Interview: Sierra Hull on her signature Gibson mandolins

Award-winning singer-songwriter and mandolin virtuoso Sierra Hull honored with two Gibson signature models

In a historic first, trailblazing singer-songwriter and mandolin virtuoso Sierra Hull—two-time GRAMMY® nominee and seven-time Mandolin Player of the Year winner at the IBMA—has become the first female artist to be honored with a Gibson signature mandolin. And as if that wasn’t groundbreaking enough, there are two models from which to choose: the Gibson Custom Sierra Hull F-5 Master Model and the Gibson Custom Sierra Hull F5-G. Both instruments feature the distinctive Sierra Burst VOS Varnish finish and exclusive case candy, reflecting the artistry of a remarkable musician who continues to redefine the mandolin and the bluegrass landscape.

October 16 will see Sierra celebrate the release of her signature mandolin models live at the Gibson Garage Nashville, where she will take to the stage for a special live performance, followed by a fan meet-and-greet and signing. But first, read on for an exclusive interview with Sierra in which she discusses the development of her signature models, her early influences, and much more. 

How did you collaborate with Gibson Custom to translate your original F-5 Master Model into these production instruments?

“I’ve always been drawn to both the look and sound of a more aged mandolin. I wanted these signature models to reflect the traditional feel of a well-preserved older mandolin with nothing too flashy, shiny, or glossy. We decided to do a custom, now deemed Sierra Burst VOS varnish to achieve that clean, understated look. In addition to the neck profile being slightly smaller than a traditional master model, the fretboard extension is scooped to avoid pick noise.

“Additional fun touches are the truss rod cover with my signature, which feels like a throwback to the signature models from when I was a kid, and a special design on the tailpiece to tie it all together. If you look closely, there’s a heart above the ‘i’ in my signature as well as on the engraved tailpiece design. Since this is the first time a female has had a signature mandolin with Gibson, I wanted there to be a little bit of a feminine touch to reflect that, along with my love of the instrument.

“Aside from the mandolin itself that comes in a beautiful Historic Reissue Master Model case, we’ve included a custom Blue Chip pick, a beautiful custom paisley strap inspired by the one I’ve used for years, a Sierra mandolin sticker, and a letter of authenticity—and a handwritten note from me personally in this first batch of mandolins that will go out.”

Can you describe the tactile feel and benefits of your custom narrow neck profile on both the F-5G and Master Model mandolins?

“I was first inspired to want a more narrow neck profile back in 2009 after playing the Gibson Ricky Skaggs signature mandolin. Shortly after, I had just picked out my Gibson Master Model and decided I’d like to have a more narrow neck as well, inspired by Ricky. He and I have very different hand sizes, but I find especially with smaller hands like mine, the narrow neck just makes getting around the instrument feel easier with less strain on the hands.”

Can you share the memory of when you played your prototype and were convinced the design was just right?

“We spent about two years talking and dreaming about what this mandolin would become. The exciting thing for me is that the mandolin that I have played exclusively since 2009 was signed by Master Luthier David Harvey. It’s become my voice after so many years of playing it. Being able to work on this project with David personally gave me the confidence that we’d be able to achieve something unique, but still honoring the legacy and history of those beloved Master Model mandolins. It’s pretty exciting and full circle to see these new mandolins with my name on them and his signature inside.

“When I finally played the prototype for the first time, I knew these instruments would be something that I can be proud of. They are handbuilt with the highest level of quality by the team at Gibson—many folks who have worked there for years. Mandolins can also be very expensive. They take a lot of time and care to build right. If I’m going to put my name on something with that kind of price tag, it needs to be a great instrument and something long-lasting. I truly believe these mandolins are and I’m really proud of that.”

What do you hope players feel or express when they pick up a Sierra Hull signature mandolin for the first time?

“I remember getting an Adam Steffey signature Gibson mandolin years ago and thinking it felt so special to have an instrument with the name of a player that I loved, and knowing someone I admire had put their efforts into making something special. It’s hard for me to even imagine my fellow mandolin players feeling excited to play something with my name on it, but I hope they will find some magic in the same way that I did all those years ago.”

