Thanks to the pioneering work of Bill Monroe and others, the mandolin has become synonymous with bluegrass music. However, that hasn’t always been the case, said George Gruhn, chairman and CEO of Gruhn Guitars in Nashville. “The Gibson F-5 was designed to be the best classical mandolin ever,” he said. “Unfortunately, they didn’t introduce it until 1922, and by then, the mandolin orchestra boom was dying. They thought they could make a better mandolin and kick-start sales. You might as well have the best buggy whip in the world. Classical musicians didn’t want mandolins, and they were a commercial flop.” Country musicians who may have liked the sound of the F-5 balked at the price. “There were plenty of good mandolin players, like Walter K. Bower, William Place and Lloyd Loar,” Gruhn said. “The F-5 cost $250 new without a case. By the time you added the case, it was about $280. A Model-T Ford in 1924 was $300. Hillbillies didn’t have that kind of money.“ But everything changed when Bill Monroe picked up an F-5. “If you listen to the Monroe brothers’ recordings, they are not bluegrass,” he said. “Bill didn’t have his Gibson F-5, either. When he got the F-5 mandolin, he discovered sounds on it that no one had ever done on a mandolin before, those chopped chords, driving the rhythm of a five-piece band. It had never been done before. “That bark you get out of the F-5 -- you couldn’t that on his old F-7. You couldn’t do that on the F-4 or any other mandolin that was made other than the F-5. The old F-5s were made only from 1922 through 1924, and there were no more Loar-signed models after he left the company. There were good-sounding ones into the early 1930s, but after that, they wouldn’t do those chords like Bill did.” Because bluegrass didn’t come along until 1945, Gibson lost money on its F-5s. However, it continued to make the model except for a gap during World War II, when wartime restrictions made it difficult to source materials. Production resumed after the war. “Gibson began introducing versions of the F-5 closer to the early specifications starting in the late 1970s,” Gruhn said. “Since then, the company has introduced more variations on the F-5 model with some of the new ones being remarkably close in appearance and sound to the most sought-after original early models.” Loar-signed models remain in high demand. “Only about 275 Loar-signed were ever made,” he said. “Today it is well documented that there are about 650 Stradivarius violins still in existence, so those Loar mandolins are really, really rare.” Prices of Loar mandolins peaked from 2006 through early 2007 at slightly more than $200,000 but plunged significantly afterward. “In my opinion, this happened because prices had been bid up by speculators who paid more than any musicians wanting them to play or even collectors had ever paid, which resulted in the market correction when the speculators who had purchased them as an investment were unable to turn them for a profit,” Gruhn said. “Loar F-5 mandolins today are typically selling in a price range of $100,000 to $130,000 in good condition, but this is no guarantee that prices will remain the same in the future. Early F-5s are scarcer than Stradivari violins and certainly have the potential to go up in price, depending upon demand and economic factors.” Gruhn Guitars offers a range of mandolins for bluegrass musicians. “If you want a really good-sounding mandolin, good enough that you can go on stage and play, that can be done for under $1,000,” he said. “If you want vintage instruments, we have a very good selection and an extremely skilled staff. We are Martin’s largest independent dealer in volume. We also do more Martin specials made to our specs than any of their other customers.” Bluegrass players will be happy to learn that Gruhn will begin producing guitars of his own design later this year in a factory near Nashville. “It’s a little unusual at age 78 to be starting a new company,” he said. “I am looking for something that is not terribly bluegrassy. I have acoustic guitars on which you can play standard acoustic music, but you also can play electric arrangements, even without a pickup. If you want to play Chuck Berry tunes on the guitar and make it sound right, it will do it, but it doesn’t look like a Martin, Gibson or Fender. They will have the Gruhn name.” After a lifetime in the industry, he knows exactly the sound he is looking for and the market niche he wants to fill. “It is my opinion that the world is not begging for another clone of Martin, Fender and Gibson,” Gruhn said. “It’s gotten to the point where Martin has a trademark on its name but not really anything else. They don’t truly have a signature sound anymore because there are numerous other companies that effectively make clones. They don’t say Martin on them, but they look like a Martin, they feel like a Martin, and they sound like a Martin. It’s hard to make a better Martin than Martin, but a lot of people are trying to capitalize on Martin-Fender-Gibson type guitars.” Gruhn said his guitars will have a recognizable sound of their own. “I have designed a guitar that looks, feels and sounds distinctively different enough that I can tell it blindfolded from any other acoustic guitar,” he said. “It has a sound that is equally powerful from the open string all the way to the 22nd fret. It’s fully balanced all of the way up. The harmonic response is strong such that you can play lead, rhythm, melody, harmony – you name it. It’s complex, but it does not sound like a Martin or Gibson. It is its distinct tone.” The new Gruhn model acoustic guitars will start at $2,500, with more expensive versions depending on wood selection, ornamentation and electric pickup options. Gruhn has been collecting stringed instruments since 1963 and selling them since 1970, and many of them would be the envy of any bluegrass player. Asking him to name his favorite is like asking parents to name their favorite child. “I often am asked what my favorite instrument would be,” he said. “My answer to that is that I have only one wife, and it’s too complex to try to have more and not advisable. But with instruments, I prefer a harem -- and it’s perfectly legal to do so.” For more information about Gruhn Guitars, visit www.guitars.com.

