Martha Spencer is a singer-songwriter, mountain musician, dancer, and multi-instrumentalist. She was literally born into a world where music was an everyday part of life, so she was destined to make her mark. She grew up in the musical Spencer family on Whitetop Mountain in Southwest Virginia. “I learned early on from my dad, Thornton Spencer, who played old-time fiddle, and my mom, who made instruments and played in a band. And, of course, I was immersed in a community where music is a major part of life. I played in a string band program in school, and my family taught there.” Martha teaches when she can for the Junior Appalachian Musicians (JAM), sharing her love for music with tomorrow’s musicians. There’s no doubt her musical education began at home. She recalls going to Galax, where her parents played. Johnny Cash was there with June Carter.” She started playing with her family band and still plays with them when she can. “When he passed away, my brother joined the band.” Martha always loved writing songs. “I had a guitar made by luthier Jackson Cunningham.” She learned to play several other instruments at a young age, including fiddle, banjo, dulcimer, mandolin and bass. Over the years, she has developed her unique vocal range. She also learned how to flatfoot, dance, and clog. Watching her dance is fascinating. She educates her audience on the dance style and then mesmerizes them as she stomps a beat to the music. It’s a skill she has truly mastered. “I love dance traditions, and I love seeing different dance styles. I grew up going to fiddler’s conventions, where I was exposed to a lot of it. One thing I’ve noticed is that while styles may differ, they all have a similar heartbeat.” Martha has performed and recorded with several groups, been involved with several roots music projects, and led workshops in the United States, the United Kingdom, Australia, and Europe. One of the groups she plays with is the Blue Ridge Girls, along with Jamie Collins and Brett Morris. Like Martha, the other musicians in the trio work to promote and preserve the rich musical heritage of the Blue Ridge Mountains. She also plays with Wonderland Country Band, Whitetop Mountain Band, and Whitetop Mountaineers. She plays as part of a duo with Spencer Branch, Old Time Country Roadshow, and Unique Sound of the Mountains with Larry Sigmon. Her new album, Out in La La Land (Music Maker, May 2024), is a follow-up to her 2020 release, Wonderland. “I had written some of the songs, and in March, I started thinking about what I wanted the album to be. I ran into Mark Thornton at Dee’s in Nashville and decided to record at his Sidekick Studios.” The songs on the album are all original except for Martha’s covers of Bob Dylan’s “Tomorrow is a Long Time” and “Do I Ever Cross Your Mind” by Dolly Parton. In the California-centric themes of “La La Land” and “California Sunshine,” Martha paints vivid pictures of a life far away. “My dad was such a good storyteller.” Martha is inspired by some strong women in music—her own family, as well as Hazel Dickens, Ola Bell Reed—“she’s a great songwriter,” and Dolly Parton—“she inspires so many.” Martha says she also loves George Jones’s music and contemporary artists, including Lillie Mae Rische. For Martha, music is a great connector. “I feel very grateful for experiences that bring people together.” She plays a lot of local gigs, and she gigs at festivals up north and out west. “I travel a lot, but I always love to come home to the mountains. It helps me to recharge. I am real tied to nature.” Martha has more touring on the horizon as she promotes her new album and continues her work to keep passing on her traditions through her music. She has a trip to the UK planned in February. “I love to bring positivity to people’s lives. I want them to be as proud of where they came from as I am.”

Two-time IBMA award winner Heather Berry Mabe has one of the most exceptional bluegrass voices today. Also a two-time SPBGMA female vocalist of the year nominee, she has walked away with awards since age twelve. Heather and her husband, banjo player and multi-instrumentalist Tony Mabe, formed Red Camel Collective, which most fans will recognize as Junior Sisk’s backing band. Along with fellow bandmates mandolinist Jonathan Dillon and bassist Curt Love, they signed on with their new record label, Pinecastle Records. “When we were talking about making a record and looking for a label,” Heather explains, “Pinecastle was one of the first names that came up. We had heard that they are great to work with.” Heather called up her friend, singer Dale Ann Bradley. “She couldn't say enough good about Ethan Burkhardt and the label. She said, ‘I tell ya what, I'm gonna call Ethan right now and tell him he needs to sign y'all!’ And she did.” Looking for a chance to break out on their own, the band wanted to create something new. “I have a bunch of original songs, and a bunch of covers too, that just wouldn't fit Junior's style,” Heather says, adding, “Recording the songs I've written for RCC's project has been one of the most fulfilling things I have ever done.” Dropping their first single, “Roll on Mississippi,” Heather says she had an idea for a bluegrass-style arrangement. “I wondered how it would do with a double time, bluegrassy vibe, like if it had originally been done by the Osborne Brothers,” recalls the Sherando, Virginia-born singer-songwriter. Speaking about the original Charlie Pride hit, “Our debut single is a song I have loved since the first time I heard it. For those who have Charley Pride's original version, you know how magical it is. I knew the only way to cover that one would be to re-envision it.” Heather gives props to her husband, Tony, and mandolinist Jonathan Dillon. “Tony and John going back and forth instrumentally just set the tone for the song and made it easy for me to tell the story. We are so happy that it was so well received, too. It stayed in the charts for six months since its release.” Heather calls their latest release, “Sincerity,” unique. “I don't know where the melody came from! It's so different from anything I've ever sung or wrote. John said it sounded Middle Eastern when he heard it for the first time!” She laughs. “I had woken up at about 3 in the morning, and in my spirit, I just heard plain as day one word, sincerity,” recalls Heather. “When I got up the next morning, I couldn't get that word out of my mind. I just kept thinking about it and its meaning. I was driving to town to run some errands, and the first line to the song just came to me.” When asked about the band’s name Red Camel Collective, “We wanted a unique name and something that would pay homage to Junior Sisk, being as we are all members of his band. One of my favorite songs [Sisk] ever did is called ‘The Man in Red Camels,’ written by Junior's cousin Timmy Massey and Rick Pardue.” Heather says she sought refuge in songwriting after a tragic event. “In 2021, my husband Tony completely lost his sight. It has been the most challenging thing either one of us has ever faced. To say our lives were completely changed would be an understatement. I've written here and there for years, but never so much as I have in the past couple of years.” When it comes to music, Heather explains, “Tony encourages me, and I encourage him. I love playing my original music for him. There is no one on earth who believes in me more than he does, and I feel the exact same about him.” Heather and Tony’s faith has been a huge help to them. “My faith in the Lord influences my music because it influences every part of who I am. His goodness is the reason why I can sing, even in the hardest of times. I want, above all, in music and every aspect of my life, to reflect His light and His love.” As for the highly anticipated album, Heather says, “At the time we are doing this interview, we don't have a release date for the album. We are shooting for early 2025.”