What differences in tone and projection do you hear between the F-5G and the F-5 Master Model?

“To my ear, the Master Models remind me more of the old Loyd Loar mandolins. They have that feeling of similarity to where you know those old mandolins are the blueprint which these new mandolins are following. There’s a delicacy and clarity to the top end of these mandolins, but they also carry that feeling of tradition in a way that I love. It feels like you can play anything from Bill Monroe to Bach on them, and it makes complete sense.

“The F-5G mandolins are just a stout-feeling mandolin, tone-wise. You can really dig into them and the low end response is powerful. In a funny way it reminds me more of an Adam Steffey/Sam Bush style mandolin in a way that I love. The chop is thick and the E string especially can take a heavy right hand.

“The main thing is these are all new. In my opinion, each mandolin can grow better and better with age and the miles we put on them. It’s so exciting to me to think about what these mandolins will sound like in the years to come. My personal F-5 Master Model continues to grow to sound better and better all the time. It’s amazing.”

How did the collaboration process with Gibson Custom influence your understanding of instrument design?

“This was the first time I’ve gotten to see the process of building mandolins up close and personal, which has been such a beautiful and fun thing to witness. To see a mandolin go from simply a piece of wood to the final product of an amazing instrument is kind of mind-blowing. I’ve never been one to know a lot about the ins and out of wood types, or real specs of instruments, but I am really connected to what I feel and hear from an instrument—even if I don’t always have the language to discuss it. I’ve learned and am continuing to learn a lot about this tiny instrument I love so much through this process. It’s been so fun.”

Alison Krauss, Béla Fleck—amazing mentors! What’s one unforgettable lesson they taught you?

“Both Alison and Béla have set such a high standard of excellence in the work that they’ve produced over the years and continue to produce. From recordings to live performances, the goal to continue to grow and be your best always seems to be present with them. They also never appear to be blown by the winds of success, but rather have found lasting success by chasing inspiration and being authentically who they are at the highest level. I find that incredibly inspiring. At the end of the day, I think it’s a good reminder to work to be the best you that you can be and that’s what success truly is.”

Having had mentors such as Alison Krauss and Bela Fleck, what is it like for you to now be a mentor to a new/emerging generation of mandolin players?

“I’ve been so incredibly fortunate that my mentors have given me so much of their time over the years. Both Alison and Béla came up in Bluegrass as youngsters, the same way that I did. I think they recognized the love that I have for the music the same way that I can now recognize that love in the younger generations coming up behind me. It’s a beautiful circle that continues to grow and if I can inspire someone even a fraction of how much so many of my heroes have inspired me, then this has all been worth it.”

Your sound is a blend of classic bluegrass and fresh ideas—what’s your secret to keeping tradition exciting?

“I sincerely love traditional music. I don’t think that I’m consciously making an effort to keep it alive, I just think it’s part of who I am in my deepest musical core. At the same time, I love a challenge and remaining inspired is important to me. Many times in order to continue growing you have to be able to spread your wings a little bit and explore other things.”

Do you see the mandolin as being a versatile instrument that can exist outside of and beyond its bluegrass roots?

“It’s so awesome because the mandolin is such a rhythmic instrument and essentially the drummer in an acoustic setting, but it’s such a beautiful color instrument too when you pull it out of that context. It’s such a unique-sounding instrument and in many situations can fits into its own frequency range. It’s always exciting to be able to play mandolin in a situation that feels new and fresh.”

What does bluegrass music mean to you?

“I love bluegrass as a musical form and tradition, but the word to me means so much more. It also means community. The music is joyful and full of spontaneity, but it’s also so deep and reminds me of home and where I came from. There’s a sound of simpler times, real hardship and heartbreak, but yet has such hopefulness at the heart of its sound. It’s a beautiful music to be able to grow up on and have built my musical foundation upon.” 

