Watching DownRiver Collective perform is like watching a finely tuned machine. Audiences are treated to the silky-smooth vocals by Ali Vance accompanied by Bailey Warren (fiddle, background vocals), John Gray (banjo, guitar, background vocals), Rico Wallenda (mandolin) and Jonny Therrien (acoustic guitar and dobro). Their music is a melting pot of sorts – inspirations vary widely from band member to band member. Still, as a whole, they find themselves drawing on Chris Stapleton/SteelDrivers and Alison Krauss and Union Station the most. Other artists they are excited about are The Chicks, Madison Cunningham, East Nash Grass, Andrew Marlin, Shania Twain, Tyler Childers, and Sabrina Carpenter.   John Gray and Bailey Warren (with former member Danny Tucker) started the band in 2018 as a folk trio. After years in the bluegrass ensemble at Belmont University, where they honed their skills and met other like-minded players (i.e., the rest of the band), they naturally shifted gears and started to chase down a bluegrass sound. More than anything, they wanted to lift up Ali's powerhouse vocals and get to be her band. Adding Ali was a pivotal turning point in the band's sound and trajectory. The band, as it is now, has been recording and performing together for four years.  DownRiver Collective came by their name via band member John Gray. His family has a cabin in the Shenandoah Valley, and he grew up frequenting the Shenandoah River, where there is a canoe and raft rental company called Downriver Canoe Company. In high school, he played a talent show with a friend, who, when asked what their "band" name was, quickly turned to Gray, saw his Downriver Canoe Company hat, and said, "We're Downriver Collective." The name stuck with Gray as he started pursuing music in college.  The Nashville-based band describes their music as “modern bluegrass.” With elements of traditional bluegrass, old-time folk, and classic country along with flavors of Americana, rock, and modern pop, the band’s music reflects their musical passions. “As we've continued to write together, we've started to realize that we're a bluegrass band that doesn't write bluegrass music, and it kind of happened by accident,” says Bailey. “We play bluegrass instruments, and are all well-versed in the style of bluegrass, but it seems that we can't help but incorporate elements of other genres, usually whatever we've been listening to most recently, into our songwriting. Most importantly, Ali's intuition when it comes to vocal melodies is very natural and unique. There's nothing forced about it, and what she comes up with sometimes feels genre-less.” DownRiver Collective’s first EP as a full band, Off the Shelf , was released in Fall 2023. The EP is comprised of all original tunes. “Most songs, like ‘Dead to Me,’ were 100% collaborative, written by the whole band, says Bailey. Others, like "Walls," were written by two or three of the members. “We had been writing for a year or so and were eager to get a physical CD out into the world. We pooled the best songs we had at the time and got in the studio with our producer Caleb Christopher Edwards, and engineer Dewey Boyd, at Forty-one Fifteen in Nashville to bring something to life.” IBMA named the band the 2024 IBMA Momentum Band of the Year. “It was truly unbelievable and unexpected,” Bailey says. “We are admittedly embarrassed by our acceptance speech; not a single one of us actually anticipated winning or gave a single thought as to what we'd say if we got up to the podium. It seemed so unlikely at the time. On the flip side, I think our lack of preparedness showed just how genuinely humbled we were to win the award. We are so grateful to IBMA. They continue to show us so much support and lift us up any chance they get.” "Come On Back" was released on April 4 as the lead single from their upcoming album, which arrives this fall. The song, initially written as an old-time instrumental fiddle tune, Ali and Gray later added lyrics to. “Gray was inspired to write from personal experiences of watching family members relentlessly chase down and fight for loved ones battling very serious mental illnesses,” explains Bailey. “He writes from the perspective of the one at home, who is holding on to hope and fighting to remain steadfast.” The upcoming album was recorded with producer Caleb Christopher Edwards and engineer Dewey Boyd at Forty-one Fifteen. “We were so happy with the process and product of recording ‘Off the Shelf’ that we wanted to run it back.” DownRiver Collective continues to gain recognition. The band was named the 2025 FreshGrass Bentonville Awards Band winner.  “ We so thoroughly enjoyed the performances from all the band competition finalists, we would've been happy to lose to any of them. I think the biggest win from that day is that Alison Brown caught the first four songs of our set. We could all feel the energy shift on stage as we noticed one of our heroes paying attention to us. We are so grateful to her and Compass Records for awarding us a studio day with them, as well as the prize money from the FreshGrass Foundation. We have been writing and dreaming up a deluxe version of our forthcoming record, and this win will make it possible to bring that to life.”

