FreshGrass, a Midwest bluegrass experience like no other, happens every May when the festival takes over The Momentary at Crystal Bridges in Bentonville, Arkansas. Not just another bluegrass festival, FreshGrass celebrates roots and evolution, blending the deep traditions of bluegrass with modern genres like rock, country, and blues. The past, present, and future play out on stage in real time. Festivalgoers are treated to a rich mix: artists and makers selling their wares, musicians from local acts to headliners, jam sessions in the Red Barn, artist talks at the RODE House and even square-dancing. Each year is unique, but one thing remains constant. This year's featured "Intimate Portrait" was with singer, songwriter, and author Rosanne Cash, the eldest daughter of the legendary Johnny Cash. Asked to describe her music, she said, "Someone else would have to answer that, though many refer to my music as Americana." Her songs often read like poetry because she weaves nature, heartbreak, healing, and growth into her soulful lyrics. An avid fan of Jane Austen, Cash carved out her place in music as a songwriter. She shared, "I love language that has melody. The rhythm of the writer with a particular voice. When I write prose, I write like a songwriter." She views music as a service to others. "I consider myself to be in the service industry and feel the function of music is to open the heart." Quoting Bob Dylan, she said, "The audience comes to know their feelings," emphasizing that "Authenticity is immediately recognizable and relatable." That authenticity radiated from her headline performance with her husband, John Leventhal, on the final evening of FreshGrass. Her raw and resonant voice and Leventhal's harmony moved the crowd. Their set celebrated multiple milestones: Rosanne's birthday, their wedding anniversary, and the 30th anniversary of The Wheel, a fan favorite album produced by the couple's Rumblestrip Records. The night before, Cash sat down with sculptor Kevin Kresse for a heartfelt conversation. Kresse, who sculpted the life-size statue of Johnny Cash now standing in the U.S. Capitol's Emancipation Hall, shared his creative journey. He joked about the sculpture looking like Frankenstein mid-process, saying it nearly talked him out of finishing it . Cash replied, "I, too, have had to pull songs down to the metaphorical skull and start over." Though it was her first time at FreshGrass Bentonville, Rosanne felt right at home. "I love festivals that focus on the arts," she said. "Everyone is looking for something ...to feel their feelings, gain access to repressed feelings, or connect with others. Music is a great connector." The statue unveiling held deep personal significance. Cash spoke of her father's essence captured in bronze. She recalled her Aunt Joanne, Johnny's legally blind sister, touching the statue to see  it for herself. An emotional day, filled with memory and meaning, Kresse quipped, "Joanne is saucy!" Cash laughed and agreed, sharing a story about meeting Roseanne Barr. "You are the reason everyone misspells my name!" Barr exclaimed, and Cash shot back, "YOU are the reason everyone misspells my name!" Rosanne Cash's creative life has earned her numerous honors, including an honorary doctorate from Arkansas State University. "You can call me Doc," she teased Kresse. She loves mentoring students: "I love working with young people; they are so hungry with passion and creativity." She also understands the self-doubt that artists face. "I still have doubts. Doubt is part of the process... You cannot rely on inspiration striking. That is the war of art." Her creative rituals? Long walks in nature, writing retreats in cabins, and disconnecting from screens. She even keeps a pen on her nightstand, hoping to capture dream-born lyrics. After her talk with Kresse, the crowd moved to the main stage for boot-stomping, body-moving performances. The warm evening breeze set the stage for a standout act: The Lost Bayou Ramblers, who also played a rare set later that night at the Tower Bar. As sunset poured through the windows, the top floor of The Momentary erupted to life with Cajun-Creole fusion from brothers Louis and Andre Michot. Their Grammy-winning band has mixed traditional Louisiana music with bluegrass and rock for 25 years. Though new to the Bentonville edition, the Ramblers have roots at FreshGrass Mass MoCA in Massachusetts, but began in Lafayette, Louisiana, in 1999, carrying on a family music tradition. Andre builds his accordions; Louis plays fiddle. Over time, they've added members, forming a tight-knit crew that primarily performs in Louisiana. True to FreshGrass's focus on innovation, the Ramblers travel with a solar-powered Sun Roller Stage, built after Hurricane Katrina to bring music to powerless communities. Louis explained, "FreshGrass is more than a festival; it is a way of life. It celebrates so many genres of roots music... but has lent itself to expansion over time." Their mission? "Have fun, play music." Art is also central to FreshGrass. This year's standout exhibit featured Jim Marshall's photography of Johnny Cash's prison concerts at Folsom and San Quentin. The intimate images transported viewers back in time. Alejo Benedetti, Curator of Contemporary Art at The Momentary, noted the powerful timing. "It has synergy with the music program," he said. "Jim Marshall, the Godfather of concert photography, captured a unique and intimate image, placing the viewer right there with the musician." His friendship with Johnny Cash helped produce some of history's most iconic concert photography. "Cash felt Marshall was the photographer who could understand the why behind the prison concerts," said Benedetti. Marshall's lens humanized legends, offering glimpses of backstage nerves, pre-show rituals, and onstage passion. His work makes fans feel like part of the story. With its "Welcome to All" spirit, The Momentary brings global art and music to Arkansas, offering something for locals and travelers alike. FreshGrass introduces many emerging talents on the brink of success, alongside headline acts like Rosanne Cash, Lukas Nelson, and Shakey Graves. Few places offer such an immersive blend of music, art, and community. If you've been to FreshGrass, you know the magic. If not, mark your calendar for May 2026. Details and lineup will be available at: FreshGrass Bentonville .

