Credit- Ty Helbach Photography For Andy Hall, it’s all about the sustain. The sustaining property of his instrument--the dobro--is its defining characteristic. “It's more like an electric guitar, like a lead instrument in a lot of ways,” he says. “You can milk the notes. It makes sense sonically to me because the electric guitar has that same type of sustain.” Hall’s band, The Infamous Stringdusters (he’s a charter member), has sustained a reputation for 20 years as an energetic, innovative ensemble that blends bluegrass credibility and metal show savvy. It continues to pack arenas and large halls with enthusiastic fans. “Even after all this time, we still love being together and playing music together,” Hall says. “So we're going to put the pedal to the metal and just give it a good push in our 20th year.” In addition to extensive touring and nine albums with the band, Hall also tours and records solo and with other artists. Let the Steel Sing is a spirited album-length collaboration with sacred steel guitarist Roosevelt Collier. In 2020, he recorded 12 Bluegrass Classics for Resophonic Guitar, a solo pandemic project. His latest album, Squareneck Soul, allowed him to collaborate with bluegrass virtuosos such as Sierra Hull, Billy Strings, and Wes Corbett. That’s a lot of bluegrass for an upstate New York kid who came to the music pretty late. “Growing up, I was into very heavy music and kind of angsty teenage boy stuff,” Hall explains. “But I was extremely interested in playing guitar, and literally the first day I got a guitar, I was playing it hours a day. It was very much a release for me and an escape.” Hall got a little exposure to country and bluegrass on visits to his father’s family in Nashville. “And then one day, I just got curious enough that I asked for a Bill Monroe box set of CDs, and it just blew my mind instantly. And it had that rustic old recorded sound which made it even kind of more mysterious to me somehow. I had always listened to pristine recordings of modern music. And here you had this old, kind of scratchy sound of these guys just shredding. And to me, it didn't sound that different from heavy metal. It sounded like acoustic heavy metal. It was exciting.” Hall attended the Berklee College of Music in Boston. His infatuation with the burgeoning roots music scene there and his enthusiasm for the guitar led to a bad case of tendonitis in his hand. “The only thing I could really play was lap-style slide guitar that didn't aggravate it,” he recalls. “Using the bar and the slide was very easy for my left hand, which had been injured from overuse. And all these things kind of came together to get me just super fired-up to play dobro.” Hall’s bluegrass apprenticeship included stints with bands in Boston and Nashville. The Infamous Stringdusters came together after an impromptu jam. Hall says that as soon as band members listened to a recording of that session, they realized they had a unique sound. “Chris Pandolfi (banjo) and I didn't even start as bluegrass musicians. We had all these different influences, but we had really put in the work in the bluegrass foundations. And that combination at the time I felt was unique. There were other jammy bluegrass bands, but they hadn't really done the bluegrass thing. Or there were bluegrass bands who played traditional bluegrass but had never listened to Grateful Dead or Phish or anything like that. I mean, there was the New Grass Revival. They certainly had that. But at the time, we were the only band doing that, as far as I can tell.” Today, the band consists of Hall, Pandolfi, Andy Falco (guitar), Jeremy Garrett (fiddle) and Travis Book (double bass). The band’s approach is part of their “secret sauce, " leading to them playing arenas and large venues when other bluegrass bands are playing at smaller clubs and festivals. “We designed our live show to be able to hit hard like in a rock club,” Hall explains. “And that has to do with the sound and how we plug in. There's a whole craft in trying to get acoustic instruments to sound good through a rock PA and be loud. That helps get your music across to a wider range of people. For most people--unless they grew up in folk music clubs and listening rooms--their first show was usually an arena show or something. And that's the type of experience we were going for.” Hall says a 2011 tour opening for the Yonder Mountain String Band helped them figure out their live sound. Hall says that musical collaborations continue to sustain him, whether it’s with a marquee band beginning its 20th year or with great artists on a solo project. “That’s one of the great joys of playing music. I like learning. And one of the best ways to learn is to get with another musician who is really good at what they do and interact with them musically. That's good for the brain and good for the soul.”

As one of the more unique acts in the world of acoustic roots music, the Hillbilly Thomists use music infused with faith to relay their deeply held beliefs. The band is composed of friars of the Order of Preachers (Dominicans). The proceeds from their tours and record sales benefit the Dominican House of Studies in Washington, D.C., where the members first met and began making music. The “Thomist” part of their group’s name refers to followers of the Catholic saint and theologian St. Thomas Aquinas. Thomist thinking includes the belief that “the invisible grace of God can be at work in visible things.” “This for us is not music for Mass,” explained band member Father Justin Bolger, O.P. They have, however, recorded music for Mass with other friars; this includes albums of Dominican chant, polyphony and hymnody. Most of what the Hillbilly Thomists do on most of their recorded music, however, is a more accessible way of reaching people. Fr. Justin described it as “old-timey country,” with some of it even “bordering on rock ‘n’ roll.” “A lot of families like the music,” he added. “I think it fills a nice place in Catholic life where it isn’t praise music or liturgical chant but is more for hanging out. It’s more for the BBQ…for driving around…” There’s a deeper aspect to it as well. “We’ve heard stories of people being touched by the music toward the end of life,” Fr. Justin explained. Death shows up often in the lyrics, as could be expected of a music centered on things of the spirit. “A lot of the songs we write touch on that theme.” He said the Hillbilly Thomists “sing in a joyful way” but do not shy away from – and in fact, embrace – examinations of suffering. The group has released several albums. Their first – 2017’s eponymously-titled The Hillbilly Thomists – reached #3 on the Billboard Bluegrass Chart. This year, they released their fourth album, Marigold. “The album is about all kinds of stuff…some of our characters are inspired by Flannery O’Connor,” Fr. Justin said of the Southern Gothic-style novelist and short story writer. That