While artist Melody Walker performs from within a genre usually considered traditional, she offers a voice in favor of continued progress. She proffers a more accepting way of thinking, an alternative paradigm aimed at busting old stereotypes. She yearns to see performers of all stripes thrive in a world that might have previously been closed to them. Walker does solo work, performs with bands, and pens songs – including acclaimed music she co-wrote with bluegrass superstar Molly Tuttle. With these varied experiences under her belt, Walker's been around the block in the biz and has clear opinions about the role of women in roots music. "Progress in the music industry has moved slower, in my opinion, than in other workplaces," Walker said. "Most of the women in bluegrass are still in family bands, or [are] the singer fronting an all-male backing band." She mentioned Tuttle as someone who recognized well what women bring to a project. "I really respect how Molly prioritized making her band majority female," Walker said, "and has shown how women can absolutely occupy the top tier of modern bluegrass players. More women are winning IBMA awards as instrumentalists now, too. I think this level of representation – which starts simply as a hiring choice – ripples out into the next generation. We will see even more monster women grassers coming up very soon. "I cannot overstate how impactful it was for me as a kid to see Laurie Lewis and Kathy Kallick do what they do," she added, "so I'm really excited for these young girls getting to see Golden Highway right now!" Walker also has opinions on accepting people of all identities, such as those on the LGBT+ spectrum. "I don't really know if people are more accepting now or if it's just more unacceptable to be an unabashed bigot, but I do know that more young pickers are deciding to push past that unwelcoming reputation to simply claim their own space in the genre," Walker explained. "Movements like Bluegrass Pride have been a beacon of hope to folks who might have felt completely alone before, letting them know that there's solidarity and support here." Walker clearly "walks the walk," working towards acceptance of all with a "drag Grateful Dead tribute band" project called BERTHA. When not writing with Tuttle or performing drag for Deadheads, she works on solo music, including her EP release, "Already Alone." She also performs with an electric Americana soul band and is part of a folk trio called Silo Sisters alongside friends Bonnie Sims and Phoebe Hunt. Getting to work with Tuttle on an acclaimed release such as "Crooked Tree" is…well…brag-worthy. Walker described that experience. "I was very lucky that Molly asked me to write with her for her first Golden Highway album, 'Crooked Tree,'" Walker said. "We are both California bluegrass girls, and we set out to try and write in that tradition, which to us meant feminist, naturalist, eclectic folky songs." She said, "We were super-inspired by the iconic writers of the West: Laurie Lewis, Kathy Kallick, Kate Wolf and converts like Peter Rowan and David Grisman." She guessed that she and Tuttle wrote approximately 10 songs together in 2021, and four ended up on the album: "Crooked Tree," "The River Knows," "Side Saddle," and "San Francisco Blues." It's hard to imagine Walker has time for even more, but she managed to fit yet another really cool thing into her schedule. "I host a weekly writers' round focused on roots and Americana music at a cool neighborhood restaurant and cocktail bar called Jane's Hideaway," she said. "They call themselves a 'Bluegrass Supper Club,' which I love. The show is called 'Writers' Kitchen,' and I'm very serious about ensuring the night is at least 50 percent women every time. There's just no excuse to not represent half the population in our music events. I wish more festivals and venues would get on board with that philosophy." Being also incredibly spoiled in Nashville, “with a glut of astoundingly good songwriters," she added. "It's mainly an excuse for me to get to sit and listen to my peers up close and personal and jump in on a harmony whenever I have the notion. Nice work if you can get it!" From penning songs with feminist themes – to Deadhead drag – to assuring women have a seat in her weekly circle, Walker is certainly encouraging change as a "woman of bluegrass."

In 1824, in the cradle of the rugged Appalachian Mountains, where reality and myth dance in the moonlit shadows near the border of Tennessee and southwestern Virginia, a legend as timeless as those hills was born to an impoverished Melungeon family. Her name was Mahalia Collins Mullins. Her life was like a tapestry woven from mystery and embellished tales. Still, threads of judgment and discrimination fashioned a precarious life for Mahalia in a society steeped in the media's sensationalized portrayals of Melungeons, a label given to descendants of mixed ethnic ancestors who settled in various Central Appalachia regions dating to the late 1700s. Yet, even in an era where people of color and rural Appalachians bore the weight of stereotypes, Mahalia shined atop her Appalachia peak as a beacon of resilience amidst this bleak adversity. Surrounded by whispering wind and rustling leaves in her mountain home, Mahalia built a moonshining empire that raised an impressed brow of white male distillers and made it quite impossible for authorities to arrest her and bring her to court. Her moonshine, an elixir flavored with the essence of local orchards, was a unique and boutique creation in a region dominated by rough-and-tumble these male moonshiners. The allure of her product reached far and wide, drawing buyers from miles around and filling her coffers with the sweet nectar of financial success. From her earnings, after the Confederates burned her first smaller cabin because she supported the Union army, she erected a two-story house with a wide porch and two separate rooms on the first floor that remains a testament to her ingenuity. Known as Appalachia's Moonshine Queen, Mahalia was more than a moonshiner. She was a trailblazer. Druanna Williams Overbay, a descendant passionate about history, took up the mantle to dispel the myths surrounding her illustrious ancestor. Rumors were that Mahalia identified with the Cherokee and this connection may explain her family's steadfast refusal to pay taxes on their moonshine. In her own fiery words, "They ain't getting a damn dime of my money. They owe me, and I'm not paying them," a woman of conviction, Mahalia stood defiant in the face of an oppressive system. As years rolled on, her health waned, succumbing to the cruel grip of elephantiasis, a skin disease characterized by grossly enlarged areas of the body, especially the limbs. In this disease, the skin becomes thick and stiff due to parasitic worms spread through mosquito bites. Even so, in the face of personal tragedies, including the loss of her husband and three children, Mahalia pressed on with her moonshining craft until her final breath in 1898. Reports varied on the circumstances of her burial, adding another mystique to her enigmatic life and death. She was buried outside her bedroom on Newman's Ridge, some say in a coffin built around her bed because she had become so large from her disease. Mahalia's legacy unfolded in multifaceted layers. While some publications painted her with an encumbered luster, her family's safeguarded photographs captured her strength and dignity. Wayne Winkler, an author with Melungeon heritage, championed a more nuanced understanding of Mahalia, urging the world to place her within the time's socio-cultural landscape. Descendants of the Appalachian Moonshine Queen, scattered far and wide, became the keepers of her flame. The Vardy Community Historical Society also worked tirelessly to preserve her memory, ensuring that she was not just a folk tale but an integral part of their family history. Her cabin, which they transported from its original perch on Newman's Ridge, is a historical shrine and a tangible link to her life's unconventional yet domestic facets. A living challenge to stereotypes and misconceptions, Mahalia Collins Mullins carved a niche in the annals of East Tennessee folklore, leaving an indelible mark on the generations to follow. Her indomitable Appalachian spirit will forever be a timeless saga etched into the heart of the mountains.