Before taking pen in hand to write jokes for “The Tonight Show,” Oscar-winning scripts and Tony-winning Broadway shows, the late Marshall Brickman had made his bones in the folk music world on stage, on television, and even on one of the most famous movie soundtrack albums ever. A skilled banjo, fiddle, and guitar player, he followed a bluegrass path from Brooklyn to Wisconsin and around the world before heading to Hollywood and returning to New York via the Great White Way. Born August 25, 1939, in Rio de Janeiro to American parents Pauline and Abram Brickman—his father an immigrant from Poland—Marshall moved with his family to Flatbush, Brooklyn, at age four. He grew up in a postwar neighborhood where kids played stickball in the street and folk music thrived in the parks. He graduated from Brooklyn Technical High School in 1956, made the honor roll, and ran audio for WNYE. By then, his weekends were filled with bluegrass jams in Washington Square Park, often with childhood friend Eric Weissberg. At 18, Brickman traveled to Moscow for the Sixth World Festival of Youth and Students for Peace and Friendship in 1957. “For 30 bucks, you got to fly to Russia, stay in a hotel,” he recalled. “For two weeks, eat a lot of caviar. And if you had a little talent or a skill other than a scam, they let you do it. I played ‘Earl’s Breakdown,’ [on banjo] which is a tune by Earl Scruggs. I won a prize. I won a gold medal because they had never seen or heard anything like this.” That gold medal still sat years later “on my father’s television set in Miami Beach next to the Oscar.” Brickman and Weissberg would cross musical paths for decades as they attended the University of Wisconsin–Madison. Brickman studied science and music and, for a time, considered a career in medicine. “Actually, I'm proud to say I had the highest-grade point of anybody who was ever suspended for political reasons from the University of Wisconsin for a semester,” Brickman said with trademark deadpan during an interview for The Writers Guild Foundation in 2020, also noting that he briefly worked in the pathology department at Wisconsin General Hospital. This job promptly ended his medical ambitions. “That's what cured me of ever wanting to be a doctor,” he said. “I did steal, however, a lot of linen for my friends.” Despite that early detour, Madison was where Brickman’s musical life ramped up to full speed. “Our apartment was a magnet for the folk music scene in Madison,” he recalled. “We would play Saturday night at the local bar in Madison, but mainly it was just for our own amusement.” When a teenage Robert Zimmerman passed through town en route from Hibbing, Minnesota, to New York City to become Bob Dylan, he stayed at Brickman’s place. “He came in his suit in a thin tie and didn't play the guitar. He played the piano. He was a taciturn young man.” After graduation, Weissberg—already playing with the well-known folk trio The Tarriers—asked Brickman to join. The Tarriers had once featured actor Alan Arkin, along with original members Eric Darling and Bob Carey. Their 1956 hit “The Banana Boat Song” (released just before the Harry Belafonte version) had made them household names. By the time Brickman joined, the lineup had evolved, with Weissberg now on banjo. “The Tarriers were like the Ink Spots,” he quipped. “The name remained the same, but people went through it like a car wash.” Besides Weissberg, Brickman was a bandmate with Clarence Cooper, who had appeared in the award-winning docudrama The Quiet One. Brickman toured with The Tarriers on the circuit, appearing at clubs like The Bitter End in New York, playing colleges, and even performing live on the landmark TV show Hootenanny . “Remember the fifties and the early sixties when by act of Congress everyone around 18 years old had to have a guitar?” he joked on Late Night with David Letterman  in 1983 about the folk explosion of that time. “I did that instead of real work.” After The Tarriers disbanded in 1965, Brickman joined another short-lived folk supergroup — The New Journeymen, formed by John Phillips with his new partner Michelle Phillips. “He wanted to put together a group… and did I wanna join? And I said, sure, why not? I didn’t have an offer from Goldman Sachs.” The group dissolved within the year, with John and Michelle forming the multiplatinum group The Mamas & The Papas. At the same time, Brickman, citing the couple’s anger management issues, moved on, content and grateful to have “escaped that burning building.” Though his folk career had ended, his banjo playing would reemerge unexpectedly. Brickman and Weissberg had recorded an instrumental album titled New Dimension in Banjo and Bluegrass  for Vanguard Records in the early 1960s .  When Weissberg got an unexpected hit with “Dueling Banjos” from the film Deliverance in 1972, New Dimensions was repackaged with “Dueling Banjos” and another song added and re-released in 1973. Titled Dueling Banjos From The Original Motion Picture Soundtrack Deliverance And Additional Music, Brickman’s playing suddenly had a new audience, even though he was already onto his career’s next chapter as a successful humorist who led the writer’s room for “The Tonight Show.” Another track from those sessions found a second life sixteen years later when the Beastie Boys hooted and hollered over a 30-second sample of “Shuckin’ the Corn” for their “5-Piece Chicken Dinner” track on 1989’s hip-hop masterpiece album Paul’s Boutique . Reflecting on the folk boom years later, Brickman marveled at the movement’s cultural reach. “I think people don't realize