literary genre is often filled with depictions of colorful but troubled characters hailing from the Deep South. “Her stories are dark, but sometimes they show how grace can really interrupt…some of our songs kind of correspond with her worldview.” One example is a song from the new record called “Justify You.” Fr. Justin said it is about “rundown characters in a bar and the wisdom they have in their suffering.” Another track echoes a Biblical story. “If the story of the Prodigal Son happened in the American South, this is what we think it would sound like,” Fr. Justin said. The song the album is named after – “Marigold” – is about the Virgin Mary. “I’m not aware of a bluegrass, folk or country song, really, that’s about Our Lady,” he said. “The marigold [flower] is associated with her. It is kind of a song about patience, especially in suffering.” Having just wrapped up a summer tour, the Hillbilly Thomists have settled down a bit until their availability opens up again. Most of the music is made when the group members are free for extra projects; that usually means summertime. “We also have full-time, or more than full-time, ministries,” Fr. Justin said. For instance, his main job is serving as a Catholic Chaplain at Brown University. Over the next year, they’ll be working on recording and releasing a Christmas record. “It’s just carols…there are so many beautiful ones,” Fr. Justin said. Despite using instruments such as banjo and mandolin, he added it’s “not so much bluegrass…it’s a little bit more plaintive, a little bit more contemplative.” In advance of that full record coming in the next year, they recorded a single for this Christmas season: a Hillbilly Thomists version of “Silent Night.” While Fr. Justin said music can definitely be “cathartic,” its purpose for these men goes well beyond just rousing the emotions. “Music can raise the heart and mind to noble things,” Fr. Justin said, adding that “beauty has an arresting quality to it. When you can couple some good music with some lyrical depth…that’s a good package.” The music has been embraced not only by the Catholic faithful but by others outside the fold. That’s a pretty good sign that the messages of the Hillbilly Thomists are reaching people. “We get invites from protestant pastors and chaplains. Most priests are not asked to preach to protestant congregations,” he said, explaining that the music is an entry point to ministering to different groups. To Fr. Justin, this is a real plus. He described – in the simplest terms possible – how music is a great way of sharing. “This music is another way to the heart,” he said.

The best songwriting often reflects personal change. For neo-traditional Americana songwriter/singer/musician Kate Macleod, recent life changes have infused her career and creative work with new themes. Originally from the Washington, DC, area, MacLeod has lived in Utah for many years. Recently, however, she’s been brought back to her “eastern roots” with a return to the region. She now lives part-time in Utah and part-time in Harper’s Ferry, West Virginia, where she cares for an elderly parent. “I’m enjoying the way the West Virginia landscape and culture is affecting my songwriting and my playing, where there are countless musicians to learn from,” MacLeod explained. “I’ve been a caregiver for many years in my life, have raised three children, and I’m very family oriented. I’ve enjoyed reconnecting with Mom and helping her remain in her home for as long as she can.” This process might show up in her work in a very specific way. “I have written a few songs based on some family history, and one based on a story that Mom tells frequently, resulting in a song called ‘Bread on the Morning Train.’ Maybe I’ll record that soon,” she said. Now, she performs and records as Kate MacLeod’s Mind the Gap, a band she formed at her new base in Harper’s Ferry. “I’d say the band’s inception is due to how good things can come from doing good deeds,” she explained. “To make it possible for me to be with Mom as much as I needed, I also needed to find work in her area. So, I began booking concerts and asked these wonderful musicians to join me.” She said that in addition to being “wonderful musicians,” the guys she gigs with now are “artistic deep thinkers” and that “everything they are comes through in the music.” Speaking of what makes up the core of a musician, MacLeod shared a peek at how she came to know herself and her inspirations. She was well aware of what drives her at an early age. As a vocalist, guitarist, fiddler, pianist and mountain dulcimer player, the performance bug bit her hard and hasn’t let go. “I knew I wanted to play the violin at as young as five or so,” she recalled. “I don’t know where that ‘lightbulb’ inspiration came from, but I suspect I inherited it from a long line of musicians who were professionals from where my families came from in Europe.” She confessed that she tried to do other things for a living instead of becoming a professional musician but was reluctant. “And I raised a family, and at times, didn’t take myself seriously. But the more I work in music, the more I want to continue. For me, working in the music business has been a very slow crescendo.” That crescendo has certain high points. Musicians such as Laurie Lewis and Mollie O’Brien sing her songs regularly. She’s toured the U.S., Canada, and Western Europe. Her music has been used in documentaries aired on PBS stations, including “My Canyonlands: Kent Frost,” “We Sagebrush Folks,” and “Zion Canyon Song Cycle.” She dropped a single this fall. “Never Looked So Good to Me Before” features MacLeod with her vocals, guitar and piano and bandmates Paul Hammerton (vocals and guitar), John Bryant (vocals and bass), and Matthew Metz (vocals, mandolin). It was recorded at Cabin Studios in Leesburg, Virginia with engineer Dustin DeLage. The cover art for the single features a watercolor painted by MacLeod. Kate MacLeod’s Mind the Gap has been busy this past fall, touring across the East, Midwest and Northwest America. For this month, however, she’s in break mode. “I normally take time off in December and January for recording time,” she said. “I plan to be working on recording more music with Mind the Gap, and I have a large collection of songs I’ve written on white water river trips to record, from annual river trips with a commercial river running company.” As part of her volunteer and community efforts, she said, “I'm organizing a holiday song ‘sing-in’ fundraising event for my church meeting, the Salt Lake Society of Friends/Quakers, on Sunday, December 15,” she said. “I always spend Christmas with my children,” she added. “We meet in Salt Lake City from wherever we live.” With life happening in two different parts of the country, MacLeod makes time for family in both regions. Hopefully, these rich experiences of connecting will continue to inspire her songwriting.

