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.

Appalachia is known for its rich cultural heritage, including traditional cuisine, farm-to-table experiences, and festivals celebrating local flavors. In 2025, the region will be brimming with events that food lovers won’t want to miss. Here's a month-by-month guide to some of the best upcoming food events and festivals in Appalachia: January – Portsmouth Restaurant Week Portsmouth, Virginia Kick off the new year at Portsmouth Restaurant Week in Virginia. The week is a celebration of the city’s diverse gourmet offerings. Local chefs will prepare special menus featuring two-course lunches and three-course dinners that are sure to leave you wanting more. February – Carolina Chocolate Festival Morehead City, North Carolina February means chocolate in North Carolina, where the Carolina Chocolate Festival transforms the town into a chocolate lover’s dream. Vendors offer a wide array of chocolate treats, from truffles to hot cocoa. There’s even a chocolate baking contest and a cocoa-themed 5k run, all in support of local charities. March – Highland County Maple Festival Highland County, Virginia In the heart of the Appalachian Mountains, the Highland County Maple Festival celebrates the tradition of maple syrup making. Visitors can watch syrup production in action and indulge in all things maple—maple donuts, maple sugar, maple butter, and pancakes drenched in fresh maple syrup. April – Mountain Mushroom Festival Irvine, Kentucky April in much of Appalachia means it’s mushroom season, and the Mountain Mushroom Festival in Irvine offers a full slate of fungi-filled fun. From a mushroom market and cooking demos to arts and crafts, this festival pays tribute to the coveted morel mushroom. You might even score some for yourself if you’re lucky! May – Ramp It Up Festival Oak Hill, West Virginia Ramps, the garlicky wild onion that grows in the Appalachian Mountains, take center stage in May at the Ramp It Up Festival in West Virginia. Known as the "ramp capital of the world," the festival features traditional Appalachian dishes like ramps, potatoes, brown beans, cornbread, and ham, and local music fills the air. June – Poke Sallet Festival Harlan County, Kentucky The Poke Sallet Festival in Harlan, Kentucky, is an Appalachian celebration of the Southern dish made from the cooked leaves of the poisonous pokeweed plant. Over several days, the festival features craft vendors, games, a car show, and a delicious poke sallet served with other Southern favorites. July – Picklesburgh Pittsburgh, Pennsylvania In July, Pittsburgh transforms its downtown bridge into a pickle paradise for Picklesburgh. This festival celebrates everything pickled from pickle ice cream and pickle beer to a pickle juice drinking contest. Voted USA Today’s #1 Specialty Food Festival, it’s a unique experience for those who love a tangy treat. August – Appalachian Festival Beckley, West Virginia In Beckley, West Virginia, the Appalachian Festival is a weeklong celebration of Appalachian heritage, including arts, crafts and food. The festival includes a restaurant week highlighting regional food and restaurants that helped define the area. September – Ohio PawPaw Festival Albany, Ohio Celebrate one of Appalachia’s hidden gems—the pawpaw—at the Ohio PawPaw Festival in Albany. With its creamy texture and tropical flavor reminiscent of banana and mango, the pawpaw takes the spotlight in September. Guests can enjoy pawpaw-themed treats, cooking demos, and workshops dedicated to the unique fruit. October – Apple Butter Festival Berkeley Springs, West Virginia October in Berkeley Springs, West Virginia, means one thing: the smell of apples simmering into butter. At the Apple Butter Festival, attendees can watch huge copper kettles churn apple butter in the center of town, enjoy baked goods contests, and participate in a parade. It’s the perfect fall celebration in America’s first spa town. November – Alabama Pecan Festival Mobile, Alabama Mobile hosts the Alabama Pecan Festival in November, celebrating the state’s official nut. This family-friendly festival offers fresh pecans, pecan pies, and a variety of pecan-infused dishes, along with carnival rides, entertainment, and the crowning of the Alabama Pecan Festival Queen. December – Gingerbread Festival Fayetteville, West Virginia Tucked away in the scenic mountains of West Virginia, Fayetteville hosts its charming Gingerbread Festival. The town comes alive with festive, small-town charm, making it the perfect retreat from the holiday rush. Take a peaceful family getaway, explore local shops, and wander through the historic downtown, transforming into a whimsical gingerbread wonderland with festive decorations lining the streets. These festivals and events provide a delicious way to explore the diverse flavors of Appalachia. Whether you're drawn to heritage foods, farm-to-table dining, or unique local treats, there's something for every food lover throughout the year in this storied region.

