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.”

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.

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

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.”

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.”

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.”

Being nominated for a James Beard Award is an incredible honor—one that represents far more than a single moment or achievement. It’s recognition of years of dedication, creativity and resilience. For many in the culinary world, acknowledgment is the pinnacle of success. It’s a dream that validates the countless hours, the passion poured into every plate, and the commitment to excellence. Even if that nomination does not result in a James Beard Award, the honor stands on its own as a testament to outstanding work and visionary leadership in the kitchen. This year, the 2025 James Beard Award nominees included several chefs and restaurateurs from across the Appalachian region, as defined by the Appalachian Regional Commission—a diverse area stretching from southern New York to northern Mississippi. These culinary talents represent the best of Appalachian foodways, each bringing a unique perspective rooted in local ingredients, community traditions, and bold innovation. 2025 James Beard Award Nominees from Appalachia: Outstanding Chef William Dissen, The Market Place – Asheville, North Carolina A native of Charleston, West Virginia, William Dissen has been a pioneer in sustainable, farm-to-table dining in the Appalachian region. At The Market Place, he emphasizes local sourcing, working closely with regional farmers and producers to craft dishes that reflect the bounty of the area. His culinary journey, which includes training at the Culinary Institute of America and experience at renowned establishments like Magnolia’s in Charleston, South Carolina, has culminated in a philosophy that celebrates Appalachian ingredients and traditions. Best Chef: Southeast Katie Button, Cúrate – Asheville, North Carolina Katie Button’s culinary path is as unique as her cuisine. With a background in biomedical engineering, she transitioned into the culinary world, gaining experience at prestigious restaurants including El Bulli in Spain. At Cúrate, she brings authentic Spanish tapas to Asheville, blending traditional techniques with local Appalachian ingredients. Her dedication to excellence has earned her multiple James Beard nominations and a reputation as one of the region’s most innovative chefs. Ashleigh Shanti, Good Hot Fish – Asheville, North Carolina Ashleigh Shanti is known for her exploration of Black Appalachian foodways, creating dishes that honor her heritage while pushing culinary boundaries. At Good Hot Fish, she reimagines traditional fish camp fare, offering items like shrimp burgers and hush puppies infused with cultural significance. Her work not only delights the palate but also tells a story of identity, resilience and community. Silver Iocovozzi, Neng Jr.’s – Asheville, North Carolina Silver Iocovozzi brings Filipino flavors to the table at Neng Jr.’s, an intimate 18-seat restaurant in West Asheville. ”The menu is a product from Chef Silver Iocovozzi’s perspective as a second generation immigrant, and a person with crossover in the American South and Manila, Philippines with experience in classical genres, new techniques, and general interest in global food traditions and histories,” reads the website. Dishes are crafted with authentic ingredients, reflecting a deep connection to place and heritage. Iocovozzi’s approach creates a unique dining experience that resonates with both tradition and innovation. Chase Collier, Ristorante Abruzzi – Charleston, West Virginia Chase Collier’s culinary style marries Appalachian influences with Italian traditions, emphasizing the use of fresh, local ingredients to create dishes that resonate with the region’s heritage. At Ristorante Abruzzi, he crafts menus that highlight the synergy between these two rich culinary cultures, offering a dining experience that is both familiar and novel. Best Chef: Mid-Atlantic Kate Lasky and Tomasz Skowronski, Apteka – Pittsburgh, Pennsylvania At Apteka, chefs Kate Lasky and Tomasz Skowronski offer a modern take on Eastern European cuisine, presenting a fully vegan menu that challenges and delights diners. Their innovative approach has garnered national attention, with dishes that pay homage to their heritage while embracing contemporary culinary trends. Apteka stands as a testament to the evolving food scene in Pittsburgh and the broader Appalachian region. Wei Zhu, Chengdu Gourmet – Pittsburgh, Pennsylvania Chef Wei Zhu brings authentic Sichuan flavors to Pittsburgh at Chengdu Gourmet. With a deep understanding of traditional Chinese cooking and a commitment to quality, Zhu offers a menu that is both bold and nuanced. His dedication to his craft has earned him multiple James Beard nominations, reflecting his impact on the culinary landscape of the Mid-Atlantic region. These chefs exemplify the dynamic and diverse culinary talent emerging from Appalachia, bringing national attention to the region’s rich food traditions and innovative spirit. Their recognition by the James Beard Foundation not only honors their individual achievements but also highlights the evolving narrative of Appalachian cuisine on the national stage.