Christian Ward Someday, when Christian Ward is reminiscing, he might remember 2025 as a really big year.   After all, that’s when he joined not one but two of the pre-eminent bands in bluegrass.   Ward is the new fiddler with The Del McCoury Band and The Travelin’ McCourys. The position opened when Ward’s predecessor, Jason Carter, left to pursue a solo career.   “It's a pretty, pretty cool thing,” Ward admits. “I wasn't expecting it. I'd filled in on the Opry a few times, and I've done a couple dates with Del and a couple with The Travelin' McCourys. But I didn't necessarily see this coming.”   Ward grew up in Southern California and took up the fiddle at an early age.   “I started playing when I was about four or five,” Ward explains. “I got a few lessons, and I got a little violin and everything, so I knew that's what I wanted to play, but I didn't really take it too seriously until I was about nine.”   Early on, he was surrounded by bluegrass. His stepfather, Eric Uglum, is a well-known guitarist, singer, and producer/engineer who was in bands such as Weary Hearts, New Wine, Chris Stuart and Backcountry.   “Pretty much all of my bluegrass was kind of a direct result of his influence since he had been playing all through his teens and adulthood. I don't think I really had any musical aspirations before he came into the picture. He also had a recording studio out of our house so that brought a lot of musicians into my midst,” Ward says.   Among the musicians in that Southern California scene was Grammy winning fiddler Stuart Duncan, who became one of Ward’s early influences.   “His playing really kind of spoke to me. He played quite a bit with my stepdad. And as far as more current players go, Aubrey Haynie had some great solo records that I really liked early on. And then from there I went back and started exploring guys like Bobby Hicks and Kenny Baker and Benny Martin.”   Ward was fiddling in bands by the time he was 13. Along with his brother Austin, a bassist, Ward played with his stepfather in Eric Uglum & Sons and with Chris Stuart and Backcountry.   Ward also had stints with Sierra Hull and Highway 101, Bradford Lee Folk and the Bluegrass Playboys, Rebecca Frazier and Hit and Run, and guest appearances with Billy Strings. Prior to his current gig he was principally a freelancer and gigging with many artists. That requires a musician who can learn a lot of music quickly--a useful skill now as Ward is learning the substantial catalogs of two  bands.   “It seems like every time we play a show there's a few more songs that we add in. And Del takes a lot of requests, too, so you never know what he might feel like doing on a given night. It keeps me on my toes for sure.”   In addition to fiddling, Ward is a successful songwriter. “Red Daisy,” which he co-wrote with Jarrod Walker, was the International Bluegrass Music Association Song of the Year in 2022. Billy Strings recorded it.   “Somehow writing a song about a flower and putting that sort of Stanley-esque rhythm and melody to it kind of worked.” Ward says. “I'm pretty sure there wasn't a whole lot of editing on that one. The irony is that we spent all weekend on this other song that never sold and that one probably took us about half an hour to get a demo going.   “That's kind of the thing that keeps me really interested in songwriting. It’s unpredictable. All you can do is show up and try to use your tools. The output that you get from your work doesn't always correlate with how much energy you've expended. There's just something in the air on a given day and it works out and you kinda have to know when to keep working at an idea and keep chipping away at it.”   Before moving to Nashville a few years ago, Ward lived in Birmingham, Ala. It was close enough to Nashville to commute to gigs. While he was there he completed a degree in creative writing at UAB.   “I took some workshops and studied fiction and poetry, and had a mentor who was really influential. I got a lot less serious about my writing in general. And I don't think it's any coincidence that the year that I was finishing up my creative writing studies was the first year that I started writing songs on a more serious level.”   In his new role in both The Del McCoury Band and the Travelin’ McCourys, Ward is not just the new guy--he’s the young guy sharing the stage with artists who for decades have been considered to be some of the best musicians in bluegrass. He says he’s excited about the opportunity.   “I look up to those guys. They're some of the most seasoned bluegrass musicians of all time. I guess I like to think that I bring something to the table creatively. But I just have a ton of respect for how long they have been doing it and the high level that they've been doing it.”

If the bells and whistles of the digital world are not your thing, it isn’t Tony Kamel’s either. His latest album, We’re All Gonna Live, is full of energy and saturated in analog . “I’m not against Pro Tools (digital recording software),” says Austin, Texas, singer-songwriter Tony Kamel. “What I have learned is you don’t need everything that it offers. You can live without certain things if the energy is there. “One of my favorite things about [analogue] is there’s no computer screens, so you can’t see the [audio] wave forms,” explains Kamel, who recorded his latest album on an analogue tape machine. “When you really dig into digital recording, it can trick your brain into things being wrong.” The Grammy-nominated performer favors cutting live tracks with his band. “It’s hard to put into words. You’re chasing this feeling! It’s like feeling and emotion. It has almost nothing to do with perfection. “We sat down, we talked through the songs, and we sussed out some of the arrangements. It’s just so that we go into the studio a little more prepared. When you’re doing everything live, a little preparation can go a long way.” But over-rehearsing, Kamel warns, isn’t always a good thing. “I think it’s important to leave room for stuff that could happen. Too much preparation can be hindering.”  The former Wood & Wire frontman says cameras were rolling while they recorded. “I like pressure! It’s not because I’m some bad ass dude, it’s because I procrastinated on everything my entire life,” explains Kamel who was comfortable while filming. “I love to perform, so I always thrived on that kind of thing. “Now the record is out, I’m going to release videos from the session periodically for the next couple of months.” He teamed up again with fellow Texas songwriter and producer Bruce Robinson, “I learned a lot,” Kamel says about Robinson, who collaborated with him on his debut solo album, Back Down Home. “ He has taught me to hold myself to a higher standard. We just connected as friends and people—we’ll always be connected and I’m happy about that.” The breakup of his former band Wood & Wire left Kamel uncertain about the future. “I thought maybe I could do music for fun again and then get a job. Fortunately for me, Bruce Robinson wanted to make a record—so we did!” Kamell says the lyrics to the songs on his new album are about life’s ups and downs. “It’s very important to be positive in life. You will notice on the front cover of the new record that I’m all beat up. It’s based on a quote I got from my grandmother, which is printed on the back of the record. She said, ‘Eventually life starts to knock you around, --you’ve got to be ready to fight with a smile.’ “I think a lot of people were confused,” the songwriter shares about the album cover. “I wanted to have some artistic expression around it. It definitely started some conversations.  “I’ve been too self-conscious in the past to do something like that [laughs]. But now that I’m getting older, I thought, You know what? Who cares !”  Kamel credits his old bandmates for guiding him early on. “Wood & Wire was extremely fulfilling. There is a lot I miss about them. Those guys are the best musicians I've ever played with,” adding, “We were so locked in!” “I was so green when I came into Wood & Wire. I learned so much from them,” reminisces Kamel, sharing that the other members should have gotten more attention. “I don’t think they have been given their due as the instrumentalists and musicians that they are.” The Austin singer expresses gratitude for his current band, which features musicians Noah Jeffries, Cameron Owens, Kym Warner, and Josh Blue. “I was lucky enough to play with some of the best musicians in the world on this album ( We’re All Gonna Live).” Kamel feels the album will succeed in drawing a bluegrass audience, but could be a little confusing for some. “If you’re a bluegrass fan, listen to this record like you would a John Hartford record, not a Bill Monroe record. If you are expecting the unexpected, then I think you will enjoy it.”

