauss’s growth as both vocalist and bandleader. The recording showcased Union Station as a collective of exceptional musicians who subordinated individual egos to collective excellence, creating music where the whole exceeded the sum of already-impressive parts.
“Ghost in This House” – Haunting Interpretation
Krauss’s 1990 recording of this Hugh Prestwood composition showcases her ability to inhabit a song’s emotional landscape completely. Her vocal delivery captures the lyrics’ loneliness and longing, with subtle dynamic variations that keep the relatively simple arrangement engaging throughout. The sparse production—primarily acoustic guitar and subtle string arrangements—puts Krauss’s voice in stark relief, allowing every nuance of her phrasing to register.
The song’s bridge features Krauss’s most vulnerable vocal moments, her voice thinning to near-whisper before swelling for the final chorus. This dynamic control demonstrates the technical mastery underlying her seemingly effortless performances. The production’s restraint allows the song’s melancholy to breathe, avoiding the temptation to overproduce or add unnecessary instrumentation that would diminish the intimate atmosphere.
“Ghost in This House” became one of Krauss’s signature ballads and demonstrated her gift for selecting material that showcased her strengths while challenging her artistically. The recording influenced how contemporary country and bluegrass artists approach ballad interpretation, proving that emotional impact often comes from subtlety rather than vocal acrobatics.
“Every Time You Say Goodbye” – Duet Excellence
This collaboration with Union Station’s Dan Tyminski, from the 1992 album of the same name, features one of bluegrass’s most perfect duet performances. Krauss and Tyminski’s voices blend with remarkable precision, their harmonies creating the close, sibling-like sound that became Union Station’s signature. The arrangement showcases traditional bluegrass instrumentation while the production maintains clarity that allows both voices to remain distinct within their blended harmonies.
The song’s structure allows both singers moments to lead while emphasizing their combined power when singing together. The instrumental breaks feature classic bluegrass breaks where each musician takes a solo, maintaining the song’s emotional tenor while showcasing individual virtuosity. The rhythm section drives the song forward with propulsive energy that never overwhelms the vocals.
This recording helped establish Union Station’s identity as a band rather than simply Krauss’s backing group, with Tyminski emerging as an essential voice in the ensemble. The song became a blueprint for bluegrass duet singing, influencing how subsequent artists approached harmony vocals and demonstrating the power of voices that complement each other perfectly.
“The Boy Who Wouldn’t Hoe Corn” – Traditional Reimagined
Krauss’s interpretation of this traditional song from I’ve Got That Old Feeling demonstrates her connection to bluegrass’s deep roots. The arrangement respects the song’s historical origins while adding contemporary production values that make it accessible to modern listeners. Union Station’s instrumental work features traditional bluegrass breaks and driving rhythm, while Krauss’s vocal brings both authenticity and her distinctive vocal clarity to the centuries-old lyrics.
The production captures the band’s live energy while adding studio precision that showcases each instrument’s contribution. The recording demonstrates that traditional material doesn’t require museum-piece treatment—it can be performed with energy and technical excellence while maintaining respect for its origins. Krauss’s vocal interpretation finds humor in the lyrics while avoiding condescension or over-cuteness that could trivialize the material.
This track helped introduce younger audiences to traditional bluegrass repertoire, demonstrating that old songs could feel vital and relevant when performed with conviction and artistry. The recording influenced how contemporary bluegrass artists approach traditional material, showing that honoring tradition doesn’t mean simply recreating historical performances but rather bringing contemporary excellence to timeless songs.
“Paper Airplane” – Return to Form
The title track from Union Station’s 2011 album showcases the band’s continued vitality after a lengthy hiatus. The song features contemporary songwriting from Ken Irwin, Mike Barber, and Marcella Detroit with thoughtful lyrics and memorable melody. Krauss’s vocal delivery balances the song’s melancholy with hope, finding complexity in seemingly simple lyrics about letting go and moving forward.