When a group of friends in Highland Park, New Jersey started an informal music project together, they had no idea they’d go from a living room-picking situation to touring and playing major festivals. That’s exactly what happened with Magnolia Street String Band, named after the street where their first practice space was located – in a house on the corner of Magnolia Street and Fourth Street. “Magnolia Street sounded better than Fourth Street, so we went with it,” laughs the band’s frontwoman, Sheila Shukla. Sheila and her sister grew up listening to music in their parents’ home in Branchburg, NJ, but it wasn’t until she attended the University of North Carolina in Greensboro that she discovered bluegrass. “I had learned piano and choral singing as a kid and picked up the guitar and folk/rock singing in college.” A trip to a street festival was a pivotal musical moment for Sheila. “I heard a bluegrass band, and it hit me the right way. I loved the four-piece acoustic sound. Soon, I discovered Alison Krauss, and it all came together for me. When I returned to New Jersey, I eventually found my way into playing in folk and bluegrass groups.” Sheila and Matthew Backes started Magnolia Street String Band in 2013. The band picked up the late Paul Prestopino at a festival. “He showed up on stage and began playing mandolin. Then he asked us if he could join our band,” says Sheila. Paul had a world of experience playing with legendary groups like Peter Paul and Mary, John Denver, and the Chad Mitchell Trio. Bobby Baxmeyer and Ron Greenstein were connected by mutual friends and joined soon after. As the band developed its own sound, it started performing for audiences in 2014, and the response fueled it to keep playing. Its music tapped traditional bluegrass as well as covers of contemporary tunes, paying homage to the “grassicana” sound of the late 1960s and early 1970s. The band, led by Matt at the time, recorded an album, Wrong Side of the Rain, in 2019, produced by Backes and Bob Harris in Bob’s studio in Bridgewater, NJ. “It was unfortunate timing for us. We were planning a tour, and then the pandemic hit, so we just enjoyed the album at home,” says Sheila. As the world recovered from the pandemic, Matt took a health leave due to Parkinson’s disease, and Sheila emerged as the band’s leader. As a music and movement teacher for children under six, she realized how music can change the energy of a classroom. “I do a lot of creative improvisation in my classroom, and I thought I should make an album for kids. I called Bob and told him the plan, and he suggested a children’s bluegrass album.” Sheila says she “knocked it out” with the album By the Light of the Moon, released on October 4 – National Children’s Music Day. The album was created with children in mind, but the excellent instrumentation will also appeal to bluegrass fans of all ages. Produced by Bob Harris, Sheila Shukla, and Gary Oleyar (who played with Loggins and Messina), By the Light of the Moon transports listeners to a magical place through forests, gardens, and into the sky. Bob, who has played with Vassar Clements for decades and been part of more than a thousand records in his career, played guitar on the album. Sheila wrote all but two songs on the album. “My sister, Rita Shukla, wrote and sang “Morning Waltz” and contributed to the harmonies on several songs. She also collaborated with me on the creative direction of this album,” Sheila says. Sheila’s three children, Surya (14), Sonia (12), and Dhruv (7), lent their vocals to the album. Matt Backes makes an appearance in “Oh Susanna,” and Nick Conte sings harmonies. “I wrote the songs on the album to be educational for children – it includes life lessons, as well as fun, whimsy, creativity, and calm and peace.” One of the singles, “Slow Down Rabbit,” was co-written with Sheila’s daughter. “That song is definitely for me,” she laughs. “I need a reminder sometimes to slow down and enjoy each moment.” Realizing that she is unique as a South Asian woman in the world of bluegrass, Sheila says she has found her voice through the inspiration she has gained from artists including Mollie Tuttle, Alison Krauss, and Gillian Welch. “I have been playing with and hoping to collaborate with other South Asian bluegrass artists in the future.” Sheila hopes families will listen to By the Light of the Moon together. “I would love for families to have fun with this album together and want to listen to it over and over again.” Magnolia Street String Band www.magnoliastreetstringband.com https://tinyurl.com/MSSB-on-Instagram https://tinyurl.com/MSSB-on-Facebook Booking contact: Sheila Shukla Mssbmusic@gmail.com Publicity: Ever Kipp Contact@tinyhuman.com

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.”

Appalachia is home to myriad restaurants that span cuisines and styles. From Indian and Italian to French and Mexican, there is no shortage of diversity in Mountain State meals. Here are ten must-visit restaurants to get a full taste of Appalachia. 1.  Holly Hill Inn – Midway, Kentucky Holly Hill Inn is a standout Appalachian restaurant in Kentucky. This charming establishment, housed in a historic building dating back to the 19th century, is renowned for its elegant and innovative approach to Appalachian cuisine. 2. Biscuit Head – Asheville, North Carolina Asheville is a hub for food enthusiasts, and Biscuit Head stands out among breakfast lovers. Famous for its fluffy, oversized biscuits and inventive toppings, Biscuit Head offers a variety of sweet and savory options. Don't miss their signature dish, the "Biscuit Donut" or the "Southern Benedict," a delightful twist on a classic. The laid-back atmosphere and friendly service make it a must-visit. 3. Storie Street Grille – Blowing Rock, North Carolina Located in the picturesque town of Blowing Rock, Storie Street Grille offers a menu that combines Southern comfort food with contemporary flair. Known for its shrimp and grits and mouthwatering fried green tomatoes, the restaurant provides a warm and inviting setting perfect for a leisurely meal. Their extensive wine list and handcrafted cocktails are an added bonus. 4. Blackberry Farm – Walland, Tennessee Blackberry Farm is not just a restaurant; it's a luxurious culinary destination. This renowned hotel offers an exquisite farm-to-table dining experience in the scenic Great Smoky Mountains. With a focus on Appalachian ingredients, dishes like the wood-grilled trout and farmstead cheeses are not to be missed. The impeccable service and breathtaking views make it a truly unforgettable experience. 