Atlanta’s SweetWater 420 Fest has returned, celebrating its twentieth anniversary with its trademark robust weekend of music, craft beer, and good vibes. From April 18th through the 20th, the Sweetwater Brewing Company-sponsored music festival takes over the historic Pullman Yards, offering a one-of-a-kind experience that celebrates music, the 420 lifestyles, the environment and Atlanta, drawing fans from all over America and worldwide. While the headliners include The Revivalists, Marcus King, and Cypress Hill, the bluegrass touch embodied by bands like Greensky Bluegrass and Sierra Hull indeed weaves the festival together. “For Patrick and me, this festival is personal,” said Evan Woolard, Senior Brand Manager at SweetWater Brewing Company and 420 Fest co-director. “We were Atlantans who went to the 420 Fest just as music fans. For many years, we’ve had a vision of what 420 Fest is and what it means to Atlanta. It’s about bringing great music and SweetWater beer into the community and throwing a party we’re proud to share with friends, family, and coworkers.” Traditionally, the festival offers a gumbo of genres, and bluegrass feels right at home. It is still as true to its storytelling roots and authentic musicianship as ever. Greensky Bluegrass serves as one of the headliners, embodying the festival’s ethos of authenticity and connection. “Greensky Bluegrass epitomizes that Neil Young quote, ‘Sometimes you just gotta play it loud,’” explained Patrick Clark, Senior Marketing Manager at SweetWater Brewing Company and festival co-director. “So many of their songs start low and slow and just build and build and crescendo to a wall of sound. Playing through your stereo is one thing, but the second you come to 420 Fest, and you've got lights, sound, and lasers shooting at you with Greensky Bluegrass pulling it all together, there's no better way to end a night.” It’s not just Greensky Bluegrass representing the genre. Festival goers can soak in Sierra Hull’s lightning-fast mandolin picking and other acts that blend bluegrass’s storytelling with modern energy. But SweetWater 420 Fest doesn’t stop at music—it’s a full-bodied experience that celebrates Atlanta culture in all its quirky, fun-loving glory. “Celebrating 20 years of SweetWater 420 Fest is a testament to the transformative power of music to bring people together,” explained Ty Gilmore, President of Tilray Brands. “This festival has always been about more than just great performances —it’s about building community, supporting artists and Atlanta’s vibrant culture all through a shared love of craft beer in the South. We’re also proud that sustainability remains at the heart of our mission, ensuring we protect the waterways and green spaces that inspire our music and spirit.” Pullman Yards: A New Stage with an Old Soul SweetWater 420 Fest has called a few places home over the years, but stakes in the ground at Pullman Yards last year transformed the event. While Centennial Park offers that classic “big festival” feel, Pullman Yards provides a more intimate, historical charm that feels tailor-made for a festival that mixes that old-timey tried-and-true musicianship with high-energy roof-blowers. “When you arrive at Pullman Yards, it sneaks up on you,” Evan explained. “You’re not in downtown Atlanta anymore. You’re in this intimate, magical space where you can hear the music, smell the food, and maybe even believe you’re in a time warp and have arrived in an old train depot. It’s a vibe.” Once a bustling train yard, Pullman Yards has been lovingly restored as an arts and entertainment venue. This juxtaposition of historic grit and modern flair gives the festival its unique identity. Much like bluegrass music, space is a meeting point of tradition and innovation. Bluegrass Roots in a Multigenre Lineup Bluegrass holds a special place in SweetWater 420 Fest’s heart, where authenticity aligns perfectly with the festival’s ethos. Patrick carries a notebook with the motto, “Algorithms be damned!” Needless to say, Evan and Patrick embrace the challenge of finding a common thread that connects every act. “Good music belongs with good music,” Patrick said. “Our lineup spans genres because we want to create an experience where every set feels connected. That authenticity is what makes 420 Fest special.” This year’s lineup reflects this approach, with bluegrass acts like Greensky Bluegrass and Sierra Hull sharing the stage with The Drive-By Truckers and even hip-hop artist Linqua Franqa. The connection is an unspoken commitment to moving audiences through their music, whether a winking veteran delivering a traditional reel or some whipper snappers out to show off their chops. Patrick drew a particularly striking connection between bluegrass and other genres on the lineup: “If you listen to Drive-By Truckers, holy shit, you're going to hear some of the hardest stories that are out there, but they're all universally real and rooted in something that, at the end of the day, has got an uplifting message to it. And then you keep putting that throughline like you get over to Athens-based Linqua Franqa. If the throughline of real is what you're going for, you can listen to any of their rap. They only talk about real issues and only talk about real experiences that women are going through, and people are going through, and they put that into a rap song.” A Sustainable Festival with Soul For SweetWater, the festival also serves as a chance to give back to the environment and community. It aligns with Earth Day and supports organizations like the Waterkeeper Alliance. Sustainability is woven into every aspect of the event, from green energy powering parts of the festival to bike valet services that encourage eco-friendly transportation. “You can’t have good beer without clean water,” Patrick said. “What Waterkeeper Alliance does is they make it possible for communities here locally, across the country, and all over this world to ensure that people have the right to clean drinking water. Ten dollars from every ticket sold is going to the Waterkeeper Alliance.” Even with t ese lofty goals, the festival doesn’t lose sight of its main purpose: a good time for everyone. “We're going to do this the SweetWater way, the 420 Fest way,” proclaimed Patrick. “And if you show up to the party, you're going to have a good time.” The SweetWater Spirit At its core, SweetWater 420 Fest is about being together, and that resonates with music and beverage fans alike. Evan and Patrick, who started as fans of the festival, have poured their hearts into helming an event that is simultaneously grandly massive and deeply personal. “It’s a celebration of the music we love as a SweetWater family,” Evan said. “We want people to gravitate to it, discover new artists, hear music they love, and leave with memories they’ll never forget.”

