Bridget Lancaster has become a trusted voice in American home kitchens, but her story begins in the hills of West Virginia. Born and raised in Cross Lanes, just outside Charleston, Lancaster grew up in a culture where food was more than sustenance — it was memory, heritage, and community. Today, as co-host of PBS’s America’s Test Kitchen and Cook’s Country, she translates that Appalachian food wisdom for a national audience, showing millions of viewers that good cooking doesn’t have to be complicated to be meaningful. Appalachian food has long been overlooked or misrepresented, often dismissed as heavy, rustic, or outdated. But Lancaster embodies a different truth: it is a cuisine of resourcefulness, seasonality, and deep comfort. She recalls growing up on meals like beans and cornbread, skillet-fried chicken, biscuits, and vegetables straight from the garden.  Those dishes, rooted in thrift and tradition, inform the way she approaches cooking on television—not flashy, not trendy, but enduring. When Lancaster talks about the joy of a pot of pinto beans simmering all day or the ease of pulling together biscuits with a few pantry staples, she is channeling her West Virginia childhood. These are foods that stretch to feed a family, meals that emphasize flavor over fuss. Her manner on camera — warm, approachable, and never condescending — reflects how those foods were taught to her: not as culinary performances, but as skills every household needed to pass along. After college, Lancaster cooked in restaurant kitchens in the South and Northeast, concentrating on pastry. She began working as the test cook for Cook’s Illustrated in 1998. She was also part of the launch team for Cook’s Country magazine and led the recipe development. She is now the lead instructor of America’s Test Kitchen Cooking School and has created hundreds of instructional videos. Over the years, Bridget Lancaster has grown into her role as a cook and teacher. As Executive Editorial Director and lead instructor for America’s Test Kitchen’s online Cooking School, she focuses on helping viewers and students gain practical, usable skills in their kitchens. In interviews, she has said that her goal is for people to walk away from each episode with at least one valuable piece of cooking knowledge they can apply at home. Her background comes through in subtle ways. Lancaster brings a refreshing groundedness in a food culture often obsessed with kale salads or avant-garde plating. “I’ve been over kale for a very long time,” she told Boston Magazine with a laugh. “I am very pro collard greens.” The comment may have been cheeky, but it’s also revealing: collards, not kale, were the greens she knew growing up. In voicing that preference, she brought Appalachian taste to the table of American food media. Bridget Lancaster’s cooking philosophy reflects a practical sensibility, with an emphasis on helping home cooks make the most of what’s available. That outlook resonates with Appalachian traditions of resourcefulness and preserving the harvest, where stretching ingredients and finding creative uses for pantry staples are second nature. Even as she has become a national figure, Lancaster remains rooted in a grounded sensibility. On Cook’s Country, many dishes she presents—like buttermilk biscuits—reflect a humble, home-style cooking ethos that resonates with regional traditions. In her co-authored book Cooking at Home with Bridget & Julia, she and Julia offer 150 of their favorite recipes, emphasizing accessible, family-friendly, and comforting meals—qualities often associated with Appalachian home cooking. For Lancaster, food is more than technique; it’s about helping people feel confident in the kitchen. She emphasizes making cooking approachable and practical, guiding home cooks through recipes they can realistically prepare. This focus on accessibility reflects the grounded, home‑style sensibility she developed growing up in Cross Lanes, West Virginia. Bridget Lancaster brings a grounded, practical sensibility to her cooking, emphasizing recipes that are simple, accessible, and family-friendly. Her approach reflects the values often associated with Appalachian cooking—resourcefulness, clarity, and heartiness—while reaching a national audience through America’s Test Kitchen and Cook’s Country. In this way, the home-style flavors and sensible techniques she champions carry the spirit of her West Virginia roots into kitchens across the country, leaving a quiet but lasting mark on American home cooking.

Known for its storied recording history, Muscle Shoals, Alabama, is a major player in the music world. It is also home to a bluegrass band bending genres and surprising audiences for over two decades. Iron Horse. "It has been said of this area, 'There must be something in the water,'" says Vance Henry of Iron Horse. "There currently is and has been in the past a lot of music produced in Muscle Shoals, even in the bluegrass genre. We are proud of that heritage." They are also proud of contributing to the area's music catalog through the influence and encouragement of people like Jake Landers, Rual Yarbrough, Jerry Clemmons, Steve Baccus, Dennis Clifton and groups like the Southern Strangers, The Adair Family, and The Dixie Gentlemen. "These people performed for years, and it was great to have their encouragement. That encouragement helped us gain confidence in the early days," Henry added. From the beginning in 2000 to their latest project, Pickin' On Creedence Clearwater Revival: Bluegrass Rising , Iron Horse formed a career from reimagining songs across the musical spectrum. "I think of bluegrass as flexible music. It seems to lend itself to any musical style." Henry explained how CMH Records was an integral partner in allowing them to arrange the songs "the way we feel them. They didn't require us to do acoustic remakes, note for note like the original, which would be tempting." The arrangements for Iron Horse evolved easily because of the band's bluegrass background. As Henry puts it, Sammy Shelor of Lonesome River Band said it best: "Bluegrass music produces itself." Iron Horse's discography reads like a mash-up playlist of rock and bluegrass, from Metallica to Elton John. However, making seamless transitions can be challenging because choosing one is hard. "The groups we have covered are phenomenal. Their material seems so good that crossing over to bluegrass is natural." Henry said that at first, they were unsure. Still, after recording Metallica's "Nothing Else Matters" and "Unforgiven," they saw the concept more clearly, as if this is how they were supposed to be played. "Or at least another valid way to present them," he clarified. "Maybe it is a credit to the greatness of the songs as well as the flexibility of bluegrass." However, Henry clarified that honoring the original while adding their creative stamp is a balancing act. "Generally, bluegrass is a more up-tempo style, so you can double the time signature and sing the vocals close to the original tempo, and it will work. We also look for the signature licks of the song to see if we can incorporate them in a way that will lend it to bluegrass, as if you can hear Del McCoury singing it. That said, we try to stay with what we feel and what comes naturally, which usually ends up as something bluegrass." A turning point for Iron Horse happened in 2001 when CMH Records approached the band with an idea: bluegrass covers of rock songs with vocals. Before this, CMH had only done projects of