Chris Hanscom didn’t set out to start a movement. He was just heading to the woods with his wife. It was about ten years ago near Gatlinburg, Tennessee. They were on a hiking trip. Then — somewhere between the map and the mountain — they caught a live bluegrass performance. And something clicked in Hanscom’s head. “I was instantly mesmerized by the sound — it just hit me in a way nothing else had,” said Hanscom. “Not long after that, I bought a banjo and started learning to play. The more I played, the more curious I became about the roots and history of bluegrass music.” That curiosity didn’t end at the fretboard. Hanscom started digging. Deep. Through regions, through stories, through time. He wasn’t just learning licks — he was tracing the fingerprints of a culture. “Since I’ve always been someone who likes to dig into the how and why behind things, that curiosity took me down a rabbit hole that stretched across the globe,” he said. “Along the way, I realized there wasn’t a specific day set aside to truly celebrate this uniquely American sound. That didn’t sit right with me — so I decided to do something about it.” World Bluegrass Day was born in 2020. Not as a holiday. As a mission. And as of August 2024, that mission has Hanscom’s full attention. “About a year ago, I dedicated myself fully to the mission of World Bluegrass Day,” he said. “Starting August 2024, I've committed all my time to the mission. This is my full-time gig now.” It’s a gig that’s as much about preservation as it is about celebration. Because to Hanscom, bluegrass isn’t just music — it’s memory, it’s place, it’s people. “The heart of bluegrass lies in its stories—real, raw, and rooted in everyday life,” said Hanscom. “To preserve the genre, we must pass down the personal histories behind the songs, the regional playing styles, and the oral traditions that shaped the music before it was ever recorded. It’s crucial that future generations understand not just how to play the music, but why it was played, who it gave voice to, and what it meant to the communities it came from.” That’s where the real work begins: education, context, connection. And names — the ones etched into the wood of the music and the ones that never made it to liner notes. “Teaching the legacies of pioneers like Bill Monroe, the Stanley Brothers, and countless lesser-known contributors ensures the roots remain strong as the branches grow,” he said. But Hanscom isn’t only looking backward. Built on the idea that the genre doesn’t belong to one type of person or one kind of sound, World Bluegrass Day belongs to everyone . “Bluegrass was never just one thing,” said Hanscom. “It’s a blend of African American blues, Scots Irish fiddle tunes, gospel harmonies, and more. Honoring that multicultural heritage isn’t just accurate, it’s essential to the spirit of the music.” According to Hanscom, that spirit gets stronger every time someone outside the “usual suspects” picks up a banjo, sings a harmony, or brings a new flavor to an old form. “World Bluegrass Day promotes inclusion by creating space for all voices, inviting people of diverse backgrounds to participate, learn, and lead,” he said. “Whether it’s highlighting underrepresented artists, supporting youth and international programs, or fostering respectful dialogue, the goal is to build a bluegrass community that reflects the world’s richness while staying true to the genre’s roots.” And nothing keeps that genre rooted — or alive — like community. Not industry, not charts, not even record labels. The people in circles, not spotlights, carry the sound forward. “Bluegrass has always thrived in community,” said Hanscom. “It lives around campfires, at kitchen tables, in church halls, and on festival stages. Local jams are where players learn, connect, and grow.” And when that local jam echoes across continents at international festivals, something powerful happens. The circle widens. The song grows. “International festivals bring exposure and energy,” he said. “Together, they form a living network that keeps bluegrass from becoming a museum piece. World Bluegrass Day encourages both, reminding us that no event is too small to matter, and no stage too big to feel like family.” Still, even as the genre branches out, there’s always a push-pull between tradition and experimentation. For Hanscom, the answer isn’t to choose it, it’s to respect the balance. “World Bluegrass Day recognizes that tradition and innovation are both part of bluegrass’s DNA,” he said. “After all, Bill Monroe was an innovator in his time. The goal isn’t to draw hard lines—it’s to celebrate the roots while welcoming new branches.” Hanscom doesn’t want to be a gatekeeper. He wants to open the barn doors and let the next generation run through, instruments in hand. “That might mean honoring the classic five-piece lineup one moment and spotlighting a genre-bending collaboration the next,” he said. “The key is respect, and honoring the structure, soul, and storytelling of traditional bluegrass while encouraging the kind of experimentation that keeps the genre exciting and relevant for new generations.” Because in the end, this is a global sound now. It’s gone from Appalachian hollers to concert halls in countries that don’t even have the word “holler.” “World Bluegrass Day is helping write a chapter where bluegrass belongs to everyone, everywhere,” said Hanscom. “It’s creating a platform that not only celebrates where the music came from but invites new voices into the circle. Through education, exposure, and storytelling, it helps pass the torch.” And maybe that’s the point of it all — not to hold onto the music, but to hand it off . One picker, one storyteller, one hiker-turned-banjo-player at a time, and Hanscom hopes you join the celebration on October 1st. “By connecting global communities, it makes the genre more accessible and visible,” said Hanscom. “Bluegrass’s next chapter is global, diverse, and deeply rooted in tradition—and World Bluegrass Day is one of the bridges helping it get there.” World Bluegrass Day is October 1st Inquiring minds can learn more here: https://www.youtube.com/@WorldBluegrassDay Get Your Official World Bluegrass Day Poster: https://musicthings.myspreadshop.com/all

Highly acclaimed singer-songwriter, multi-instrumentalist, and producer Maya de Vitry is back writing songs after releasing her fourth solo LP, 2024’s self-produced  The Only Moment.   De Vitry has extensive songwriting and collaborations with her former band, The Stray Birds, Della Mae, Molly Tuttle, and The Woods Brothers, among many others. Still, she remains focused on creating new music. “I’m not taking on anything this summer as far as producing, so I will have some time to do some more writing. “I definitely have a lot of ideas for albums, like a winter-themed album, to a string band record, to singing a bunch of duets with people,” reveals De Vitry, who has kept busy producing other artists.   De Vitry, who produced four albums including Joel Timmons, Shelby Means, Hanna Dylynn and Aiden VanSuetendael, felt overwhelmed. “It was a lot for me to do those four records back-to-back. Between Joel, Shelby, Hanna, and Aiden, they are such different records. “Honestly, I just felt it was more realistic for me to put my energy into the other artists’ records and to not spread myself too thin,” remembers De Vitry, who put her record The Only Moment  on hold. “I thought ‘I’m gonna work on those projects and keep touring.’ “We started recording [ The Only Moment ] in the summer of 2021. I put it away because that fall, Joel Timmons asked me to produce his record [ Psychedelic Surf Country ,] so I totally shifted gears. “You don’t necessarily get paid right away,” explains the Nashville artist about her music. “Joel is asking me to produce a record. That’s like a job! I’m gonna take that job!” [Laughs] De Vitry worked on The Only Moment in   between sessions for Joel Timmons and Shelby Means. “I would go in the studio every couple of months and just do something to my record. Maybe I would add a couple of harmony vocals.” De Vitry called on her friend, Texas singer-songwriter Phoebe Hunt. “I would ask, ‘Can you sing on these four songs?’ And over time, that became, ‘I think I want you to sing on the whole record!’” “Most of the songs were tracked in 2021, but I ended up adding two songs [“Nothing else Matters”] [“Watching the whole sky Change”] later on. Those are songs I just tracked totally solo.” De Vitry took her time. “I learned so much about slowing down the process—seeing how the gears turn. I think it’s a narrative that we are taught: strike while the iron is hot, or record this song while it’s really feeling alive, then get out there and tour right away! “The process takes so long,” explains De Vitry. “Sometimes people record a record, then they are shopping it around to record labels for two years. I could have put it out as fast as possible, but I don’t think I would have felt as fulfilled.” After producing Joel Timmon’s record and collaborating with producers Dan Knobler and Ethan Jodziewicz on her previous albums, De Vitry produced The Only Moment. “I felt like I had been around those kind of musical decision situations. I knew enough players to put people’s chemistry together.” De Vitry says producing is much more than just music. “I think everyone needs a different thing in a producer. Some people need a therapist and a coach,” De Vitry explains. “Some people need somebody who is really musically involved, like Shelby’s record; just being there to cheer her on in doing those vocal takes.” She believes her strength is arranging. “It’s how to get that song from just playing it on my guitar to leaving space in the arrangement for all the instruments to be best used.” Maya loved working with her good friend, guitarist/singer Joel Timmons. “He’s such a natural performer! He is so at home with his songs, and he is so at home on the guitar. What was different for him was being the center of attention because he’s such a band member. He sang all those songs in such a fun and honest way. “Some of the songs were full of humor while others were brooding and dark-filled with different kinds of pain,” shares De Vitry about Joel’s songwriting. “He got to go to those places, too. It was such a joy to see those songs come to life.” With no plans for producing shortly, De Vitry has other ideas. “This summer, I’m going to Colorado. I’m really excited about that! Not just to do some playing but some hiking. I would like to do more writing around certain themes.” Going on, “I want to make a record that is totally solo—like me playing guitar or clawhammer banjo and singing. Those things feel like they are around the bend.”

If you walk through North Carolina and ask about Clyde Mattocks, people will tell you stories. Not just stories about his music, but stories about the man — how he’s still out there, steel guitar in hand, grinning, playing, teaching, raising up the next crop of musicians while half his peers have long since gone home to sit on the porch and talk about what they used to do. Come October, Clyde will be inducted into the North Carolina Music Hall of Fame. The thing about Clyde is, he’s not interested in the laurels — he’s too busy doing the thing to worry about what people are pinning on his lapel. “That’s quite an honor. It’s not really sunk in yet,” he says. “I’ve been playing music over 70 years and it just all runs together.” That’s not false modesty. That’s a man who’s done so much, seen so much, played so many kinds of music — pop, bluegrass, hardcore country, rock — that the years smear into one long road, dotted with bars, stages, and radio towers. He remembers the moment the music grabbed him. It wasn’t in a studio or a formal lesson. No, it was standing out on the sidewalk as a kid, listening through an open window to a family across the street playing music. “One night a steel guitar player showed up and the light went on and I said, that’s that sound I’ve been hearing,” he laughs. “I thought it was just a regular electric guitar that was making that sound. And then when I saw the steel guitar, it just set me on fire.” So, Clyde lobbied his parents hard, and at 14, Christmas brought him a lap steel guitar. “I was making some pretty awful music by that night,” he admits. “And I was playing in a band in six weeks because back then, people couldn’t tell whether you were playing one good or not.” That mix of sly humor and sharp honesty marks Clyde’s whole career. He’s been called the best pedal steel player in North Carolina — maybe even the world — but Clyde shrugs that off. “That’s so subjective to say the best. I never considered myself the best. Why I stay in it at my age is simply to watch these people grow and become good musicians. Actually, I’ve always been able to see the potential in people very early on when my peers didn’t.” His band history is as tangled and lively as the music itself. You’ve got the Super Grit Cowboy Band, where Clyde blended country with the rising wave of West Coast rock. “For about three months, people hated us,” he says. “We were too rock for country and too country for rock. But about that time, the wave hit, and from that day, we could do no wrong.” Ask Clyde about why bands fall apart, and he’s seen the same story play out again and again. “Most of the time, it’s wanting the need after they have families, the need to make more money… a lot of times, it’s wives and girlfriends. I’ve seen guys give up music just because of a girlfriend. And then they lose the girlfriend, and they’ve lost their girlfriend and their gig.” You talk to Clyde long enough, you realize he doesn’t chase drama. “I have always been a fairly calm person and try to resolve conflicts and not take sides.” He jokes that people have called him “a benevolent dictator” when he leads bands — a boss, sure, but one who looks out for his people. And bluegrass? That’s home base. “I love the straight stuff — Flatt and Scruggs, the Stanley Brothers. But these days, the dobro is my number one thing.” Even when playing with the loudest rock bands, Clyde laughs, “We would roll our set with straight-ahead bluegrass… and when you’re on a concert bill with five or six rock bands, it’s really refreshing to the crowd to come out there and hear that banjo cracking their attention.” His connection to his instruments runs deep. When asked if a good instrument can make a player better, Clyde says, “I think instruments have a soul… certain instruments can inspire you to play better.” He knows the magic of picking up something like the 1949 Gibson console he now plays: “It wasn’t my favorite steel for a long time… until I got it. And then when I got it — oh. It’s the response you get out of it.” At the moment, Clyde is recording with the Lovesick Drifters, a Hank Williams tribute band. Ask him what it is about Hank that draws people decade after decade, and he doesn’t miss a beat: “It’s the songwriting.” And he loves the stories — like how Don Helms’ steel guitar playing first amazed him, or how Helms used to scoop up Gibson console grands from pawn shops because fans wanted to own a guitar his hands had touched. As for what’s left for Clyde to do, he chuckles. “I played all my licks and played every kind of venue. I’ve played theater shows where I had to wear a tux, and the next night played at a biker bar where you had to wear all black. But now? Forget this legend stuff. I’m just trying to be relevant today.”