As a prominent woman broadcaster in the country and bluegrass arena, Michelle Lee has made a name for herself over many years by bringing the music and stories of roots music to the airwaves. She’d already been recognized for her work with a 2019 IBMA “Broadcaster of the Year” win, which had only been given to a woman broadcaster four times in the history of that industry honor. In 2022, she was awarded the Society for the Preservation of Bluegrass Music in America (SPBGMA) “DJ of the Year” award. Back in 2020, during the pandemic shutdowns, Lee started the “Real Talk” show. It was a video series where she sat down with artists and songwriters to have “conversations that opened them up a little more.” It aimed to go well beyond just talking about the music. Her “Michelle Lee on Air” online streaming features programming such as her “Smoked Country Jam” and “Bluegrass Borderline.” It can be accessed 24/7 through the Live365 platform or from her website at Michelleleeonair.com . The live streaming and past episodes of “Real Talk Bluegrass with Michelle Lee” can be found on her website, Michelleleeonair.com . Lee has experienced a lot of changes over the years in her industry. “Like many other professions, broadcasting has been improving over the last few years from the typical ‘man’s world’ style,” she said. “More and more today you hear and see women within the broadcasting role, whether it is in radio or on the side of the football field. It was rough through the beginning years as a female due to some unwanted actions from higher management, but being able to overcome all of that, it has been great becoming one of the women trailblazers in the broadcasting world.” When Lee was asked why she has been so successful in a field where it’s often difficult to maintain a career that spans decades, she tried to pin down what makes her different. “I have always strived to bring my personality through my work,” she explained. “I have a more ‘boots on the ground’ approach and love learning about the music and artists. Having the knowledge of the music always helps me to create the best show for my fans.” Other work experiences have aided her in developing an insider’s view of the biz. “Working as a booking agent in past years has also allowed me to gain knowledge to assist artists on the back side of the music as well,” she said. “I always enjoy meeting all the bluegrass fans and artists at festivals. Being that type of broadcaster that is approachable and open to my fans and artists is something I love.” She added, “Like most people, I work every day trying to find ways to better myself at what I do.” In 2023, Lee brought her wife, Marsha, into the bluegrass fold and mentored her entry into broadcasting; her program, “Marsha’s 2 Notes,” can also be heard via MichelleLeeonair.com . A longtime country fan, Marsha also became a fan of bluegrass after meeting Lee, and her program touches on both genres. The duo established the “Real Talk – Michelle Lee and Marsha” Facebook page to further expand upon the work of both broadcasters. Lee said the page was created to “provide a central point for fans and artists to share information, along with doing periodic giveaways for our fans. Our goal is to bring artists back into videos and have more ‘real talk’ type interviews in the future.” Lee explained why this music is her passion. “I love bluegrass music because it tells stories from the heart and soul,” she explained. “Bluegrass also highlights the incredible musicians’ abilities through instrumentals. It always amazes me how these wonderful bluegrass songwriters can take myths, history, love stories and write the songs that the artists then turn into the beautiful songs we tap our toes to every day.” She elaborated more, saying, “Not only do I love bluegrass music, I love the bluegrass community just as much. The bluegrass community not only produces great music, but they also come together when someone is in need within the community. Bluegrass is an awesome family.”