instrumental rock covers. And Iron Horse was ready to do something different. "We had recorded the Marshall Tucker Band's 'Fire on the Mountain', so we were already trying something you wouldn't normally hear in bluegrass. But even with that said, we were unsure that CMH's idea could work." It did. Henry admitted the driving force of Iron Horse is, "Presenting music worthy of the listener's time. Producing something that has a listenability factor. That is hard, because everyone in the music business is trying to figure out that formula." The problem is that spending a lifetime working and worrying on one song to perfect it too often prevents future recordings. He said that kind of microfocus negatively impacts what you want to accomplish. "If we like listening to it and want to listen again, that is a good indicator that we are getting close. We try to stay true to ourselves and the ideas in the minds of all four of us. Good music is good music." Iron Horse never intends to abandon traditional bluegrass; it is their default music. Nevertheless, their cross-genre work introduces bluegrass to listeners who might not have otherwise discovered it. They know this because they receive comments like, "Finally, music that my father and I can listen to together," or "We had never heard of bluegrass music until we listened to your version of Rocket Man, and now that we have discovered it, we love it." "Generally, most of the feedback on what we have done has been very positive. Fans of the original version like hearing it a different way, and bluegrass traditionalists like it because they hear some of the rock songs they grew up listening to performed in the bluegrass genre." Iron Horse strives to meet a certain standard before releasing any project. Still, anything pursued full force with heart and time has challenges. "Overall, we do it and hope for the best. If it doesn't happen, we turn the page and move on to the next gig or project." Henry pointed out that playing music with difficult people turns into drudgery, so the key is to surround yourself with people you care about. Thankfully, all the members of Iron Horse have been great to work with. We are still friends after all these years and enjoy playing music and hanging out together." He keeps his perspective at home, saying he's just a normal person who can play music on a certain level. He enjoys constant family support because they are the band's biggest fans. Plus, his wife's family is musical. "They could all sing and play when they were in the mood. It was a great culture to have around." Considering all the musical giants in the world, Henry said he recognized how limited he is and is "thankful for the opportunity to make a small contribution to the world's musical landscape. All the while, I realize that it is my place to do what I can do for a short time." Looking back, Henry's advice is to have fun, make memories, not try to live too fast and always enjoy where you are. "Take lots of pictures and save an event flier of every place you play. Save multitrack files of every project you record. Interact with your fans. They have given you one of their most valuable things: their time and attention." As for what's next, the door is open. So, come on in! The Iron Horse will take you on the ride of a lifetime.

While bluegrass continues to merge with other genres of music, bands like The Tennessee Bluegrass Band are dialing it back to its origins. After one album, an EP, and a handful of singles into their burgeoning career, their latest title track and LP, Nolichucky, further establishes the quintet's knack for revitalizing a song.   Banjoist Lincoln Hensley spoke from his home in East Tennessee.   "We are super psyched! We'll be releasing the full album sometime in July. This is the first album we produced all by ourselves," shares Hensley about the band's second LP. "We've got some original songs on there and some that would be considered standards." Hensley says the band supports local Tennessee songwriters. "We have songs on the album that were recorded fifty or sixty years ago by local East Tennessee and Western North Carolina bluegrass bands," adding, "They never got airplay, so people never discovered them. "Sometimes there is an absolute gem of a song that didn't have the right finances or pushing behind it. We've got several songs like that on [ Nolichucky ]. We kind of breathe fresh life into the songs and put our own spin on them." The title track, "Nolichucky," written by Leon Kiser, caused a visceral reaction. "When hurricane Helene hit Appalachia last year, the town I live in was devastated. The river that runs through, called the Nolichucky, rose thirty feet out of its banks and flooded the area, killing six people." Continuing, "The song 'Nolichucky' was pitched to us by local songwriter Charlie Powers," recalls Hensley, who says Powers wrote a song for them in the past as well as a gospel song on their latest album. "I thought ["Nolichucky"] had been written about the hurricane Helene flood, but it was written back in 1975 as a fictional song. "Charlie came up to us and said, 'Y'all got to hear this,' and he played the [Kiser] song, and it sent chills all over us!" Founding members Hensley and mandolinist Tim Laughlin have been with the band through its iterations since forming in 2021. The banjoist says the current lineup has strong chemistry. "We got two brothers: Jacob Shefield and Josia Shefield. We also have Michael Feagen, who toured with Bill Monroe, playing fiddle." Unlike past lineups that needed more rehearsal, Hensley says this lineup fell right in. "From the word 'go' they were ready! It's the best lineup we've ever had!" Hensley, who continues to gain notoriety for his banjo playing, reflects on his friendship with the late Sonny Osborne. "He showed me a ton. He taught me almost the entire catalogue of his music." Sonny made Hensley keep a promise. "He said, 'If you get Flat & Scruggs' Foggy Mountain banjo  album and you learn that note for note, I will show you anything you want to know.' "I remember thinking, 'If I could play that, I wouldn't need to know anything!'" [laughs]  Hensley recalls his parting lesson. "He told me, 'You can play all my stuff now. You proved that. It's time for you to start playing like you now.' "He got me to that next step. I'm so thankful that happened before he passed." Although the Tennessee native favors the older sounds of Lester Flat and Earl Scruggs, he's happy that newer artists like Siera Hull and Billy Strings are bringing younger fans to bluegrass. "Some of my heroes, like the Osborne brothers, were some of the biggest innovators in the world. A lot of traditional people probably looked down on them for using drums and pedal steel." As far as plans for moving forward, Hensley says one of his goals is to get The Tennessee Bluegrass Band on the Grand Ole Opry. "These two younger boys, Jacob and Josia, never got a chance to play the Opry, and I would love for them to experience it. "Mike and I played the Grand Ole Opry on different occasions. I got to play with Bobby Osborne and The Rocky Top X-Press, and Mike and Tim played with Bill Monroe and Jesse McReynolds. There's nothing like it!" Hensley says The Tennessee Bluegrass Band need the support of their fans to continue. "The biggest support one could give us is to follow our social media and request our music to your favorite DJ, whether it's SiriusXM or Banjo Radio. Ask for The Tennessee Bluegrass Band and that will help us big-time!"

