Forrest’s unconventional path to Americana sets him apart from many of his peers. He spent years as a self-imposed outlier, contributing to Chicago’s underground indie arts movements and living as a nomadic troubadour. His twenties were largely spent outside the US, exploring diverse musical cultures and honing his craft away from the domestic spotlight. This included busking in Paris, jamming with African musicians, and even teaching music in underserved public schools in rural Colorado.

This may be Forrest’s first venture into bluegrass-influenced music, marking a departure from his earlier, more eclectic work. But it’s not a complete abandonment of his roots. His time as an in-demand “hired gun” and producer saw him collaborate across genres, from hip-hop to French folktronica, and with members of Vulfpeckand Rising Appalachia.

Recorded in Nashville at the home studio of IBMA winner Jake Stargel, the album features an all-star ensemble including 2x Grammy award-winner Dominick Leslie (Molly Tuttle) and IBMA winner George Jackson. In a stroke of serendipity, Forrest ended up recording half the album on David Grier’s personal guitar, borrowed when the flat-picking legend stopped by the studio. This collaboration with Dominick Leslie was particularly significant for Forrest. “I’m a huge fan of his band, Hawktail,” Forrest explains. “I knew at the time it was the only chance I’d have to work with him because the pandemic had still held touring back.”

Forrest’s musical roots are as diverse as they are deep, spanning generations and genres. His journey began at age 10 with an unusual choice – the highland bagpipes, a nod to his Irish-American heritage. This early foray into Celtic music would later prove unexpectedly relevant to his bluegrass endeavors, both traditions sharing common roots in fiddle tunes. Unbeknownst to young Forrest, music was already in his blood; his grandmother was an accomplished opera singer, a fact he wouldn’t discover until much later when he committed to a musical career.

At 16, Forrest found himself captivated by folk and rock, teaching himself guitar with the passionate intensity of a true autodidact. His early influences ranged from the psychedelic sounds of the Grateful Dead to the raw energy of 90s grunge, laying a foundation for his genre-defying approach. It wasn’t until college that Forrest’s musical world truly exploded open. A chance encounter with a jazz drummer became a pivotal moment, leading him to change his major to music and dive headfirst into the world of jazz. This period also introduced him to bluegrass, sparking a lifelong fascination with the genre.

Daydreaming Music Fiend showcases Forrest’s original compositions, seamlessly blending folk, bluegrass, and Americana with both traditional and modern sensibilities. His approach to recording was intentionally old-school. The entire album was captured live in the studio over just two days, with no overdubs or click tracks. “It felt like a video game recording the album,” Forrest recalls. “Eyes closed, headphones on, 100% focus on the music being created right then in the moment, knowing we had to get it right.”

The creation of this album spans significant life events for Forrest. “Lowdown Stray Dog Blues” emerged from a period of solitude in France, dealing with ongoing depression. “Lowly Cabin” was penned in his tiny home in Southwest Colorado, lamenting lost love. “Song For John Prine,” written the night Prine passed, serves as Forrest’s tribute to the Chicago folk music community. “Autumn Child” was inspired by encounters with young music enthusiasts at Billy Strings’ Renewal festival, while “Oihana” marks Forrest’s transition from jazz instrumental music to world-influenced bluegrass composition in the vein of Bela Fleck.

The album’s sound is a testament to Forrest’s musical journey. “It’s quite a divergence in that where I am at is a ‘naked’ sound, meaning no drums or electrified instruments, in which my first album had all that plus string quartet and horns,” he explains. This stripped-down approach allows Forrest’s songwriting and instrumental prowess to shine through.

As Forrest prepares to release Daydreaming Music Fiend, he stands at an exciting crossroads. He’s an artist with deep respect for tradition yet unafraid to push boundaries. In an era of increasing genre-blending, Forrest hopes to inspire others to transcend rigid categorizations and explore the full spectrum of American roots music.

“I think we’re living in an age where ‘genre-defying’ or ‘genre-blending’ is everywhere due to technology, and yet there are still a lot of stigmas that come with labeling things as genres,” Forrest muses. “I hope to inspire more folks who previously felt a need to ‘pick a lane’ to allow the lane itself to inform the art without needing to deal with overt imposter syndrome if you want to step outside your ‘shtick’ for a song or record or two.”

For those seeking Americana that colors outside the lines, Brendan Forrest delivers. Daydreaming Music Fiend is an invitation to join Forrest on his musical journey from the streets of Chicago to the mountains of Colorado and beyond. It’s a testament to the power of embracing one’s diverse influences and experiences and a promising debut from an artist unafraid to chart his own course in the rich landscape of American roots music.