What do you remember about being given your first Gibson mandolin when you were 12 years old? How did the instrument and the experience feel?

“I was completely floored to be given a Gibson mandolin. My family and I visited the Gibson Showcase back when it used to be at Opry Mills mall. I’m from such a small town that there really wasn’t anywhere to get instruments worked on that we knew of. We wanted to get my mandolin I had at the time some new frets. While we were in there, Danny Roberts, a fellow mandolin player and then luthier for Gibson, put a beautiful Adam Steffey signature model mandolin in my hands to play.

“He knew I was a big Alison Krauss and Union Station fan and had heard me play with them doing my best Adam impersonation and solos. They then asked how I would like to have one of those mandolins. I knew we couldn’t afford it as a family at the time, so when they said they would love to give me one. It was an unbelievable experience. I couldn’t have been more honored and excited at the generosity of such a gift. Pretty life-changing stuff for a 12-year-old girl from a small town.”

What drew you to the mandolin in the first place?

“I grew up next door to my great aunt and uncle, Betty and Junior. Junior was self-taught on mandolin, fiddle, and guitar. He wasn’t a super virtuosic musician, but loved playing music more than anyone I know. He didn’t play bluegrass tunes so much as old folk tunes like ‘Wildwood Flower,’ or hymns like ‘Amazing Grace.’ I spent most every day of my childhood in their home.

“The sound of the mandolin was familiar from an early age, but it was really when my dad began playing and started getting in to bluegrass that my brother and I began to grow interested in playing music too. I got a fiddle for Christmas and it was a full size—a little too big for me to reach the end of the fretboard given my small size at the age of eight. It was then my dad thought about the fact that the mandolin was tuned like the fiddle, and he put the instrument in my hands so I could at least start playing something. I fell in love immediately and never looked back!”

Who were your main musical influences?

“My earliest influences were people like Doyle Lawson, Larry Sparks, Bill Monroe, Flatt & Scruggs, Tony Rice, Del McCoury, Alison Krauss, Dolly Parton, Rhonda Vincent, Ricky Skaggs, Sam Bush, Chris Thile, Adam Steffey, and bands like Nickel Creek, Blue Highway, and IIIrd Time Out. Those are just a short list of a few of the many musicians that I listened to endlessly to learn to play.

“Later, I would go on to be inspired from outside the bluegrass world, like Joni Mitchell, Sara Bareilles, Bonnie Raitt, Beyoncé, or jazz artists like Herbie Hancock, Wayne Shorter, and of course so many others. I also realize more and more that I grew up knowing all of the modern country music of the mid 2000s just simply based on what was on the radio around where I grew up. I definitely watched a lot of CMT at the time, and loved that medium of music and videos.”

Can you describe what you experience when you’re playing the mandolin? Is the experience different when you are playing for yourself, versus playing onstage?

“I’ve spent so many years playing the mandolin now since I was a child that it truly does feel like an extension of myself. It’s an amazing thing to be able to stand on a stage and share the music I love with other people. There’s a joy and connection to that deepest part of myself that I can only feel through playing music. It’s an escape and on the best of days, a way to connect to something that feels spiritual to me and beyond my own self.”

This year marks the 50th anniversary of Gibson making instruments in Music City, and we make mandolins at our Gibson Custom Shop craftory right here in Nashville. How has Nashville shaped your career? What does Music City mean to you?

“As a girl growing up in Tennessee, I dreamed of someday living in Nashville alongside my heroes. There really is no place like Music City. I’ve now been proud to live there for over 14 years and have so many friends now that also call it home. To have these signature mandolins made in my now-adopted hometown feels so special.

“Bluegrass was born on the stage of the Ryman Auditorium they say, and Bill Monroe is why so many after he came along wanted to play a Gibson F-5 mandolin. It’s history at its finest and just feels so right! I still can’t believe I now have my own signature line of Gibson mandolins—a true life highlight for me.”

Find out more about the Gibson Custom Sierra Hull F-5 Master Model and F-5G mandolins and shop now.