Bluegrass fans won’t have to fear the winter doldrums, at least not while talented artists like Sierra Hull are around. Releasing her Limited-edition Holiday Favorites, the Grammy Nominated and nine-time IBMA award-winning Mandolin Player says it’s a project she’s wanted to do despite her busy touring schedule. “It’s one of those things where you get busy through the year, and you look up, and it’s Christmas. And you’re like, ‘Well, I didn’t do it again this year.’” Sierra, who hasn’t recorded an album since 2020, says the time was right for releasing new music. “It was really fun getting back into the studio!” Sierra and her team agreed to record two new songs before recording Holiday Favorites. “We decided a few months ago that we were gonna release a couple of covers, so we released a couple of songs we cover in our live show.” The “Weighted Mind” singer says her recordings of Tears for Fears’ “Mad World” and The Grateful Dead’s “Black Muddy River” were requested by her fans. “People are always asking when are you going to record these songs?” Although busy working on her album, which will be released early next year, Sierra says she was finally able to record her Christmas record. “I have been in the midst of trying to finish the new album, so I was just like, ‘You know what? Let’s do the holiday thing this year, too, while we’re in the flow of being in the studio.’” Sierra is treating her fans to a vintage vibe. Available as a limited edition on 7” vinyl, Sierra says releasing a 45 RPM was her idea. “It feels very nostalgic in that way. It’s a thrill to have a physical copy of it as well.” Sierra says she wants to continue recording Holiday Favorites. “I would love to do this every year, so we’ll see!” The Tennessee-born mandolinist explains her plans: “I thought how fun it would be to have a volume 1 and, next year, have a volume 2 with another A side/ B side. Before you know it, we will have a collection of holiday songs and put them out as the years go on.” While searching for Christmas music, Sierra says that she stumbled upon Bing Crosby’s “The First Snowfall.” “Surprisingly, I found out it was more obscure than I thought it might be to a lot of people,” explains Sierra, who says Bing Crosby’s version is more orchestral. “I love the melody so much. I thought we could make it more playful: almost lean into that rootsy kind of bluegrass approach.” Sierra explains that covering a song can be tricky. “There are some songs you can love so much that you think, ‘I can’t touch that!’ Sometimes, the only way to honor a song is to do it differently. I like to make it sound … like my voice and not just trying to replicate the thing.” Sierra names Tony Rice, Dolly Parton and her close friend Alison Krauss as artists who can interpret songs. “I’ll never forget hearing “Shadows,” by Tony Rice. I thought to myself, this is the best thing that I’ve ever heard in my life. When I was eight years old, I didn’t know that Gordon Lightfoot wrote the song.” Her busy schedule includes a recent performance at the 58th Annual CMA Awards with Dierks Bentley. “I got to join my two favorite musical sisters,” Sierra shares, referring to Molly Tuttle and Bronwyn Keith Hynes, who gathered with Sierra and Dierks for an electrifying version of Tom Petty’s “American Girl.” Another artist she can be seen taking the stage with is flat-picking sensation Billy Strings. Sierra says her recent performance with Billy at Austin City Limits was a “bucket list moment.” “I watched Austin City Limits my whole life. We did two old bluegrass songs into a single mic. We both grew up loving those Doc and Bill collaborations.” Sierra has big things in store but says she wants to slow down for the holidays. Opting not to sign again with Rounder Records, Sierra shares, “I think it’s time for me to work at my own pace, have full ownership of my music and step out to what feels like a second chapter for me as an artist.”

Bluegrass, gospel, and country performer Kristen Leigh Bearfield has certainly made the rounds as a musician. The Zac Brown Band, Jimmy Fortune and Brooke Aldridge are just a few of the artists she’s worked with. In addition to other projects, Bearfield tours full-time as a member of the Grammy-nominated group HighRoad. She’s had the pleasure of performing on stages at acclaimed venues and events, including the Grand Ole Opry at the Ryman, IBMA, The Country Music Hall of Fame, MerleFest, and as part of the Gaither Homecoming series. Bearfield doesn’t claim to have done all this because of her own volition; she credits her success to her religious faith. Even the very beginnings of her music career began in church. “From the time I was young, there was never any question that music was my calling,” Bearfield explained. “I sang my first solo in church at three years old and never looked back.” A major life event once made Bearfield think she might not pursue a career as a performer. She said she only overcame this major obstacle because of her spiritual belief system. She was in a bad car accident. “Due to a severe neck injury that affected my spinal cord, doctors told me that I would most likely be in a wheelchair for the rest of my life,” she said. “I lost my voice and the ability to play my instruments. There were certainly times that I didn’t understand why this was happening, but there was never a moment that I didn’t feel God’s hand on my life. In fact, I can honestly say that I physically felt God’s arms wrap around me as my car flipped through the air. I know beyond a shadow of a doubt that he was there with me in that car and I’ve never felt his presence more strongly than I did in that very moment,” she continued. “My faith is at the core of everything I do,” she added. “It’s what gives me hope and purpose and infuses every aspect of my music.” It’s no surprise that this attitude might have contributed to her recent nomination for the Absolutely Gospel Music 2024 “Positive Country Female Artist of the Year” award (her song with Brooke Aldridge – “Heaven’s Getting Sweeter Each Day” – also received a nomination in the bluegrass single category). Bearfield has irons in several fires. This winter, she was busy with yet another successful collaboration. A single she released – “Country Faith,” – featured gospel performer Karen Peck Gooch. “She has been a hero and influence of mine since I was a little girl, so to have a collab recording with her is a dream come true,” Bearfield explained. “This song will serve as the theme song for the Singing News ‘Faith Country & Bluegrass’ series, coming in 2025 to Singing News TV.” She was raised in the mountains of Appalachia, but today, Bearfield calls Nashville home. Her home region's rustic, rugged landscapes seem to stay with her. “I always want to carry the sound of the mountains with me in everything I write and play and most importantly, carry the hope and peace of Christ,” she said. Right now, Bearfield is also taking a new focus on solo work. “My next immediate goal I am setting out to accomplish is finishing up my new solo album,” she said. “It’s been a long time coming, and I’m just a few songs away, hoping for a Spring 2025 release.” Bearfield didn’t detail exactly what the record would hold, but she explained how she balanced the three genres she loved: bluegrass, country, and gospel. “It’s a delicate balance, for sure,” she said. “I have a deep respect for the pioneers of bluegrass, country and gospel music, and I draw a lot of inspiration from their work. At the same time, I’m always looking for ways to push the boundaries and bring something fresh to the table.” Lastly, she emphasized, “I think the key is to stay true to yourself and your convictions,” she explained, “while also being open to new ideas and influences.”