Years ago, while our kids were still emptying Trick-or-Treat bags and comparing their Halloween haul, my wife Susan looked at our family calendar and sighed:  “After tonight I feel like we’ve been shot from a circus cannon and won’t land until after the New Year.” We now realize we had a small-caliber schedule, at least compared to the events hitting the calendars of folks in the Bluegrass community. That packed itinerary starts with fun but sleep-deprived nights at IBMA. Back home again, there’s the rush to do laundry and get on the road for the National Quartet Convention in Pigeon Forge and countless Fall Festivals across the country. Next, pause to give thanks, eat more than we should, and head off to rounds of Bluegrass holiday performances. Celebrate Christmas and harmonize on “Auld Lang Syne.” Then put down that eggnog and get ready for SPBGMA, coming up January 22-25 at the Music City Sheraton. It’s fitting, though, to first take a break and celebrate people who’ve worked behind the scenes so we could have a first-class event at IBMA’s first year in Chattanooga. IBMA staff, committees, sponsors, performers and volunteers joined with City of Chattanooga and venue employees to deliver a week of good fellowship, career development opportunities, amazing entertainment, and well-deserved awards.  Songwriters Track Sessions As a writer, I especially enjoyed IBMA’s Songwriters Track sessions. Chair Mike Mitchell, founder of Virginia’s Floyd Music School as well as a writer and recording artist, knows how to put together practical programs. He credits committee members Joe Dan Cornett, Helen Lude, Nancy Posey, Kevin Slick and Johnny Williams for their contributions and hard work. During one-on-one Mentor Sessions, more than a dozen established writers, publishers and artists shared lessons learned with newer writers. Another program was modeled on “speed dating,” enabling writers to meet several publishers in a short time.  Mentor Marty Falle gave me good advice from his perspective as a hit writer/artist, as did Mike Mitchell and Joe Dan Cornett in the earlier session. A ”Know Your P.R.O.” panel provided step-by-step instructions on monetizing songs, from first drafts to chart hits (and from church hymnals to novelty “singing fish”).   Sherrill Blackman, SDB Music Group publisher, moderated that session. Panelists included Amanda Cook, artist and CEO of Mountain Fever Records; songwriter Dawn Kenney; and Joe Dan Cornett, then Director of Publishing for Billy Blue, now with North Chapel Music. In a Song Analysis program, two writers each had a song evaluated by music industry pros. Offering advice were Hall of Fame Broadcaster Kyle Cantrell, founder of Banjo Radio; Jerry Salley, Billy Blue Records label head and singer/songwriter/producer; and Becky Buller, Dark Shadow recording artist and songwriter. “Songwriting for JamGrass” explored unique aspects and challenges of crafting and arranging songs in this growing sub-genre that’s introducing more rock performers and their fans to roots music.   The Jamgrass session was led by Nancy Posey, Lipscomb University faculty member and writer. Other panelists included singer/songwriter Jeff Daugherty; Grammy-winning Americana artist/writer Jim Lauderdale; Ali Vance, 2025 Momentum Vocalist of the Year; Melody Walker, Grammy-winning writer and vocalist with Front Country band; and Jon Weisberger of Mountain Home Music, 2025 IBMA Songwriter of the Year.   Song Circles helped writers get to know each other and hear potential co-writers’ approaches to songwriting, while IBMA’s Songwriters Showcase gave selected writers a chance to perform their songs before a wider audience.   Tribute To Paul Williams   A highlight of this year’s IBMA was the tribute to Hall of Fame member Paul Williams (Humphrey).  He was honored for a career that spans seven decades as a Bluegrass writer and performer, including being part of the groups Jimmy Martin and the Sunny Mountain Boys, the Lonesome Pine Fiddlers, and the Victory Trio.   Mike Mitchell introduced Paul and an all-star group of hitmakers for songs and stories. Playing Jimmy Martin’s guitar (courtesy of son Buddy Martin) was Doyle Lawson, Paul’s fellow Hall of Famer and friend and collaborator.   Harmonizing with them were Greg Blake, Turnberry Records’ 2025 IBMA Male Vocalist of the Year, and Johnny and Jeanette Williams, award-winning songwriters and recording artists currently in Shelton & Williams.   It was a special moment when this instant “supergroup” performed some of Paul’s best-known songs and invited the appreciative audience to sing along. There was even an encore performance later that day at an event hosted by Keith Barnacastle, Turnberry Records exec and publisher of The Bluegrass Standard .   At a packed reception, we learned Paul Williams has a new publisher. He will write with Tall Oaks Music, the new Turnberry-affiliated publishing firm led by Bluegrass icons Doyle Lawson and Donna Ulisse. With that collection of talent, you can expect more chart-topping songs are on the way.

The satisfying sound of live music still has a home at Camp Springs Bluegrass Park thanks to North Carolina’s Coswell County resident Cody Johnson. With a heart full of fond memories and hard work, the park is again a thriving venue for bluegrass music. “I grew up going to festivals, including Camp Springs, which we happen to live near,” shares Cody, who says a sense of nostalgia drove him to buy the once-famous stomping ground. “My mom and dad went up and down the East Coast to every festival they could go to. I just miss those good old days.” A retired postal worker who never envisioned himself as a concert promoter, Cody recalls that Camp Springs was in terrible shape when he bought it. “It was really bad, I’m not gonna lie. It was overgrown, and the original stage was falling in on itself.” He was able to salvage a few things. “We rebuilt the stage and were able to repair the original concession stand along with some other buildings that were left.” Originally owned by legendary concert promoter Carlton Haney, the site hosted legendary performers including Bill Monroe, Ralph Stanley, The Osborn Brothers, Earl Scruggs, Jimmy Martin, and JD Crowe. It is where guitarist Tony Rice performed his first show in 1971 with JD Crowe & The New South and his last with the Bluegrass Alliance. Camp Springs Bluegrass Park was also the subject of a 1971 documentary titled Bluegrass County Soul  in which Cody’s dad appears. “My dad helped Carton Haney with different things like security,” adding, “A lot of guys from the community helped out. “In 2021, fifty years later, we got to bring the producer of the film back with his wife, along with four musicians who played in the movie. So that was pretty special!” One of the highlights of Johnson’s festivals is airing the documentary .  “I play it every year! I have a big drive-in movie screen. We play that for our campers the night before the festival.” Cody, who noticed the abandoned property during his travels in Caswell County, had questions. “I did some research and found out who owned it, which was Carlton Haney’s family, and that is who I eventually bought it from.” Celebrating his 8 th  festival since reopening the park in 2019, the proud venue owner says his annual Tony Rice Memorial Day Musicfest differs slightly from their other shows. “He wasn’t just bluegrass. He played a little bit of everything. So, we added a little bit of everything to the show. One year, we had the late 80s country band Exile play at the festival.” Although crowds are not as big as in the 1970s, Cody says they grow each year. “We average around two thousand people for the whole festival.” Cody says he’s still learning how to book acts for his festivals. “You can talk directly to a lot of musicians in bluegrass, but with some of the bigger acts, you have to go through a booking agent. I’m not used to that. Honestly, I’d rather go right to the source.” Continuing, “Younger bands who’ve seen the movie Bluegrass Country Soul  are excited to play at Camp Springs. I think that’s a really cool thing!” Cody hopes that Billy Strings will play one of his festivals. “The year before the last, I got to meet Billy Strings at one of his shows. He announced our first Tony Rice festival from the stage. I would definitely love to have him—I would say he tops the list!” While praising his wife, Donna, and Brother Chris for their support, Cody owes a great deal to the award-winning radio DJ Cindy Baucom. “She helps out with her knowledge of bluegrass. She has been our MC from the start.” The festival organizer is excited about upcoming plans. “We have a Camp Springs non-profit organization called The Camp Springs Music and Historical Foundation. Our goal is to build a museum that includes a hall for winter performances. It was always Carlton’s dream to build a museum, and I have so much memorabilia.” Cody shares that Camp Springs has brought folks together over the years and has been a special place for the local community. “It’s been a part of this area since 1969, so it means a lot to people. It’s a place where you can find your fix of bluegrass music!”