For readers of The Bluegrass Standard, the name Swamp Dogg might not ring a bell. But for the past six decades, Jerry “Swamp Dogg” Williams has been a thorn in the side of the music industry — a soul singer, producer, songwriter, and cult figure whose eccentricity and creative ambition have kept him just under the mainstream radar. And now, at 81, he’s done something no one saw coming: a bluegrass album. "Blackgrass: From West Virginia to 125th St." is Swamp Dogg’s 26th studio album and possibly his most surprising. Released on John Prine's Oh Boy Records, it trades in his signature auto-tune experiments for raw banjo, fiddle, dobro, and the Appalachian soul that first inspired him. "Not a lot of people talk about the true origins of bluegrass music, but it came from Black people," Swamp Dogg says, having grown up in West Virginia and never forgetting his roots. "The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name." Though some might scratch their heads at Swamp Dogg’s pivot into bluegrass, the man’s got country credentials. He co-wrote "She’s All I Got" with his buddy Gary U.S. Bonds — a song that Johnny Paycheck took to No. 2 on the country charts in 1971. Conway Twitty, Tracy Byrd, and Tanya Tucker (as "He’s All I Got") covered the tune. And if you caught the Johnny Paycheck episode of the Cinemax animated series Mike Judge Presents: Tales From the Tour Bus, you’d have heard Swamp Dogg’s voice and seen his likeness right there alongside the honky-tonk legend. "Going back to 1973, I put out an album called 'Swamp Dogg's Greatest Hits' — there were no hits on it, just all brand-new songs," he laughs, cracking himself up. "On one of those songs, the main instrument was a banjo played by this old redneck who didn’t care too much for Black folks but thought I was alright. That’s when I started getting my nerve up to try this stuff." In the following decades, Swamp Dogg became known as an underground legend — the guy who worked with Irma Thomas, Z.Z. Hill, Patti LaBelle, and even dabbled with the Commodores before Lionel Richie stepped to the mic. He’s an artist who has toyed with every groove imaginable, refusing to stay pinned to one sound. "I wanted to fuse country and soul music, Black music, rhythm and blues music — I don’t know what you call it these days, but I wanted to fuse those. And I’m happy with what I’m doing." Produced by Ryan Olson, who has worked with artists Bon Iver and Poliça, "Blackgrass" ropes in an all-star bluegrass lineup: Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan. Guest shots come from Margo Price, Living Colour’s Vernon Reid, Jenny Lewis, Justin Vernon, and The Cactus Blossoms. But for all the big names, the album still feels unmistakably Swamp Dogg. "No matter who you bring in, it still has to come through me. It’s still my voice, my stories,” he says. “Deliver the message. You don’t have to open the envelope or anything, just deliver the message." One standout track, the mostly monologue "Murder Ballad," sprang from a collaboration with one of his rappers. "This was a whole rap thing, and what I did was pick through the song, find what I considered the highlights, and then expand on it. It’s the same story, but I made it much simpler," he explains. "I split the publishing, I split the writers, because that’s how you do it." A remake of his own composition "Rise Up," taps into something more defiant. "It could mean a lot of things," Swamp Dogg says. "It could be, let’s incite a riot, or let’s come together. People who like country like 'Rise Up,' even though it’s not a country guitar — that’s hard rock." The recording sessions of "Blackgrass” can be seen in the documentary "Swamp Dogg Gets His Pool Painted," released this past spring. The film gives a rare glimpse of the chaotic, funny, and brilliantly weird world Swamp Dogg inhabits, all against the backdrop of the gradual painting of his swimming pool. "[The filmmakers] came to shoot a music video for 'Love, Loss, and Auto-Tune,' and then it turned into this whole thing," he laughs as he explains how the documentary project started. "It’s got some weirdness, it’s got heart, it’s got some smarts, but you don’t know where it’s going to go." Swamp Dogg’s restless creative energy leads him down strange turns in the musical road, but he’s always at the wheel. "I don’t really have a genre," he muses. "I’ve been open to all kinds of music. I’ve got old classical albums. I took piano lessons for about a year, but I couldn’t get to where I wanted fast enough. So, I guess you could say that I took piano lessons from Jerry Lee Lewis and Fats Domino. That’s what I wanted to play anyway, and that’s what I’m still playing, but I’ve got it wrapped up in another way. If you listen intensely, you hear it: I’m doing the same thing, just switching it around. If it’s red, I’ll paint it green, and you’ll say, 'Hey, he got a new one, it’s green,’ but man, that’s the same." For an artist who has spent his life dodging labels, "Blackgrass" feels like both a culmination and a provocation. Swamp Dogg has taken the music of the hills and hollers and run it through his own unruly filter, serving up something simultaneously traditional and entirely his own. After six decades of coloring outside the lines, Swamp Dogg gave us another picture, an alternative bluegrass album that will likely never be matched in tone, style, or flavor. "I’d hate to leave this world not having tried everything I wanted to try," he says.