Pennsylvania-based Echo Valley has brought its blend of rock, bluegrass, Americana, folk and “grassicana” to venues across the U.S. At times covering songs that are quite unexpected – for instance, the music of Guns N’ Roses – Echo Valley brings a fresh roots-inspired interpretation to the familiar. It seems their “retro vibe” respects no rigid boundaries. It can encompass the style and sounds of yesteryear (Frank Sinatra) or the high energy and rebellious attitude of 80s rock. This past spring, they released a single – the Echo Valley version of the GNR rock classic “Sweet Child O’ Mine.” “It was a great experience doing a cover of an 80s rock tune,” explained Echo Valley fiddle player Emily Anderson. “We had a blast recording it, and it really pushed our musical boundaries.” The single was released in advance of the full album. “The new record was engineered and mixed by Scott Vestal and produced by Valerie Smith of Bell Buckle Records,” Anderson explained. “Working with both of them in the studio was amazing. Valerie and Scott's expertise boosted us to the next level and fine-tuned our style.” Anderson has honed her craft as a fiddle player over the past 22 years. As the 2021 Pennsylvania State Fiddle Grand Champion – and the 2018 Maryland State Fiddle Grand Champion – this woman of bluegrass has a passion that’s grabbed attention and made her a vital part of this talented sibling-based group. Her background began with classical violin training, which might help explain why the band crosses genres and touches upon various musical influences. “I took classical violin lessons for many years. When I was 10, I went to my first fiddle contest at a local fair, and I was hooked,” she said. “We came home, and my dad found me sheet music for ‘Boil Them' Cabbage Down.’ The next year, I entered the contest, and you can imagine my disappointment when I came in dead last. I spent the next few years honing my skills and competing in as many local contests as I could.” Thirteen years later, she finally scored big with the Pennsylvania Grand Champion Fiddle title. “All the hard work and lessons learned have made me the fiddle player I am today,” she explained. “I love this instrument!” Echo Valley is composed of six siblings, including five sisters and one brother; they’re an attractive bunch of young talents. The rest of the Echo Valley Andersons include band leader, guitarist and vocalist, Lizzy; banjoist, fiddler and vocalist, Olivia; bass player, Emmaline; mandolin player, Dolly; and the member contributing male energy to Echo Valley, the girls’ brother and Scruggs-style banjo player, David. “We started performing 15 years ago at a local church,” Anderson continued. “We only knew one song, which we played over and over for several months. That got embarrassing, so we learned another, which led to another, and another, and so on.” Since then, they’ve progressed to recording several albums and performing everywhere, from Dollywood to Nashville’s legendary venue, The Station Inn. While Echo Valley's main goal is to someday perform at the Grand Ole Opry, these young musicians are already quite busy booking dates and traveling to fairs, festivals and venues this winter. “In January, we will be playing for the January Ice Jam in Beaver Falls, Penn.,” she said. “It's for a non-profit called the Bluegrass Relief Fund, which helps those of the bluegrass community in need. We will also be headed down to Apalachicola, Florida, in February.” “We love a variety of music and genres and have learned to keep things interesting for ourselves, which in turn keeps it interesting for the audience,” Anderson said. “From traditional bluegrass to Frank Sinatra tunes to Electric Light Orchestra, there are no limits to the music we perform…except for rap,” she added. “We enjoy playing unusual songs with our bluegrass instruments and surprising ourselves and our audiences,” she added.

Although she is not a musician, Louise Price grew up listening to the music of Charlie Poole. “My father loved Charlie Poole’s music,” she says. A native of Spray, North Carolina, Charlie Poole was an old-time banjo player who was the leader of the North Carolina Ramblers, a string band that recorded popular hillbilly songs between 1925 and 1930. Considered a pioneer of bluegrass, country, and folk music, Poole has a strong legacy in the Piedmont region of North Carolina and beyond. Louise is the president of Piedmont Folk Legacies, a non-profit organization whose mission, according to its website, “is to promote and preserve the musical and cultural legacy of the Piedmont region and to celebrate its influence on the development of American vernacular music, as exemplified by Charlie Poole.” Louise and Marianne Aiken founded the Charlie Poole Music Festival in 1996. She may have majored in art in college, but through her encounters with people in traditional music, like Wayne Henderson and the late Helen White (founder of Junior Appalachian Musicians—), Louise began to realize the importance of passing down the unique music history of her region to children growing up in the area. The idea really hit home with Louise when a contest component was added to the Charlie Poole Music Festival. “The first ten years of the festival, it was music only. In the 11th year, we added the contest, and that brought kids to the festival. “It was really impactful.” Based loosely on that idea and the already-successful JAM program, Louise founded the Piedmont Instrument Classes for Kids, known locally as P.I.C.K., in 2019. The after-school program provides lessons in stringed instruments, including banjo, fiddle, and guitar, for students in grades three through five. The non-profit organization is made possible by a community effort to empower students by teaching them the region’s musical heritage and playing the instruments that helped to form a music culture that still thrives today. Supporters include the Rockingham County Education Foundation, Rockingham County Arts Council, Reidsville Area Foundation, and private companies in the area. “I donate 100 percent of my time, as do the community supporters and parents who work so hard each week to make sure their children have access to this terrific program,” says Louise. “All of the instruments are donated, and we provide instruments to put into the hands of kids from families who may not be able to afford them. We even have autistic kids in the program, and it is exciting to see how well they are doing. It’s the power of music in action.” Now in its sixth year, the program has had a few bumps in the road, which has changed the program's course a bit. “We started the program in one elementary school as an after-school program,” says Louise. “When Covid hit, we had to back up a truck to the school and load up all the instruments.” Arrangements were made to get instruments in the hands of students and to provide instruction via Zoom for an entire year. “We survived that,” laughs Louise. “And it led us to improve the program.” The Zoom experience helped instructors realize that when teaching a class of 25 kids and one kid is playing, the other 24 get bored quickly. “We went to individual lessons, and that solved the problem. Zoom also provided us with a broader reach.” When it was time to get back to doing live lessons, Louise’s church offered space every Monday and Tuesday from 3:30 to 8 pm. “We have kids taking 30-minute lessons in banjo, fiddle, and guitar.” That’s 27 kids every evening, two days a week. The program has many talented local musicians who work with the students, including Bob Kogut (who we reported on in our September issue). He is passionate about young musicians and does adjustments and set-ups for the program. The legendary Charlie Poole influenced musicians like John Mellencamp, Joan Baez, and Bob Dylan and jam bands such as Hot Tuna and The Grateful Dead. Louise hopes that Poole’s legend lives on in the students participating in the P.I.C.K. program well into the future. “We want to keep his legacy alive through their music and storytelling.” Using traditional music to positively impact the lives of the children of Rockingham County has been Louise's biggest motivation, and she says she believes she is seeing musicians being born. “It’s a joy for me. We had 46 kids in the program last year and are continuing to grow. We do all we can to enhance our students' learning experience and continue our rich cultural traditions for generations to come.”