Celebrating its 25th year this September, the premier event of the Americana Music Association – AmericanaFest – turns downtown Nashville into a veritable hive of roots music, performers, recording industry professionals and listening fans. The buzz is loud, with both A-list and up-and-coming performers descending upon the music city for a five-day huddle of those who love the sound and culture of roots. It’s headquartered at the Embassy Suites by Hilton Nashville Downtown, but the building is overflowing far and wide, with a bevy of performances happening at intimate club and restaurant venues across town. AmericanaFest is a sonic feast for fans of the still-burgeoning genre, which combines and expands various genres. The original aim of the Americana genre was to expand the diversity of sound made from all corners of (primarily) acoustic styles. The goal was to remove the demarcation lines that might divide folk from bluegrass or country from blues, to include instead of exclude. It’s a way to bring more types of people – and more influences – into the fold. It’s a way to allow for the dissolution of all the old boundary lines and rules and make roots…well…better. Americana appears to be a culture of thinking forward instead of always backward. It’s a culture of welcoming anyone who might not have previously fit perfectly within the confining traditional strictures of specific genre boxes. Perhaps the biggest event of AmericanaFest is the annual Americana Honors and Awards show, where some of the biggest legends in alternative roots forms will appear onstage alongside newcomers making new waves in the biz. For AmericanaFest 2024, longtime gospel act, The Blind Boys of Alabama shared the same stage as acts as disparate as Jobi Riccio, Dave Alvin, Fantastic Negrito and Larkin Poe. The stage at the hallowed Ryman Auditorium was truly alive as honors were bestowed and music – both classic and new – reverberated among the old wooden pews of the beloved venue. Dwight Yoakam was among six greats who received Lifetime Achievement Awards, and performers such as the eclectic Sierra Ferrell were recognized for their recent work. "AmericanaFest is the unique event of the year in which a large portion of our scene comes together to commune and share a watering hole for a few days, metaphorically speaking,” explained Clint Roberts of Western North Carolina’s Holler Choir. Roberts and his group – which specializes in old-time Appalachian music – performed at the 2024 fest at the music venue, 3rd and Lindsley. “It's a chance for artists to make new bridges between one another where they may not otherwise cross paths,” Roberts continued, “and it's a chance for fans to witness that exchange. It is a family photo of those who live on the road." 3rd and Lindsley isn’t the only venue that welcomed the best of Americana – over 50 downtown spots participated in some way, including small lounges, large event spaces such as the Mainstage at Cannery Hall, and stages at famous Nashville night spots such as The Bluebird Cafe, The Station Inn, and more. Bluegrass acts The Kody Norris Show, The Po’ Ramblin’ Boys, Rhonda Vincent and the Rage, Missy Raines & Allegheny, Tray Wellington, Liam Purcell & Cane Mill Road, and The Steel Wheels are just a few names from the 2024 performer slate that might be familiar to readers of The Bluegrass Standard. The festival offers not just the awards show and concerts but a trade show/vendor area and several days of panelist discussions led by industry professionals. In 2024, there were songwriter rounds, artist management and record label parties, jam sessions, a gospel brunch, and much more. There were tributes to everything from John Denver to Hispanic heritage and women's impact on music. It’s all designed to entertain, educate, and create a meeting place for the entire Americana community. The panel discussion topics were wide-ranging. Conversations included the expected marketing and recording/production techniques topics, plus more cutting-edge concerns, such as using Artificial Intelligence in the music business. Offerings also included cultural-oriented discussions about more than just the nuts and bolts of business. Photographer Jeff Fasano has been a regular at AmericanaFest for years and plays a recurring role. “Back in 2009, I attended my very first AmericanaFest and absolutely LOVED it,” Fasano said. “It touched my soul deeply.” In 2011, Fasano partnered with AmericanaFest and created the “AmericanaFest Portrait Sessions.” He takes portraits of the attending artists, and eventually created a rich collection of photos from these years of capturing the character of those who make the music. They were published in book form in his “Americana Portrait Sessions.” “I have photographed many amazing artists during my 25-year career, and these sessions are my way of giving back to the Americana community. The sessions have served many young artists who give up so much to come to AmericanaFest so they can be seen and heard.” “That’s the beauty of AmericanaFest,” Fasano added. “One never knows who you are going to see and hear that will blow your mind. Someone you have never heard of will grab your heart; it is guaranteed.” Someone else you might encounter is RJ Stillwell, Founder and CEO of Sound Healthcare and Financial. It might seem odd for a healthcare company to participate with a booth and as a panelist at AmericanaFest, but Stillwell’s company is interconnected with the music business. The company reports representing “approximately 70 percent of Nashville’s Music industry professionals” for health insurance solutions. “The enthusiastic energy from attendees, panelists, showcasing artists, participating venues, and fans alike is infectious,” explained Stillwell of his company’s participation. “I love that the Americana Music Association creates such an inclusive and exciting container to celebrate Nashville’s entertainment industry. Most importantly, the all-encompassing mission of the conference – to offer incredible all-level counsel for artists and musicians to enhance their careers and experiences – speaks volumes about its value to our community.” AmericanaFest Honors & Awards Winners, 2024: “Album of the Year” – “Trail of Flowers” by Sierra Ferrell (produced by Eddie Spear and Gary Paczosa) “Artist of the Year” – Sierra Ferrell “Duo/Group of the Year” – Larkin Poe “Emerging Act of the Year” – The Red Clay Strays “Instrumentalist of the Year” – Grace Bowers “Song of the Year” – “Dear Insecurity” by Brandy Clark, featuring Brandi Carlile (written by Brandy Clark and Michael Pollack) AmericanaFest Lifetime Achievement Award Honorees, 2024: The Blind Boys of Alabama0615 Dave Alvin Rev. Gary Davis Shelby Lynne Don Was Dwight Yoakam

A pandemic project that modestly began in Great Britain as an instructional tool for an aspiring guitar picker has grown into a twice-weekly podcast that features interviews with some of the biggest names in bluegrass. Matt Hutchinson, the host and producer of Bluegrass Jam Along, has been recognized with a Momentum Award from the International Bluegrass Music Association. “In the middle of the pandemic, I was stuck at home like everybody else was and found myself picking the guitar up again,” Hutchinson says. “So, I started learning fiddle tunes, and I went looking for backing tracks to play along with and couldn't really find what I wanted. I started recording some tracks for myself to play along with, and I thought, well …I wonder if other people might find these useful.” He concluded that they would, and he put them out as a podcast. “And it grew from there.” Hutchinson, who lives and works in London, says he’s been into music since he was a kid. “My dad listened to the Beatles a lot, but we also had Johnny Cash records, Buddy Holly, and all sorts of stuff. And in my late teens and early 20s, I got into things like Neil Young and Bob Dylan, Tim Buckley and singer-songwriters. I think it was the Neil Young thing that first got me interested in the sort of more country Americana side of things.” Hutchinson was considering expanding the podcast to include interviews when he received an interesting email from guitarist Jake Eddy. “We were in the same guitar Facebook group, and he said, ‘Oh, I've got a record coming out. How about we do an interview for your podcast?” And I was like, Yeah, great, let's do that!’ So, I did that, and then I just carried on. After that, I spoke to Marcel Ardans from the Lessons with Marcel podcast and did an interview with him. The third interview was with guitarist Bryan Sutton. Once you've had Bryan Sutton on your podcast, it becomes a little bit easier to get other people to come on it.” In a relatively short time—and an ocean away from where most of his interview subjects live—Bluegrass Jam Along has included features with some of the biggest names in the business, including Alison Krauss, Sierra Hull, Chris Eldridge, Sarah Jarosz, and Tim O’Brien. For someone with no formal training as an interviewer, Hutchinson is able to engage his guests in compelling and illuminating conversations. ‘“My day job, which has nothing to do with music at all, involves working in communications. And I've been interviewed a few times for that. And I write quite a lot. I figured I'm curious, and if I ask the questions I want to know the answers to, presumably other people will as well. “Some musicians just do the rounds and talk about their album and what they're doing now, and you can hear the same interview on four or five different podcasts. I wanted to dig a bit deeper into what makes people tick, what they really care about, and what being a musician means to them and how they feel, rather than what strings they use and what picks they use and that kind of thing.” Among the most notable Bluegrass Jam Along interviews was with dobroist Jerry Douglas about a concert celebrating Earl Scruggs’s 100th birthday. “The funny thing is, I interviewed Jerry for that, and we spoke for an hour, and the next day, I realized that all of my side of the conversation had been recorded, but his had not. There had been some sort of tech problem. I emailed back, and Jerry said, not a problem, let's just do it again. And it was a different conversation the second time around. Equally interesting, You could interview Jerry seven days a week and get seven different interviews because he's such a great interview.” Hutchinson experienced the sense of community, a vital component of the genre, when he made his first trip to the International Bluegrass Music Association conference in 2023. “I just felt like I'd arrived somewhere that I belonged slightly, which is an odd way to experience basically three days in a conference center in an American city. I just kept bumping into people I'd interviewed. And people who'd listened to the podcast would come up and talk to me. I just felt remarkably connected. And then coming back again this year and being around and meeting people again and just sitting and bumping into people I'd interviewed and sitting and having a drink for 20 minutes, I just felt connected and welcomed and like I belonged. And it's such a powerful feeling whenever you find it.” Hutchinson produces two weekly episodes: a ten-minute news update called The Bluegrass Briefing and an hour-long interview show. Throughout it all, he’s on his journey into bluegrass and inviting others to join him. “If I tried to set up a bluegrass podcast that told people what bluegrass was, well, I am the least qualified person in the world to do that. But if I'm trying to do something that explores my curiosity and invites people to come with me and hope they're curious too, then I'm the only person who's qualified to do that the way that I would do it. Hopefully, there's a version of that that other people find interesting.”