5. Hillbilly Hot Dogs – Lesage, West Virginia For a quirky and fun dining experience, Hillbilly Hot Dogs is a must. Known for their outrageous hot dog creations, this roadside eatery offers a variety of toppings that cater to all tastes. The "Homewrecker," a 15-inch hot dog with an array of toppings, is a challenge for even the heartiest of appetites. The eclectic decor and friendly atmosphere add to the unique charm. 6. Delauder's BBQ – Gatlinburg, Tennessee Gatlinburg is home to Delauder's BBQ, a family-owned restaurant that serves up some of the best barbecues in the region. From tender pulled pork to smoky ribs, every bite is a testament to their passion for great barbecue. The casual, no-frills setting lets the food speak for itself, and the friendly service makes you feel right at home. 7. St. John’s Restaurant – Chattanooga, Tennessee Located in a historic building, St. John's offers a fine dining experience with a focus on seasonal, locally sourced ingredients. The menu features a blend of Southern and contemporary cuisine, with dishes like seared scallops, duck breast and expertly crafted desserts. The elegant atmosphere and top-notch service make it a standout choice for a memorable meal in Chattanooga. 8.  Vortex Doughnuts – Asheville, North Carolina Stylish and funky, Vortex Doughnuts is a must-visit for those with a sweet tooth. This Asheville favorite offers an array of artisanal doughnuts made from scratch using high-quality ingredients. Flavors range from classic glazed to unique options like maple bacon and vegan matcha. The hip, modern ambiance and delicious coffee make it a great spot to start your day. 9.  The Early Girl Eatery – Asheville, North Carolina Another Asheville favorite, The Early Girl Eatery, focuses on farm-to-table Southern comfort food. Known for their all-day breakfast menu and vegetarian-friendly options, dishes like the sweet potato black bean cakes and the pulled pork breakfast bowl are crowd-pleasers. The cozy, eclectic decor and warm service make it a beloved spot for locals and tourists alike. 10.  Pies & Pints – Fayetteville, West Virginia Pies & Pints is a beloved spot for pizza and beer enthusiasts. Located in the heart of Fayetteville, this restaurant is known for its creative pizza toppings and extensive craft beer selection. Signature pies like the Grape and Gorgonzola or the Sriracha Shrimp offer a delightful twist on traditional pizza, while the laid-back atmosphere makes it a great place to unwind. Exploring Appalachia's culinary offerings goes beyond food—it encompasses the region's rich history, culture, and hospitality. Each of these 10 restaurants offers a unique taste of Appalachia, making them essential stops on any food lover's journey through this beautiful and diverse region. From upscale dining experiences to quirky roadside eateries, the Appalachian food scene is an epicurean’s delight.

A commitment to the performing arts is evident in Kirkwood, Missouri. Not far from St. Louis, a new performing arts center has enhanced the cultural scene in this city known as a railroad town. It has always welcomed different people and ideas, and this reputation still thrives today as the city’s beautiful facility—the Kirkwood Performing Arts Center (KPAC)—attracts musicians and other performing artists from far and wide.   The property opened in 2020 and, according to General Manager Elizabeth Crabtree, quickly became a vital part of the local scene.   “The venue is part of the Parks and Recreation Department of the City,” Crabtree explained. She said Kirkwood embraces it and that it is good for the city since it is “creating revenue instead of expense.”   KPAC has been a huge enhancement for a community Crabtree described as “artsy.”    “Kirkwood didn’t have a firm history of a performing arts center that brought world-class talent,” Crabtree said. That’s all changed over the past few years.   “We’ve got comedy, opera, dance, theater, all genres of music,” she said. “We’re city-run, so it really changes a lot of what we are able to do to help artists and give a real VIP experience…we really go out of our way to give hospitality.”   Crabtree said a vital aspect of KPAC is that it “brought the patron-artist interaction together.” Not only does it attract talent from other places, but for local talent, it makes gigging more feasible. A part of the mission is keeping local talent working as much as possible. In that way, benefits for the community go beyond the walls of the building.   “We split the house with them on ticket revenues,” Crabtree said.    A new addition came to the space not long ago: a black box theater.   “It’s a cabaret-style setup, with tables and general admission,” Crabtree explained. “It’s such an intimate space. We’ve been told it’s reminiscent of a New York City jazz club.”   A peek at the range of acts shows how the venue caters to various tastes.    “We’re doing a tribute to David Bowie with a string quartet,” Crabtree said. Other offerings might include a show by well-known St. Louis musician Erin Bode, a jazz interpretation of the music of Billy Joel, or a Neil Diamond tribute performance. They’ve hosted three Latin music shows and host a “coffee concert series” on Thursday mornings. In December, there will be multiple performances of “Let It Be Christmas,” a retelling of the Christmas story through the music of The Beatles.    There’s something for everyone and space for a wide variety of live performances. The stats say it all: The Ross Family Theatre features a 530-seat auditorium with a proscenium stage; the Strauss Black Box Theatre offers a 375-person capacity with connected event space; the Event Space is 2,000 square feet and has a capacity of 275 people; two lobbies have 3,800 sq. ft. and 1,900 sq. ft. of space; and there’s also a 3,500 sq. ft. Event Lawn. Those come with dressing rooms, a green room, a wardrobe room, a concessions stand, a catering kitchen, and ADA-accessible restrooms. All combined, these resources offer a lot of possibilities for events held in Kirkwood.   Crabtree's reasons for choosing to lead KPAC as a career are easily understood. It’s all about bringing happiness to Kirkwood.   “I believe in the power of live entertainment, of live music,” Crabtree said. “I want to make people come together and clap…I want to see the standing ovations.”