what a phenomenon folk music was in the early sixties,” he said. “It was a big movement. Quite discrete and distinct from the early rock and roll stuff.” Of course, it’s the screenwriting career that ultimately defined his fame. He wrote Annie Hall  and Manhattan with Woody Allen, wrote and directed Simon (coincidentally starring his Tarriers predecessor Alan Arkin), Lovesick  and The Manhattan Project , and then, nearly 20 years later, co-wrote the book for the Broadway smash, Jersey Boys . Despite the accolades, Brickman always clarified that music lit his creative fire first. “I keep telling my kids that my life is no example of how to plan a life,” he said. “I wanted to go to a populist college where they had banjo playing.” Marshall Brickman died November 29, 2024, but left a legacy that echoes like a high lonesome harmony. Long before his Hollywood life, he embodied the very soul of bluegrass—unpredictable, unpretentious, and utterly alive in the moment. From Flatbush to Madison, from Moscow to the movie screen, Brickman followed the strings wherever they led, trusting the tune over the map. In the most authentic bluegrass tradition, he forged a path with no plan but plenty of heart, proving that playing what’s true to you can put you on the road to an incredible life.

The day Molly Clair’s parents bought her a mandolin, they unleashed a hidden talent onto the bluegrass world. Born and raised in Howell County, Missouri, Molly, now eighteen years old, has already recorded her debut album, Echoes in Time , secured the role of junior Vice President of Tomorrow’s Bluegrass Stars (TBS), and been inducted into the George D. Hay Society. Clair is honing her collaborative skills under the guidance of Nashville record label, Billy Blue Records. “They have been helping me set up co-writes and learn the ins and outs of the industry,” the recent high school graduate explains. The budding songwriter is thrilled. “I have been able to write with Caroline Owens, Mike Richards and Mark BonDurant. “We had a really fun time writing together,” Clair shares about collaborating with BonDurant. We wrote a song that may or may not be released. It’s about a time where I just graduated high school and I am learning to trust God with this next stage in my life.” After a 2024 Starvy Creek Bluegrass Festival performance, during which The Queen of Bluegrass, Rhonda Vincent, joined Clair on stage to sing “All American Bluegrass Girl,” Back Forty Studios owner Darrell Turnbull approached her. “After my performance, [Darrell] came up and asked if I want to record an album for free! My mom was with me, and we were both like, What on earth ? After Rhonda Vincent jumped up on stage with me. Now, this is happening?” Coming onboard to produce her debut album Echoes of Time  was bluegrass star Clay Hess. “That was incredible when I found out Clay would be helping with the project too.”   Rhonda Vincent sang duet with Clair on the Dolly Parton Classic “Coat of Many Colors.”  “[Turnbull] said he could get Rhonda on the album somehow,” recalls the young singer. “That’s one of my family’s favorite songs. It’s been an inspiration to me and the message behind it is really good.”   Clair will be doing shows during the summer and fall months. “I like playing at Farmer’s markets on the weekend when I’m not writing or I don’t have any other shows,” adding, “I’ll be playing on July 4 th  in Rosin, Kentucky.” Although she traveled as far as Raleigh, North Carolina, where she performed at the 2024 IBMA, she preferred to stay local. “I try to stay in Missouri to build my home base,” shares the eighteen-year-old mandolinist. “I have traveled to Arkansas, Tennessee, and Kentucky.” The Missouri-born singer says she is making frequent trips to Nashville. “A  lot of people in Nashville are kind of watching me and trying to figure me out still! “Most of the time, I post updates of where I’m going,” Clair says about her website. “People can see what I’m doing and keep up with where I’m at.” Clair’s mom helps. “She handles the bookings and connecting with interviews. That’s been really helpful,” explains Clair, who says she oversees getting the set lists together. “I do still involve myself in [management] because I want to pick where I’m playing.” Clair grew up singing in church and says a school trip changed things. “In the fourth grade, we went to Silver Dollar City and saw Rhonda Vincent &The Rage for the first time. I told my mom that day, I want to be just like her.” Clair’s parents bought her first mandolin. “They were skeptical at first. My mom kind of played it off since I was young,” Clair remembers. “I started taking mandolin lessons with Corina Baker (The Baker Family). I just kept on doing it and here I am!” [laughs] Citing Bill Monroe, Ricky Skaggs, and Sierra Hull as Madolin influences, Clair says Dolly Parton, Whitney Houston, and Patsy Cline inspire her, “through their versatility. Patsy Cline cannot be replicated. I think she is someone who vocalists should try to take inspiration from. I hope I can sound like her someday.”   Clair’s music resonates with younger listeners. “Local kids have started listening to my music. What I’m aiming to do is make my version of bluegrass more approachable for kids. “Kids think that bluegrass is old hillbilly banjo music, but it can be a lot more enjoyable,” explains Clair, who wants to add other instruments and styles to her music. Clair is working towards building her reputation as a songwriter. “There aren’t a lot of girls my age who release music. Although I’m eighteen, I want to be taken seriously!”