In the Turnberry Records showcase room during the IBMA World of Bluegrass in the Marriott, downtown Raleigh, NC, one of the performers on the Turnberry stage was a charismatic young banjoist with long hair: Ettore Buzzini. He played his heart out for a room full of music lovers. Although it was very late, attendees sat a little taller in their chairs, leaning forward as Ettore played. His business card bears the image of him holding a banjo, laying down on a Swiss Army knife, and the back reads, “Trad-scendental Bluegrass that hits you in the gut and elevates the soul.” That pretty much says it all. The next day, Ettore performed on the showcase stage next to The Bluegrass Standard’s booth at the trade show. The large crowd they drew tapped their toes and smiled as the 17-year-old banjo phenom played, wearing a wise-beyond-his-years demeanor of someone with an old soul. Confident on the stage, he in no way tried to grab the spotlight, respecting that he was part of a band. Arriving at IBMA, Ettore had just won the prestigious Freshgrass Banjo competition award, for which he played a traditional song, “Dear Old Dixie,” and an original composition, “Birth of Eros,” blowing the socks off the judges, who included banjoist Alison Brown. Ettore (pronounced Et-tor-ay) lives in Mooresville, North Carolina. His father is Swiss Italian, and his mother is from East Tennessee. Growing up in Mooresville, Ettore and his sister visited family in both Tennessee and Switzerland. His exotic-sounding name fits him, although his music friends call him Eddie Ray because, to them, that’s what his name sounds like. At age six, Ettore’s grandfather gave him an old iPod. “He told me I could delete what was on it and put whatever I wanted to on there.” He turned on the iPod in the car on the way back to North Carolina from his grandparents’ home in Tennessee. “I wasn’t a big music person at that time, but when I turned it on, I heard ‘Shucking the Corn’ by Flatt and Scruggs, and it stopped me in my tracks. I say it was my gateway drug to the bluegrass music world. I decided that day that I wanted to play banjo.” He continued to ask for a banjo for the next two-and-a-half years until his grandfather lent Ettore his. Ettore played it for a month, teaching himself to play several songs. “The day I got the banjo, I saw someone playing ‘Cripple Creek’ on YouTube. I was so determined to learn to play it.” His mom says Ettore woke her at 6 am to play it for her. “I decided it was time to let him take some lessons – something I did to save me from getting headaches,” laughs Yvonne. Ettore took lessons from Bill Rippey for three years before Covid. “He was a good teacher,” says Ettore. Soon, he was seeking out jams. “I started playing at Richard’s Coffee Shop and then going to fiddlers conventions, which is really my favorite because they are so much fun.” The first time he competed, at the Ashe County Bluegrass and Old Time Fiddlers Convention, Ettore didn’t place. Instead of being discouraged, it motivated him to work harder. Ettore worked up “Home Sweet Home” for the Fiddlers convention in Fiddler’s Grove and won first place. “His grandfather came to accompany him and played backup guitar,” says Yvonne. He was just ten years old and had been playing banjo for one year. He never won the Ashe County contest but won first place at the famous Galax Old Fiddler’s Convention at age 11. As Ettore started learning music, something amazing happened. Ettore began writing music, and he became the total package in terms of being a performer. His compositions reflected his emotions, and more importantly, he wanted his songs to make people live in the music and feel things. “While bluegrass has the typical hurtin’ or gospel song, there are many emotions in the human experience left relatively untouched by the genre,” he says. “This refers to lyrics as well as composition. How many kinds of bluegrass music have you heard? There are five, maybe like the waltz, fiddle tune, sad hurtin’/cryin' song, gospel/praise, etc. Many feelings and emotions are heavily underrepresented in the music of bluegrass.” He asks, “Have you ever heard a bluegrass song that made you feel heroic, sublime, terrified, ghastly, or emotions that cannot be described in words?” He explains that there is a much broader scope of emotions in the music itself besides the current repertoire of happy/sad/angry. “I want to bring as much emotion as I can to bluegrass music in an experience that doesn’t depict a describable emotion but rather makes you live an indescribable emotion that only music and life can make you feel. To bring as much of the human experience to our music as possible.” Ettore’s music reflects the influences from his mother’s Tennessee roots, his father’s European roots, and his upbringing in North Carolina. His debut album, Eddie Ray, opens with a song he wrote when he was 11. “Ragnarok” tells the story of the mythical battle between two Norse gods, Thor and Odin. That song won him the Young Songwriter’s Competition at the Kruger Brothers Festival in Wilkesboro. Other cuts on the album include the jazz standard “Farewell Blues,” recorded by Flatt & Scruggs in 1950. Ettore closely follows that arrangement. A few more originals fill out the album, including “I’ll Try Not to Care,” a traditional bluegrass song co-written with up-and-comer Mason Via and producer Tom Mindte about the time-honored theme of love gone wrong but with a dash of teen angst added to the mix. “Cash Don’t Sleep,” another original, is an emotional song about a young undocumented immigrant struggling to bring a family to settle in North Carolina. Ettore’s album piqued Pete Wernick's interest. Wernick had met a young Ettore at one of the Dr. Banjo jam camps he attended. Wernick invited Ettore to play sets with him at Earl Scruggs Festival and MerleFest. The friends who attend public school with Ettore in Mooresville support him. They featured him in his high school yearbook. “That gives me hope,” he says. “I want to get people my age listening to my music and break out of the traditional bluegrass audience.” Ettore is unapologetic with his music, and for good reason. He has it all – he’s a strong songwriter, instrumentalist, and vocalist. He is currently starting to work on a new album, and he’s putting out new singles. “It won’t be long before we will be promoting the new music. It won’t be like any bluegrass album out there – but it will still be very satisfying.”

