With a name like You, Me, Everybody Band, this New Zealand-based band could certainly be considered an all inclusive combo. Hailing from New Zealand’s New Island, they spend a fair amount of time simply reconvening.
“It’s a ten hour drive to get from the northernmost part of the island where some of us reside to the southernmost part where others of us live,” says banjo player Nat Torkingtom. “So we all do a lot of driving and make the most of our time together!”
The You, Me, Everybody Band consists of Torkington, Kim Bonnington on vocals and guitar, Rob Henderson on bass, and brothers Laurence Frangos-Rhodes on vocals and guitar, and Sam Frangos-Rhodes on vocals and mandolin. Each of the players have very disparate backgrounds. Bonnington grew up singing in country music clubs in a small South Island town. Her earliest memories are of songs, guitars, and microphones. Laurence and Sam Frangos-Rhodes were raised in rural Ngaruawhia and heard bluegrass as very young children before quickly becoming hooked. Torkington describes Henderson as “a jazzer who swings to the dark side by playing bluegrass as well.” As for himself, Torkington says he doesn’t sing, and adds, “we are all the happier for it.”
Although the band is often classified as bluegrass, their music also puts them in a specific sphere. “That means we exist within the folk circuit,” Torkington explains. “We like to push beyond the traditional boundaries of those genres. We incorporate unexpected harmonic and rhythmic elements, giving our music a twist that surprises people. We write from a place of authenticity, shaping our songs around what feels real and meaningful to us. While we love and respect tradition, we’re also self-aware about the tropes of genre, and instead of resting on what’s familiar, we aim to celebrate and sometimes challenge it — if and when the song requires it.”
There’s a geographical element involved as well. “Our music is grounded in a strong connection to Aotearoa,” Torkington continues. “New Zealand is often at the heart of what we write about.”
At the same time, the musicians offer an individual approach to the whole as well. “Each of us brings a different perspective to the table, shaped by our individual experiences,” Torkington adds. “That diversity is something we fully embrace. Rather than trying to unify our voices into one style, we support each other’s ideas and work together to create something cohesive out of our differences. Most of all, we want to challenge ourselves creatively, while hoping listeners connect with what we love about what we created.”
“Each of us carries a musical story — shaped by our own paths as musicians, singer-songwriters, and composers,” he continues. “Together, we are mentors and collaborators, weaving our diverse influences, tastes, and experiences into a shared soundscape. It’s in this fusion of voices and journeys that our music finds its depth and soul.”
At the same time, the group as a whole share several influences in common — among them, Tony Rice, Alison Krauss, Béla Fleck, Tim O’Brien, and Nickel Creek. “They’re musicians who are considered legends in their genres, but who never let those genres box them in,” Torkington insists. “What inspires us most is that despite their iconic status, they all set out to push boundaries rather than simply become part of the canon,” Torkington insists. “Tony Rice’s guitar work, for example, is universally admired, but what stands out is his drive to explore and innovate. Similarly, Sarah Watkins’ vocals and the collaborative spirit within Nickel Creek reflect a shared intention to uplift and evolve together.”
He noted that You, Me, Everybody’s new album, Midnight, is a reflection of all of those factors. “There’s a bit of bluegrass, a bit of folk, a bit of jazz, some pop, and a bit of country. But above all of that; it’s just us.”
Henderson adds that the band have toured quite extensively. “We’ve managed to get around a lot of the cities, towns, and other nooks and crannies across New Zealand and parts of Australia, although there’s still many places we need to visit,” he explained. “As part of our album release tour, we’ll be traveling to a lot of those places, including heading back to Australia for a tour. So stay tuned for that!”
He also said that You, Me, Everybody have performed at a number of local festivals over the years, including Australia’s Welly Fest, Whare Flat festival, and Auckland Folk Festival, as well as such international gatherings as Dorrigo and Mountaingrass, and that in some of those cases, they’ll be making return appearances in the not-too-distant future.
“We’re awaiting our call up to play Glastonbury and Lollapalooza, and it’ll happen,” he added. “I’m sure of it!”
“Our first gig was opening for the Felice Brothers as part of an Americana Fest in Auckland,” Bonnington recalls. “We were also part of a songwriting circle with Tim O’Brien at Auckland Folk Festival a few years ago. He asked if he could come join in on one of our songs, and we got to play Brother Wind with him, which has always been a fave of the band. The Lonesome Heartstring Band became a huge influence when they first toured New Zealand, and on return tours, they’ve invited members of our band up to play with them. Nat and his wife run a bluegrass jamming tent that you drive past on your way into the Auckland Folk Festival, and it inevitably gets visited by the headline guests during various parts of the festival. Jamming has definitely brought some of our fave festival moments and has been an opportunity to bring new musicians into the fold, and delighting them when one of their heroes drops by.”
Happily too, the group has received an enthusiastic response overall from those at home.
“We’ve found audiences in New Zealand, and Australia loves it,” Torkington maintains. “I can’t lie — we were nervous at first. While we’re anchored in the bluegrass tradition, we’re mixing in other influences. It’s no longer just the bluegrass purists who might find something to dislike! But we’ve been universally met with open arms and open ears. We toured Australia, playing halls in small towns like Numerella, and we drew audiences who would drive an hour or more across the expansive nothingness to get to the show and loved it! While I’d love to credit my banjo playing for the audience’s delight, I think it’s about the combination of the sound of a bluegrass ensemble and the songs that Kim and Laurence write. The songs grab the heart, and the sounds grab the ear, and we’ve got them hooked.”
With three albums to their credit, You, Me, Everybody can offer plenty of material to fill out a set list in concert. “We’re onto our third album now, and that means we can fill a setlist with originals. Making original music has definitely been our focus and we’re lucky,” Bonnington insists. “While some of us tend to write the majority of our songs, we all share the credits on each of our albums. Covers normally come from trad songs that bring the crowd in, but lately we’ve done Nickel Creek’s Destination, Joy Kills Sorrow’s Was it You, and Tim O’Brien’s You’ve Been on My Mind.”
Asked his opinion as to why bluegrass enjoys such widespread popularity, Torkington is quick to reply. “Bluegrass’s combination of happy sounds, sad words, and technical proficiency means it has something for everyone,” he suggests. “They might not come to the show with as much exposure to bluegrass as American audiences, but they enjoy it just as much. There’s something universally beautiful and appealing in the American string band combination of instruments and voices.”
There’s also more to it than that, he maintains. “It’s a magically accessible musical form. Plenty of people try to play pop songs on their keyboard or guitar or drums, but they can’t go to a rock festival and jam. Bluegrass has participation built in and every time I’m in my tent in a festival campground and can hear six campsites around us all jamming, I am grateful for this beautiful form. I can grab my banjo and find a jam to join!”
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