photo by Mark J Smith Becca Stevens, a two-time Grammy nominee, solo artist, Broadway actress, and former David Crosby’s Lighthouse Band member, calls her latest album, Maple to Paper, raw and honest. “In the past, I had a little veil of secrecy around what I was saying-- not to say that I haven’t been honest in the past,” explains Stevens, who says the album revolves around moving through the grief stages. Stevens, who lost her mother, singer/actress Carolyn Dorf, in 2022, remembers, “I absolutely felt I was taking a risk. I thought it would be a little too much emotionally for people.” Working on the album while grieving, Stevens recalls, “I literally had a futon on the floor next to my writing space that encouraged me to be a part of the grief while I worked. It was necessary so that I could sit down for an hour and work and then lie down and cry.” The song “You Should Have Been There for Me” is about struggling with the loss of her mother. “It was definitely the apex of the anger stage of my grief,” adding, “The anger was protecting me from the heavier feelings.” Stevens worked with long-time collaborator, producer and mixing engineer Nic Hard (Snarky Puppy, Huntertones). “[Nic] and I went back and forth a lot in the beginning, trying to figure out what the approach would be for the recording process before diving in completely.” Stevens initially had doubts about recording from home. “I decided early on that I was not only going to keep it simple in its production but also record at home by myself. “I was almost apologetic when I sent a live take to Nic. I was shocked when he got back to me, and he was like, ‘No, no, no, this is the way we have to do it!’” Stevens's experience of caring for a newborn and raising her two-year-old daughter inspired her to write “Pain to be Apart.” “It’s about me wanting to be in the moment with my daughter,” explains Stevens, who says balancing motherhood with her work sometimes leaves her feeling guilty. Stevens says her husband, violinist/composer Nathan Schram, was there to help. “[The album] would not have been possible without my husband dropping everything that he was doing to be with the girls.” In addition to recording an album and shooting videos for the songs “Shoulda Been There for Me,” “I’m Not Her,” and “Now Feels Bigger than the Past,” Stevens jumped at the chance to star in the 2024 Tony Award-winning Broadway play Illinois. “I was literally rocking my newborn in a chair when I got a call from my friend composer/pianist, Timo Andres. He said, ‘There is this crazy opportunity, and I know you are on maternity leave, and I keep thinking you would be perfect for it!” “It couldn’t be more perfect timing because the exact window that I needed to be available was the window that I had cleared my schedule,” adding, “I’m such a huge Sufjan Stevens fan! In fact, his album Carrie and Lowell was a big inspiration to me spiritually on Maple to Paper.” For Stevens, whose multi-layered style fuses jazz, classical and world music, the album is a return to her musical upbringing. “My dad is a bluegrass musician as well as a classical singer and composer. Growing up we listened to a lot of folk and bluegrass along with Frank Zappa” [laughs] Stevens says she still thinks of her friend and writing partner, the late David Crosby. “I felt him with me a lot. From the moment I met him he was always so supportive of my songwriting voice. He was such a fun person to write with because it was all heart, ears, creative mind and no rules or nothing theoretical. Stevens says that they experimented with tunings and chord shapes. “When I was writing these songs, I could sort of hear him in my mind saying, ‘Cool chord shape, Bec.’” Stevens points out Crosby’s influence, “[Maple to Paper] as you can see, leans more in that folk direction.” When asked why she chose not to use more instruments on Maple to Paper, “Deep in my gut, I knew for this specific project, the best way to serve the whole experience was to strip back all the layers and show the bare bones of the songs. My tendency is to overcomplicate things!” The Becca Stevens and David Crosby photo is by Mark J Smith

From his home in Marion, Kentucky, Cutter Singleton feels blessed to be a part of something that’s just so special. At 17 years old, he is a member of a rising bluegrass band that has performed at the Grand Ole Opry and has a new album in the works produced by “Miss Country Soul” and Grand Ole Opry legend Jeannie Seely. While he’s not from a particularly musical family, Cutter and his brother, Cash, have been exposed to traditional bluegrass all their lives. That’s probably inevitable, living in Kentucky. However, there are some deep musical roots on both sides of their family. “My grandfather on my mom’s side played the dobro – he was mostly a porch picker,” says Cutter. “My great grandfather, on my dad’s side, played in a country and Western band in the 1950s and 1960s, performing mainly at local service station parking lots and dance halls.” Cutter recalls riding in the car with his mom and dad when he was only four years old and hearing “The Ballad of Jed Clampett” on the radio. “It stopped me dead