A Jamie Oliver Dish Many of the world’s most famous chefs thrive in bustling big cities, where culinary innovation and diverse cultures shape their craft. However, some of these celebrated culinary talents have ventured into Appalachia, drawn by its unique charm, deep culinary traditions, and rich natural resources. For some, the chance to connect with the region’s foraged ingredients, like ramps and pawpaws, inspires their menus. For others, a specific initiative draws them to the mountains. From fostering healthier eating habits to offering a new dining option, these celebrated chefs have left lasting marks on the communities they visited. ANDREW ZIMMERN Andrew Zimmern visited Appalachia on his show Bizarre Foods to explore the region's rich culinary heritage and unique traditions. During his visit, he delved into the region’s food culture by foraging for wild mushrooms, experiencing a liver mush festival, and learning the art of squirrel hunting and cooking—a practice deeply rooted in the area’s history. He also showcased local delicacies like venison, sumac and more, shedding light on the ingenuity and resourcefulness of Appalachian cuisine. Zimmern’s visit not only highlighted the flavors and traditions of West Virginia but also brought national attention to the state’s culinary identity, fostering a sense of pride among locals and inspiring viewers to appreciate the richness of Appalachian culture. JAMIE OLIVER Jamie Oliver visited West Virginia as part of his television series Jamie Oliver’s Food Revolution, where he aimed to tackle the issue of unhealthy eating habits in America. Focused on Huntington, a city once labeled one of the unhealthiest in the United States of America, Oliver worked to introduce healthier food options in schools and communities. He collaborated with local families, teachers, and school cooks to educate them about the benefits of fresh, homemade meals over processed foods. His visit sparked conversations about the importance of nutrition, the role of food education, and the challenges of transforming entrenched eating habits. While his efforts were met with some resistance, Oliver’s presence ultimately shone a spotlight on the need for systemic change in food culture and inspired ongoing efforts to promote healthier lifestyles in West Virginia and beyond. AARON SANCHEZ Aarón Sánchez, celebrated for his roles on shows like Chopped and MasterChef, partnered with West Virginia University (WVU), where he helped open a restaurant showcasing his signature Latin flavors. Sánchez lent his expertise and recipes to Adobo Cantina, a new Mexican food dining station at Café Evansdale. The menu bridges traditional Mexican food with a modern approach and utilizes the best ingredients available. By teaching the value of fresh, local ingredients and how they can elevate dishes, Sánchez reinforced the importance of supporting local farmers and food producers—a key element of a thriving regional economy. This endeavor brought world-class cuisine to Morgantown, giving students and residents a taste of Sánchez’s bold, innovative dishes. ANTHONY BOURDAIN Anthony Bourdain visited West Virginia on his show No Reservations to explore the state’s rich cultural traditions and misunderstood identity. During his visit, he immersed himself in Appalachian culture by sharing meals with locals, including classic dishes like trout, vinegar pie and corn chowder. Bourdain highlighted the region’s close-knit communities, rugged beauty, and culinary ingenuity born from necessity. His conversations with residents shed light on the stereotypes Appalachia faces and the resilience of its people. Bourdain’s thoughtful approach brought national attention to West Virginia, challenging misconceptions and celebrating the authenticity and warmth of its food and culture. GUY FIERI Guy Fieri has brought his signature energy to Appalachian restaurants through his show Diners, Drive-Ins, and Dives, spotlighting the region’s hidden culinary gems. From homestyle diners to innovative eateries, Fieri has showcased Appalachian staples like hearty soups, scratch-made biscuits, and unique twists on comfort food. His visits have highlighted the food and the stories behind the chefs and families who pour their passion into their dishes. By featuring these establishments, Fieri has helped introduce Appalachian cuisine to a national audience, boosting tourism and providing well-deserved recognition for the area’s culinary talent and traditions. While each chef brought their expertise and mission to Appalachia, common themes emerged from their visits: food education, empowerment, and celebration of local ingredients. Appalachia’s food culture is more than its challenges—it is a vibrant, evolving tradition rooted in pride, resourcefulness, and hospitality. The chefs’ contributions have not only shone a light on Appalachia’s rich culinary potential but also sparked ideas and opportunities for the region to embrace its future. At its core, food in Appalachia reflects resilience, creativity, and community. Thanks in part to the work of these celebrated chefs, the region continues to grow, inspired to build healthier habits, stronger businesses, and a deeper appreciation for its unique food traditions.

Despair not, all ye who have struggled to learn the banjo. Self-described “ebanjolist” Matt Brown brings good tidings of great two-finger picking joy. He declares anyone can learn to play the banjo using that style. “I had a 100 percent success rate getting people playing two-finger,” says Brown, who has taught all three styles. “With clawhammer, it was never 100 percent. With Scruggs’ style, it was never 100 percent. But everyone could do two-finger.” Perhaps you've been vanquished by the intricacies of the Earl Scruggs three-finger roll. Or maybe after months of practice, the unnatural stroke of the clawhammer remains a mystery. On twofingerbanjo.com , Brown offers online instruction in a style that he says anyone--and he means anyone--can employ to make music on the banjo. Brown grew up in West Chester, Pa., in a family that loved old-time music. The night before his birth, his parents were at a square dance. His father played the five-string banjo. Brown grew up going to festivals, and traveling musicians often stayed at the house. At the age of four, Brown took up the fiddle through the Suzuki method. By the age of 16, he was a touring musician and left high school early to study music at nearby West Chester University. And then, he experienced an instrumental change. “I never really fell in love with the banjo until I made my first album as a fiddle player, and the banjo player on that record was Paul Brown,” (no relation) says Matt Brown. “Growing up, I wasn't super impressed with the banjo. It just seemed like a normal thing that everyone did because my dad and all his friends seemed to play banjo. But there's something about Paul Brown’s style that broke through the normalcy of that and just blew my mind. He was very tasteful, and he never just pigeonholed himself into one style. I was just riveted by what he was doing. “I first met Paul at Swannanoa Gathering’s Old Time Week and just fell in love with his sense of humor and then his musicianship.” Matt immersed himself in the banjo, often taking the train to Washington, D.C., to get a lesson from Paul Brown, an NPR journalist and newscaster at the time. Now retired, he lives in North Carolina and is a highly regarded traditional banjoist and fiddler. . “I just fell in love with his style and at first, I literally just tried to learn his parts off of our album. And then it became a little bit bigger than that,” says Matt. “That turned into me then taking the two-finger lick that he does in some lead style and starting to explore other tunes in that regard.” In 2011, Matt moved to Chicago to begin teaching at the storied Old Town School of Folk Music. The introductory class he took over offered basic instruction in three styles: clawhammer, two-finger, and three-finger. Matt was becoming more intrigued with the two-finger style and offered to develop advanced classes for interested students. “And so for seven and a half years, I taught hundreds of people in Chicago how to play two-finger thumb-lead, or two-finger banjo in particular. And I somehow stumbled into this niche that I'm into this day. That's kind of the main thing that I'm known for.” The two-finger style was more prevalent before being overshadowed by the three-finger style that Bill Monroe showcased in his band after WWII. Matt has discovered many old-time banjo players who have incorporated various two-finger styles into their vocabulary. And he says there are licks that work in both styles. “There are moments when two-finger and bluegrass people might be doing the exact same combination of strings. It's just whether we're using two or three fingers to produce the sound. As two finger players we can kind of live on the line between bluegrass and old time and hang in both worlds, which is super satisfying.” Now Matt has embraced online learning and is creating videos, tablature, and other instructional material for his YouTube channel and twofingerbanjo.com . “My focus has turned to how I can teach the most people in the best way and that has led me to hosting a Patreon community where I teach intermediate and advanced arrangements of mostly old time, but not just old-time music to banjo students,” he explains. After years on the road, Matt doesn’t miss performing. When his second appearance on The Grand Ole Opry struck him as “just another gig,” he knew his heart was in teaching. “I'd rather play music in a jam or share what I know about the banjo with the community of people around the world who are also interested in it. That really is much more fulfilling to me than going on a tour and playing the next show somewhere.”