Enda Scahill started playing music at an early age in rural Ireland.   “Where I grew up in Galway, on the west coast, most Irish children played the tin whistle in school from age five or so,” he says. “When I was about nine years old, a wonderful music teacher called Bernie Geraghty came to my school. She asked if anyone would like to play the banjo, and my hand shot up into the air. I don’t know why I was instantly attracted to the banjo, and I don’t have a clear memory of where I first heard it. But I remember that day. I was the first-ever banjo player in our village.”   Bernie taught Enda for a few years before Cepta Byrne began teaching music at his school. “Cepta played accordion, but she was one of those beautiful humans who wove magic and joy into music and just inspired me to be creative, brave, and innovative in my approach to Irish music,” Enda says. “She didn’t believe in musical boundaries and thus, neither did I. Cepta is in her 70s now, and almost 40 years later, she’s one of my closest friends and confidants.”   In addition to his music education at school, Enda grew up in a musical family. His older brother, Adrian (who now has two master's and a doctorate in Irish music and lectures on Irish music at a national university), was a huge collector of Irish tunes, even as a young teenager. So he would sit for hours at the piano transcribing tunes he had recorded at local music (jam) sessions. I learned most of my tunes by osmosis from him. Hence, I am still terrible at remembering tune names.”   Enda admits he is not great at studying. “Sitting and concentrating has always been a struggle for me, so I soak up music by listening, experimenting, and lots of playing.” His biggest musical hero was Gerry O’Connor (the first Irish winner of the Steve Martin Banjo Prize, incidentally). “Gerry was so incredibly inventive in his playing, drawing from many different genres and pushing the technical boundaries of the instrument. As a teenager, his music drove me to be better, faster, cleaner, and even more musically experimental.”   A four-time All-Ireland banjo champion, Enda was presented with the prestigious Steve Martin Banjo Prize for Excellence in Banjo and Bluegrass in 2022. “It came at a difficult time as We Banjo 3 was winding down, and my musical future suddenly looked very uncertain. I’m a firm believer in a higher power or “the universe,” and that felt like a giant cosmic reassuring hand on my back.    He performed with numerous groups before founding “the hottest group in Irish music,” according to LiveIreland , We Banjo 3, with Martin Howley, David Howley, and his brother, Fergal Scahill. “We started We Banjo 3 in my kitchen in 2009 because I was inspired by a photograph I saw of Kris Kristofferson on stage with his head thrown backwards, laughing deeply. Irish music can be very serious, and I desperately wanted to have fun. I also wanted to be a little controversial and poke at the establishment. What better way than a band with three banjos? I was determined to stand out from the crowd. Every other band at that time was some Celtic-sounding word, and I knew we had to be very different. But it was only ever supposed to be a bit of fun on the side. Who knew so many people loved the banjo? People came out in droves. At first, we didn’t have enough music to fill a 90-minute show, so we told lots of jokes and stories to fill the gaps. And audiences loved the show! Looking back, we were running to catch up from 2012 to 2019. It took off like a juggernaut. I think we had reached a level of stability in 2020, having taken on management and all of the support systems that brings. But we know what happened in 2020.”   Over the years, Enda says he has been blessed to play with so many amazing musicians. “Even thinking about it blows my mind. I’ve traded solos with Bela Fleck, Alison Brown, and Jake Workman, and I recorded an album with Ricky Skaggs, Aubrey Haynie, and Bryan Sutton. I could go on and on. Sierra Hull, Sam Bush, Ron Block, even Billy Strings. Sometimes it doesn’t feel real.”   A career high happened a few years ago, when Enda stood on stage in the Sumida Triphony Concert Hall in Tokyo with two of the greatest Irish music bands of all time - Dervish and Altan. “There were 1800 people in the audience, clapping and smiling, and I realized that these bands were the late night, walking home from the session, headphones in (Walkman cassette tape era!) soundtrack to my youth. And here I was sharing a stage, music, laughter, and friendship with my heroes. That moment on stage, my heart swelled and I had tears in my eyes with gratitude for all the gnarly twists and turns of life that had led me there.”   Enda also shared another funny tale: “Way back when I didn’t know anything about bluegrass music, I inveigled myself (through pure brazenness) onto the mainstage at a big bluegrass festival in Ireland. I managed to nab a 10-minute slot between headliners. We went up, blitzed the set, scarpered off stage to a standing ovation, and ran back across the road to the pub where we were hired to play our own gig. What I never realized is that Earl Scruggs and his band were the headliners that night, and after their show, they came across the road and watched the rest of my gig.”   His inspiration changes all the time and many times. “Right now, Bela Fleck is a huge inspiration for this reason - he has constantly innovated, seemingly without any fear of limitations of genre or ability. So, when I’m feeling musically humdrum or technically stuck, I think of Bela. And it lifts me to try different runs or ornaments in the music. I’m probably unusually annoying in an Irish jam session context as I’m then wandering way off the melody of the tune at times.”   Martin Hayes, the Irish fiddler, has also been a huge inspiration. “He communicates something profoundly moving with deceptively simple playing. And a jazz pianist called Kenny Werner. He wrote the book Effortless Mastery . I watched a seminar of his a few years ago. He sits at the piano, and before he plays, he always says to himself, ‘This is the most beautiful sound I have ever heard anywhere in the universe,’ and then plays. Goose bumps every time.”   Now Enda spends time teaching. “I love teaching. I only do things that I’m wildly passionate about. Otherwise, I get wildly bored very quickly! Irish banjo can be a tough instrument. Chris Thile once said that the mandolin is an incredibly inefficient instrument. Well, tenor banjo is that by ten. So I formulated a method of playing that simplifies and describes in detail a pedagogy that works for the banjo. And I’m inspired and excited to help other people become better banjo players and all-round better musicians.”   Enda has a vast online community of students on every continent. “Over 700 currently, and I interact with many of them on a regular basis. Essentially, what I do now is create bespoke high-level, high-tech, multi-camera angle banjo and mandolin lessons . Every lesson is tailored to all levels of ability, from absolute beginner right up to advanced players. I focus on all the various aspects of technique, constantly challenging students to learn new ideas, ornamentation, harmony, and variations. It’s very immersive and comprehensive.”   But there is plenty of music in Enda’s fingers. “I’ve just released the best album I’ve ever made. Bearing in mind several Billboard #1 albums and many Album of the Year awards, I think that is saying something! The Dark Well  is a collaboration with a Swedish harmonic player called Joel Andersson, who incidentally is the number one customizer of high-end harmonica in the world. The album title is a play on the phrase ‘Drinking water from an ancient well’ - the concept of the deep and sustaining heritage of Irish traditional music. However, the banjo and harmonica are new interlopers. We don’t fully belong in this ancient well. We need to dig our own well. It’s dark and sonorous. Full of texture, drones and gravely banjo sounds. It’s truly unique and different.”   Guests on the album include Grammy winner Francesco Turrisi, Ross Holmes from Nitty Gritty Dirt Band, Andy Thorn from Leftover Salmon and many more. “I’m also touring for the last year with an Italian band called Gadan,  who, if you can believe the irony, now have three banjos in the band. They play a high-energy blend of Irish and bluegrass music. It’s a ton of fun and I’m really enjoying playing with the guys.”