The arrangement demonstrates Union Station’s matured sound—still rooted in bluegrass tradition but incorporating subtle elements that reflect decades of musical evolution. The production maintains the pristine clarity that defines Krauss’s recordings while capturing the band’s live intimacy. The instrumental work showcases each musician’s growth, with solos that demonstrate both technical advancement and deeper musical maturity.
“Paper Airplane” won the Grammy for Best Bluegrass Album, proving Union Station’s continued relevance and ability to create compelling music that honored tradition while avoiding nostalgia. The recording demonstrated that the band’s lengthy break hadn’t diminished their chemistry or artistic vision but rather deepened their collective understanding and individual artistry.
“Crazy as Me” (with Willie Nelson) – Outlaw Meets Angel
This unexpected duet from Willie Nelson’s 2009 album Willie and the Wheel pairs Krauss’s crystalline soprano with Nelson’s weathered, jazz-inflected phrasing. The contrast between their voices creates compelling tension, with Krauss’s purity highlighting Nelson’s ragged individuality while his unconventional phrasing draws unexpected elements from her typically precise delivery. The production by T Bone Burnett creates spacious sonic landscape that allows both distinctive voices room to breathe.
The arrangement features primarily acoustic instruments with subtle atmospheric touches that create intimacy without claustrophobia. Krauss adapts her typical approach to accommodate Nelson’s more relaxed sense of time, demonstrating her flexibility and willingness to meet collaborators in musical middle ground. Their combined delivery transforms the song’s lyrics about unconventional love into celebration of how different elements can create unexpected beauty.
This collaboration introduced Krauss to Willie Nelson’s devoted fanbase while showing her own audience that she could hold her own alongside one of country music’s most iconic voices. The recording demonstrates Krauss’s comfort across multiple country music subgenres and her ability to adapt her style without losing her essential identity.
“Let Me Touch You for Awhile” – Delicate Intimacy
From the 2001 album New Favorite, this track showcases Krauss at her most vulnerable and intimate. The sparse arrangement—primarily acoustic guitar, dobro, and minimal percussion—creates space for Krauss’s voice to explore the lyrics’ longing and tenderness. Her vocal performance features subtle dynamic shifts and phrasing choices that reveal new dimensions with repeated listening through premium earbuds.
The song’s structure builds gradually, adding instrumental layers while maintaining the intimate atmosphere established in the opening verses. Jerry Douglas’s dobro work provides melodic commentary that enhances rather than distracts from the vocal performance. The production demonstrates Krauss’s skill at creating recordings that feel simultaneously polished and spontaneous, capturing performance intimacy while maintaining technical excellence.
This recording exemplifies Krauss’s approach to ballad interpretation—finding emotional truth through restraint rather than vocal gymnastics, trusting the material and performance to connect with listeners without artificial enhancement. The song became a favorite among fans who appreciate Krauss’s more contemplative material and her ability to create profound emotional experiences through musical understatement.
“Your Long Journey” (with Robert Plant) – Traditional Collaboration
Featured on Raising Sand, this interpretation of the traditional Appalachian song demonstrates how Krauss and Plant’s collaboration honored American roots music while creating something entirely new. The arrangement strips the song to its essential elements—voices, acoustic instruments, and atmospheric production touches that create timeless rather than period-specific sound. Krauss’s voice carries the melody with her typical clarity while Plant’s harmonies add texture and depth that transform the traditional material.
T Bone Burnett’s production creates sonic landscape that feels simultaneously ancient and contemporary, using reverb and space to suggest the song’s mountain origins while maintaining modern clarity. The instrumental arrangement features subtle contributions that support without overwhelming, allowing the voices and melody to remain central. This approach demonstrates respect for traditional material while avoiding museum-piece treatment that would make it feel dated or academic.
The recording introduced traditional Appalachian music to audiences worldwide through the Raising Sand album’s commercial success. Krauss’s interpretation honors her bluegrass roots while the collaboration’s context introduced those traditions to listeners who might never have encountered them otherwise, demonstrating music’s power to bridge cultural and generational divides.