in my tracks. I call it a bluegrass intervention. I told my mother I wanted a banjo for Christmas.” His mom took him seriously, and Cutter not only got his banjo but he took lessons from Jack Martin in Paducah. Kentucky. “Jack played bass for Bill and also James Monroe, and then dobro for Lester Flatt,” says Cutter. Jack sent him to take more lessons from the world-famous five-string banjo picker Haskel McCormick in Nashville. “When Earl Scruggs had a bad car accident in 1955, Haskel, who was just 17 years old at the time, played banjo with Lester Flatt and the Foggy Mountain Boys,” says Cutter. “He made a lot of connections during that time, including some that would land him a studio session on a Johnny Cash album, a banjo position for Lester Flatt and The Nashville Grass in 1971, and then another banjo position touring with Marty Robbins in 1975.” A few years after Cutter began playing seriously, his younger brother, Cash, joined him. “He saw that I was getting a lot of attention,” laughs Cutter. “But he also has a real love for the music.” Cutter plays guitar and sings in the band, while Cash plays mandolin and sings high tenor. “He’s truly my best friend, and he shares my passion for this.” The boys started working as a group with Brennan Cruce, a bass player who happens to live across the Road. “He’s like a big brother to us,” says Cutter. Rounding out the band is banjo picker Logan Lobdell, who was recommended to the boys by Rhonda Vincent. “He’s from Vero Beach, Florida, and he has been a godsend to us.” Siblings Noah and Lily Goebel recently left the band for other pursuits, steering away from bluegrass music, and Cutter says he sends them both the very best wishes. “I am so fond of the great memories and friendship we will always share.” Playing in an in-demand bluegrass band while still in high school can be challenging, but Cutter says his school system has supported their music career. “They have helped us so much.” When they first started as a group seven years ago, they played 25 shows in a year. “The teachers have worked with us so we can make up our lessons when we return.” This year, they will perform on more than 80 dates. Now that Cutter has graduated high school, he is pursuing the bluegrass entertainment business as his full-time career. “We continue to get support from people like Rhonda Vincent, Bill Anderson, and Jeannie Seely, who have become good friends.” A dream came true for the boys when they made their first Grand Ole Opry appearance with Jeannie Seely on April 06, 2024. “Jeannie has played the Opry over 5,000 times, but she made our first time so special. And it was so moving to learn that two charter buses full of people from our hometown of Marion, Kentucky, showed up in Nashville to see us perform at the Grand Ole Opry. It was the thrill of a lifetime and something I’ll never take for granted.” There’s no doubt that Cutter is an old soul. “I like music from different genres, including bluegrass, country, western swing, rockabilly, and even 60s rock and pop! I believe having a wide range of listening helps to keep our sound new and different but with touches of familiar sounds that pay respect to our heroes that have come before us. One of my favorite songs is Neil Sedaka’s ‘Laughter in the Rain.’” Cutter is a collector of country and bluegrass memorabilia, and he is proud of his Rex Allen Nudie’s Rodeo Tailor’s suit made in 1959, a Porter Wagoner Wagonmaster’s suit worn by Don Warden, and a pair of Little Jimmy Dickens’ rhinestone stage pants. “I even have one of Lester Flatt’s red string ties, the license plate from his bus, and a Shure S-55 microphone that he and Earl left behind at a theater in 1957. I love collecting these pieces because of the hard work, sweat, and determination that those artists put into their passion for entertainment and music, and these items of memorabilia are the survivors that carry those stories that our heroes can no longer tell.” With a nod toward traditional bluegrass groups, the band always dresses to impress. “Even from an early age, I realized how much that meant. It shows we care enough about our audiences to want to present ourselves the best way we can. When you dress ‘show biz,’ it tells people they are there for a show, and through our stage wear and what it represents, I am very honored by the way we carry ourselves.” Cutter is quick to say they are not tribute artists. “We play some traditional bluegrass tunes but do it in our own Cutter and Cash style.” Their first single was “Mamas Don’t Let Your Babies Grow Up to be Cowboys.” “That song was suggested to us by Jeannie Seely. She envisioned it as a high-tempo, upbeat version, and I thought it would never work, but when we went home and did it the first time, it clicked.” When their new album is released, it will feature ten tracks. “We have three Grand Ole Opry members on the album, and two are big bluegrass stars,” says Cutter. “And one is in the Country Music Hall of Fame,” he adds, looking back and seeing how many people have been so kind to them. “I hope that through our success, we can pay it forward in the future, the same way so many have done for us.”