"We were asking the big questions," says thirty-three-year-old Them Coulee Boys lead singer Soren Staff, about their latest LP, No Fun in Chrysalis .  "This record was coming from a place where there were huge changes for me and the band." The project felt change-oriented, explains Staff. "I was trying to figure it all out. I was getting to the point in life where I'm asking myself, 'Is this what I want to do?" The band agrees that live streaming poses a financial challenge. "Distributing art to the masses often leaves the artist out of the rewards for success. This is the reality artists face these days." Releasing their self-titled EP in 2013, the Eau Claire, Wisconsin band celebrates a varied musical background. "We started out as a string band—just banjo, mandolin and guitar," recalls Staff, whose friendship with banjoist Beau Janke led them to recruit his younger brother Jens Staff on mandolin. Adopting drums and electric instruments, the band, Staff points out, wasn't afraid to evolve. "We listen to what the songs are telling us in terms of style. We are very open to all kinds of sounds." Bassist Neil Krause and drummer Stas Hable add their unique qualities to the mix. "Neil was kind of a punk rock kid in high school, and Stas is Czechoslovakian. He has a lot of cool Czech folk roots but is also into metal and dance-pop. He is our secret weapon when it comes to getting new sounds into our music because he listens to everything."   To expand their sound on the album, the band enlisted the help of session musicians. "The coolest part about [ No Fun In Chrysalis ] was that we had some friends come play fiddle and peddle steal," the guitarist shares. "We had some fun synthesizer sounds on the record, too. We always wanted to have that kind of musical tapestry. "With each album, I like to come to the guys with something that feels like it really challenges us, be that sound-wise or message-wise. 'Ghosts (In 4 Parts)', for example, took a whole lot of arranging." Staff says the song serves as a stark warning about conservation. "It's like, hey, if we don't do what we can do now to fix this, we're not going to have a world to live in. It's one of my favorite songs on the record." Keeping it all together was Grammy-winning producer Brian Joseph. "This is the second record we made with Brian. We grew very close over that first album, Namesake ." Staff says they felt more confident with No Fun in Chrysalis.  "In the past, we deferred to him, knowing who he was, but this time we took more agency as songwriters. His superpower is making you comfortable. If we did a couple of takes that didn't feel right, he would say, 'Hey, let's go take a lap,' and we would walk on the trails outside of his studio." Recording at The Hive in Eau Claire, Staff shares the band's deep connection to the city. "That is where we were playing our first shows. So many musicians have their roots in Eau Claire." "We all grew up in small little towns in nowhere Wisconsin [Jokes]. Eau Claire is the closest metropolis. It was around the time Bon Iver was blowing up, and other bands from Eau Claire were seeing more success." Going on, "It's more musically collaborative than competitive there," shares Staff who loves Eau Claire's vibe. "We thought, 'We've got to move to Eau Claire—that's the place to do it!'" Still holding a day job, the guitarist says the music business is tough. "The access to music has never been higher, which is incredible, but the compensation for the work as a musician has never been lower. There's no insurance, there's no safety net." Them Coulee Boys plan to face the challenges ahead.  "I think the business forces you to constantly evaluate if you're doing enough, especially if you're raising a family.  But the reality of this is that as artists, we find a way.  We want to do this because it's fulfilling, joyful, and meaningful.  I can't speak for all of us, but I don't think I'll ever 'quit' music.  It's an extension of the way I navigate the world—and there's no part of me that ever wants to cut that out.”

These restaurants — each deeply rooted in place, culture, and community — achieved significant recognition from the James Beard Foundation in 2025. While none took home the trophy, their nominations spotlight Appalachia’s culinary breadth and rising influence. More than just a nod of approval, these honors affirm that chefs and restaurateurs across Appalachia are creating food that resonates locally and nationally. In Pittsburgh, Pennsylvania, Fet-Fisk earned a finalist spot for Best New Restaurant, one of just 10 restaurants across the nation to do so. This Nordic-inspired seafood bar in the city’s Bloomfield neighborhood has quickly gained acclaim for its inventive approach to local ingredients, serving up dishes like grilled cabbage Caesar, spaetzle, and whole branzino, paired with aquavit-forward cocktails and natural wines. With its clean aesthetic and minimal plating, Fet-Fisk stands out for its commitment to technique and precision without pretense. Despite ultimately losing out to Minneapolis’s Bûcheron , Fet-Fisk’s place among the finalists elevated Pittsburgh’s culinary reputation and displayed the city’s potential for boundary-pushing, ingredient-driven cuisine. It also demonstrated that Pittsburgh, long known for its blue-collar food traditions, can support and celebrate refined culinary experiences that remain true to place. Further south in Staunton, Virginia, Maude & the Bear was nominated as a semifinalist in the same Best New Restaurant category. Housed in a lovingly restored 1926 Montgomery Ward kit-house, the intimate space is the latest project from chef Ian Boden, who co-owns the restaurant with his wife Housed in a lovingly restored 1926 Montgomery Ward kit-house, the intimate space is the latest project from chef Ian Boden, who co-owns the restaurant with his wife, Leslie Boden. . The couple has created a space that’s equal parts restaurant and retreat. Guests who dine on Boden’s whimsical, modern tasting menus—featuring seasonal fare sourced from the Shenandoah Valley—can stay overnight at the attached boutique inn, making for a fully immersive culinary escape. Dishes might include dry-aged duck with sorghum glaze or Appalachian heirloom beans plated like fine art. While Maude & the Bear didn’t advance to the finalist round, its nomination marked a significant moment: one of the first times Staunton found itself on the James Beard radar. The recognition underscores the growing sophistication and ambition of small-town dining in Appalachia and affirms that rural settings are no barrier to culinary excellence. Asheville, North Carolina, also made its mark this year. Leo’s House of