“Broadway” – Bluegrass Energy
From Union Station’s 1992 album Every Time You Say Goodbye, “Broadway” showcases the band’s ability to deliver high-energy bluegrass with technical precision and infectious enthusiasm. The arrangement features rapid-fire instrumental breaks where each musician demonstrates virtuosity while maintaining collective groove. Krauss’s vocal delivery matches the instrumental energy, her typically delicate voice adapted to cut through the driving arrangement without losing its essential character.
The production captures Union Station’s live energy while maintaining clarity that allows listeners to appreciate each instrument’s contribution to the collective sound. The recording showcases why Union Station is considered one of bluegrass’s premier ensembles—each musician is a virtuoso, yet they subordinate individual display to collective excellence. The song’s tempo and arrangement make it a concert highlight where the band can demonstrate their improvisational skills and musical communication.
This track demonstrates Krauss’s versatility—she’s equally compelling on delicate ballads and driving uptempo numbers, adapting her vocal approach to serve different material while maintaining her distinctive voice. The recording influenced how contemporary bluegrass bands balance traditional instrumentation with modern production values and technical precision.
“Sawing on the Strings” – Instrumental Showcase
While Krauss is primarily known for her vocals, this instrumental track from Two Highways showcases Union Station’s musicianship without vocal distraction. The arrangement features complex interplay between mandolin, banjo, dobro, and fiddle, with each musician contributing melodic lines that weave together into cohesive whole. The production maintains perfect balance, allowing listeners to follow individual instrumental voices or appreciate the ensemble’s collective virtuosity.
The track’s structure follows traditional bluegrass instrumental format—stating the melody, then featuring each instrument in turn before returning to collective playing. What elevates this beyond standard bluegrass instrumental is the musicians’ individual creativity and technical excellence, each solo advancing the musical conversation while maintaining the tune’s essential character. The rhythm section provides rock-solid foundation that allows the soloists freedom to explore without losing the groove.
This recording demonstrates that Union Station’s excellence extends beyond supporting Krauss’s vocals to being a world-class bluegrass ensemble in their own right. The track showcases the deep musical communication and individual virtuosity that makes the band’s vocal accompaniment so exceptional—they’re not simply backing musicians but collaborators whose instrumental excellence elevates every song they touch.
“Another Day, Another Dollar” – Traditional Blues
Krauss’s interpretation of this traditional blues song showcases her versatility and connection to American roots music beyond bluegrass. The arrangement features prominent dobro and understated rhythm section that creates bluesy groove while maintaining acoustic purity. Krauss’s vocal adapts her typical approach to blues phrasing and emotional delivery, demonstrating her ability to inhabit different musical traditions authentically.
The production balances blues atmosphere with Krauss’s characteristically clean aesthetic, creating recording that honors blues tradition while maintaining contemporary clarity. The instrumental work features Jerry Douglas’s dobro taking a lead role, his sliding notes creating the crying, vocal-like quality that defines great blues guitar work. The rhythm section maintains steady, hypnotic groove that allows both Krauss’s voice and Douglas’s dobro space to explore the blues form.
This recording demonstrates Krauss’s musical breadth and her understanding that bluegrass, country, and blues share common roots in American folk traditions. The track shows her willingness to explore different facets of roots music while maintaining the aesthetic values—clarity, restraint, and emotional honesty—that define her artistry across genres.
“Simple Love” – Understated Romance
From the album Lonely Runs Both Ways, “Simple Love” showcases Krauss’s ability to convey complex emotions through deceptively simple material. The song’s straightforward melody and lyrics about uncomplicated affection receive treatment that reveals depth and nuance through Krauss’s phrasing and the arrangement’s subtle sophistication. Union Station’s instrumental work supports without overwhelming, creating foundation that allows the vocal and melody to shine.