Under a starry sky, with a magnificent dancing fountain as a backdrop, the Mississippi Symphony Orchestra plays “Hoedown” from Aaron Copeland’s ballet, “Rodeo.” You know, Beef. It’s What’s for Dinner. It’s Bluegrass Night, a collaboration between the Symphony and the BTJ Trio, a bluegrass band from the Jackson, Mississippi area that has played at beer halls and fancy balls. On this night, the trio is the featured guest artist, standing in front of the Mississippi Symphony under the direction of Conductor and Music Director Crafton Beck. The idea of a collaboration between a symphony orchestra and a bluegrass band began over lunch one day in downtown Jackson. Andrew Mattiace, developer of The Renaissance at Colony Park, a high-end shopping center in Ridgeland, Mississippi, and Bill Ellison, a bluegrass guitar picker who is the “B” in the BTJ Trio, were sharing a meal when Andrew asked Bill if he thought it would be possible to have both the Symphony and the bluegrass band play together in an outdoor concert. Bill took the ball and ran with it. The Mississippi Symphony Orchestra was formed in 1945 as a community band. Now a full orchestra with over 100 musicians, the MSO plays a full concert schedule in Thalia Mara Hall in Jackson and several community events around the state each year. The BTJ Trio was formed 16 years ago when Bill Ellison met fiddler Temperance Babcock. Bill asked Temperance to join him and bassist Jeff Perkins. The perky blonde sawing the fiddle has an interesting backstory that brought her full circle that night under the stars. An Oklahoma native, Temperance and her twin sister have played classical music all their lives. “We started taking violin lessons when we were four years old,” she says. “We were homeschooled, and the whole time we were growing up, we played only classical music or praise and worship music.” By the time she turned eleven, Temperance knew she wanted music to be her career. “I wanted to usher people in and out of worship services with music.” By the time she was in high school, she had her sights set on attending Julliard or the Manhattan School of Music. “I practiced six to eight hours a day because that’s what it took to get into that kind of school.” In her junior year of high school, Temperance prepared to compete in a major music competition in Oklahoma. “Traditionally, the winner was invited to play as a soloist with the Oklahoma City Philharmonic. That was my ultimate goal in life at the time.” Temperance swept the competition, winning first place with her quartet, then as a solo performer before being named the best overall performer. “I just knew the invitation was coming, but it never came.” Temperance’s teacher had differences with the conductor, but that didn’t help alleviate Temperance’s disappointment. The following summer, she attended a music camp in Canada where she auditioned for teachers from Julliard and Manhattan School of Music. Both accepted her into their programs, but when she returned home, her mother said they could not afford it. “She told me I would graduate with hundreds of thousands in student debt and that going to New York was not my path in life.” Another disappointment. In the fall of her senior year of high school, Temperance walked through the local mall and stumbled upon a bluegrass band playing in front of a store. She was mesmerized. During the break, one of the band members asked what instrument she played. “He knew I played something because of the way I was watching them.” She told him she played the violin, and he said, “Oh, you mean the fiddle.” He asked if she could play “Orange Blossom Special, and she told him she had never heard of it. “He said it was the ‘end all, be all’ of bluegrass fiddle pieces.” He gave Temperance a CD to take home and told her to call him when she could play it. The following Friday, she was at the mall, violin/fiddle in hand, with the iconic song memorized. Temperance was taken with all things bluegrass, and she moved to Nashville. “I pursued bluegrass fiddle the way I did classical violin. I wanted to learn from the best of the best, and I studied with some amazing fiddle players.” After a busy year in Nashville, Temperance took a job teaching at a fine arts school in Tupelo. She met her husband while there, and when they married, they moved to Jackson, where he was working. Temperance auditioned for the MSO, and she was offered a position. “Six months later, I met Bill Ellison, and we started playing bluegrass music together.” Temperance stayed with the Symphony for two years before getting too busy with the BTJ Trio. The band plays about once or twice a month, but during busier seasons, it’s not unusual for them to play once or twice weekly. The open-air concert with the Symphony was a huge blessing for Temperance. “One of my dreams came true. I also play with a Celtic band, and that night, we played a tune called ‘Toss the Feathers’ with the orchestra backing us up. All my worlds collided that night – classical, Celtic, and bluegrass. I have had so many opportunities living in Mississippi, and I am so appreciative of the music culture here. It all came together at the Renaissance that evening, and it was so very special.” To cap the evening off, Temperance played a rousing rendition of “Orange Blossom Special,” and the crowd went wild. Concert photos taken and donated by Scott M. Crawford. Headshots by J.B. Lawrence.