Thirst, a cozy wine and cocktail bar in West Asheville, was named a semifinalist in the Outstanding Wine and Other Beverages Program category. Known for its tightly curated list of natural wines, small-batch spirits, and seasonal cocktails, Leo’s has become a haven for wine lovers and curious drinkers alike. What sets Leo’s apart is its sense of place – the wine list leans heavily on producers who prioritize sustainable farming and low-intervention winemaking, while the bar’s menu often features Appalachian touches like pickled ramps, trout roe, and smoked mushrooms. It’s more than a neighborhood bar; it’s a thoughtful expression of the beverage culture emerging across Appalachia. While Leo’s didn’t make it to the finalist round, its inclusion among semifinalists reinforced Asheville’s position as a beverage destination, a city that supports innovation and depth far beyond traditional breweries and distilleries. Even without bringing home any awards, these nominations carry substantial weight. A James Beard nod as a semifinalist or finalist can increase visibility, drive reservations, attract press coverage, and position a restaurant for future accolades. It offers national validation and encourages the region’s food lovers to support businesses defining Appalachian cuisine on their terms. For restaurants in smaller cities and towns, the impact of a Beard nomination can be transformative, helping them attract talent, investment, and a new wave of culinary tourism. This year’s nominees also underscore the range and diversity of Appalachia’s food scene. From the seafood-forward minimalism of Fet-Fisk, to the tasting menu elegance of Maude & the Bear, to the wine-soaked charm of Leo’s, each restaurant represents a different vision of what dining in Appalachia can be. These establishments don’t rely on stereotypes or outdated notions of the region; instead, they expand the definition of Appalachian food, drawing from global influences while remaining grounded in local sourcing and storytelling. The region is not simply adapting to national trends but helping to set them. The path to top James Beard honors is often incremental. Today’s semifinalists become next year’s finalists; next year’s finalists may go on to win. The attention gained from one nomination can ripple outward for years. Whether that ultimate win happens in 2026 or beyond, what’s clear is this: Appalachia is no longer on the sidelines of the national food conversation. It’s in the room. And the food it’s bringing to the table is thoughtful, rooted, ambitious and worth celebrating.

There’s nothing better than a good story, and the storytelling is strong on St. Simons Island, Georgia. It’s a story of a resilient ministry, touching the lives of hundreds of thousands of visitors, if not millions. It’s a story about nourishing souls and delivering respite.   The story's main narrative centers on Epworth By The Sea, a nonprofit conference, retreat and vacation center on St. Simons Island. For 75 years, the center has hosted large events such as Bible study groups, government, law enforcement and military groups, corporate meetings and conferences, family reunions, choir retreats, children’s camps, ladies' and men’s civic groups, and more. It also functions as a hotel for individual visitors.   “We have 100 acres of beautiful retreat center,” explained Tiffany Flavell, who manages Epworth’s sales and reservations. “You can have your activities on the Golden Isles of Georgia. This area is called the Golden Isles because we have the most beautiful golden marshes.”   As a premier conference center on the coast of Georgia, Flavell said they host several hundred groups a year, “and roughly 100,000 visitors a year. We also function as a hotel. We are in our 75th year this year.”   For 25 of those trips around the sun, Flavell has devoted her time, heart, and soul to Epworth, which she believes in wholeheartedly.   “Epworth is a hospitality ministry,” she explained. “We all take our personal ministry seriously. We have a wonderful staff that has servants’ hearts.” In short, they are here to serve.   “We’re affiliated with the Southern Georgia Conference of the United Methodist Church,” she explained. Some nonprofit work is about giving life experiences to those with limited opportunities to live fulfilling lives. One example is Miss Ella’s Camp for Special People, an annual special needs adult camp.   “It is their time to be with other people, to socialize. Most of them live in group homes or with elderly parents.” Flavell said the respite granted to caregivers during camp time – and the opportunities to socialize for camp participants – become landmark, life-enhancing events for the campers.   There’s also a children’s summer camp, and the nonprofit raises funds to help families who can’t afford to give their kids this experience. Flavell said the center emphasizes Christian values and charity but welcomes religious or secular groups; everyone is welcome.   The storytellers illustrate and expand this great 75-year Epworth By The Sea story. Once a year for 11 years now, professional tellers of tales have descended upon the retreat center both to share stories and to live out new experiences. They come for the St. Simons Storytelling Festival, happening next from February 13 through 15, 2026. Storytellers Flavell described as “world-class” will present their stories and share meals and social time with attendees. It’s a time for entertainment, learning, and forging new connections and new life experiences. It’s a time for reveling in storytelling as an art form and observing masters. Flavell said, “The fellowship of it is really spectacular.”   “February is wonderful here on the Island,” she said about the month the annual event is held. “A lot of times, you can even go to the beach.”   As far as facilities go, Epworth offers five different motel buildings with a total of 235 rooms, with some located on the Frederica River; 22 youth-style bunk cabins; 35 meeting rooms of various sizes; an onsite museum; bike rentals; tennis courts; pickleball courts; bonfire pits; a large athletic field for soccer and other sports; and more. There are also two piers, where Flavell said people can do a bit of saltwater fishing.   Find out more about the center by visiting Epworthbythesea.org and the storytelling fest by visiting Stsimonsislandstorytellingfestival.com .   Although most stories eventually have an ending, staff and volunteers hope the center’s story continues. Flavell is doing her part to ensure Epworth continues to do good work in another 75 years.   “I love sharing Epworth by The Sea with everyone, however I can,” she said. “We are here to serve.”