Maygen Lacey says she comes from a different go-to regarding the kind of music she grew up on than her musical partner, Noah Neumann. “I was drawn to pop and catchy tunes. He listened to 90’s country. I guess Brandi Carlile got me into listening to more bluegrass.” Noah says they met in 2016 at a mutual gig where Maygen sang and he played guitar. “We discovered we had common interests, and we just went from there.” The Minnesota-based musicians formed a band and released their debut full-length album, Moonshine , in 2021. The album received Album of the Year at the Midwest Country Music Awards and was named Americana Artist of the Year. That opened the doors to opportunities to play on festival stages with acts like Old Crow Medicine Show, Paul Cauthen, Grace Potter, and their childhood favorite, Travis Tritt. “After we won the Midwest Country Music Award at an arena in Duluth, Minnesota, Travis invited us to open for a show,” says Maygen. “It was so surreal for us.” In late 2022, they continued the momentum with Moonshine ’s companion EP, Bootleggin’ At The Flower Shoppe . Their winning streak continued. The album was the 2023 Album of the Year at the Midwest Country Music Awards, and they were once again named Americana Artist of the Year. In October 2023, Maygen & the Birdwatcher leaped into producing an event – they hosted and curated the inaugural Americana Fest at The Hook and Ladder Theatre in Minneapolis. “There is such a special community of artists here,” Maygen says. “Music is our love language, and we enjoy playing Amerigrass with such talented artists.” It’s hard to put Maygen & the Birdwatcher in a box. They have been considered Americana artists, as well as folk and bluegrass, with some country and blues added to the mix. “We draw on our different musical influences and vocal styles to bring fresh and unexpected songs to light,” Maygen says. The band loves music, and it shows. Nik Pellinen (banjo, lap steel, electric guitar), Jessie Moravec (fiddle, mandolin), Chase Rabideau (bass) and Peter Anderson (percussion) round out the tightly knit band’s lineup. “Evin Haukos also joined us on fiddle on the Leap Year  EP,” says Noah. Noah says that Leap Year  is a metaphor for what’s happening in their lives. Inspired by the celestial symbolism of 2024, the EP was released in August, with three single-track releases since early February. “The musicianship is so tight and lovely in this album. In this leap year, we are leaping forward, taking our music to the next level.” Leap Year  includes two reimagined tracks, “Full Moons/Leap Year Session” and “Antidote/Leap Year Session,” both appearing on the band’s Moonshine  LP.  “Noah and I wanted to re-release these two tracks in a more stripped-down style, really emphasizing the acoustic renditions and harmonies in its purest musical arrangements. We always dreamt of what ‘Antidote’ would sound like on piano, so this was a very fitting record to explore that vision.” Noah added that the album shows another side of the band. “It’s more intimate, a bit more pulled back and introspective. It was recorded in the dead of winter. We had done some of the songs before, but we recorded them in a different light. This project was a bit more relaxed. It was kind of like using a different muscle in a way. The tendency is to add more and do more, but the challenge is to pull back. It was an odd experience.” Maygen says they wound up building songs a little. “We added a build-up with drums and a bridge, which worked out beautifully. I’m really happy with it.” The band is now actively working on their new album. “We have been doing it in between gigs,” Noah says. “We try to do as many festivals as we can, then we’ll settle in and finish it before the end of the year.” In 2023, Maygen & the Birdwatcher partnered with the South Dakota Grasslands Coalition, a non-profit organization, to save its native grasslands – North America’s most threatened ecosystem. The song/video  “Where Good Things Grow” was released to raise public awareness about the importance of grassland ecosystems and generate support for programs to encourage farmers, ranchers, and public officials to preserve and restore the health of America’s grasslands. The song was awarded the 2023 Video of the Year from the Midwest Country Music Association, along with Entertainer of the Year. Maygen is a busy wife and mom when not busy with the band. “I also do studio work in my home studio, doing vocals for demos and such.” Noah is the father of an active one-year-old and works as a special ed teacher. In his off time, his passion is (you guessed it) birdwatching. www.maygenandthebirdwatcher.com

Anyone who has ever been to an Old Crow Medicine Show (OCMS) concert knows that the high-energy band is as much fun to watch as they are to listen to. There is a kind of choreography on stage as members of the band switch from one instrument to another seamlessly between songs. Band leader Sketch Secor has an old soul and a penchant for old-time, jug band, and string band music. “I grew up without smartphones and technology. I’d see a poster in a record shop and think about it for weeks.” Ketch saw the Grateful Dead when he was 15, and that made a big impression on the budding musician. “I was fortunate to see many musical legends in the flesh. I suppose I’ve always felt like an old soul. I’ve pieced together my own experiences, and now I’m a first-hand account of my life’s pivotal moments.” The band had its beginnings in the fall of 1998 when a “monkey wrench gang of old-time string musicians” left their hometown of Ithaca, New York, with banjos, washboards, fiddles, and guitars bought in area pawnshops. “We were mostly still in our teens, and we played our way across the Canadian border to play on the street corners of downtown Ontario,” says Ketch. “It was a big adventure for all of us. We kept traveling and playing, from farmers markets in Manitoba to Indian reservations in South Dakota.” In time, the band developed its own special style—a little bit of country, a splash of bluegrass, punk rock showmanship, and an old sound made new and innovative. The band crossed the country from New York to Washington State and back again before deciding to move to the mountains of North Carolina in 1999. “We wanted to explore this musical heritage we had grown to love,” says Ketch. “That meant living where the music came from.” They live in Avery County, about 30 miles from Boone, where they played on the street corners. “We had a boot camp mentality,” Ketch laughs. “We worked farm labor jobs, and we planted the best garden. People from around the area came to learn how we grew such beautiful produce. We had no idea what we were doing, but we followed the Foxfire  books to the letter, and it worked. We also made some mighty fine corn liquor.” Ketch says they wanted to be as authentic as possible, including getting the accents right. Their big break came one day when they were playing on the sidewalk outside Boone Drug, which is where Doc Watson got his start playing in the 1950s. Doc’s daughter happened by and liked what she heard. She brought her father over to listen, and he joined them. Afterward, he told them it was the most authentic music he had heard in a long time, and he invited them to play at Merlefest in Wilkesboro, North Carolina. Their performance at Merlefest caught the attention of Nashville, and a gig at the Grand Ole Opry followed. The band moved to Nashville and continued busking to pay the rent. Over the years, many have inspired and even mentored the band -- John Prine, Gillian Welch, and Marty Stuart, to name a few. “Marty Stuart has been a guiding light all these years and a beacon for me,” says Ketch. “I learned a lot about choreography by watching Del McCoury. He has a fluidity and expressiveness that is unmatched. I also prioritize multi-instrumentalism.” Garrison Keillor and Conan O’Brian were early adopters of the band’s music. Folks who had seen them in clubs as they played their way across the country and back sat up and took notice. The band opened for artists from Ricky Skaggs and Loretta Lynn to Dave Matthew Band and Willie Nelson. One of the band’s first big hits was a song co-written by Ketch and Bob Dylan. Dylan recorded the chorus of “Rock Me Mama” 25 years later; after hearing a bootleg sketch of the song, Ketch added verses. “Dylan and I entered a co-writing agreement and sent work back and forth via email. I never met him or even talked to him. But he did give me co-writing credit.” OCMS became a Grammy-award-winning band in 2011 and was inducted into the Grand Ole Opry in 2013. The band produced a trio of inspiring songs during the pandemic: “Pray for America,” “Nashville Rising,” and “Medicine Man,” featuring Keb’ Mo.’ Over 100,000 viewers tuned in for their Saturday night quarantine livestreams called Hartland Hootenanny , which featured artists including Billy Strings, Amythyst Kiah, Jim Lauderdale, and dozens more. Old Crow released Paint this Town  in April 2022 – their first album with all original material in five years. The album was recorded in their own Hartland Studios in Nashville and co-produced by Matt Ross-Spang, a veteran hitmaker. The album and title track were in the top five spot of Americana Radio’s 2022 Album and Single airplay charts. Their newest album, Jubilee , was recorded in late 2021 and early 2022 and also co-produced by Matt Ross-Spang. The album features collaborations with Mavis Staples and Sierra Farrell and the band’s first recording in twelve years with OCMS’s co-founder Willie Watson. The band plays an annual New Year’s Eve show at the Ryman Theatre. For the past couple of years, Mollie Tuttle has joined them onstage, with whom Ketch has written several songs. “I look at her work as a beautiful extension of my own.” Ketch says he enjoys working with young people and ensuring the musical torch gets passed on.