It is important to vocalist and record label/studio co-owner Jana Mougin that the women who work behind the scenes in music get as much attention as those in the limelight. They’re important people, and they keep the wheels of the music business turning. To Mougin, it’s great that there are more and more women filling roles that were previously the purview of men. Mougin – who formerly toured across Europe and the United States for 15 years with the Slovakian band Fragment – has since carved out a role for herself on the business side of music. She and her husband – performer Stephen Mougin – decided to open a recording studio and start a label, Dark Shadow Recording. The acts signed to Dark Shadow include well-known acts such as Becky Buller, Laura Orshaw, Rick Faris, Henhouse Prowlers and Full Cord. Mougin’s professional career took a different path when presented with the choice many working women eventually faced. She became a mother 14 years ago and had to decide whether she’d stay on the road as a musician. Since her husband toured, she decided in favor of more stability at home. “I see many very ambitious women who can do both,” Mougin said, making clear that her choice to pull back is not in any way a critique of other touring women. “But for us, one is enough in the family to travel. What matters is what fits their [the family’s] lifestyle.” She added, “I was lucky because not everyone has a husband that also wants to run a record label. I’m very fortunate that I get to do this…it’s a pleasure.” Mougin primarily handles radio promotion, publicity, social media, and music video production for Dark Shadow artists. Transitioning to a focus on the studio and label allowed Mougin to stay deeply involved with the music she loves. “We are a small label and can only release three or four albums a year. Everything from pre-production to the final product is created here,” Mougin explained. She said what differentiates Dark Shadow Recording from other options is that she and her husband provide lots of personal support to artists, something that’s often overlooked by larger or less personalized labels. “Many times, artists feel alone if they don’t have good support,” she said. In this role, she has worked with many quality women who fill roles in production, sound engineering and more. “Behind the scenes, there are really, really good woman sound engineers,” she asserted. “My husband plays with Sam Bush, and their sound engineers are both females.” She said Kate Haldrup is Bush’s front-of-house sound person, and Kylie Sager handles the monitors. She also mentioned the quality work of Aubrey Shamel, Becky Buller’s front-of-house sound engineer. While supporting other artists, Mougin hasn’t ignored her need to make music. She’s been into bluegrass since she was 15 years old, and although the passion has evolved a bit, it has never faded. “I’ve sung lead or harmony vocals on many projects,” she said. That list includes Becky Buller, Breaking Grass, Rick Lang, April Verch, the Daughters of Bluegrass, Laura Orshaw and many more. In April 2023, Mougin released a single: Her bluegrass remake of the Steve Wariner country hit, “If I Didn’t Love You.” A solid roster of musicians backed her lead vocals, including Dan Tyminski (guitar), Sierra Hull (mandolin), Ron Block (banjo), Todd Livingston(dobro), Stuart Duncan (fiddle); Barry Bales (bass); Lauren Mascitti (vocal); and Stephen Mougin (vocal). While she notes the presence of women in music – and some worked alongside men on this latest single – Mougin said for her, excellence should always come first. “I’d never want to hire a musician based only on their gender,” she said. “I want to work with them if they’re good. I care about their musicianship and quality, and I care about their personality. That’s how I see it.” Mougin’s background – as a native of Slovakia who moved to the U.S. as an adult – gives her some well-rounded influences. She’s a classically trained vocalist, and the unique approach of Fragment gave her a different view of bluegrass. “You don’t expect bluegrass to be good there…but there are really good bluegrass bands in the Czech Republic and Slovakia,” she explained. She said Fragment performed traditional and progressive bluegrass, but she “just wanted to learn bluegrass with the original language, so most were in English.” Since her son is now older and getting more independent, Mougin said she plans to continue her work with the recording studio and label but has already begun transitioning back to being an artist in her own right. “I certainly have plans to record an album,” she said. “Also, I plan to record with Stephen [Mougin] again, just singles. I’m coming back as an artist.” Photos by Madison Thorne

Full of vim and vigor, Roni Stoneman recalls her amazing life as a member of a well-known family band, a cast member on a popular television show, and how she fits into today's music scene. Veronica Loretta "Roni" Stoneman overcame numerous obstacles to carve out a career for herself in the country music world in Nashville. Roni is the youngest girl in Ernest and Hattie Stoneman's extended family band. Her childhood was difficult, but music was the thing that brought her joy and got her through the hard times. "I heard music while I was still in my mama's belly," she exclaims. "I started playing music with my daddy when I was eight years old. My sister Donna was five or six when she started playing with him. She is the real musical talent in our family. Dona has played for 84 years, and I have played for 81." Roni says they grew up playing music for entertainment. "It wasn't a self-centered 'look-at-me' kind of thing. Music was something that was always a part of our lives." Roni says she learned to play from lessons with her brother, Scott. "He was very talented." The family lived in the D.C. area and visited their grandfather in Galax, Virginia. "He never left the state of Virginia. Folks just played music in each other's cabins. They would roll back the rugs and dance. Most of those folks made their instruments with three or four strings, then five strings. Sometimes there would be a washboard or jug, which have a nice deep sound when played right." Roni gravitated to the banjo. "I liked it because it was loud and fun, and everyone wanted to dance when they heard one being played. I have always loved for people to have a good time." Roni said her daddy made her first banjo. "Then he made my second, third, and fourth. They had real skin heads stretched across the front of the banjo. After he made my fourth one, he said I'd have to get the next one on my own." Scott taught her to play the two to three-finger banjo, Scruggs-style. "Most women who played wanted to play clawhammer style. I wanted to pick." Scott told her she needed to play several instruments to get more jobs. "Neither of us could read music, but we taught each other." But banjo was Roni's real