A Delicious Delight at The Eatery Across the 13-state Appalachian region, from West Virginia to Mississippi, well-known names have created food experiences that blend entertainment, personality, and regional charm. Some are rooted in hometown heritage; others bring global flair to mountain towns. All share one thing in common: a tie to someone famous. West Virginia In West Virginia’s Eastern Panhandle, Hollywood Casino at Charles Town Races offers more than just live horse racing and slot machines. Inside the sprawling entertainment venue sits The Eatery by Fabio Viviani, a food court concept led by the celebrity chef known from Top Chef . The Eatery brings five distinct counters under one roof, each featuring Viviani’s culinary touch. Patrons can choose from gourmet burgers, artisan pizzas, traditional Italian pastas, Asian-inspired dishes, and desserts—all paired with craft beer options. Viviani’s presence is part of a national trend of celebrity chefs partnering with casinos, but here in Charles Town, it brings an upscale twist to Appalachian dining. Tennessee Further south, in Pigeon Forge, Tennessee, the culinary influence of household names is especially prominent. Dolly Parton, one of the region’s most iconic figures, has long intertwined entertainment and hospitality. At Dolly Parton’s Stampede Dinner Attraction, visitors watch a theatrical show featuring horse-riding stunts and special effects while enjoying a four-course Southern-style meal. The menu includes rotisserie chicken, hickory-smoked pulled pork, buttery biscuits, and classic sides—served without utensils to enhance the experience. A few miles away, another attraction from Dolly Parton brings fantasy to the table. Pirates Voyage Dinner & Show presents a swashbuckling performance complete with pirates, mermaids, acrobatics, and a dramatic lagoon stage. Guests dine on a themed meal featuring roasted chicken, sugar-cured ham, creamy vegetable soup, and peach turnover—all while immersed in a high-seas adventure set in the Smoky Mountains. Just around the corner is Downtown Flavortown, a massive dining and entertainment venue created in partnership with Guy Fieri. Known for his signature spiky hair and catchphrases on Diners, Drive-Ins and Dives , Fieri’s Gatlinburg location is packed with attractions: an arcade, a bowling alley, and bold dishes like Dragon’s Breath Chili Cheese Fries, Trash Can Nachos, and Bacon Mac 'n' Cheeseburgers. The venue captures the chef’s over-the-top persona and has become a popular stop for tourists exploring the area. Also in Pigeon Forge, Paula Deen’s Family Kitchen offers a different kind of Southern hospitality. The restaurant, located at The Island, serves up family-style meals with recipes straight from the celebrity chef’s cookbooks. Fried chicken, collard greens, baked mac and cheese, and ooey-gooey butter cake make up some of the menu staples. While Paula Deen herself doesn’t cook in the kitchen, she has made promotional appearances and lent her name and recipes to the brand, which now includes locations throughout the South. Another major personality in Pigeon Forge’s entertainment lineup was the late Jimmy Buffett, whose Margaritaville restaurant sits at the heart of The Island. Inspired by the singer’s laid-back, beachy aesthetic, the restaurant serves tropical cocktails, cheeseburgers, fried seafood, and Key lime pie. Island-themed décor, live music, and tiki bar drinks turn the Appalachian foothills into a slice of paradise for fans of Buffett’s music and lifestyle. Country star Blake Shelton has also made his mark on Gatlinburg with Ole Red, a music-themed restaurant named after his 2002 hit song. The venue combines live music, Southern cuisine, and rustic style. Guests dine on dishes like chicken-fried steak, honey-drizzled cornbread, and pulled pork sandwiches, often while local musicians perform on stage. Part of a growing chain, Ole Red in Gatlinburg anchors itself in Appalachia with a focus on regional flavors and country roots. These restaurants and entertainment spaces are more than tourist attractions. They represent a growing fusion between Appalachian hospitality and national celebrity culture. While the food often leans into comfort and familiarity—fried chicken, biscuits, barbecue, and burgers—it’s elevated by the name recognition and immersive environments each celebrity brings. Whether it’s Fabio Viviani's international flair in West Virginia, Dolly Parton’s theatrical feasts or Guy Fieri’s over-the-top creations in Pigeon Forge, these destinations reflect how Appalachia continues to evolve while embracing its traditions. In the heart of the mountains, fame has found a new frontier—and it’s served with a side of mashed potatoes. These restaurants are more than just places to eat; they are destinations that reflect a changing Appalachian identity. As the region embraces tourism, entertainment, and culinary innovation, these celebrity-connected venues offer a unique blend of local flavor and global appeal. They introduce visitors to the warmth and hospitality that Appalachia is known for, while also offering the kind of name recognition that draws crowds. Behind every themed dining room and signature dish is a story—of a singer’s hometown pride, a chef’s creative vision, or a community’s desire to reinvent itself without losing its roots. In a region historically defined by its coal mines and country roads, the rise of branded eateries and dinner attractions shows how Appalachian towns are reimagining their future. With every biscuit served, every performance staged, and every tourist welcomed, these establishments help tell a broader story—one where Appalachian culture continues to grow, thrive, and surprise, one plate at a time.

Success doesn’t come with a velvet rope or a red carpet in the backroads and backrooms of bluegrass music. It comes with long hours, battered guitars, calloused hands, and a fire that never quite burns out. That’s the world Billy Blue Records was born into — and under the quiet but determined leadership of Jerry Salley, it’s a label that has turned small beginnings into a heavyweight punch. “For years I’ve been producing a lot of different acts that were independent artists, and a lot of them would just say, ‘Hey, I wish you had a label for us to be on,’” Salley recalls from the Billy Blue Records humble beginnings in 2007. He wasn’t a fresh-faced newcomer hoping to make it big; he was already a decorated songwriter with over 500 recorded songs and more than 18 million records sold worldwide. But like any good story, his journey circled back to where his heart was. “I think I know what their needs are… I was just trying to start something that we could be, that would be first class, keep it small, and be able to give our artists the resources they would need to be successful.” Salley came into Billy Blue with a business plan shaped by decades of experience as an artist and songwriter who is respected – nay, revered – in the country genre. “I knew about airplay, I knew how to get records out to radio,” he explains. “It’s funny, a lot of people call it politics, but it’s really relationships, right? If you have relationships and you treat people right and kind, they remember that.” He didn’t come to build a factory; he came to build a family. That’s why the first signing — Appalachian Road Show — mattered so much. “We were blessed now with some great artists, Appalachian Road Show was the first act we signed, and they had a number one record right off their first album,” Salley says. “Then, we were able to sign Joe Mullins and the Radio Ramblers and also Doyle Lawson. And so we just really started out in a good way.” The label’s second year saw two Grammy nominations, no small feat for an operation that insists on staying deliberately sharp and buttoned up. “We had Doyle Lawson’s Live in Prague, Czech Republic , up for Bluegrass Album of the Year and the same