Offering a blend of folk, old-time, and bluegrass, Florida-based Americana ensemble Remedy Tree seems to enjoy a busy year. Having just released a new album in September, this ‘tree’ is growing, expanding its canopy of music and laying down fresh new roots across the worlds of Americana and bluegrass.   Gabriel Acevedo formed Remedy Tree along with his wife Abigail. According to Acevedo, the past few months have been quite rewarding. Their single, “Beyond What I Can See,” debuted at #9 on the Bluegrass Today charts.   “We’ve already sold out two listening rooms, and we’re doing really well. We just played at The Station Inn,” he said, calling that gig at the legendary Nashville venue “an absolute highlight of our career.” They were also selected as a 2025 IBMA Ramble Showcase Artist.   “Our Spotify has blown up compared to what it used to be,” he said, “and we’re just glad to be here. 2025 has been a great year.”   Remedy Tree was formed in 2015. Acevedo described its inception as “a little folky kind of indie folk project.” Over time, he said they just started “going toward bluegrass.”   “We added a banjo in the band, and that took us even more toward a bluegrass trajectory.” Acevedo said, adding that he also started studying bluegrass music and attending bluegrass festivals.   “Of course, it’s a modern Americana type of band. It’s not full bluegrass all the time, but it definitely has extreme roots in bluegrass,” he explained.   The band’s name is a combination of ideas that work well in conjuring what the genuine music of Americana is supposed to be all about.   “I was just putting words together randomly, and that one just kind of stuck with me, because our music is very healing. It’s very positive music,” Acevedo said.   “We don’t do a lot of gospel,” he added, “but a lot of my lyrics have that message in it, and it's a message of hope. So that’s where the ‘remedy’ part came from. The ‘tree’ part…I think it was just kind of an artistic decision.” He said it’s given the whole project an “earthy” vibe.   When asked about what inspires the lyrical content of the group’s music, Acevedo said his writing is usually triggered by “waves of raw emotion.” These waves serve as inspiration. They’re often feelings associated with real-life events, and they’re pretty personal feelings.   He said the writing is “often infused with themes of chasing dreams and persevering,” with “love songs here and there.” “For the most part, the songs are about life,” he said. “You know, one of our mottos, which was the title of our last album, was ‘Love the Journey.’ And I really think that is the theme of the band, just loving the ride that life is – the ups and downs, and everything you learn, and everything in-between.”   Most performers can relate to the challenge of corralling the will to strive and move forward. Perseverance is a lifestyle for most who want to make a career as a performer.   “I always dreamed of having a band, and making a living, making a life, with the music. There’s always a part of you that says, this feels impossible .”   He said you keep going anyway. You persevere.   “And you keep improving the things you need improving on, and before you know it, you look back and realize how far you’ve gotten,” he said.   Acevedo's plan for the coming years is to “keep expanding our audience and growing, playing bigger festivals and venues, and just capturing more people into our remedy tree movements.”   Acevedo described a dynamic—a special communication with the listener—that inspires him to continue on the path.   “When there’s one person, you know, singing along in the audience…I always lock in with that one person, and it’s just…I appreciate that so much. It’s very humbling to see.”   While those special moments are a big reward, the overall journey sounds like a blast. For Acevedo, the main goal is as simple and understandable as any. He said Remedy Tree wants to “have a good time with it, have fun with it, and see where it leads.”

The label/studio name came to him one hungry morning. “I was eating a biscuit for breakfast, and then I thought, what about Sound Biscuit?” explained Sound Biscuit label/studio founder Dave Maggard.  “For some reason, it just stuck,” he said. Later, he discovered that biscuit  was also slang in the vinyl era for the pucks used to press records. “Making a record was making a biscuit,” Maggard added. “It worked out well. I’ve had so many people that I’ve given shirts or hats, and they come to me, and they say, ‘What’s a Sound Biscuit?’” Maggard said, usually answering the question at least four times a day. “I’ve got an old ’55 panel truck with Sound Biscuit  written on the side, and people will literally pull up beside me, roll down their window and want to know what a sound biscuit is.” A name that was once a spur-of-the-moment idea has created a titan in Bluegrass recording. Just off a winding stretch in Gatlinburg, Tennessee, nestled near the wooded hush of the Smoky Mountains, sits a recording studio where songs are crafted with grit, warmth, and a little magic. This place is Sound Biscuit—a Grammy-nominated recording studio and record label that doesn’t merely record music. It cultivates, nurtures, and sends it out into the world wrapped in heart and purpose. At the heart of it all is Dave Maggard, a man whose roots run deep in mountain soil and musical tradition. He’s not the guy who followed a business plan—he followed a calling—one that started decades ago when bluegrass legends were just neighbors stopping by for breakfast. “I have loved music my whole life,” Maggard said. “As I was growing up, I went to see J.D. Crowe play at the Great Midwestern, Louisville, Kentucky, in 1975. I had to sneak in. I wasn’t old enough to drink beer.” Maggard grew up in a scene where Ralph Stanley, Ricky Skaggs, and Keith Whitley weren’t icons yet—they were just guys trying to catch a meal and a break. “They were nobody back then. They were just old bluegrass musicians trying to get fed, trying to get to the next show,” he said. After years of making music for beer money on the sidewalks of Gatlinburg, Maggard detoured into woodcarving, traveling as a sculptor and artist. But in his fifties, he circled back to the sound that never left his bones. “I went back to school at the Recording Workshop in Ohio. I wasn’t looking for another career, I just wanted to understand the process,” he said. “When I got out, I thought, I gotta do something with this knowledge.” That knowledge fueled the early incarnation—one room and an ISO booth—and evolved into a top-tier facility capable of everything from basic tracking to full album production, post-production mixing, ADR, voiceover, and audiobook work. Not to be limited, Sound Biscuit has partnered with Warner Bros. Studios for real-time voiceover and ADR recording. That alone would be enough to set Sound Biscuit apart, but the technology is only a tool here. The real power lies in how Maggard uses it—to create moments, to guide careers, and to make music that matters. The label's turning point came in 2018 when a few members of The Po' Ramblin' Boys showed up at Sound Biscuit to borrow mic stands. “They wanted to do a gospel album, so I said why don’t you do it on a label? Let me start a label, let’s do Sound Biscuit,” Maggard said. That album, God’s Love Is So Divine , was deeply personal and beautifully crafted. Their next project, Toil, Tears & Trouble , landed a Grammy nomination. “That trajectory to a Grammy was so outside my thought pattern,” he said. “That was a real ‘wow’ moment.” What followed was a string of collaborations with some of the most respected names in bluegrass and country, including Doyle Lawson, Dale Ann Bradley, and Bobby Osborne. “Getting to work with Doyle Lawson doing his final album – what a privilege to be able to do that,” Maggard said. Maggard’s approach to talent—whether rising or seasoned—is the same: respect the story, support the soul. He has a particular fondness for working with newcomers. “I love working with someone who doesn’t have a clue what they’re doing and helping them understand what they need to do,” he said. “They’ll either walk outta here and go, ‘I don’t want to do this for a living,’ or ‘this is a challenge, and I really want to go for it.” To meet the