Biography
Formed during 1995 in Fayetteville, Arkansas, Still on the Hill took shape as a folk ensemble whose sound merges folk and bluegrass into an inviting, roots-oriented blend sometimes tagged folkgrass. The quartet draws on the combined talents of singers and songwriters whose experience in the music industry totals decades, with the lineup featuring guitarist and banjo picker Phil Lancaster, bassist John Johnston, fiddler and mandolin player Donna Henschell, and Kelly Mulhollan, who handles mandolin, guitar, harmonica, or banjo with equal skill.
Their self-titled debut album reached completion in 1997 and contained folkgrass pieces including “White Tailed Deer,” “Ballad of the Landlord,” “Just Won’t Do,” “Time for a Change,” and “Why I Can Cry.” A second full-length release titled Still arrived in 1999 and offered tracks such as “Gone, Gone, Gone,” “Round Barn,” and “Three Things in Mind.”
John Johnston departed in 2000, leaving the group to continue as a trio. The following year they collected multiple honors from the N.A.M.A., among them Best Guitar Player, Best Folk Band, Best String Instrumentalist, and Best Overall Band. Still on the Hill tours widely across the United States at festivals and fairs, where members routinely pitch camp and rehearse well before showtime, attracting listeners who gather to hear the session and thereby allowing the band to connect with its expanding audience in advance.
Their self-titled debut album reached completion in 1997 and contained folkgrass pieces including “White Tailed Deer,” “Ballad of the Landlord,” “Just Won’t Do,” “Time for a Change,” and “Why I Can Cry.” A second full-length release titled Still arrived in 1999 and offered tracks such as “Gone, Gone, Gone,” “Round Barn,” and “Three Things in Mind.”
John Johnston departed in 2000, leaving the group to continue as a trio. The following year they collected multiple honors from the N.A.M.A., among them Best Guitar Player, Best Folk Band, Best String Instrumentalist, and Best Overall Band. Still on the Hill tours widely across the United States at festivals and fairs, where members routinely pitch camp and rehearse well before showtime, attracting listeners who gather to hear the session and thereby allowing the band to connect with its expanding audience in advance.
Albums