The Spring Chickens “Spring chickens” refers to the newly hatched. Up-and-coming bluegrass outfit The Spring Chickens echoes this with their band’s name, aiming to give a fresher, more youthful vibe to the bluegrass scene in and around St. Tammany Parish, Louisiana. Cajun and zydeco consistently thrive in southeastern Louisiana, but bluegrass and folk forms struggle more. They tend to wax and wane. The Spring Chickens aims to infuse that lukewarm local bluegrass scene with a new vitality. For the past two years, local audiences seem to like what they’re hearing and seeing. According to banjo player and band leader Cody Smith, The Spring Chickens formed at a time when local bluegrass was at the bottom of a popularity trough. The scene has undoubtedly been headquartered at the Abita Springs Opry for years. It’s been the de facto nexus of traditional performance in St. Tammany and perhaps even of the entire greater New Orleans area (it is located an hour north of the city, across Lake Pontchartrain). In addition to the Opry, a longstanding, unique, free music series at a feed store in Covington, Louisiana – the Marsolan Feed and Seed Store – provided another acoustic roots venue. That all ended in 2021 when the store suffered a devastating fire. It was a setback for bluegrass. Smith said The Spring Chickens have done their best to assist in re-growing bluegrass. Hopefully, he said, the band’s youthful vibe will be able to grab new, younger fans who might want to tag along for the ride. “I think we’re at the bottom of the slope now and going uphill,” Smith explained of the change he senses is happening locally. He said the band – which started in January 2023 – has been picking up steam at a rapid pace. He said most of the other bluegrass acts in the region are older in age, so there’s something a little different about The Spring Chickens. Smith said in 2024, “We ended up with so many gigs that it was just too much!” He said things started to really click for them during 2024 when, instead of just being “background” entertainment, they “got more sit-down shows.” This included a successful appearance at the Sullivan Theater in Central Louisiana. The “Chickens” have been featured in local newspapers and have appeared live on WWOZ radio in New Orleans. They’ve played at the expected venues, including the Abita Opry, the famed home of Abita Beer, the Abita Brew Pub, local farmer’s markets, and festivals promoted by the Magnolia State Bluegrass Association. They participate in events of the Northshore Traditional Music Society, a nonprofit for which Smith volunteers time; it’s designed to promote bluegrass, jazz, Irish, and other acoustic genres. The Society produces an annual festival and hosts a music jam from March through October, among other offerings. Smith noted excitement about an upcoming performance of the band on March 22 at the New Orleans Bayou Bluegrass Festival, where the rest of the lineup includes East Nash Grass, the Edgar Loudermilk Band, Wyatt Ellis Featuring Chris Henry, Catahoula Drive, and The Tanglers. He suggested following the band's Facebook page for more information on this event and other appearances. Along with Smith on banjo, The Spring Chickens include Mitch Bailey (guitar), Madeline Hill (fiddle), Andrew Hoz (bass), and Ben Russell (mandolin). Right now, the band is presenting its own renditions of classic bluegrass, but it’s toyed a few times with the idea of making originals. He said he and guitarist Mitch Bailey have dabbled in writing. “We’ve been asked if we were interested in recording originals,” Smith explained. “I think Mitch has written a few songs; I’ve written a few.” Right now, however, he thinks growing an audience, honing skills, and being part of reviving the scene in his neck of the woods is the main focus. For now. “We work pretty hard at this,” he said. “We’ve pushed each other to get better.” Smith said he didn’t start in bluegrass; he learned classical piano in childhood and didn’t transition to guitar and banjo until his later teen years. Despite bluegrass being far less popular in Louisiana than Cajun, he was attracted to it because it was “difficult and engaging.” He sees music, in general, as a way to truly express feelings that might have no other outlet. “A lot of people invest emotionally in music,” he explained. “And it’s a catharsis…letting emotion OUT.” When Smith talks about it, it sounds like the bandmates’ hearts are in the right place. For him, it’s not about “making it big” or even forging a career. It’s about making good music and having a great time. By any account, it’s refreshing to hear these goals when so many young performers are focused solely on appearances – and on winning “clicks” – rather than on creating music that matters. “I think we’re more family-oriented than living on the road,” he said when asked why they’re not rushing to take things up a notch. For The Spring Chickens, the purpose is as pure and straightforward as can be. “I think we’re just gonna have as much fun with it as we can,” he summarized.