As an old-time string band, The Down Hill Strugglers have been heavily influenced by old field recordings of the 1920s and 1930s, music with which most people can connect. The struggles of that era – and the strife of today – inspire this trio to keep that old-time sound going. “We’re very familiar with the canon of old-time string music,” explained The Down Hill Strugglers multi-instrumentalist and vocalist Eli Smith. “We’ve listened to a lot of old 78s, and we’ve listened to a lot of old field recordings.” Their first record in seven years—“Old Juniper”—is the most recent example of how the trio puts its stamp on the music of “rural America.” This includes not only sounds from Appalachia but also from the deep South and the western regions of the U.S. “Everyone has their struggles. We do, too,” Smith confessed. “Everyone identifies with hardship. There’re several break-up songs, several heartache songs…” There are also tracks that stray into more complex stuff, such as the last one, “Let the Rich Go Bust.” Smith described it as a “social commentary song.” Sound-wise, the record is mostly old-time, but Smith added, “A couple of other songs on the record are more like blues.” “Our goal with this album was to make an interesting record that had some deep roots to it,” he said. Despite the music reflecting rural America, these are big-city musicians. While bandmate Walker Shepard lives in Wisconsin, Smith and the third member of the trio—Jackson Lynch—both live and work in Brooklyn, NY. “Jackson and I work at the Jalopy Theater here in New York,” Smith said. In addition to his work at that theater and its music school – where he teaches banjo – Jalopy is the record label that released “Old Juniper.” He also coordinates the Brooklyn Folk Festival, which just had its 16th year of bringing an array of folk acts to the big city. Initially formed in 2008 as the Dust Busters, the group changed its lineup and name in 2021 when they became The Down Hill Strugglers. Since then, they’ve toured across the U.S. and abroad, and band highlights include their music being included on the soundtrack to the Coen Brothers film Inside Llewyn Davis. Smith said the late John Cohen of the New Lost City Ramblers, who was a mentor and inspiration to the trio, had a big influence on the band. Smith has long loved making music. He started learning at age eight, but the passion really took hold of him when he was a teenager. “I heard Mississippi John Hurt…Woody Guthrie …” Not long after, he discovered the New Lost City Ramblers. When he eventually met John Cohen, he realized “we were really on the same page.” With a rich past and vibrant future for The Down Hill Strugglers, where does Smith see the band headed? “I just hope we’ll keep playing and touring,” he said. It sounds as if “Old Juniper” gave the Strugglers a shot in the arm, and it appears Smith wants to keep riding that wave. “It brought us a lot of energy making this record.” “Our goal is to stay creative as a band,” he added, “and keep on working on our sound.”

photo by Todd Zimmer Imagine listening to musicians from around the world while sitting in a garden, a cave, a natural pool, or even a volcanic crater. Now imagine those unique venues are located in an archipelago composed of nine volcanic islands in the North Atlantic Ocean. In a magical place nearly centered between Portugal, Morocco and Newfoundland, Canada, the Azores’ mild climate and beautiful scenery make them ideal spots for a “boutique” music festival. Terry Costa created the Cordas World Music Festival in 2016 as an annual music event celebrating stringed instruments and those who play them worldwide. Costa, who was born in Canada, was raised on Pico Island in the Azores, Portugal, from ages two to fourteen. Involved in the arts from a young age, Costa has served as artistic director of AQT Vancouver and UNI Theatre and is the founder of the Gastown performance art gallery Spaces, the Looking Forward, Looking Back Festival, and the Vancouver Portuguese Heritage Month Festival. “Arts were always part of my upbringing,” he says. “From going to music school starting at age four, singing in the church choir, and doing theatre with the nuns as a child. I used to record my own radio show on cassette when I was nine. I can say that the arts were always in me.” Costa went to college to study theatre and dance. While he started acting, he always had a hand in directing and producing. After a twenty-year career in North America, Costa moved back to the Azores, where his producing side took over. “I began creating the projects I most missed and that were not available on the islands, like a film festival, an arts festival, and a music festival.” In 2002, Costa founded Mirateca Arts in Vancouver to produce artistic events. “When I decided to move to my family home on Pico Island in 2012, I founded MiratecaArts, a slight change in the name but with the same objectives to enhance individual, team, and organizational productivity in the art world.” Through MiratecaArts, Costa produces, promotes, and presents artists, shows, and events encompassing all artistic disciplines. It started with the Azores Fringe Festival as a showcase for all arts and artists and the accompanying online platform for middle-Atlantic artists to register. That was followed by the Montanha Pico Festival, founded to celebrate the mountain culture through art, and in 2016, the Cordas World Music Festival. “Cordas World Music Festival was born of a need to create something that upholds traditional values and teachings while showing the islanders the world,” says Costa. “String musical instruments were always a part of the culture. I thought, why not develop that into an international festival where locals can not only see themselves but also participate while having musicians from around the world visiting with their unique string instruments and sharing their cultures? It has become a truly educational feast of sounds.” The first Cordas World Music Festival was held in October 2016 and has been held yearly since. “We are now planning the tenth edition to happen in 2025. We wish to create a ‘volcano’ of music and string instruments for all to enjoy. We have had artists from over twenty countries already participate in the festival. Mind you, we are a special, boutique, unique festival. During the week, we get about 2000 people to visit the programming.” Venues include natural spots on the island, such as a garden, a cave, a volcanic crater, natural pools, and a dragon-tree sanctuary. “We also utilize the Center Square stage, the Museum auditorium, and the youngest contemporary auditorium of the region, in the town of Madalena, where the epicenter of the festival occurs.” To put it into perspective, one of the signature events happens at the top of the highest mountain in Portugal. “It takes on average three hours scaling to get there, relax a bit, see a show, and then crawl back down to civilization,” explains Costa. “Of course, this is a very special event. It’s basically a time investment of a full day. We usually take fifty people on the journey, but last year, only twelve made it to the concert, as all the others gave up mountain climbing and came back down to safe terrain.” The Cordas World Music Festival has already garnered various international awards, including Top 10 Best New Festival (Iberian Festival Awards 2017) and Global Top 10 Fest (Transglobal World Music Chart Festival Awards 2018). But the best award is always the audience who ventures to meet the unknown. “Year after year, we try to provide those moments by presenting artists and instruments not familiar to those who live on the islands.” An add-on to the event is the newly formed Academia Cordas Academy, which was launched at the Folk Alliance International Conference in Kansas City. "That conference was a week to develop connections, make new discoveries, and experience inspirational moments,” says Costa. “It also gave us the opportunity to announce a new program for the Cordas, which fits into the objectives of the Folk world, the Academia Cordas Academy." By creating this new program, MiratecaArts intends to welcome more artists during the Cordas World Music Festival. "Some artists visit the festival without being part of the lineup. With the Academy we want to encourage this to happen more and more, but by providing structures so visiting artists can gain more knowledge and experience working with local and international artists who regularly travel around the world." Therefore, Academia Cordas Academy will include a conference program, workshops, the opportunity for jam sessions, the creation of a unique show, and visits to emblematic places on the island with photo and video sessions, thus developing promotional materials for each participating artist. Whether you speak Portuguese or not, this short documentary film offers a good idea of what the Cordas World Music Festival is all about.