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.

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

Several months ago, the band Arkansauce debuted in Springfield, Missouri, at the popular Regency music venue downtown. Bluesy with a touch of country and a shining glare for bluegrass, the band was the perfect combination. Think Cross Canadian Ragweed  meets Nitty Gritty Dirt Band  with a topping of Billy Joel . Each band member’s contribution was necessary, and while each was an individual treat, the harmony, both instrumentally and vocally, was stunning. And while seating was available at The Regency , most chose to throw all caution to the wind, letting their bodies move to the catchy beat of the bass, guitar, mandolin, and banjo onstage.   The band hails from northwest Arkansas, the Fayetteville area, where Arkansauce has been making waves in their homeland for over ten years. Band members include Tom Anderson, who plays bass; Zac Archuleta on guitar; Ethan Bush, on mandolin; and Adams Collins, who rocks the banjo.   Bush and Archuleta grew up together and reconnected in Fayetteville, Arkansas, briefly sharing a living space and playing music locally. They always knew their love and evident talent for bluegrass music would become something more. Anderson moved to Arkansas in 2005. He formerly worked at the Iowa Bluegrass Music Store,  where he sold Bush a mandolin and Collins a banjo. Anderson later met with the band's three members at the famous Oklahoma Riverstomp . The band’s regular bass player did not show up for the performance, so with no rehearsals or prior stage presence with the band, they invited Anderson onstage….and never looked back. He was inducted as the fourth member into what would become a bluegrass sensation.   Wanting something catchy to tie in the band’s roots and their love for Arkansas, Arkansauce was born. The name has opened many doors for the band. Not only have they received University of Arkansas-inspired hog calls at concerts, but they have been known to see local Arkansas guests at their performances to support artists from their home state. That support and encouragement propelled the band to their current success. Their roots are never far away, whether on the road touring, playing in their local backyard, or ‘across the pond,’  sharing their talent with the many European fans following the four rising stars in the bluegrass world.   “We all have distinctive sounds, and each comes from different backgrounds musically and genre-wise. While we currently boast a bluegrass sound, it is ingrained in the DNA of classic rock, metal, jazz, and even classical music to create the unique sound we have arrived at today,” says Adams Collins.   Anderson's influences were bands with a traditional bluegrass flare, such as Yonder Mountain  and Old Crow. Collins graduated from university with a jazz degree. Archuleta and Anderson shared that they both played in heavy metal bands back in the day. The Beatles  were an all-around inspiration. When asked about the cover of Bill Joel’s classic hit, “You May Be   Right ,” which they played as an encore at The Regency , the members agreed this is a favorite go-to cover song, which they jokingly refer to as Hillbilly Joel . They rotate several covers and crowd-pleasers to draw in new fans unfamiliar with their music. They ingeniously produced their version as a single in their unique rockin’ bluegrass style. The band tours in their faithful Sprinter van but cut back on touring in 2020 after the COVID-19 pandemic. As of 2024, they mainly tackle weekend performances, typically leaving on a Wednesday or Thursday and returning on Sunday or Monday. This summer, however, Arkansauce planned a longer-than-typical tour that whisked them to NW Bellingham, Washington. They invested more travel time in the breathtaking Western landscape.   Collins said, “We want this genre of music to reach record heights, be the last man standing , so to say. We want to go the distance as a band with the same product and energy as we continue to tour, produce, and perform. We are here for the long haul.”   Archuleta added, “It is helpful with a booking agency because we know our schedule months in advance. It takes the pressure off, and we can concentrate on our true love of writing music and the thrill of performing.”   This high-flying band combining many genres into one musically packed punch has produced five albums and a handful of singles. Albums are All Day Long , made in 2015; Hambone , 2016; If I Were You, 2017; Maybe Someday, 2019; Okay to Wonder , 2023. The single “Time, Tears and Money,” from the fourth Album, Maybe Someday, was made into a music video. The members spent all day shooting at various venues around Fayetteville, Arkansas and recruited children to reenact mischievous (and unlawful) displays such as toilet-papering a house, shoplifting a knife, and other outlandish exploits that mimicked the lyrics of this fast-paced, catchy, toe-tapping song. The members collectively joked that when the video commenced, they wondered if they had turned these innocent young children into career criminals.   A band highlight was in late August 2023 when Luna Del Ray (American singer-songwriter) was scheduled to play at the Walmart  Amphitheater  in Fayetteville, Arkansas. Two days before her legendary live performance, the concert star requested a local bluegrass band to open the show. Arkansauce was touring in Colorado then, but they “hauled ass” from the rugged Rockies to the Ozark hills to play at the largest show in the history of the band. On the way, their typically faithful Sprinter van malfunctioned, leaving them stranded for six hours, but they made it to perform before 11,000 fans in Arkansas.   Collins said tenacity and conviction are the two successful elements the emerging generation of aspiring artists will need. “Continue to work hard and improve every day. Always strive for sincerity and be true to yourself, including your thoughts and beliefs.”   Archuleta added: “Write original music, invest in quality recording, and have something solid out there for producers to listen to. Good quality music goes a long way.”