The production demonstrates Krauss’s mature aesthetic—there’s no unnecessary embellishment, just pristine capture of excellent performances. The mix allows space for each element to breathe while maintaining cohesion and forward momentum. The recording showcases how great artists can transform simple material into something profound through commitment to emotional truth and technical excellence.
This track exemplifies Krauss’s approach to love songs—finding genuine emotion in straightforward expressions of affection, avoiding both cynicism and saccharine sentiment. The recording demonstrates that simple doesn’t mean simplistic, and that musical sophistication can enhance rather than complicate direct emotional expression.
“Restless” – Career Statement
The title track from Krauss’s first solo album in nearly a decade showcases her artistic evolution while maintaining the essential qualities that have defined her career. Released in collaboration with Union Station members but credited to Krauss alone, the song features contemporary production values while respecting traditional instrumentation and arrangement approaches. Krauss’s vocal performance demonstrates her continued growth as an interpreter, finding new emotional depths in her still-pristine voice.
The production balances clarity with warmth, capturing performances that feel simultaneously intimate and spacious. The arrangement incorporates subtle contemporary touches—electronic percussion elements, atmospheric production techniques—while maintaining acoustic instrumentation as the foundation. This approach demonstrates Krauss’s ability to evolve artistically while remaining true to her aesthetic values and musical roots.
“Restless” demonstrates that great artists continue developing throughout their careers, finding new ways to express themselves while maintaining the core identity that made them distinctive. The recording proves Krauss’s continued relevance and artistic vitality, showing that she remains one of American music’s essential voices.
Frequently Asked Questions
How many Grammy Awards has Alison Krauss won?
Alison Krauss has won 27 Grammy Awards throughout her career, making her the most awarded female artist in Grammy history and tied with Quincy Jones for the third-most Grammy wins overall. Her awards span multiple categories including bluegrass, country, pop, and album of the year, demonstrating her versatility and excellence across genres. Her collaboration with Robert Plant on Raising Sand alone won five Grammys in 2009.
What is Alison Krauss’s vocal range?
Alison Krauss is a soprano with a vocal range that showcases remarkable clarity and control, particularly in her upper register. Her voice is characterized by its pure, crystalline tone and precise pitch, with the ability to deliver complex melodic passages with seemingly effortless technique. While she rarely engages in vocal gymnastics, her controlled dynamics and subtle phrasing demonstrate sophisticated technical mastery.
Who are the members of Union Station?
Union Station’s core lineup includes Dan Tyminski on guitar and vocals, Ron Block on banjo and guitar, Jerry Douglas on dobro, and Barry Bales on bass. The band has maintained remarkable stability over decades, with this lineup recording most of Krauss’s celebrated albums. Their collective virtuosity and musical chemistry have made them one of bluegrass’s most respected ensembles.
What was Alison Krauss’s first hit song?
“I’ve Got That Old Feeling,” the title track from her 1990 album, was Krauss’s first significant hit and won her first Grammy Award for Best Bluegrass Recording. However, “When You Say Nothing at All” from her 1995 compilation became her breakthrough crossover hit, reaching number three on the country charts and introducing her to mainstream audiences beyond bluegrass circles.
Did Alison Krauss collaborate with Robert Plant?
Yes, Alison Krauss and Led Zeppelin’s Robert Plant collaborated on the 2007 album Raising Sand, produced by T Bone Burnett. The unexpected pairing proved remarkably successful, with the album winning five Grammy Awards including Album of the Year and Record of the Year. Their second collaboration, Raise the Roof, was released in 2021, continuing their successful musical partnership.
What instruments does Alison Krauss play?
Alison Krauss is an accomplished fiddle player in addition to being a vocalist. She began playing fiddle at age five and initially gained recognition as a child prodigy instrumentalist before her vocal abilities became her primary focus. While her recordings primarily feature her vocals, she occasionally includes her fiddle playing on tracks and in live performances.