photo by Sandlin Gaither field Sometimes, unusual combinations end up making a lot of sense.   Take Zoe & Cloyd's Klezgrass music. Natalya Zoe Weinstein is a classically trained violinist from Amherst, Mass., descended from jazz and klezmer musicians. (Klezmer is a traditional folk music originating among Eastern European Jewish communities.) John Cloyd Miller is a twelfth-generation North Carolinian who comes from bluegrass royalty: his fiddling grandfather, Jim Shumate, introduced Earl Scruggs to Bill Monroe, and he played with both.   While bluegrass makes up much of their set list and album material, the Klezgrass music they've developed that honors their ancestors sets them apart. “We just did the Gray Fox festival a couple of weeks ago,” Miller says. “Even though we only did probably a couple of klezmer songs in each set, people just were so excited to hear that kind of music. And even down south, for people that are not as familiar with klezmer, they really are drawn to it. They're like, ‘I've never heard that before!’ Not every band has that stuff in their repertoire. So, if somebody wants something a little bit different on their bill, we can provide that.” Weinstein was exposed to bluegrass music by college friends in Amherst. She attended an anthropology conference in Tacoma, Wash., where she was given a ticket to the nearby Wintergrass Festival. “It was so incredible to me. Somebody handed me a fiddle, and I played ‘Angelina Baker’ with people I'd never met before. And that was kind of the turning point for me. So, I moved to Asheville after I graduated from college just to kind of learn more about bluegrass and old-time music, to sort of be in the heart of it.” She said she met John, and they played some gigs and started hanging out. “And then I found out that his grandfather was a bluegrass fiddle player. And he just was super welcoming and always up for playing. Every time we'd go down, he'd say, ‘Did you bring your fiddles and your banjos?’ He was a huge influence on me for sure.”   She explained how Jim was basically self-taught and a super bluesy fiddle player who just slid into everything. “His timing was real syncopated and it was completely the opposite way of playing the instrument than I was used to. So, it really helped me to kind of loosen up and learn bluegrass from that side.” Miller plays banjo, guitar, and mandolin and sings and writes the duo’s original compositions. “I didn't grow up as a kid playing bluegrass instruments,” he says. “That's something I came to a little bit later in life, and I'm still working on. But singing comes a little bit more naturally to me. That’s my main form of expression.” One of Miller’s recently recorded songs, “Chestnut Mountain,” is a wistful account of a place his grandfather knew. However, his subjects include timely topics such as polarization, tolerance, and the environment. “I like story songs. I like songs about relationships. I just kind of write what I feel like writing. I write about the things that I'm interested in and the things that I'm passionate about and move me. And I'm an outdoors person. The environment's always been an interest of mine, as it should be to everyone.” Miller had never heard of klezmer music until Weinstein played it for him. Klezmer tunes are typically instrumentals and often feature elaborate and dizzying violin and clarinet passages. “The music really mirrors in a very overt way human emotion,” Miller explains. “It can be happy, it can be joyful and spontaneous, and all of a sudden, it can be really sad. It sort of dovetails with bluegrass pretty well because most of these songs are in a minor key. They're not unlike ‘Lonesome Midnight Waltz’ or ‘Lonesome Blues’ or something like that.” Weinstein and Miller are more than musical collaborators--they married 14 years ago. That’s a lot of time together at home and on the job. “You have to be able to find that balance between not letting the band take over your entire life,” Miller says. “We're definitely aware of trying to keep a balance between our private life with our daughter and fun stuff, and not just talking about the band all the time. That can be challenging. I think a lot of small business owners, no matter what they're doing, struggle with that.” Zoe & Cloyd perform both as a duo and with a band that features Bennett Sullivan, an inventive and mesmerizing musician who has incorporated bluegrass banjo into klezmer. Bassist Kevin Kerhberg rounds out the quartet. In the summer, Zoe and Cloyd can perform farther away from Ashville than usual. They’ve toured in Ireland for the last two years and were heartened by the warm response they received this year for their unique music. “We did everything from a fiddle workshop to a set at a kind of historic pub,” Weinstein remembers. “And we hosted a gospel hour in this beautiful centuries-old Protestant church. The Catholic priest was there as well. So, it was neat to kind of bring all these people together in this sacred space, no matter what their religious backgrounds were. And we did a Klezmer song there. That was pretty cool.”