Robert Street Friedman In a household where the music of Pete Seeger and Woody Guthrie mingled with Beatles tunes, music crafted as resistance and storytelling profoundly shaped a musical ethos that nurtured Roger Street Friedman as a songwriter. "When I started writing songs," he said, "I thought that's what you did: write music with a message." As his discerning social conscience grew, so did his signature writing style, a transformative storytelling reminiscent of '60s and '70s protest music. Friedman's father was a decorated World War II veteran, and his older brothers were vocal opponents of the Vietnam War. To this intersection of military service and activism, Friedman noted that his father entered World War II as an officer in the fall of 1944. "He fought through France and Germany and then got seriously wounded, and I think by the time Vietnam happened, he did not feel that it was a just war, even though he was a war hero." At 16, Friedman and Jon Carin, who later played with Pink Floyd, were in a band and co-wrote a song called "The Poor Man Blues." He laughed, telling this story. "I was in no way a poor man, coming from a solid middle-class background, but I always felt like music was something that should tell the story of the underdog." He speaks of Jackson Browne's influence, saying, "I was 17 when I saw [Browne] protesting a big nuclear facility that was going to be put up on the eastern part of Long Island." Drawing from other icons like Paul Simon, Neil Young, and Joni Mitchell, Friedman explored love, despair, resilience, and hope with an acute awareness of the human condition. From this early foundation, he wrote to amplify marginalized voices and investigated the complexities of justice by reexamining events and translating them into songs that would resonate universally. On his latest ablum, Long Shadows (out now), he aspired to provoke thought and change and penned his song, "I Think We Know," after the October 7th attacks in Gaza. "I knew what the Israelis would do. It was just horror upon horror, and that song came out in 25 minutes," he said. "That was not a conscious decision I made. I was just so moved by it that the song just flowed out of me" Through this haunting ballad, he captured grief and despair that acknowledges the cyclical nature of violence while still clinging to a kernel of hope. Friedman's albums Rise and Love Hope Trust delve into themes of social justice with striking clarity. One single from Love Hope Trust, "The Ghosts Of Sugarland," examines the horrors of convict leasing after the Civil War. A newspaper article about a school district constructing a new building in Sugarland, Texas, motivated Friedman to write the song. As the construction crew excavated, one bulldozer operator found some bones. "They thought it might be a crime scene or something, so they called the police. It turned out that it was the remains of a mass grave of convict laborers who worked on a sugar plantation down in Texas after the Civil War." Friedman explained how some laws had been written to make it easier to arrest people and to exploit the loophole in the 13th Amendment. Slavery had been outlawed, "but if somebody committed a crime, you could use prisoners as slave laborers." He added that these laws were also called “the black codes”. "I think the injustice made me want to write about it." It wasn't the usual way Friedman wrote a song, but he did extensive research because he felt responsible for getting it right. "The hope in writing about historical topics is that change will be spurred, but I'm not sure that it is possible to change people's deeply held beliefs." On “Long Shadows” he further explores this fertile ground with “The Banks Of The Brazos”. Sung from the perspective of one of the condemned men sentenced for petty crime only to die of “heat stroke” 10 days after arriving in the cane fields. Contrasting feeling inspired to write a story, and feeling obligated to share a story to effect change, Friedman said, "I think it's a little bit of both." He admits he has been lucky. "I'm a white guy, born into a middle-class family, with no major stories of discrimination in my past, and I feel that if I can do anything, I should. It's all I have: the ability to write a song about it." Similarly, on “Long Shadows,” Friedman addresses modern social issues with incisive wit and sharp commentary. "The Land of the Leaf Blower and the Mighty SUV" critiques suburban complacency in the wake of George Floyd's murder. Its rollicking acoustic riffs belie the seriousness of its lyrics, which scrutinize white fear and privilege with biting irony. "I try not to bang people over the head with words like you're bad, or this is bad, and this is good. I try to just tell the story. Still, I feel like where there's life, there's hope, so you have to, even in the darkest moments, think about people who survived horrific things; from terrible abuse, or tragedy, to the Holocaust. People survived by holding on to hope. Having that vision of how things can be is important because neither man nor womankind has gotten anywhere without imagining it first." The reality, he pointed out, is that there is much suffering in the world and much sadness in people dealing with lost loved ones or the loss of a loved one. "But there is also a lot of beauty. Many beautiful people will come to your rescue, whether you're red or blue or black or white or yellow." Although many of Friedman's songs tackle societal issues, his personal life also informs his work. His single "Rolling In Again" honestly and humorously probes the dynamics of long-term relationships and captures the push-and-pull of emotional distance and reconciliation and the universality of such struggles. "When one person checks out emotionally, and one person feels abandoned, it's about always rolling back in," Friedman explains. "I like the push and pull of a relationship. I've been married for 20 years, and we're at the point in our relationship where it's okay to fight and go to the other side of the house, but it's cool because we're always rolling back in." Friedman also took a 25-year hiatus from the music industry, and when he returned …well, there had been changes …to say the least. "It seems like, with social media, computers and technology, everything is speeding up, and people's attention spans are getting shorter. You have to say everything in a tweet. I was on Instagram, and one musician said something about the election, and of course, many of his fans said stick to your music and don't say anything. But we're artists, and we’re people with opinions; that's what we do." Sadly, some things never seem to change. "One thing about writing songs about injustice and stuff like that or telling stories of people who are mistreated or discriminated against is that those are never-ending. It's like they've been here since the beginning of time and will be here forever." Friedman's newest album, Long Shadows, represents those stretching shadows during the golden hour, symbolizing growth, introspection, and the interplay between light and darkness. "It's the first one I self-produced that I'm pretty proud of. I'm hoping to do some touring. We're working on that now," Friedman said. "Beyond that, I'm continuing to write, and I'm sure more records will be coming out." Whether revisiting historical injustices or addressing contemporary struggles, Friedman's writing will continue to compel listeners to confront uncomfortable truths while also finding solace in shared humanity and joy in his brilliant musicality.

According to Sociograss, the toe-tapping music of the group’s home region of Scotland might feel somehow familiar to fans of American roots music …and vice versa. While having distinctive backgrounds, histories and stylistic features, both Indigenous music approaches were born in similar environments. “The bluegrass community and the Scots/Irish trad community have a lot of cultural commonalities,” explained Sociograss fiddler and vocalist Ben Errington. “The pub jam session is a huge part of it, and people here respond really well to music on both sides of that, as there’s a shared energy and a shared theme in the storytelling within the lyrics. The folk music world in the broad is a really inclusive part of the musical landscape, and so I think that accessibility is really valued in both bluegrass and trad,” he said. Self-described as a “rough and rowdy Americana collective,” Sociograss originally consisted of members of several other groups who came together as one. Errington explained how location might influence the group’s vibe. He said he hopes the band “embodies the spirit and feeling” of the Leith area of Edinburgh, where Sociograss first started playing together. “Leith’s a fantastic area, super diverse, culturally rich, and a lot of fun to be in,” he said, adding that it has an unmistakably strong identity. “I hope that there’s something in that narrative that runs through our band and our story, too,” he added. Errington said even though the regional music scene feels sonically similar to Appalachian folk styles, the kind of music Sociograss plays isn’t all that common. Interest is growing, but it wasn’t as strong years ago. “In building this band, we’ve not had all that many local bands to look to for guidance on the genre-scape that we occupy,” he explained. That being said, Errington feels the Americana influence is catching on in his neck of the woods. Sociograss does its part to spread its passion; it runs a weekly open jam session at a local pub in Leith (Bowlers Rest), which he said focuses on “bluegrass, old-time, early country, and American roots music.” Sociograss strives to be fluid and open, leaving space for things that might not perfectly fit the expected bluegrass formula. “We draw influence from a lot of adjacent genres, and we always strive to achieve a sound that’s a little different,” he said. “We’re not a straight-ahead bluegrass band, but bluegrass is our foundation.” The band’s debut album—“Made It All Up,” released in September 2024—features eight tracks, with an extra bonus track when the whole album is purchased on Bandcamp. “The songs, for the most part, are attempting to say something about us and about our experience here in Edinburgh and across the water in the states, where our guitarist hails from,” he said. “In a big way, it’s an homage to our musical home in Leith, a place that is very dear to us.” It was recorded over just a few days in 2022. Paul Dennington, whom Errington described as a studio “wizard,” produced the record. The other current members of Sociograss are Tim Leslie (guitar, vocals), Mark Hand (mandolin, vocals), Jimmy Wright (banjo, vocals), Conal McIntosh (double bass, vocals), and Alex Riach (fiddle, vocals). The band’s name is interesting; it’s an obvious play on the word “sociopath.” When they first started, they’d play at a local bar in Leith, the Mousetrap (the first track on the record, “Mousetrap Rag,” is a tribute to that venue). They had to come up with a name on the spot that would be used to book their budding act. After a “drunken brainstorming session,” someone came up with the play on words. “After that, it just stuck,” Errington said. “But I promise we’re not a band full of sociopaths!” He started making music at age three or four. Errington’s mother was a piano teacher; he credits her with helping him grow. He started out on a Suzuki violin, and by age seven or eight, the youngster was already busking on the streets of Edinburgh while his father supervised nearby. As he grew, he immersed himself more and more, playing with local bands and at festivals. “So many young people give up on their hobbies, be it a musical instrument or dancing or whatever it is, when they get to their teenage years,” he said, adding that this is especially true “with instruments like violin, that maybe aren’t as cool as an electric guitar or a set of DJ decks.” He’s glad he stuck with the fiddle. “It’s now been 25 years that I’ve been playing,” he said, “and it’s such an evocative and versatile instrument that I can’t imagine ever giving it up.”