Country/Americana/bluegrass singer-songwriter Sara Jean Kelley loves the natural world, values family roots, and continues to explore varied musical landscapes. Some of her solo work has been described as having a “dark sensibility” and “slightly melancholic sense of humor,” but don’t be fooled; the versatile singer with a husky tone to her voice is as at home in singing alternative country as she is with delivering bluegrass harmonies.   While she loves singing and instrumentation, Kelley said she gets excited about writing lyrics. From an early age, she’s been focused on this in the music she loves.   “The way I fell in love with songs is through the words,” she explained.   As a young girl, she was lucky; her childhood home was filled with music and musicians. A Nashville native, her upbringing involved constant exposure to the Nashville music scene as the daughter of singer-songwriter Irene Kelley. Being surrounded by inspiration was a daily happening. Her mother is a performer and has also penned songs for some of the big names in country music.   While Kelley said she grew up “listening to The Carter Family and Lester Flatt,” she’s “always leaned more toward the singer-songwriter stuff, like Patty Griffin.”   It’s no doubt partly due to the example of her mom’s penchant for crafting words. She’d see it and hear it in the house. Not just from her mother, but from so many other musicians. They were always at her childhood home.   “We’d host jams at our house,” Kelley said. She said when her mom would be at Nashville’s legendary Station Inn when she was a baby, she’d be there, too, sitting on someone’s knee. The business was inextricably tied to her early years, and choosing a career in performance was a natural progression.   Kelley’s first solo records started over a decade ago with her first record release, which she described as “more country” than later recordings; it was heavy in dobro and pedal steel. Her next work veered into what she calls a more rock-oriented collection. She said it was “more energetic, more produced.” It wasn’t until her third release that she felt she hit her perfect groove connecting to what she loves most. “Black Snake” – released in 2021 – was an EP of independent Americana that, up until that point, best defined Kelley as an artist. It had the most apparent singer-songwriter vibe. “I’ve been performing off that [record] the last few years,” she said.   “I use a lot of natural imagery. I’m a metaphor junkie,” she laughed, talking about what lit a spark for her creatively.   Right now, she’s mainly focused on a new project: Women of Kelley. For the first time, she has teamed up with her mother and sister (Justyna Kelley) to form a female bluegrass trio. She still gets to do the writing she loves, but this time, it’s a collaborative effort. That group dynamic is one of the things she likes about this new project.   “The thing that’s the best is just having a built-in support system. It was always just me,” Kelley said, of the solitary nature of doing solo work. “But now, not everything that needs to be done is on just one person. It’s also an excuse to spend more time together.”   Women of Kelly have released a single, and Kelley said that while there’s no set date as of now, the full album—produced by Grammy Award-winning producer Shannon Sanders—is expected to drop before the end of 2025.   She’s excited to see where Women of Kelley goes in the future, but still has plans of her own; she hopes to put out another solo singer-songwriter record soon. When the pen and paper beckon, there’s no stopping a writer who wants thoughts of the inner world to become a sonic reality. When those thoughts reflect the richness of the natural world, that reality is even more meaningful. Themes of nature have always been a passion in both country and bluegrass, and Kelley is a part of that continually evolving tradition.