needs of these emerging voices, Sound Biscuit is preparing to launch Gravy Records, an imprint designed to guide young artists through the maze of copyrights, studio processes, and artistic development. “We’re laying the groundwork for a new leg of Sound Biscuit specifically designed to work with emerging artists… people that need that next step of help,” Maggard said. “We’ve already signed four stellar artists. Killer. We’re so excited.” Despite its roots in bluegrass, Sound Biscuit doesn’t limit itself to one sound. The studio has recorded in nearly all genres. “We don’t just do bluegrass. We’ve worked with didgeridoos and bagpipes,” he said. “Bluegrass picked me with The Po' Ramblin' Boys. It wasn’t like I went out and solicited bluegrass. It just came to me and I went with the flow.” Maggard's belief in music as community is baked into everything Sound Biscuit does, from Kids on Bluegrass sponsorships to establishing a scholarship at East Tennessee State University. “That’s one of our main emphases,” he said. “We auctioned off a guitar last year to help raise funds.” And it doesn’t stop with donations, he’s always ready to open the studio doors when a young player needs a leg up. That generosity of spirit extends into sessions that become legends. One day, Doyle Lawson, Phil and Matt Ledbetter, Tim Stafford, Barry Abernathy, Jason Moore, and Jim Van Cleve came together to record “Resurrection Morning” for the family of the late Steve Gulley. “We recorded Resurrection Morning here, which Vince Gill was on,” Maggard said. “We did the base here. And all these people, all of them, loved Steve.” With every passing year, Sound Biscuit’s catalog grows, but the intention behind each note defines the label. “What I do with the label is really give them a resume and an opportunity,” Maggard said. “It’s not about me making money for the company.” For Maggard, it’s about legacy and creating something lasting for the people around him. He doesn’t advertise or chase clients. Instead, Sound Biscuit attracts people by simply being a place they want  to be. “I want to create something that is interesting and so attractive that people want to be a part of it,” he said. “I want to work with people who want to be here. Maggard’s focus is clear: create an environment where his team—and the artists they serve—can live full, meaningful lives doing what they love. And Dave doesn’t waste a second. He pours that time into building Sound Biscuit not just as a studio or label, but as a platform for others to thrive. His life philosophy came into sharp focus during a conversation where a colleague demonstrated a perspective he had concerning, well, life. “I was getting ready to make a big investment,” he said. “I'm looking at this investment, and the guy looks at me and says, ‘Let me show you something.’ He took out a measuring tape, held one end, and then handed it to me. ‘Now go to 76 [inch mark on the tape].’ I went to 76 and he said, ‘Now, the average life expectancy of a male in the United States is 76. Okay, where's your number?’ And I'm looking at 68 and it's like, right there, close to me, and I look at where he's standing [at zero]. And you realize where you've been and what you've enjoyed, and then you look at what you've got left.” “I want to create something that’s going to outlive me,” he said. “That’s going to provide Shane, Keith... and whoever we hire... the opportunity to do what they love. But also, if Shane’s got his kid’s soccer game, I think you need to go be there. Priorities should be their families and their lives. The happiness of being with family, that’s important.” And that’s what makes Sound Biscuit a living, breathing testament to the idea that making music and making a life can—and should—go hand in hand. In a world full of noise, Dave Maggard has built a place where sound has meaning, and every moment counts. The great songwriting icon Warren Zevon, in his last days, was noted to say, “Enjoy every sandwich.” To that end, Sound Biscuit fills the belly, the ear, and the heart.

Nashville isn’t one size that fits all, with maverick singer and musician Joel Timmons, whose solo debut, Psychedelic Surf Country, mixes barroom honky-tonk with a Psychedelic surf vibe. “I watched the ‘cowboy-fication’ of myself,” says Timmons, describing his five-year stay in Nashville. “I felt like I walked back into 1958. It’s just a level of commitment to that period of music and that style of dress they really hold on to.” The Charleston, South Carolina, native says “East Nashville Cowboy” is “autobiographical.” “I enjoy using humor in my writing even when talking about serious stuff and real feelings. I definitely admire people like Roger Miller and Frank Zappa. “The song isn’t meant to be a teardown,” explains Timmons about Nashville’s modernized culture. “That’s the juxtaposition of the whole thing: it's 1958, but we’ve got Ubers and we’ve got fancy coffee.” Despite recording in Nashville, Timmons says there was no demand to make Psychedelic Surf Country a country album. “There’s all the best fiddlers, all the best steel players and all the history and recording studios there, but I didn’t take it as pressure to make a country record. I took it as an opportunity to explore that sound with some of the best in the game.” Timmons says dating his future wife, then a Nashville resident and Grammy Award-winning bluegrass singer Shelby Means, drove him to leave Charleston.   “[Shelby] said, ‘You know this isn’t working. Either I move to Charleston, or you move to Nashville. And I’m not moving to Charleston!’ It was definitely a move for love.” [Laughs.] Timmons, who performs with singer-songwriter Maya De Vitry and his hometown band Sole Driven Train, says he and Shelby were a perfect match. “We started singing together, which became our duo, Sally & George. It was a natural vocal blend. Both of us were choir kids, so we knew about cutting off words together and opening up our vowels in the same way.” The couple collaborated on his song “End of the Empire.” “[Shelby] wrote the first lyric with the melody. We were down in the Virgin Islands. She was floating in a little dinghy in the channel, and I was out over the reef surfing. When I got back to the boat, she sang the melody to me. That song was one that I didn’t really know what I was writing about. I didn’t have a plan; the words just fell out and felt right.” Timmons, an ardent surfer, felt homesick in Nashville. “I did feel landlocked,” explains Timmons, who moved back to South Carolina with his wife, Shelby. “I loved the community; I loved the way [Nashville] made me a better musician and a better writer. I just missed the ocean so much.” He describes the benefits of surfing. “Surfing helps me stay connected. It’s been a lifelong pursuit. I have been playing in the ocean longer than I have been playing on the guitar. It helps me find clarity, peace and my mental space.” The surfing singer-songwriter explains why he chose Maya De Vitry to produce Psychedelic Surf Country . “We moved to Nashville at about the same time, and I was a fan of [her band] The Stray Birds,” says Timmons, who was impressed by her work. “I just knew that she would help bring other people into the project that could help bring things out of me.” Psychedelic Surf Country isn’t like The Grateful Dead. “Live, we let things stretch out a little bit for more of that jam band kind of feeling.  Some of the guitar tones are kind of spacy, but most of the song lengths are under four minutes—it’s not exactly a whole psychedelic trip in there.” Going on, “For me, psychedelics in music is about dissolving the genre lines. You know, is it country, is it rock, is it folk?” Timmons feels that anything is possible. “It’s really an exciting time, because there is a lot of potential and uncertainty between my record, Shelby’s record, Sole Driven Train and Maya De Vitry—and whatever else we cook up!” Timmons teases the idea of recording a more traditional style album. “I am kind of interested in going real acoustic with some of my [songs]. Being around Shelby and all her bluegrass buddies inspires me to make some string band music. But it took me forty-five years to make Psychedelic Surf Country,” Timmons jokes. “By the time I’m ninety, I’ll have my second [album].”