As the executive director of the Americana Music Association (AMA) for seventeen years, Jed Hilly’s responsibilities include producing the annual awards show and the AmericanaFest Music Festival and Conference. He loves his job because he is passionate about music and artist advocacy. Jed got his start in music in New York. He was in a band, and booking gigs fell on his shoulders. He learned he liked doing it and discovered he was good at the business side of things. Jed spent ten years at Sony Music Entertainment in New York, where he had many diverse experiences as the VP of digital asset management and marketing services. He then moved to Nashville to oversee Roy Orbison's estate before accepting the role of executive director of the AMA. “The AMA started 25 years ago, in 1999,” says Jed. “It started as a reaction to commercial country music not recognizing artists like Roseanne Cash, k.d. lang, Dwight Yokum, or Emmylou Harris. The AMA was formed to recognize all traditional American roots music, including blues, r & b, bluegrass, and contemporary American music.” Jed explained that in the mid-1990s, an FCC ruling allowed the consolidation of radio stations around the country. “There were a few owners with a lot of stations, and commercial country music was king. But there were people who wanted to shine a light on artists who would not otherwise have been heard.” In the Spring of 1999, a group of thirty or so people gathered to discuss how to get grassroots music played. They met again in the fall to organize. “A corporate facilitator helped them define their mission and what they were aspiring to do,” says Jed. “The mission was to foster growth for Americana artists. Before that time, people didn’t really know they existed.” When Jed started at the AMA in 2007, there were just over 790 members and not one major label. When Brandi Carlile won a Grammy for best Americana record for “By the Way, I Forgive You,” she described Americana as “the land of misfit toys.”  The incorporation of American roots music traditions from Gospel to traditional country to blues to rock ‘n’ roll is prevalent today. “The strength and beauty of Americana is its diversity,” says Jed. Since Jed joined the AMA, services have expanded greatly, and the music is gaining more traction. More music supervisors are discovering Americana music for film and television, and the music is being spread through social media. The Americana Music Association Foundation is a 501(c)(3) philanthropic organization that promotes educational purposes and maintains the integrity and continued existence of Americana music. The 23rd Americana Music Honors and Award Show was held in September. “It’s not just an award show,” says Jeb. “It is a very powerful show. There are no hosts – it’s very much about the community of musicians.” Held in the historic Ryman Theatre in Nashville, the show has featured entertainers including Robert Plant, Johnny Cash, Buddy Guy, Brandi Carlile, Milk Carton Kids, Shelby Lynn, and the Blind Boys of Alabama.

Marty Stuart personifies American music, from his modest Mississippi beginnings to his present star-studded life as a successful, award-winning singer-songwriter and multi-instrumentalist. His songs echo the remnants of Lester Flatt, Hank Williams, Merle Haggard, and Johnny Cash. Yet, he somehow managed to remain wholly authentic …to himself. He first picked up a guitar in Philadelphia, Mississippi, where Southern sceneries, cultures, and traditions helped mold him as an individual and budding musician. "I cannot remember a time in my life when music wasn't present," Marty said. "The first memory I had on this earth was being in my mama's arms, and she was holding me and crying. I remember what the fabric on her dress felt like." He described how the sun was dipping below the horizon, and the breeze carried the chime of church bells over East Philadelphia. His mama told him it was music, and the sound enfolded him like her embrace. In that treasured moment, he discovered music and what it could do. That connection forever shaped his life. "Right after that, she took me to a parade where some little backwoods circus troop came through Philadelphia," said Marty. The high school band was first in the long parade line, announcing the circus to the town. "I was standing on the corner, and the band came by with the power of the music again. I just started crying. So, I think that's who I am." At age nine, Marty started his first band with neighborhood buddies Butch and Ricky Hodgins. "At that time (1968 or 1969), young bands in that part of the country all played pretty much covers of British invasion music, The Beatles, The Stones, and The Who," said Marty. He explained how he could find nobody young playing country songs. "I loved country music more than any other kind, so we played songs by Buck Owens, Johnny Cash, Merle Haggard, and the Carter family. We just considered ourselves correspondents for all those stars in the backwoods of Mississippi, and that got me started.” Marty went on the road with the Sullivan family only three years later, a road as long and winding as the Pearl River near his Philadelphia hometown, running endless miles through ever-changing landscapes. Imagine this young boy of 12 spending long hours on a bus, nights in unfamiliar towns, and the pressure of performing night after night. The freedom of the road also meant the absence of home comforts, family, and the weight of responsibility far beyond his years. But Marty Stuart eagerly adapted to the rigors of this life and learned how to navigate the daunting realities of the complex adult world around him because of his love for music. "I didn't see any challenges," he said. "I always saw joy and beauty in it." His music grew organically from the pulsating sounds of bluegrass and country. Still, he pushed those genre boundaries by infusing rock and rockabilly to create his distinct mark on the music world, and he never approached his songwriting with a genre in mind. More than loving music, Marty lived it …and never looked back. "When you cross the state line into Mississippi, the sign says, Welcome to Mississippi, the Birthplace of America's Music." That encompasses many genres: gospel, blues, rock'n'roll, and country. "All those things are a part of our home, our musical heritage as Mississippians. It all kind of bubbles up, and I think that's what follows me to the pen, paper, and guitar. I can't quite help it. This is what comes out, and a long time ago, I made peace with that. I stand on it and use it as a license to make any music I want to be authentic." He's been called a child prodigy and a star, but as a historian who honors and preserves the roots of country music, he's earned the title "keeper of its flame." Reminiscing about when country bands played at the Neshoba County and the Choctaw Fairs, and gospel quartets and bluegrass singers came into Philadelphia to perform, he said, "I'm a fan. They represented a world I wanted to be a part of so badly as a kid." To Marty, it was the Wizard of Oz land, a fairy tale land. "I wanted to have any remnant or any souvenir of that world to take home with me, whether it was a signed record, the guitar player's guitar pick, an autograph, whatever. I took it home after somebody would play in our town, and it was like having Smithsonian treasures in my bedroom. That followed me to Nashville." PRESERVING THE COUNTRY MUSIC LEGACY: Marty's mementos varied from crumpled-up set lists to retrieving the makeup-stained tie from the garbage belonging to Lester Flatt, who Marty had joined in 1972. "In the early 1980s, all these older stars were kind of shuffled off to the pasture because times had changed, and Urban Cowboy had come in