The birthplaces of various foods often reflect the unique cultural, geographical and historical influences of a region, giving rise to iconic dishes that become synonymous with their origins. From Chicago's deep-dish pizza to Japan's ramen, each dish tells a story of local ingredients, evolving culinary techniques, and the community's tastes and needs. Over time, these foods can transcend their original contexts, gaining popularity worldwide, yet they remain deeply rooted in their place of origin, carrying with them a sense of authenticity and identity that connects people to a particular place and time. Many foods that we have come to know and love originated right in the Appalachian region of the United States: 1. Pepperoni Rolls Birthplace: Fairmont, West Virginia Italian immigrant baker Giuseppe “Joseph” Argiro created a soft roll stuffed with pepperoni in the 1920s as a portable lunch for coal miners. 2. Hot Brown Birthplace: Louisville, Kentucky An open-faced sandwich consisting of turkey, bacon, tomatoes, and Mornay sauce, all baked until the bread is crisp and the sauce is bubbly. The Hot Brown was created at the Brown Hotel in Louisville in the 1920s by Chef Fred K. Schmidt. It has since become a signature dish of Kentucky and a popular Appalachian delicacy. 3. Moon Pie Birthplace: Chattanooga, Tennessee The Chattanooga Bakery created the Moon Pie, a marshmallow-filled, chocolate-covered sandwich, in 1917. It became a popular treat among coal miners and remains an iconic snack. 4. Goetta Birthplace: Cincinnati, Ohio Goetta is a breakfast staple in Cincinnati. It is a German-American dish made from ground meat (usually pork and beef), steel-cut oats, and spices. It reflects the city's German heritage and its location on the fringes of Appalachia. 5. Benedictine Spread Birthplace: Louisville, Kentucky Jennie Carter Benedict invented a cucumber and cream cheese spread in the early 20th century. It became a popular sandwich filling in Louisville and is still enjoyed today, particularly at Kentucky Derby parties. 6. Pimento Cheese Birthplace: Frankfort, Kentucky (Popularized in the South) A spread made with cheese, mayonnaise, and pimentos. While it's widely known as a Southern dish, its roots can be traced to the Benedictine recipe from Louisville, Kentucky, and it became especially popular in the surrounding Appalachian regions. 7. Lane Cake Birthplace: Clayton, Alabama (while not strictly Appalachia, it's often associated with Appalachian cuisine) The Lane Cake, a bourbon-laced layer cake with a fruit-and-nut filling, was created by Emma Rylander Lane in Clayton, Alabama, in 1898. It’s been popular throughout the Appalachian South, especially in Kentucky. 8. Spiedie Birthplace: Binghamton, New York Spiedies are marinated meat (usually lamb, chicken, or pork), skewered and grilled, then served on Italian bread. This dish is a regional specialty of Binghamton and the surrounding areas in New York's Southern Tier, on the northern edge of Appalachia. 9. Smith Island Cake Birthplace: Smith Island, Maryland A multi-layered cake with frosting between each layer, typically made with yellow cake and chocolate icing. This dessert is a regional specialty of Smith Island, which, while technically Chesapeake Bay, shares cultural ties with parts of Appalachia. 10. Country Captain Birthplace: Savannah, Georgia (influences extend into Appalachian Georgia) A curry-flavored chicken stew with tomatoes, onions, and bell peppers, typically served over rice. Although its origins are debated, Savannah claims it, and it has made its way into the Appalachian regions of Georgia. 11. Jell-O Salad Birthplace: Salt Lake City, Utah (popularized in Appalachia) While Jell-O salad originated outside of Appalachia, it became a staple in Appalachian and Southern homes, particularly in West Virginia and Tennessee, where it often includes fruits, nuts, and whipped cream. 12. Chess Pie Birthplace: Virginia (General Region, debated) A simple pie made with butter, sugar, eggs, and cornmeal. While the exact city of origin is unclear, it's closely associated with Appalachian, Virginia and Kentucky. 13. Liver Mush Birthplace: Shelby, North Carolina A dish made from pork liver, head parts, and cornmeal, formed into a loaf and fried. Liver mush is a regional specialty of Shelby, North Carolina, and surrounding areas in the Appalachian foothills. 14. Kentucky Burgoo Birthplace: Owensboro, Kentucky A thick stew made from a variety of meats (often including wild game), vegetables, and spices. It was traditionally cooked over an open flame for several hours, a practice that continues at community events in Owensboro. These dishes reflect the culinary diversity and history of the Appalachian region and its cities, showcasing the deep roots of local traditions and the influence of various immigrant groups. These dishes highlight the rich culinary heritage of Appalachia, showcasing how the region's diverse history and local ingredients have given rise to unique and enduring foods.