Young musicians pick up instruments across back porches, festival campsites, and late-night jams, unaware that their hands are still growing into dexterity. Though their fingers fumble through music lessons and melodies, they form identities, build community, and develop life skills from the start. For some, this early start to music leads to the spotlight. For others, it remains a quiet yet powerful lifelong companion. Cultivating Talent in Virginia The Governor's School for the Arts (GSA) provides a formal pathway for young artists in Norfolk and Virginia Beach, Virginia. Within the historic building, students from eight school districts gather each afternoon after spending mornings in traditional high school classrooms. They come to study dance, musical theatre, film, visual art, and music. Executive Director Shelly Cihak and Assistant Director Deborah Thorpe often welcome visitors in the GSA lobby and start there with a tour. They show photographs of past students and proof of the school's impact on the community. Thanks to public funding, sponsorships, and grants, students pay no tuition, and transportation is provided by each of the students' home districts. The intense schedule involves students collaborating with local arts organizations, taking music technology and production electives, and participating in musical activities outside the classroom. "These kids are growing into their artistic lives," says Thorpe," and they're hungry to learn." One of GSA's success stories is violinist Zach Casebolt, who began playing at age five and graduated from GSA in 1999. Now based in Nashville, he's recorded with numerous artists and recently released a solo violin album. "GSA is responsible for my musical talents," Casebolt says, reflecting on how the program helped shape his foundation. From First Notes to Lifelong Passions For banjo player Gina Furtado, the impact of early learning in music was deeply personal and enduring. She started piano at five and banjo at eleven and says the latter "completely changed my life in just about every way I can think of." Music opened the doors professionally, but it also opened her spirit socially and emotionally. "It made me part of a built-in music family," she says. Her closest relationships, including with her husband, luthier Ben Walters, were born through music. "Thanks, banjo," she often jokes, recalling the strange, beautiful, and unforgettable moments music has delivered over the years. Guitarist Steve Kaufman spent his early years playing the piano, cello, and electric guitar until he heard Doc Watson. Then, Kaufman dove into flatpicking. "I was eaten up with playing guitar," he says, having now played for over 50 years. As the founder of the renowned Kaufman Kamp in Maryville, Tennessee, he shares his passion with hundreds of aspiring musicians each June. "The drive, the practice, the desire to do nothing else, that's what it takes," he says. Families That Play Together In Norfolk, the Robertson and Dunlap families prove how music transforms individuals and entire households. Chris and Heide Robertson have five children, and at some point, each picked up an instrument, especially during the COVID-19 pandemic. "There was less school, church, and swim team," Chris recalls. "So, there was more time to play music together." Their son Asa, now 15, took lessons for about six months but primarily plays by ear. "Let Asa do his thing," Chris says, and it looks like Asa did. He plays fiddle, mandolin, guitar, bass, and harmonica. Chris has become an accomplished musician, playing bass, piano, and guitar, leading songs and mentoring others. "Music keeps the kids busy, gives them confidence, and introduces them to new people. It's given our family something to grow around." The Dunlaps, Stacey and Christian and their four musically inclined kids share a similar story. Stacey, who minored in music in college, introduced her children to instruments early, with all four joining the school orchestra by fifth grade. A turning point came at MerleFest in 2022 when they bought a mandolin, a fiddle, and a banjo. By the end of the weekend, the kids were playing "I'll Fly Away." School, concerts, and local jams fill the Dunlaps' days. Their daughter, Ella, splits her time between Cox High School and GSA, studying piano and violin. "I love playing music with my kids," says Stacey. "I feel like I've won the parenting lottery." The Robertson and Dunlap families perform as Take Your Pick , playing festivals, farmers' markets, and regional events. In May 2025, they performed at Graves Mountain. A Community That Encourages Beyond family jams and formal schooling, local organizations make space for young learners. The Tidewater Bluegrass Society (TBS) produced The New Cabin Fever  in March 2024, a three-day festival that includes a "Kid's Academy," led by musician Jesse Burdick. There, the young participants learned songs together and performed on stage at the end of the weekend. Eric Yoder, a retired doctor and TBS board member, has also played clarinet since age 10 and guitar since age 13. Now retired, he performs with Tidewater Arts Outreach, bringing music to senior living communities. "Music is still teaching me," he says. And I get to share what I've learned." A Gift That Lasts Note the similar stories throughout the bluegrass world, from school hallways to festival stages and campfire circles to concert halls. Learning music early in life develops a lifelong language of expression in addition to mastering notes. Statistics show that music cultivates confidence, discipline, connection, and joy, whether a child becomes a touring artist, a community picker, or someone finding solace in an instrument. To quote a cliché, music is the gift that keeps giving, especially when placed in young hands.

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.

Horseshoes and Hand Grenades is a bluegrass band with a spark of energy that keeps fans returning for more. Described as “modern day cowboys on some kind of strange journey,” the band met in college in 2010, and they’ve been on that strange journey ever since. It all started when five friends met at the University of Wisconsin at Stevens Point. “We hit it off and began playing house parties and local taverns,” says Adam Greuel, guitarist and vocalist for the band. He is joined by Davey Lynch (harmonica, accordion, vocals), Collin Mettelka (fiddle, vocals), Samual Odin (bass, vocals), and Russell Pedersen (banjo, vocals). “For a long time, people referred to us as 'the boys' or 'the band,' but there came a point when we had to fill out a piece of paper with the band name. Since we were in college, we did what felt natural – we threw a party and asked people to come up with band names.” Horseshoes and Hand Grenades rose to the top. “It felt appropriate, likely due to the old adage by Major League baseball player, coach, and manager Frank Robinson, ‘Close don’t count in baseball. Close only counts in horseshoes and hand grenades.’” Adam says the band focuses on having a good time with music. “We are more of a conduit to having fun – we don’t feel it’s necessary to be so serious all the time. While we do care about our performance, always doing our best to present the best show possible, we always want people at our shows to have fun.” Until their families began growing and some band members had children, everyone in the band was a full-time musician. “For about ten years, it was everybody’s sole job. Now, most of the guys have day jobs, and we do about forty shows a year. I think that because of that, we are better than ever,” says Adam. “When you allow something to breathe a bit, as we allowed the band to breathe, it allows it to flourish. We are all so enthusiastic about every show.” Progressive, and at the same time, old-timey, Horseshoes & Hand Grenades feeds off the collective energy of playing around a single mic. The diverse musical backgrounds of each band member bring something to the mix, giving the music a uniqueness that sets them apart. Since their first show in 2010, the band has shared the stage with bluegrass luminaries including the Travelin' McCourys, Railroad Earth, Infamous Stringdusters, Yonder Mountain String Band, Charlie Parr, .357 String Band, and many others. Their inspiration comes from good friends, good drink, and life’s never-ending adventures. The band has recorded six studio albums, beginning with Another Round  in 2012, This Old Town  in 2013, followed by Middle Western  in 2015. 2016 they produced a concert album, Live at 2016 Peach Music Festival . They returned to the studio in 2018 to record The Ode i n 2018, followed by Miles in Blue  in 2020, which included eighteen original songs recorded in Pachyderm Studios in Cannon Falls, Minnesota, where Nirvana recorded In Utero . Their most recent album, For Old Time’s Sake , was released in 2022. But wait, there’s more. A new album was recorded in September. “We recorded in Hill Country in Wisconsin, where I live now,” says Adam. “I have a home studio where we can record now, and it’s super exciting. To me, this is some of the best stuff we’ve done so far.” The album, yet to be named, will be released in 2026. In the meantime, the band continues to tour. “We do largely shows in the Midwest, and we’ll do festivals in the summer of 2026.”