love, and she was desperate to get one that wasn't homemade. "I entered a contest in Pennsylvania where the top prize was a new banjo, which I really wanted." The contest was at New River Ranch. While waiting for her turn to perform, Roni met another contestant who was a student at Juilliard. Undeterred, she went on stage and won the contest. One day, Roni's dad came home from work and told her mother about a contest at Constitution Hall. The winner got to be on television, which was new then. They went and won, and their photo was taken by Life magazine. That began the family's musical career. The family was on television every week for 26 weeks but never got paid. "We had never even seen a television, so my daddy took us to the hardware store so we could see one." Married at 16, Roni had her first child at 17. By the time she was in her mid-twenties, Roni was a single mother to five children. "I was raising them by myself. But I was able to make money by playing banjo – I was known as a really fast banjo player. I also took in wash to help make ends meet." She got into the folk music craze during the 1950s and 60s and traveled around California playing in "skull orchards," her brothers' name for honkytonks. Her mastery of deadpan and comedic timing got the attention of Hee Haw producers. She joined the cast in 1973 and performed in skits on the show as the character "Ida Lee Nagger," a bedraggled housewife at an ironing board, constantly talking about her no-good husband "LaVerne." She based her character on neighbors she heard arguing during childhood and the Ma and Pa Kettle movies of the 1940s and 50s. She also played the banjo and sang on the show. She recorded a few singles and a couple of banjo albums in the 1980s, both released on the family's Stonehouse label. After leaving Hee Haw in 1991, she experimented with an all-girl band, the Daisey Maes. She opened a theatre in Florida but eventually got enough bookings to support herself. Her autobiography, Pressing On, was written with author Ellen Wright and published in 2007. Roni still lives in Nashville, where for many years she was known as "The First Lady of Banjo." Now well into her 80s, Roni says she plays gigs around town from time to time. "I want to play as long as I possibly can." Family Photo: Circa 1889. Fiddle: Tom Leonard, Roni's mom's first cousin. Big autoharp is Aunt Phinney, her mother's aunt. The lady in the middle with the guitar is Mirtle Stoneman, a relative of Roni's dad, Ernest Stoneman. On the small autoharp is Bertha Hawks, cousin to Ernest Stoneman. On banjo is Roni's grandfather, Bill Frost, her mom's dad. This photo was taken in front of the cabin that Bill Frost built down in Virginia in the Blue Ridge Mountains. "My family talent goes way back," she wrote.

Carving out a place in the music business is difficult, and landing gigs on the festival circuit can be a “make-or-break” task. Ernie Evans – who operates family-owned event company Evans Media Source (EMS) alongside his wife Debi – is an expert in what it takes to get a lasting foothold in the biz. Based in Florida, EMS produces concerts, music cruises, and almost a dozen bluegrass music festivals. From Florida’s Palatka Music Festivals to the Cherokee Bluegrass Festival in the Smoky Mountains, this company keeps music fans busy with options for live performances. Ernie Evans knows perhaps more than anyone what it takes to “make it” on the circuit. The base of his knowledge comes from his experiences as a performer himself. “In my early touring days, I always felt like I had the best seat in the house, and while reading an audience, you could tell if they were having a good time,” Evans said. “It was our job to keep them excited while they were watching us, but it wasn't long before I noticed many of the same people in some regions that went from festival to festival.” He realized it was a good idea to change things up from show to show. “That drove the band nuts,” he reminisced, “but I tried to put myself in the audience's shoes. This opened my eyes to how important it was to give loyal festival-goers a different experience from festival to festival.” Creating a roster of acts for an event may seem daunting, but years of experience have given Evans a knack for knowing what will work. He attempted to deconstruct it all and outline what he and Debi discovered as the recipe for success. “I first ask myself: Is the band entertaining, between and during songs, on and off stage?” He stressed that marketing is as important as the music itself and seeks out personas that stand out from the crowd. “Notice I have not mentioned the quality of sound,” he added, explaining that sounding great is the bare prerequisite to even be considered at all. “This is a given for all festivals. You should not put anything on your stage that doesn't belong there because it is cheap.” In terms of the “extra” he seeks, much of it – at least in today’s day and age – includes having a bit of business sense. “If a band has a website that looks professional, it is a plus,” he said. “If a band dresses well and separates their look from the audience, it, too, is a plus. If a band does not have a Facebook page dedicated to their band, there is a good chance they will not be considered unless there is a special reason. If a band does not promote themselves, they will never promote our event.” While he looks for performers who conform by taking advantage of marketing tools, he stresses that originality is a primary trait he values. “Don't try to imitate anyone. Learn from the greats, but do not imitate them,” he advised. “Taking a page out of their book does not mean ripping off the cover; it means digging deeper into the book to find out what made you love them.” “Be original, innovative, and develop your own sound,” he said. “That is what the pioneers did. Today, too many sound alike.” Evans shared thoughts on mistakes artists make, and most involve not investing the time to get immersed in the music community or not understanding reciprocity and teamwork. “There are many worthy bands that do not play for us much,” he explained, “and part of the reason is that as a promoter, loyalty, integrity, and a good relationship is a two-way street. We have to be loyal and really help performers as much as we can. We as promoters need to elevate them and help further their development,” he continued, on the type of relationship he offers to performers in which he has faith. “This means give them more work, and if they are doing well, have them back more often. The downside is that it does not leave many openings for new bands. The window of opportunity may be more narrow.” He added, “We do try to refresh as much as we can while also practicing what we preach.” EMS will soon begin offering even more resources to performers. “Please be watching for a series of courses on these topics that will soon be announced regarding career paths in our industry,” Evans said, with a teaser of upcoming offerings. “I have teamed up with some very knowledgeable people who have observed this industry from the best seat in the house. This new venture includes Master of Ceremonies Sherry Boyd, Cindy Baucom, Gabriel Acevedo and others. It will be free and covers everything from the beginning of a band to booking, marketing, Meta, recording, radio, publicity and more.” The kind of advice these experts might give may mirror some of what Evans shared about the role of social media. In the past, successful bands had a publicist and agent. Now that social media is in the mix, some rely on it solely and forget these other types of marketing. “Today, more than 50 percent of the bands spend nothing and rely on free social media to get their music out there and use it as a calling card,” he said. “In some cases, it has made bands lazy yet feel ‘legit.’ We look for the bands who invest in themselves.” “If a band has great content and markets it well on social media and does all the above, there is a good chance I will be calling you first because you are good for both of us, and your fee will reflect that,” he added. An example of the type of support the company gives to artists is exposure via productions such as the EMS LIVE Sherry Boyd Show. “This is a one-on-one session with Sherry that takes people on a 15-minute journey of learning fun facts about the artists making this music,” Evans said. “She is the best at getting information never shared before.” He said info about the show and all the company’s events can be found at either Evansmediasource.com or the Facebook page. “We care about the success of our performers, just ask them,” Evans asserted. “They will tell you that we work with them, making sure they have the info they need and the social media tools to help spread the word on their performance with us. This makes them more visible to other promoters as well. Plus, we have added co-op programs where we help subsidize their advertising about their band or new release.” He said they might also help bands with publicity photos or include them in the company’s ads or videos. “We are doing more to help them grow as an artist in all facets,” he summarized. Evans Media Source creates the following. Events, productions, cruises and concerts: - Florida Classic Festival - Brooksville, FL - Palatka Spring Bluegrass Festival - Palatka, FL - Cherokee Bluegrass Festival - Cherokee, NC - South Daytona Bluegrass Festival - Daytona, FL - North Carolina State Bluegrass Festival - Marion, NC - The McDowell Country Country Music Roundup - Marion, NC - Jekyll Island New Years Festival - Jekyll Island, GA - Sertoma Spring Bluegrass Festival - Brooksville, FL - Thanksgiving Bluegrass Festival - Brooksville, FL - Cherokee Bluegrass & Classic Country Music Festival - Cherokee, NC - Palatka Fall Bluegrass Festival - Palatka, FL - Yeehaw Music Festival - Okeechobee, FL - Orange Park Fall Music Festival - Orange Park, FL - Orange Park Kids Fest - Orange Park, FL - Clay County Veterans Appreciation Day - Green Cove Springs, FL - Classic Country Luxury Cruises - Bahamas, Western Caribbean - Bluegrass Music Luxury Cruises - Western Caribbean - Jewel Box Concerts - Gainesville, FL - Sounds of the South Summer Concerts - Fleming Island, FL - Brooksville Native American Festival - Brooksville, FL - Monteverde Days - Town of Monteverde, FL

When Zach Rearick was looking for a venue for his band, Middleground, to play with another band, The Country Strings, they approached the local community theatre. The Butler Little Theatre in Butler, Pennsylvania, is a small, intimate venue where six or seven shows are produced annually. The organization is one of Pennsylvania's oldest continuously active theatre groups, tracing its origins to the 1920s. “They were super interested,” says Zach. “We had one month to put together the show and market it.” To his great surprise, the show sold out. Granted, the theatre only has 155 seats, but tickets to all 155 seats were completely sold out. The theatre group was thrilled with the show and encouraged them to do more shows. Knowing they were on to something, Zach and his wife, Tricia, went to work looking for a couple of bands to do a second show last year. “I grew up playing in a family band,” Zach says, “and I am in a band now, so I’m pretty connected to the local bluegrass music scene in Pennsylvania.” The second show was also sold out, which gave Zach an idea. “We worked with the theatre group and went all in on planning shows for this year.” Branding the shows as Keystone Opry: An Unforgettable Evening of Music, Zach drew from Pennsylvania being nicknamed “The Keystone State” while also giving a nod to the Grand Ole Opry. “It may not be that creative – after all, I’m an engineer from Pennsylvania. But I think it works. We got our state and the ‘mother church’ in the name.” Zach says he grew up listening to the Grand Ole Opry with his grandparents. “It’s a pretty classic story.” He also attended the many bluegrass festivals in the area. “And, of course, I began going down the rabbit hole of watching music videos on YouTube.” While he didn’t set out to create a music series, Keystone Opry has morphed into a full season of shows. “At first, I thought it would be hard to find enough bands, but we have seven shows this season with two bands at every show, even more for our Christmas show. We have had to start turning bands away.” Zach says that it’s all been pretty smooth so far. “I’m still amazed at the turnout. I always had an idea of doing something along these lines, but I thought about going the festival route. There aren’t as many festivals now as there once were because the promoters are aging out, and no one is replacing them.” When this opportunity presented itself, Zach jumped at the chance to provide something he saw lacking in his community. The shows have become much more than mere musical performances. For Zach, they celebrate traditional bluegrass and the connections it creates between the artists and fans. “It’s such an intimate experience, and the best part is that the performers and the audience can share in the joy of live music.” Focusing on authenticity, the shows feature both established acts and rising stars. “We want to foster a sense of community. Music has the power to pull people together. The Keystone Opry provides the experience of live bluegrass music in a welcoming environment, where audiences can experience unforgettable performances and discover new artists.” By day, Zach is a testing engineer with robotics, but he tries to play music whenever he can. “I used to be a semi-professional bass player, but now I play guitar and sing. I really love playing, and I love this music.” He and Tricia have one son, Waylon. “We are excited about this season, and we look forward to Keystone Opry being a part of the community for a long time to come.”