and kind of replaced all of the great stars." That didn't work for Marty because he felt those old stars had raised him. "They were like family." Still, as a much younger musician, Marty was also part of this new world. "I was in Nashville one day, and I bought Patsy Kline's train case or makeup case for 75 bucks in the junk shop because nobody cared," he said. "That's what it looked like to me: nobody cared, and nobody was paying attention." And this became his mission, "to take care of and pick up those kinds of things, costumes, guitars, instruments, and manuscripts, personal effects of people that matter to me." He filled warehouses with around 15,000 artifacts but had no idea what to do with them. In the early 2000s, Marty returned to Mississippi. "I fell back in love with my state and its musical and creative legacy. I wanted to jump in and start doing my part and help tell the story to the world." During that time, B.B. King called Marty to ask if he and his band could put on a show in Indianola to help raise money for the B.B. King Museum. While there, B.B. pointed out everything going on in Mississippi, saying, "You know rock'n'roll is over there at Elvis's place, I've got the Blues covered, and there's the Jimmie Rodgers Museum that puddles along down in Meridian." At that time, there was only talk of a Grammy Museum coming to the Delta. On his way out of Indianola, Marty figured out what to do with his massive collection thanks to B.B.'s coaxing. "Country music needed a home in Mississippi and the land of Jimmie Rodgers, the Old Testament world of country music. When I left Indianola that night, I remember looking up at God and thinking but don't make me do this . It was gonna be like setting a spaceship down in the middle of nowhere and getting people to believe in it." THE CONGRESS OF COUNTRY MUSIC: The Congress of Country Music planned for Marty's Philadelphia hometown culminated from his perpetual love for country music, his determination to preserve its legacy, and "spending the day with B.B. King," he said. Every project starts somewhere. The Ellis Theater was the hometown theater where locals once gathered to watch the latest Elvis movies or classics like The Sound of Music  and Doctor Zhivago . "It was the silver screen in our town, but it had tired like most little theaters in little hometowns that had fallen into disrepair." The Arts Council of Philadelphia owned the theater and was trying to do productions there. Marty decided to do one of his out-of-town broadcasts from The Ellis. He took his Marty Stuart Show from Nashville to Philadelphia. He described it as "spit and glue, walking over broken glass and busted commodes in the alley and praying it didn't rain because of holes in the roof." But there was something about the place," he said, with praise and gratitude. "It sounded great, and one of the things we had not accomplished at the time was finding a permanent location for the Congress of Country Music." The concept had been floating around in the air, and Marty was searching all over Philadelphia to find the right spot. And it just so happened that his longtime friend Butch, that kid in his first band, was on the Philadelphia Arts Council. He called Marty one day and asked how Marty would feel about the Arts Council donating the Ellis Theater to the project and the Council being a partner. Marty thought it was a great idea because it could be the cornerstone to start the whole campus. "So, the first phase was to get the Ellis up and running and beautiful, get people to come there, and turn it into a legitimate stop along the way for touring bands. We've done every bit of that." Marty affirmed that a project starts with the vision, but it also depends on the quality of your partners and how much of your vision can feasibly be accomplished and sustained. "It was a slow sale from the start, and most people thought this ain't gonna ever happen; we don't need this around here, you know the deal. But one by one, they started coming around." And those people finally coming around  were from all around —Boston, Washington, California, Nevada, Florida, Texas—and then fans began pouring from five dollars to one million into the project, "seeing the worth in this thing not just for the cultural significance of what we're doing but also to see the rebirth, the second coming of a town that has had hard times in its past." Marty admits that has been his favorite part—witnessing his Philadelphia hometown return to life. During the shows at The Ellis, people show up, businesses stay open late, and streets are blocked off because of the crowd. "Those are good problems to have as you move forward. These things help develop the hope we all need, especially when our past has been so dark in many places," said Marty. "It really gives the world a sense of hope because it's somewhere in Philadelphia, Mississippi, and so this can happen anywhere. Everyone can come together, you know, across all lines, social, racial, ethnic, religious." Marty hopes Philadelphia will become an inspirational template for other small towns. One of Philadelphia's different dynamics is its triracial communities: Black, White and Native American. “One of the things that has been very important to me at any gathering is that a White prayer, a Native American prayer, and a Black prayer will be lifted into the air." When The Ellis opened, that's precisely what happened: the beautiful pageantry of the Choctaws and a prayer by Philadelphia Mayor James Young, a Black gentleman and "an amazing and incredible guy. Then there were all of us White kids," said Marty. Everybody in the community felt welcomed and embraced, and that's what this is at the foundational level. This matters more than everything else put together." Marty elaborated on the project's educational component and why it is critical to the Congress’s mission. "When I was so on fire as a young musician and my heart was just coming into focus and my passions and my dreams were starting to surface inside of my head and my heart, what I had access to in Philadelphia was a magazine rack at Hamill drugstore that carried the Country Song Roundup and a few paperbacks that pertained to music and the record rack at Morgan Lindsey Dime Store." His only musical classrooms growing up were the Lakeside Auditorium with its gospel singings and the Choctaw and the Neshoba County Fairs when musical acts came through. "If, as a kid, I could have had Dolly Parton or Wynton Marsalis, Dale McCrory, John Anderson, or Connie Smith, all the people we've had at the Ellis in the last year and a half; if Ricky Skaggs and Vince Gill had come to my town, it would have blown my head off. It would have been like watching the Old Testament characters of the Bible come to life." With funding in hand and architectural plans to start by the end of this year, Marty said the continuing challenge will be the location in the middle of a rural state. "Promoting and sustaining the place becomes the issue after getting beyond opening day and cutting ribbons, and the confetti dies down." Other challenges will be keeping programming current and interesting and keeping great events happening there, "where everybody looks at the place as a beacon of hope and light down in Mississippi." Marty hopes the Congress of Country Music will be a place where young musicians can develop who they really are before making their decisions in today's homogenized country music industry. "It used to be that if you were coming out of your hometown, you had to bring your culture with you to get a seat at the table. Now, you have to check your culture at the county line, blend in and be like everybody else. That leaves a lot of people's true selves behind."