Maybe it was prophetic that Gena Britt grew up in the dance halls of Star, North Carolina. It’s where the bluegrass star, known for her powerful banjo playing, solid bass playing, and powerhouse vocals, fell in love with bluegrass music at an early age. “My grandfather was a square dance caller, and he was busy somewhere every weekend. That was my introduction to string music.” By the age of five, she had learned to clog and participated in clogging competitions. At the age of seven, she performed on a local television program in Raleigh. “The show’s host asked what I wanted for Christmas,” recalls Gena. “I told him I wanted a banjo.” It was another year before Gena got her banjo, and soon after, she started taking lessons from Charles Singleton. “Dad took me to his house once a week, and he showed me a lot of things, but ultimately I learned to play by ear. I listened to cassette tapes and practiced playing what I heard. Nowadays, kids pull up videos on YouTube. I only wish I had that growing up.” Gena began playing professionally at an early age. As a teenager, she picked up the bass. “I met Andrea Roberts, I believe, at a bluegrass festival in South Carolina, and she was in the band Petticoat Junction. We jammed together, and they needed a bass player, and that’s how I started my career.” Gena played with the group for a couple of years. “I learned a lot from that experience. It was a good education on the music business for me.” After graduating from high school, Gena moved to Nashville. Over the years, she played with New Vintage, Lou Reid and Carolina, Alan Bibey & Grasstowne, and for four years she had the Gena Britt Band. She is a founding member of the powerhouse female group, Sister Sadie. “We started playing together thirteen years ago, and it’s been a fun ride,” Gena says. “All the women in the band are so talented, and we have a great time together.” Sister Sadie is on the road again with a new album that dropped at the end of June. “We work hard on our stage show,” Gena says. “There is no dead space.” Sister Sadie’s new album, All Will Be Well , is 90s country and bluegrass fusion – “it’s very diverse, and we make it ours. There are some incredible songwriters in this band right now. I’m writing a lot of songs of instrumentals.” Gena released a single on Father’s Day called "He Likes to Fish,” a song she co-wrote with Katelyn Ingardia. “It’s based on my childhood memories with my dad. I have wonderful memories of going on fishing trips with my dad to the coast. I was joined in the studio by Jason Carter, John Meador, Jonathan Dillon, and Jeff Partin, and I’m really pleased with how the song turned out.”  Gena, a founding member of The Daughters of Bluegrass, was part of IBMA's Leadership Bluegrass Class of 2003 and has appeared on all their recordings. She has received seven IBMA awards. In 2001, she received the IBMA Recorded Event of the Year award for her work on Follow Me Back to the Fold  by Mark Newton. She won the Recorded Event of the Year award in 2006 for Back to the Well  by the Daughters of Bluegrass and Album of the Year for her contribution to A Celebration of Life for Musicians Against Childhood Cancer . In 2017 and 2018, Sister Sadie won Emerging Artist of the Year. She has taken home three IBMA Vocal Group of the Year awards in 2019, 2020, and 2021 with Sister Sadie and the coveted Entertainer of the Year award in 2020 as a member of Sister Sadie. The band received GRAMMY nominations in 2018 for Sister Sadie II  (Pinecastle Records) and in 2025 for No Fear . Gena was nominated for SPBGMA’s Banjo Player of the Year award in 2021, 2022, and 2023, and received the award in 2022. She received the title of Female Vocalist of the Year in 2002, and in 2007, Back to the Well  by Daughters of Bluegrass was awarded Album of the Year. Gena resides in eastern North Carolina with her two daughters, Jalyn and Dalsyn.