Held in a breathtaking setting – a magnificent canyon surrounded by majestic mountains – the Telluride Bluegrass Festival has drawn bluegrass fans to the San Juan Mountains in Telluride, Colorado, for fifty years. “It’s such an ethereal place, and coming here is a commitment,” says Grace Barrett, the festival’s director of communications and partnerships for Planet Bluegrass, the folks who present the festival. “It requires some effort to get there. But people return, year after year, looking forward to the next festival. They come early and camp and reunite with friends they’ve met at previous festivals. For many, it’s the highlight of their year. People have been coming to this festival for over forty years – longer than I have been alive.” Part of that appeal is, of course, the beautiful setting. But there is something special about the Telluride Bluegrass Festival that has such an incredible appeal. It could be the artists who play at the festival year after year. While primarily a bluegrass festival, other genres of music can be heard at the festival. It is a favorite festival for many artists. “Sam Bush's 50th consecutive festival will be this coming year, 2024. He played the second annual festival and every one since. He really is the king of Telluride, which I think is incredible.” It is not unusual to hear traditional bluegrass followed by new grass, rock ‘n roll, or international music. While many artists return regularly to the festival, Grace says they like to keep the music fresh. “We always have a few wild cards, especially for the fans who return year after year,” Grace recalls one couple who biked the front range, got married, and made a two-week trip that included the festival. “They now come back to celebrate their anniversary at the festival.” “Fans don’t have to decide which stage to watch because our festival only has one stage.” The Fred Shellman Memorial Stage honors the founder of the festival. “Everything happens on that stage, so there is no choosing between acts,” says Grace. “There are other events around time, including music and workshops. Education is an important component of the festival.” Grace joined the Planet Bluegrass staff in early 2021. “We weren’t even sure there would be a festival that year,” she recalls. “I came in on the heels of a canceled 2020 season. We didn’t have a single event because of Covid. It was an interesting position to be in.” She had been to the festival only once before she took her job, and that was as a toddler with her parents. “My first real festival was the 2021 ‘Covid festival.’ We ended up having a two-week long festival that year with a smaller crowd - about 2000 people per day when we were used to having 11,000 people per day. We had to work on social distancing and other state guidelines.” Grace worked on the magazine-quality program the festival is known for. “I’m just so proud of how long this festival has been in existence, and I’m so privileged to help present it.” By 2022, the festival was back to normal. “It was a challenge for us because a lot of our sponsors had taken a financial hit during Covid. We had to change our business model a bit. The festival takes place in Telluride Town Park. “It’s such a beautiful park,” says Grace. “We have a great relationship with the town of Telluride. The amazing thing is that the population of the town year-round is 2,500 people, but they welcome the festival and the fans. Everyone seems to have a mutual respect for one another.” The date of the festival is by design. Summer solstice, June 21, is the longest day of the year and the first day of summer. “It’s just a great kickoff to the summer season.” To add to the festival atmosphere, there is a great partnership with creative vendors who offer quality handmade items, including dresses, fairy wings and more. Kids twelve and under are admitted free when accompanied by an adult to encourage a family atmosphere. “There are a lot of kids who were raised coming to this festival,” Grace says. Next year’s festival will take place June 20 – 23, 2024. “It will be our 51st festival. There aren’t many festivals with that kind of longevity. It’s something we are very proud of.”

“The secular and the sacred have always gone hand in hand in Bluegrass music,” says Tammy Rogers of The SteelDrivers. “If you go back and historically look at the early Bill Monroe records or the early Flatt & Scruggs, they always featured gospel music. So, to me, they are like first cousins.” While past albums have been sprinkled with a few gospel songs, the group felt it was time to do a full gospel album. Tougher Than Nails was released in early September via Gaither Music Group. Almost all the band members grew up playing bluegrass in that Southern Christian heritage. “We were out playing festivals and shows on Friday and Saturday nights, but we got our butts up and went to church on Sunday mornings,” Tammy says that she grew up in those churches and has three or four versions of the Baptist hymnal. When talking with the guys in the band, Tammy says they got excited about it because it’s in their DNA, too – it’s the music they grew up with. “We realized that our most requested song is a Gospel song, ‘Where Rainbows Never Die,’” says Tammy. “It’s a spiritual song about going to heaven. It’s really a beautiful song and very poetic.” The new album features six originals. “They let us choose the songs we thought most fit our style,” Tammy says. “I really love how it turned out and am proud of it.” To choose which hymns they would record for Tougher Than Nails, each member weighed in on their favorites. A list was sent around and everyone in the band put their heads together. Several songs were in common, so they began picking them and working on arrangements. The band was diligent in interpreting the classics in a way that was true to The SteelDrivers’ sound. “It was a real team effort.” The band co-produced the record together. Their creative energy can be felt in each track. Two singles from the LP have also been released, “Have a Little Talk with Jesus,” an old standard, and a song Tammy wrote with Leslie Satcher, “Somewhere Down the Road,” which is the lead-off track on the album. Also to be released is a third single, “Magdalene.” Tammy says that the songs fit seamlessly into their sets. “That was the only way the project could be a success. We had to put our stamp on it.” The band has a distinctive sound, with excellent musicianship, compelling songwriting and stellar vocals. Formed in 2005, The SteelDrivers’ self-titled album was the first of two albums released on Rounder Records with former lead vocalist Chris Stapleton. Two more albums on Rounder Records followed. Gary Nicoles took Stapleton’s place in 2010. The band received the GRAMMY for Best Bluegrass Album for The Muscle Shoals Recordings in 2015. Nicoles also sang lead on the album Hammer Down. Kelvin Damrell assumed the lead vocal duties in 2018 and is featured on the 2020 release Bad for You. Matt Dame joined the band as lead vocalist in 2021 and now completes The SteelDrivers’ lineup. “The band is all Mike Henderson’s fault,” says Tammy. “He was the mastermind. Mike and I had been writing together, and we worked together in the 1990s in a band called Dead Reckoners. Mike Flemming and Mike Henderson were college roommates and played together very informally. They played once a month or so at the Station Inn in Nashville. With a voice like Chris Stapleton’s in the band, people took notice.” The name of the band came to Henderson in a dream. “He said he thought it was hard-driving music, and we use metal strings.” Tammy says being the only girl in the band has never been an issue. “I wouldn’t know anything different. They are like my brothers. I always have four big guys who have my back. We have a real respect for each other.” The band tours 60 to 70 days a year and appears frequently on the Grand Ole Opry. “We have been fortunate – we have built an incredible fan base. We are excited for fans to hear Tougher Than Nails. If I can play a gospel song to a crowd that maybe isn’t all believers, I don’t have to stand up there and preach and hit them over the head with the message. I can just put that music out there, and it may hit somebody who really needs to hear it. What a great opportunity to have that platform.”