Reaching thousands daily with her morning radio show, Mornings with Annette, The Bluegrass Jamboree DJ and CEO Annette Grady is using live stream to help those affected by Hurricane Helene. “There are a lot of people inside the state and outside the state who don’t understand the severity of what happened with Helene,” Annette says, wanting to raise awareness. “If it means that I’m bringing it to somebody’s attention where they can start to do some research and they see it for themselves, it's gonna get [them] some help that they didn’t have previously.” Born with radio talent, Annette's grandfather was the late North Carolina DJ Chester Thompson. She remembers how strange it was for her and her brother growing up. “To us, radio was just part of our life. Everyone we went to school with thought it was a big deal to know someone in radio,” explains Annette. The Bluegrass Jamboree CEO got her start helping her grandfather with his weekend show, The Chester Thompson Old Time Jamboree. “My granddaddy was on the air at the local radio station on Saturdays and Sundays. So, I said [to him], Hey! Do you mind if I go with you?’ He was thrilled. I was the only granddaughter of four grandchildren to express interest in radio.” The North Carolina DJ, who still prefers to be heard but not seen, recalled, “One thing about [my grandfather] … he’d put you to work. By work, I don’t mean he gave me little chores to do; he put me on the air! I was a shy kid, and this helped break me out of my shell.” Annette revealed how her grandfather's untimely passing launched her into full-time radio. “I worked with my granddaddy off and on for about three years until he was involved in an automobile accident. “My grandmother said, ‘Who’s going on the radio tomorrow to tell them the show is not going to be on anymore?’ I said, ‘The show is not over because I’m going to do it.’ I thought to myself, ‘What are you saying?’ I didn’t know what I was doing and didn’t have an official background or schooling, but [he] had taught me a lot.” Annette remembered the kindness and support of Kari Delacruz, a station hand who taught her the technical aspects of terrestrial radio. “She was a Godsend. She would sit with me and make sure I understood all the controls on the soundboard. I learned how to slowly go from one thing into another and it would be professional. She took her time with me.” Wanting more control of her career, Annette started her internet radio show, The Bluegrass Jamboree, in 2013. The show features a mix of bluegrass, gospel and traditional country. “God has been after me to do this for the last couple of years,” Annette recollects saying to her former station manager before leaving. “It was time for me to stand up and trust in the Lord.” Seasoned DJ Paul Gunderson joined her to help build the station. “He already had a station out in Oklahoma,” Annette said, “so he already had his stuff together.” She says today that The Bluegrass Jamboree has eighty-thousand listeners a month. “It’s been a slow, gradual process. It’s taken us ten years to achieve the 2024 Society for the Preservation of Bluegrass Music of America award. “If we never get it again, I am content that we won it once,” shares Annette. She believes the key to success is simple. “You don’t have to have schooling; you don’t have to be trained. If you know how to talk and keep somebody’s attention, you can become a broadcaster.” She shares faith with her audience and features an hour of gospel music every morning before playing bluegrass. “When I give God that first set every weekday, I am giving him praise.” Annette looks for the good in all things. “This [radio station] is my blessing!” For now, she prioritizes helping those affected by Hurricane Helene. Feeling confident about her message, she says citizens are getting involved. Among those stepping up are YouTubers Shaun Lloyd and Andy Lee. “They have raised eighty thousand dollars. They’re buying supplies, and they are going in there with ATVs, and they are able to get to areas where cars and trucks can’t go. Anyone interested in helping can call me directly at the radio station,” she explains. As for the future, Annette wants to continue helping others in need. “I want The Bluegrass Jamboree to be true and always be family friendly.”

Daryl Mosley is like the calm in the storm in a world of conflict and confusion. His reassuring songs, filled with kindness and compassion, are as comforting as they are entertaining. With his honey-tinged voice, thoughtful lyrics, and experienced musicianship, Daryl has created thirteen number-one songs over the past three decades, and he has been presented with three SPBGMA Songwriter of the Year awards (2016, 2017, 2023). He also received three SPBGMA Song of the Year awards (2006, 2018, 2019). Over the years, Daryl has made numerous appearances on the Grand Ole Opry and the stage at the famed Bluebird Café in Nashville. Many television shows feature his songs. And here’s a fun fact: Daryl has sung the National Anthem at many sporting events, including the 1998 White Sox/Indians baseball game in Chicago. Throughout the 1990s, Daryl traveled with The New Tradition. He joined the Osborne Brothers in 2001 and played with them until 2010. He left that group when he formed The Farm Hands. He went solo in 2020, signing with Pinecastle Records. His first solo album, The Secret of Life, was released the same year. His sophomore project, Small Town Dreamer, was released a year later, followed by A Life Well Lived in 2023. Daryl’s newest project is one he is quite proud of. Long Days & Short Stories was released on October 4, 2024. Daryl produced the album with Danny Roberts of The Grascals. With eleven tracks spanning bluegrass, Gospel, Americana, and country genres, Long Days & Short Nights features Daryl’s distinctive voice and showcases his songwriting talents while highlighting the values that have shaped his life and career - faith, family, honesty, and humility. He learned those values growing up in Waverly, Tennessee, where he still lives today. “Music was always a focus in my life,” he says. “My mother, along with Don Williams and Elvis, was the biggest musical influence on my life. She had a Gibson guitar she learned to play on as a teen. When I was growing up, she played guitar and piano at church, and I sang with her. That was my musical foundation. My dad listened to a local AM country radio station, so my songs are a hybrid of what I heard while growing up.” At the age of 15, Daryl went to work at Loretta Lynn’s Ranch, which featured a pool, horseback riding, and a campfire show at night. “They hired me as one of the entertainers, and that’s where I learned to talk to an audience, how to pace a show, and how to make a set list.” He sang in his high school choir, where many of the songs were in Latin. “I learned that you can’t sing in Latin and sound like Willie Nelson.” Daryl never learned to read music, which led him to major in history at Austin Peay State University. “I liked history, but I was miserable because I was so focused on wanting to pursue music.” When he finally began touring as a professional musician, Daryl could see many historic places, thus satisfying two of his passions. As fate would have it, he has three children, none of which are musical. “They are athletes and focused on other things – and my daughter graduated with a degree in history.” His love of history came full circle with a song from his new album released as a single. “Me and Mr. Howard” is a lively bluegrass tune that tells the fascinating story of the outlaw Jesse James and his wife, Zee. James settled in Daryl’s hometown of Waverly under the alias of Mr. J.D. Howard. “The James Gang came to Tennessee in 1877, and Jesse James moved to my hometown where he and Zee were treated like local celebrities. They lived life there as law-abiding citizens and went to church each Sunday. After having stillborn twins, they left suddenly one night, never to be heard from again. The album was recorded at Gorilla’s Nest in Royse City, Texas. “Chris Latham, a GRAMMY award-winning engineer, worked on the album with us. He made it all very comfortable.” Jeff and Sheri Easter joined Daryl on the inspirational Gospel tune “When I Can’t Reach Up,” co-written with Rick Lang. “We write quite a bit together.” Daryl wrote all the other songs on the album. The high-energy Gospel song “Still the Solid Rock” features a New Tradition. “It was our first time together in 25 years.” Daryl says his writing process usually involves driving. “I write a lot on the road. I try to remember the songs I used to know. I’ll do a guitar and vocal demo and put it in a file for later.” He has plenty of time to write, as he averages about 150 shows a year. “I usually travel about 5,000 miles a month.” He says that the subject matter of his songs is primarily rooted in his small-town experiences. “I wrote the song ‘Forever After All’ after seeing that on a sign. “I’ve learned to be aware of low-hanging fruit – that’s a gift in itself.”