Ty Gilpin is an artist, artist advocate, and until recently, the Senior Director of Marketing for Crossroads Label Group’s celebrated bluegrass and Americana imprints, Mountain Home Music Company and Organic Records. He spent two decades with Crossroads before deciding to step away at the end of 2024. “It was a move driven by a desire to grow, to stretch creatively and professionally,” says Ty, “and to work more directly with a broader and more diverse community of artists beyond the walls of a traditional label structure.”   Ty says that throughout his time at Crossroads, he had the privilege of championing artists who were not only music heroes but personal friends. But he felt a pull toward something more agile that allowed for a fiercely artist-centric approach to creative development. “I envisioned a model where artists weren’t just ‘signed,’ but partnered with—a relationship built on shared agency and a genuine enthusiasm for the artist’s potential.”   Growing up in the Nashville area exposed Ty to music from an early age. “It was not uncommon to run into famous people. I went to school with the kids of iconic country music stars like the Oak Ridge Boys and the Mandrells.” While he had a diverse musical background interest-wise, Ty was culturally exposed to bluegrass. “I always liked bluegrass because of the sense of community. I liked the fact that it was participatory. There’s something about people making music together, telling stories, and keeping traditions alive, although I think it is also important for the music to evolve.”   But now, after twenty years, Ty is taking a step towards a new vision - Shift Music Services, a next-generation, “atomized label” he co-founded with industry veteran Mark Scearce. Together, they built a nimble, independent platform for recording, distributing, and promoting music, especially within the bluegrass space, putting artist growth at the center of every decision.   Shift is proudly based in Asheville, NC—Ty’s hometown and a cultural anchor for so many creatives. “In the aftermath of Hurricane Helene, which struck both the physical and economic heart of the city, we committed ourselves to being part of the rebuild. Our office and studio in the River Arts District isn’t just a workspace; it’s a creative hub meant to be a part of helping to restore and re-energize Asheville’s artistic pulse.”   As an independent contractor, Ty works across consulting, video marketing, radio promotion, content creation, and music production. His clients range from rising acts like The Asheville Mountain Boys and Rudy’s Bluegrass Review, to established names like Zoe & Cloyd, Songs From the Road Band, all the way to bluegrass legends like Lonesome River Band.   “I also have a partnership with Nashville’s fantastic Turnberry Records— doing radio support for artists like Junior Sisk, Donna Ulisse, Kevin Denny, Matt Wallace, CJ Lewandowski, and Greg Blake, along with many more. I’m also grateful for an ongoing collaboration with artists Nu-Blu, who helped me beta-test and refine my processes, and I am excited to see their efforts grow.”   In parallel, Ty remains creatively active as a performer with Unspoken Tradition, a band that has grown into a national touring act with a deeply rooted identity. “Our recent release, Resilience , brings together songs recorded over the past few years—a reflection of not just personal or regional survival, but a broader cultural endurance. It’s a message we carry with us on stage across the country, connecting with audiences who understand that perseverance is a universal language.” Ty says that for him, resilience is more than a title. “ It speaks to the Appalachian ethos. It’s a generational inheritance, passed down through my Appalachian roots. And it’s the quality I’ve leaned on most in this new chapter, leaving the security of a 20-year role to build something meaningful and independent. The music industry is as unpredictable as it is exhilarating, and navigating it with integrity requires clarity, compassion, and grit.”   At the end of the day, Ty Gilpin’s mission remains simple: to help artists thrive by giving them the tools, advocacy, and a collaborative path forward in a rapidly changing world. Because in times like these, great art is essential. ty@shiftmusicservices.com

In a picturesque mountain town in western North Carolina, a new music venue/brewery/restaurant combo is supporting the growth of Americana, bluegrass, and other roots genres. What started as a straight-up brewery in Virginia – B Chord Brewing Company – has now relocated to Granite Falls, North Carolina, outside Hickory. Now called B Chord Live, the new iteration is bigger and better, offering a fresh take on both food and local music.   “We are trying to help build and foster bluegrass music,” explained Marty Dougherty, who co-owns B Chord with his partner, Melanie Bartenstein. “We provide a place for bluegrass musicians to flourish.”   “It’s mostly older people,” he lamented, about bluegrass music. In deciding the goals of the new venue, he asked himself: Why are there not more younger people involved in bluegrass? While the answer isn’t completely clear, Dougherty hit upon an idea he thinks might be part of the equation. He thinks there needs to be more venues that “offer it all,” in a way that appeals to younger folk.   “Young people wanna go to places that are kinda cool,” he explained. B Chord Live strives to do just that, and as of now, Dougherty seems to think it is already working.   “Suddenly, we have a whole new world of bluegrass people,” he said, of young new fans coming onboard due to being exposed to the music at his new venue.   He said the lineup is usually “string band or Americana-type music,” and even in this first year of operation, he’s already seen youth participation at the weekly open jam sessions.   “We have a bluegrass open jam on Tuesday nights,” he said. “We have some seasoned musicians show up to play, but then this kid broke out his guitar and started to play. He’s been there five or six times on Tuesday nights.” He said the older players welcomed him with open arms, something common in bluegrass. At B Chord Live, it’s important to Dougherty and Bartenstein to foster that type of support environment for budding musicians.   Although neither co-owner is a musician, they have been deeply embedded in the bluegrass community for many years. B Chord provides video production services for various festivals and produces music videos for artists.   “We’ve been running the video crew at DelFest for 15 years,” Dougherty said, of one of their more notable yearly events. “We’re very well ingrained in the bluegrass scene.”   On the restaurant side of the property, Dougherty said the offerings are a departure from what most eateries offer in that neck of the woods. Diners will get fresh, locally sourced ingredients.   “There’s a lot of restaurants who just serve frozen or fried,” he explained, “but we wanted to get away from that. The poultry, beef, steaks, vegetables, greens…they’re all fresh, not frozen.”   Currently open Wednesday through Sunday, B Chord offers not only music, food, and of course beers crafted at the brewery, but it also hosts Corn Hole tournaments; has an additional assortment of over 30 choices of beers; offers an array of cocktails; and fosters a vibe that will hopefully lead B Chord Live to becoming a hub for roots music in the quaint mountain town. Expansion plans include opening an additional stage in an adjoining space, and building “a larger stage for national acts, and to host community events.”   Dougherty explained why he loves bluegrass culture so much: He has made it both a business and a labor of love.   “People in bluegrass are very loyal to each other, and to what they do,” he explained. “They’re so much a family.”