“It all just came down to - take a deep breath and play any damn thing,” says the multi-instrumentalist and recording artist with sixteen albums, including various collaborations. “A lot of us traditional musicians put ourselves in a box; we want to be respectful of the style and not mess it up,” explains Molsky, a two-time Grammy nominee who has teamed up with one of the most influential fiddlers alive, Darol Anger to record their first album together Lockdown Breakdown.  “It’s a really important milestone for me. I have so much respect for what he does,” shares the Bronx-born musician, whose teaming with David Grisman Quintet founding member Anger has forged a deep camaraderie. “He’s become a very close friend. He is like the brother I never had.” He described his experience playing together: "There is nothing like playing music with someone you communicate well with.  This is not just a professional collaboration, it’s pretty personal. I think this is what gives [it] a lot of the energy it has.” Molsky, who has dedicated his decades-long career to preserving the music styles of Appalachia, ragtime, and blues, says that working with Darol has taught him so much. “I made the same mistake a lot of people do when they are first learning to play something, [which] is that I did it to the exclusion of everything else. Darol is not afraid to do anything, and that is an inspiration to me.” Molsky says this is not the first time Anger talked him into experimenting.  During the sessions for Anger’s 1999 Diary of a Fiddler, Anger caught wind of something he was playing. “He knows that I love Jimi Hendrix, and I still do. I think we were just playing one day, and I just played a couple of notes of ‘Voodoo Chile,’ and he said, ‘Okay, we’re playing that.’ That is earlier on before I allowed myself the luxury of playing anything I want to.  I was thinking of myself way more as just an old-time fiddler.” Describing Lockdown Breakdown  as a mix of old-time, old school, new tunes, R&B, and Scandinavian, “We’ve accumulated so much material together over the years performing with Fiddlers 4, The Old Time Koszmic Trio and occasionally sitting in with each other at festivals,” says Molsky who lends his vocal to the 1960’s folk song, “Abraham Martin and John.” “I guess we realized we could make a statement with our respective fiddle styles that could work in different settings.” The album’s title track, “Lockdown Breakdown,” written by Molsky during the pandemic, showcases Anger on the octave violin. “It goes all the way down to low C, which is on a cello, so he plays all the bass lines. We can play freely at the same time and not be in each other’s way.  “For instruments to really sound good they need to ring into each other,” explains Molsky describing the recording process adding, “We worked with Dave Sinko who is a phenomenal engineer.” Other highlights include Swedish composers Magnus Stinnerbom and Ale Moller’s “Kvartetten”/“The Fox Hallin.”  “We had just recorded it,” remembers Molsky, “and out of the blue, Magnus invited us to come to Sweden. That was exciting!” Rounding out the album with a surprising rendition of “Can I Change my Mind,” Molsky shares, “The new recording has some 60s R&B, which is kind of a big thing with me.” Bruce Molsky is one of the premier old-time guitar, banjo, and fiddle masters. When not performing, he teaches at the Berkley School of Music, where he is a Visiting Scholar for the American Roots Music Program. “Part of the thing is to make this early 20th century music available and on the radar for students.” Expressing happiness for his ongoing work, “[Some] end up taking lessons from me for years. I couldn’t ask for a better teaching situation.” He continues, “Teaching other people teaches me. It helps me to focus on my own playing.” Like Darol Anger, who retired from teaching at Berkley, Molsky spent years guiding young musicians. “You have to take one little thing at a time and not be overwhelmed by the totality of all music,” he said, adding that he teaches his students the same way.  “I encourage my students to study one small thing at a time.  The greatest musicians are paying attention to everything. Every note counts.” Molsky says he and Anger are not planning to record in the near future. “Darol has a lot of projects going on. We are looking forward to playing out as much as we can. Not just in support of Lockdown Breakdown but because we love playing together!”

