As The Punch Brothers’ career has progressed, they’ve become the de facto public face of progressive bluegrass for those less attuned to the scene, partially thanks to the success of their poppier 2015 breakout “The Phosphorescent Blues,” partially due to Chris Thile’s visibility as an NPR host. But after their 2018 LP “All Ashore,” which I found too precious and self-impressed for its own good, The Punch Brothers wisely use “Hell on Church ...
read more