In the world of country music, Ty Herndon needs no introduction. With so many charting radio singles – including several that snagged the #1 slot – he’s no slouch in the ‘hit song’ department. What’s more, in 2014, the Grammy-nominated performer also made waves for change as the first major male country artist to come out in public as gay.   This year, Herndon will release a recording commemorating 30 years of his career milestones, setbacks, triumphs, and growth. This fall, he’ll give fans the first half of a two-volume retrospective album; it marks the anniversary of when he initially broke through on the country scene with his first #1 hit, “What Mattered Most.”   The first volume of the album – titled “THIRTY” – will drop during October. Volume 2 follows in 2026. “THIRTY” includes “reinterpreted hits” and “all-star collaborations.” The first single, already released, is a new version of “What Mattered Most,” featuring a duet with country superstar LeAnn Rimes.   “We took a look at my back catalog and found what I like to call the ‘hits’ and the ‘misses,’” Herndon explained to The Bluegrass Standard . “Of course, we’re including the chart toppers like ‘What Mattered Most’ and ‘Living In A Moment,’ but we’re also digging deeper into album cuts to pull out some things that I think could have been big hits.”   “You know,” he continued, “back in the ‘90s, if you got two or three singles off an album, you were doing good. Then the label was ready for us to release that next album. In that process, so many good songs were left on the table, so I’ve gone back and given some of those a facelift, too.”   “The one common denominator is that every song on the new album features another artist, so I’m getting to work with some amazing legends as well as some newcomers that I just love,” he added.   A case can be made that Rimes – an international multi-platinum selling singer and songwriter, and veritable country powerhouse – is headed for that “legends” category.   “I have known LeAnn since she was seven years old,” Herndon explained, “and when ‘What Mattered Most’ came out, she was on tour with me as my opener. It wasn’t long, though, before a little song called ‘Blue’ broke through, and she was suddenly a superstar.”   Herndon said doing this duet with her was an obvious, quite natural move; she used to join him onstage to sing it with him way back when, on that first tour they did together.   “We’ve been good friends for a long time, and I’m so proud of all her success and the incredible woman she has become,” Herndon added.   When asked whether he feels he has grown creatively over the years, his desire for challenge makes it clear why he’s been able to keep stepping into the spotlight repeatedly despite his career waxing and waning over time.   “Reba [McEntire] once told me if you’re not growing and changing, you’re not doing it right,” Herndon reminisced. “So, I’ve always tried to challenge myself and level things up each and every time.”   One example he mentioned is his evolution into songwriting.   “The labels never let us write our own songs back in the day, so in these recent years, I’m proud that I’ve been a part of the writing process on my new work, like my last album ‘JACOB,’ where I co-wrote just about every track on that album. “   “Overall, I just think my songs are more personal these days,” he added. “They’re about my life, but they’re also about the common things we all experience – love, loss, heartbreak, confusion, fear and ultimately gratitude."   One way Herndon showed some of that gratitude over the past decade was to encourage industry professionals and fans alike to be more amenable to differences among people within the country genre. To that aim, he launched the Concert for Love and Acceptance, which just wrapped its tenth and final year.   “When I came out [in 2014] only one person had done it before, and that was my good friend Chely Wright. What a pioneer she was and is,” Herndon said. “I felt like I suddenly had a platform to help make the path a little easier for others, so I joined forces with my friends at GLAAD, and we just hosted the 10th anniversary show here in Nashville. There are still so many challenges for LGBTQ people in country music and everywhere else, but I think it’s gotten a lot better in these last ten years, and I hope we’ve been a small part of that.”   As for the year of looking back, Herndon had a message for his fans.   “I just appreciate all those fans who have stuck with me over these last 30 years,” he said. “It’s been a lot of ups and downs, but the one thing that remains is the music. Good music is good music, and I just hope I’ll be around to keep making it for another 30.”