year, Gonna Sing, Gonna Shout  was up for Best Gospel Roots Album of the Year. So those were huge moments, to get an opportunity to get a Grammy in your second year of business was pretty crazy.” Salley balances reverence for the past with excitement for the future. “I never want to not tip my hat and pay respect and have some traditional acts. I think that’s extremely important, because you can’t know where you’re going if you don’t know where you came from,” he says. “But as a producer and as a writer and as a label guy, I have to say, there’s a lot of the newer stuff that I absolutely love.” This is a label run like a family, not a machine. “I just try to reach out and try to be a dad to the younger acts just because I’m trying to teach ’em what I know and what I’ve learned,” Salley explains. “As important as what I’ve learned to do is the stuff that I’ve learned not to do, like, don’t think you’re bigger than you are. If you treat people right, they will remember that forever.” Billy Blue Records still believes in physical products like CDs, vinyl, and thumb drives. “We still believe people want that physical piece. A lot of the time, they just want it for a memory, from the evening to take home with them and have something to remember the night by. We’re going to continue to make it till there’s nobody left to buy it,” he laughed. For Salley, what keeps him going is simple: “I love it. I love the opportunities that I have. I love the music and I love the people I work with… just hearing the music come to life in the studio, I just — I just still get a charge out of it. I also still get a huge charge out of hearing my song on the radio for the first time, regardless of who recorded it.” And even after decades, the magic of songwriting never loses its spark. “There are just certain times where you get what I call the chill factor. If that’s moving me, it’s gonna move somebody else,” Salley says. “That does happen… they’re just gifts really. They’re gifts from somewhere.” Looking ahead, Billy Blue has plenty in the pipeline. “We’re working. Carson’s already cut five songs. We just went in and cut five more yesterday, and we’re doing vocals today,” Salley shares. “Carson will have a new album, Appalachian Road Show’s got a brand-new album that’ll be coming out around September, and with Caroline Owens, we’re working on trying to finish up her album this fall and get that out. To that end, we want to be able to keep the label small enough to where we have the time, energy, and money to really give the juice to everybody that needs it when they need it.” In a world where some artists burn out or fade away, Jerry Salley keeps pushing. “I just have this drive. I turned 65 a few weeks ago. I still love to write. I don’t get to write as much as I used to, but I value the days I get to sit in a room and write with folks.” Billy Blue Records isn’t just a label. It’s a mission — a place where tradition meets tomorrow, where passion meets professionalism, and where every record spins on the same engine: the love of the music.   Acts to Watch For from Billy Blue Records Caroline Owens A breakout star with raw emotion and a soaring voice, Caroline Owens is one to watch as she prepares her upcoming album, produced by Jerry Salley and Darin Aldridge. Joe Mullins & The Radio Ramblers Celebrating 20 years, this band’s new album features the standout single “Time Adds Up (If You’re Lucky),” blending nostalgia and sharp musicianship. Christie Cox Christie Cox's upcoming record, which will feature The Blackwood Brothers, will take on gospel for the first time and bring a fresh twist to the bluegrass gospel sound. Appalachian Road Show Known for their authentic approach, they’re prepping a September album release. The current single “Della James Heart” is lighting up the airwaves. Carson Peters & Iron Mountain With a new album underway, Carson Peters brings youthful energy and seasoned skill, backed by Salley’s mentorship. Bob Minner A respected guitar ace, Bob Minner’s latest work with Rhonda Vincent on “Listening to the Rain” promises a rich blend of artistry and innovation.

Cuttin’ Grass is a traditional bluegrass and Gospel band based in the Durham, North Carolina area. Co-founded in 2016 by Wally McKay and Amos Rozier (who coined the band’s name), the band aims to honor the roots of the music they play, as well as those who have pioneered the growth of the genre through the years. Steve Moore, who plays bass and is a vocalist for the band, served as their spokesperson. “We are still pretty much the same group as when we started,” says Steve. “Four of the five original members are still in the band.” New to the band is Ricky Stroud, the mandolin player. “While all of us have played in other bands, Ricky is probably the most professional player we have. He grew up playing with his father in a group called The Pilgrims. They played Gospel music all over the East Coast. He also played with the Hager’s Mountain Boys.” Steve says that all the guys in the band grew up playing music with their families. “We didn’t realize what a big deal jam sessions were until about 15 years ago. People came to our house at 7:00 every Saturday evening to play. It was a way of life for me while growing up, and I’m so thankful for that now.” Cuttin’ Grass got its start at Lorraine's Coffee House & Music  in Garner, NC. “Lorraine Jordan, the owner, told Wally and Amos she needed a bluegrass band,” says Steve. “Wally called all of us together, and when we played together, it clicked. We have stayed together all these years. We all get along, even though we come from hugely different backgrounds.” The harmonies of the band blend well, which has been a big part of their success. They play for special social events, churches, and festivals. “We play good ol’ music in a hard-driving bluegrass style.” Everyone in the band sings. “We do a lot of covers in our shows – songs by Lonesome River Band, Balsam Range, and many of the old standards. We know a lot of the old songs, and we love it when the crowd sings along.” In a two-hour set list, the band will play about 35 songs. “We try to maximize how much music people get to hear.” After nine years of playing together, the band released their first CD last year ( Cuttin’Grass Volume 1 ). The album contains all original music, written by the band members. Steve’s wife, Sandra, wrote two of the tunes, “For the Love of Bluegrass” and “Let Jesus In.” Wally McKay wrote three songs on the album, all coming-of-age songs. Steve wrote a song called “Mountain Stream,” and Doug Mead wrote “Trail of Tears.” Ricky Stroud wrote “He’s Done so Much for Me.” Over the years, the band has played at several bluegrass festivals, including Willow Oaks, Bluegrass Island Festival, DeweyFest, and they have performed in the Heritage Village during the North Carolina State Fair. They have garnered accolades as well, from winning the 2017 Lil John Band Competition to placing third in the Got to Be North Carolina Bluegrass Band Competition in 2018, and second place in 2019. Most gigs are on weekends, but they will play on Thursdays and Fridays when an opportunity arises. “Only one person in the band is still gainfully employed,” Steve says. “The rest of us are retired.” The Band performs regularly at Lorraine’s Coffee House in Garner, where every Friday night is bluegrass night. Among other performers frequently seen at Lorraine’s are Lorraine Jordan and Carolina Road, Danny Paisley and Southern Grass, Joe Mullins and the Radio Ramblers, and the King James Boys. “We have a lot of fun together, and we are always joking around on stage,” Steve laughs. “This is something we love – playing bluegrass music and making tens of dollars.” In closing, he said, “We want to honor the roots of the music. We also work some more modern tunes into the mix. We want folks to enjoy an energetic, artistic, and heartfelt authenticity when they listen to us perform.”