It was an exciting night for Alan Munde when he stood in front of a packed crowd in the Martin Marietta Center for the Performing Arts in Raleigh, North Carolina. He was being celebrated for his induction into the Bluegrass Hall of Fame, along with fellow inductees Katy Daley and Jerry Douglass, during the 35th annual music awards at the 2024 IBMA World of Bluegrass. Friends and fans surrounded Munde as he thanked “my people, my people” during his acceptance speech. “It’s an honor to be a part of such a distinguished group of all my heroes.” Munde was born in 1946 in Norman, Oklahoma, not exactly a hotbed of bluegrass music. “Our family had a record player, and my parents had some 78 records, probably my mother’s doing,” said Munde. “My dad was a fan of the accordion and encouraged my oldest brother, Mike, and my younger sister, Gail, to play. They both took lessons, and afterward, she’d show me what she learned, and I’d try my hand at it. I’m not sure my parents ever noticed she took the lessons, but I also learned to play. So, the accordion was actually my first instrument. Sorry.” Munde’s brother Mike came home from the navy and brought Munde a guitar and a record on how to play it. “It was Pete Seeger’s Folk Singers Guitar Guide. Mike went off to college, and I took up the guitar.” Munde sought out a music store near his home within walking distance of his house. Mike Richie’s Guitar Center became the center of Munde’s life for the rest of his teen years and throughout college. “I wanted to play the banjo, and my neighborhood playmate, Gary McNabb, gave me for Christmas the Flatt and Scruggs Foggy Mountain banjo record. That was it for me, as I’m sure it was for a lot of folks.” Munde met Byron Burline at the record store, who had already recorded with the Dillards. “His dad, Lou Berline, had been to the Newport Folk Festival, where he met and played with Bill Monroe, Bill Keith, Tex Logan, and others. The Berlines became a big part of my life in many ways musical.” Byron Berline and Munde played together while they both attended the University of Oklahoma. “We went to fiddle contests together, listened to the Kentucky Colonels tapes, the Bill Monroe tapes with Bill Keith on banjo, and eventually, we played together in Country Gazette and the Burrito Brothers. He introduced me to my banjo mentor, Eddie Shelton.” Munde also met Ralph Thomas at the record store. “I went to my first and second Bill Monroe bluegrass festivals in Beanblossom, Indiana, with Ralph and his family.” It was at those festivals that Munde met banjo pickers Butch Robbins, Dick Smith, Larr Marshall, Rick Ryman, Al Osteen, and others. While still in college, Munde attended the Arkansas Folk Festival in Mountain View, Arkansas, where he met Courtney Johnson and a group of bluegrass pickers from Kentucky. Courtney returned to Bowling Green and told his picking buddies Wayne Stuart and Sam Bush that he had run into a banjo player from Oklahoma who played in a newfangled melodic style. “I was probably trying to play “Durang’s Hornpipe” or was inspired by Byron’s playing in all the fiddle contests.” Stuart drove to Oklahoma from Kentucky to visit with Munde, who was in his last year of college. “He had big plans and a passion about a group with himself, me, and Sam Bush to be called Poor Richard’s Almanac. That excited me, and we eventually made plans to meet up at a fiddle contest in Salisbury, Missouri, near Kansas City. I rode to the fiddle contest with Byron’s dad.” Munde spent the weekend with Wayne and Sam. As soon as I graduated in 1969, I headed to Hopkinsville, Kentucky, to connect with Wayne and Sam, who were still in high school.” Munde recalled visiting Lexington with Wayne Stewart to see JD Crowe and the Kentucky Mountain Boys. “The band was JD, Doyle Lawson, Red Allen, and Bobby Sloan. What an evening. I even got up and picked a couple of tunes with the band. Munde jokes, “I sometimes wonder whatever happened to those guys.” He wasn’t in Kentucky long before he got a draft notice and had to return home. Before leaving, Munde recorded “a bunch of tunes” with Stewart and Bush, officially released on the American Heritage label as Poor Richard’s Almanac. The Army turned Munde down, and he spent the summer in Norman working and saving his money. While there, he recorded with a local guitar artist, Harley Wilcox, and his group, The Oakies, which included Carl and Bob Warren, who owned the other local music store. “Harley had a hit record with a tune called ‘Groovy Gloworm,’” said Munde. “You can find it on YouTube. It won a BMI award for the best instrumental in 1969. When it came out as a single, I was on the B side with a song called ‘Moose Trot.’” Munde joined the Warrens and Wilcox on a trip to the DJ convention in Nashville. “I contacted Wayne and Sam, and we planned to meet at the Noel Hotel, where there was a weekend-long jam on the third floor arranged by Tut Taylor. We picked all weekend with Vassar Clements, which was pretty cool for a kid.” While there, Munde ran into Al Osteen, who was playing banjo with Jim and Jesse. “He told me that Chris Warner was leaving Jim and Jesse and said if I would be interested in the job, he would introduce me to Jim, who was coming the next night.” Doyle Lawson was in the band at the time, and he remembered Munde sitting with JD’s band in Lexington. “He put in a good word for me, and I got the job.” That was the start of Munde’s long and illustrious career, one he credits to the people he has met. “The bluegrass community is a village of connections. Thank you for allowing me to be a part of this wonderful village.”