As a child growing up in rural Kentucky, Lisa Kahlden loved to check out records from her local library. The records she was drawn to were part of a collection from a label that began with a grant from the Rockefeller Foundation. The label, founded in 1975, was called New World Music, and its mission was to produce a one-hundred-album anthology of the history of America through its music in celebration of the Nation’s bicentennial. “Each explored a unique genre or style of music,” explains Lisa. The albums were given to 7000 libraries and public institutions to create an educational foundation. “The albums had very extensive liner notes,” Lisa recalls, “and you could learn a great deal by reading about each track on an album.” At the time, she was listening to the albums and reading those interesting liner notes, but Lisa had no idea how they came to be. She just knew she liked listening to the music. “I grew up in a musical area where folks would pull out instruments and play when our family got together. I always loved music, and kind of thought that someday I may want to find work in the music business.” The folks at New World Records had a big surprise when they realized there was an unexpected commercial market for the records. “With the continued support of the Rockefeller Foundation, as well as the support of Frances Goelete, a philanthropist who was interested in investing in American composers, more records were recorded.” The company was founded by Herman Krawitz, who met Goelete when he was in the Metropolitan Opera. Goelete commissioned more symphonic and operatic works in his lifetime than any American citizen, financing the staging of many productions at the Metropolitan Opera. “None of the music produced by New World Records since the original 100 albums has ever been recorded before,” says Lisa. Over 400 albums have been released by artists with diverse musical backgrounds over the years. In addition to jazz, the recordings represent classical music, traditional music, including bluegrass, popular songs, and even experimental music. Much of the music is largely ignored by big-label record companies. New World Records began doing interesting cover art and continued their practice of including extensive liner notes. “The records took off,” Lisa says. “They had real commercial appeal.” In the meantime, Lisa had grown up and was working in the dot.com industry. Her work took her on the road a good bit, and she ended up in Ashville, North Carolina, where she visited a used record store. “They had some of the original 100 records. I had never really thought about who produced them – I guess I kind of assumed it was the Smithsonian or some other entity who did field recordings to preserve America’s music history. I read the name New World Records and started looking into the company.” Surprisingly, she knew someone who worked at New World Records in New York. Her friend told her there was an opening at the company, and in 2000, the company hired her to digitize everything in its collection. Lisa now serves as president and CEO of New World Records, and it is apparent she is proud of the work the company does. Much like a university press, New World works to preserve the “neglected treasures of the past” while nurturing the creative future of American Music. The 400 recordings they have produced represent 700 American composers. “In an industry obsessed with million-unit sales and immediate profits, New World chooses artistic merit as its indicator of success.” The company currently releases eight to ten new albums each year and accepts proposals from any source. “I have been involved with the company’s online streaming services, which are now available to libraries and public academic institutions.” A subscription service provides four shipments annually with the company’s new releases at a discounted rate. All New World subscribers may purchase recordings in the company’s catalog for a deeply discounted rate of $10 per disc. Lisa says Goelette’s legacy lives on with the recordings made at New World Records. “When he died, he left money to his estate for sponsorships and other projects with New World.” The New World Records website is like a master class in musical composers and American music history—a fascinating collection of essays, articles, and interviews on various people and topics available to read. And, of course, the album covers and liner notes of the first 100 album anthology are available for download. www.newworldrecords.org

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.