Folk singer Woody Guthrie made his mark on music at a time when many art forms had a huge influence on world events. It was a time of tumult, and a time when new paradigms were introduced through song. According to Cole Quest, of the bluegrass group, Cole Quest and the City Pickers, music can still serve the same role today.   As Woody Guthrie’s grandson, Quest has been influenced quite a bit by the mark his grandfather left on the folk music scene. He said familial connection is, of course, important, but it’s more about a philosophy; Quest thinks music’s proper role is as an agent of change.   “I have a personal belief that there is a responsibility of all artists to call out the injustices of the world,” Quest explained. He hopes to do that, just as his grandfather did.   Part of that mission is on display with the group’s new album, “Homegrown.” Their first release in four years, the record dropped in July. The track list of “Homegrown” includes covers of three of his grandfather’s songs, one of which is the well-known Guthrie number, “Pastures of Plenty.” The album also features a song co-written by Woody and Arlo Guthrie, and songs penned by Peter Rowan and John Hartford. The band released an EP of all original material four years ago, but Quest said “Homegrown” is the first full-length LP.   Quest thinks the band hailing from Brooklyn, New York, gives it a slightly different sound than much of what’s available in bluegrass. To him, there’s a difference between being a “city picker” and a “country picker.”   “I’m an Italian Jew, born just outside Washington Square,” he explained. “I didn’t grow up as a bluegrass musician in the heart of Kentucky, listening to Bill Monroe every day. I think there’s an innate difference in the sounds.”   He explained that the traditional sound wasn’t “baked into his brain” the way it often is for those reared in Appalachia. He said he encountered bluegrass in a big city environment that attracts alternative types of musicians. For example, he said, “Jazz musicians come here from Japan and find a bluegrass jam…”   As he describes it, the bluegrass coming from the Big Apple is a diverse melting pot, much like the city itself.   One example comes from within the group; the harmonica player is from Brazil. Backgrounds in blues, jazz, rock, classical, and other influences help the group meld diverse inputs in a way that puts their unique stamp on bluegrass.   “I grew up playing guitar,” Quest said of his love affair with music. He’d mostly played in rock bands. Then, he was exposed to something new, and a spark was lit.   “I found bluegrass music 15 years ago in a pub in Astoria, Queens.” He learned to play the mandolin. He picked up a dobro. The rest is history. He said the band is not only influenced by the folk sounds of Guthrie, but the expected bluegrass greats also ignite a spark of creativity and set a standard to be emulated.   “We’re big fans of Flatt and Scruggs, and Bill Monroe,” Quest said, explaining why a Brooklyn native could be so drawn to a genre that seems a world away from the concrete streets of his upbringing.   “I really appreciate the lyrical straightforwardness…bluegrass is honest and direct,” he summarized.

It’s often difficult to separate reality from fantasy or fact from fiction today. As we increasingly move toward AI, tech advancements allow for computer-generated “creative” work that can sometimes actually…trick us. From artificial intelligence artwork and books to “deepfake” videos, the tools used to create artificial art and entertainment have suddenly become quite sophisticated.   Unfortunately, that has also affected the music business. A.I. music has invaded creative space, and real artists now compete with soulless content crafted from data instead of from the heart.   To help solve this problem, a new enterprise—still in its first year of operation—called Humanable aims to separate real music from “fake” music and identify real music made with the human touch.   The company stamps its approval on music crafted by human hands. Humanable evaluates a track for a small fee and deems it “100% human-made.” This assures both listeners and recording industry folks that they’re experiencing the real deal.   “As a group, the overriding motive for creating this company was to protect songwriters and artists from generative AI siphoning off their royalties and imitating human creativity,” explained Humanable CEO Tim Wipperman. “Technology can help ferret out generative A.I. after the A.I. generated song or track is in the marketplace, but technology is a never-ending cycle of whack-a-mole. The bad guys do X, and the good guys catch them. Then the bad guys figure a way around the technology.”   Wipperman said Humanable helps stop that cycle by approaching the problem “from the point of creation.”   “Bots and generative AI don’t have social security numbers and driver’s licenses. Humans do,” he explained. “We ask the writer or artist to register with us as a human, receive a unique personal identifier, then for each song or master, upload it with some info, and that song/master receives another unique identifier that the artist verifies is humanly created. We have audit processes as checks to be sure everyone is truthful.”   He said, “They then are able to use our Humanable trademark,” describing it as “sort of a musical ‘certified organic’ image.” The artist may use it “in all their dealings with publishers, record companies, distributors, and DSPs.”   Wipperman said this certification “guarantees to all those downstream folks that a human created the music. It eliminates legal issues with copyrights and ownership and generates full royalty streams.”   So far, the company is off to a good start, considering it just launched in the fall of 2024.    “We have, at this point, over 4 million songs registered with Humanable,” Wipperman said.   Many artists in bluegrass pride themselves on the heartfelt originality of their songwriting. While other genres, such as pop, are already quite infused with computer-driven music and production techniques, most roots music tends to be more stripped down and genuine. That makes the idea of AI-created music even more of an affront to artists who consider authenticity a central feature of what they do. Based on his background, Wipperman might truly “get it” about how devastating AI-generated tracks might be to roots genres.   “My background was as a music publisher,” he said, explaining that he ran Warner Chappell for 29 years. He’s also an artist himself. “I played on Earl Scruggs' 25th Anniversary album.”   Each team member at Humanable brings a different strength.   “One of our founders is an intellectual property lawyer. Another has been in the arts since she was little,” he said. “We all have a love for writers and artists, and the right to make a decent livelihood from music. Our long-term goal is to have all human writers/artists join us and give the business entities an incentive to use music created by humans,” he summarized. “A Humanable song or track assures them they are publishing, releasing, and streaming a musical work that is clean.”