“It’s still sinking in.” Greg Blake is still trying to wrap his head around being honored by the International Bluegrass Music Association as its Male Vocalist of the Year. “That was so not expected. I didn’t prepare a speech or anything!” Ketch Secor (Old Crow Medicine Show) and Molly Tuttle hosted the 34th annual IBMA Bluegrass Music Awards Show in Raleigh, North Carolina, on Thursday, September 28, in the Martin Marietta Center for the Performing Arts to a nearly sold-out house. The event was a long time coming for Blake, who grew up “in the holler,” a good fifteen-minute drive from town. “I was born and raised in a small community called Davis Creek,” says Greg. “Our mailing address was South Charleston, West Virginia.” He managed to make it out of the holler, and his music now allows him to travel around the world. Greg’s love for music probably came from singing to records on his grandparents’ front porch or living room. “I sang to Johnny Cash, Buck Owens, Loretta Lynn, and Lefty Frizzell, to name a few, all while I was busy playing with my Tonka trucks, G.I. Joes, and Matchbox cars. I would sing at the top of my lungs, and folks pointed out that I could actually carry a tune.” Greg asked for a guitar when he was age seven. “It was just a little $10 guitar from the local five and dime, but I loved it. I picked at it all the time and taught myself to play.” Greg sang in church when he got older, which he credits as a more formal music education. After high school, he left West Virginia and moved to Overland Park, Kansas, just across the border from Kansas City, Missouri. “I went to a small Bible college there, and I continued studying music.” To help pay for college, Greg sang in a Gospel quartet that represented the college. “We traveled all over the United States, raising money for the school and recruiting students.” Greg met his late wife, Tracey, while they were both in college. Two other important things happened in Greg’s life while living in Overland Park: he entered the ministry and met some bluegrass folks in Kansas City. “I got into a band called Bluegrass Missourians. The band started in the 1970s and is still going strong. I joined them about 30 years ago. I played with the band for 15 years. We played at festivals throughout the Midwest on weekends. We all had nine-to-five jobs during the week.” Greg had an offer to join The Special Consensus, a band formed in 1975. “They wanted me to come on board full-time, but I was a young husband and father. Their touring schedule would have meant too much time away from my family.” While living in Colorado, Greg met Jeff Scroggins and joined his band, Jeff Scroggins and Colorado. “His son, Tristen, was 14 at the time,” recalls Greg. “He was getting really good on the mandolin, and we had a great time playing together.” By then, his children were older, and Greg saw an opportunity to go full-time into music. Greg had opportunities to travel around the country, Canada and 18 other countries, playing with both the group and as a solo act. He recalls an interesting meeting at a festival in Denver. “Claire Lynch and Mark Schatz were playing. It was a big indoor festival at a Ramada Inn. All day and well into the night, there were jam sessions in every nook and cranny of the hotel lobby. As Mark was headed back to his hotel room, he said he heard a voice float above the others in the various jam sessions. He sought me out, and during a break, he said, ‘I like how you sing. Let’s get together and jam.’ Claire and the rest of the band came down, and we jammed for several hours. About six months later, they came through Colorado, and they took the time to tell me they thought I had what it takes to have a solo career.” That was the validation Greg needed to pursue on his solo LP. Released in September 2015, Songs of Heart and Home featured several strong musicians, including Claire Lynch and Mark Schatz. “That was the deciding mark for me. I stepped away from the ministry and into full-time music.” After over thirty years, Greg retired from the ministry, and the family moved back to Overland Park. Greg has been doing solo work and assembling a Midwest band for festivals with smaller budgets. He successfully pulled together a band of all-stars for larger festivals and released an album, People, Places and Songs, on Turnberry Records in early February 2021. The last few years have been rough for Greg. Covid slowed things down, and Greg had to say goodbye to his best friend and soul mate, Tracey, who passed away in February 2022. Now things are looking up for Greg, who admits the Male Vocalist of the Year win has helped him realize he has “arrived” in his musical career. “I think things will begin moving at a much faster pace now. I’m just grateful that I have the opportunity to do what I love.” Next July, he’ll walk down the aisle with his new bride, Joy Sue. “We look forward to having all our picking friends at the wedding.”

Mark Montgomery’s art has done something no one could have imagined. It put Little Roy Lewis, the legendary madcap, frenetic banjo player, at a loss for words. Lewis studies the details of Montgomery’s pitch-perfect caricature of him: a possum-like grin, unruly white hair, one hand on the banjo, the other stretching his trademark red suspenders. “That’s funny!” Lewis finally declares. Montgomery’s striking caricatures of bluegrass and country stars such as Bill Monroe, Flatt and Scruggs, and Jimmy Martin--elaborately researched and imaginatively detailed-- speak volumes about their subjects. “I kind of like being able to wrap up someone's whole life and career into one image,” Montgomery says. “In the back of my mind I want to show respect for these people by doing a picture that can kind of tell their story.” Montgomery often incorporates “Easter eggs” in his work. It’s a term to describe a hidden message, image, or feature included in a movie, video game, or work of art. For example, in the background of Montgomery’s portrait of Doc Watson, there are images associated with many of his most loved songs--a Tennessee Stud, John Henry’s hammer, and a shady grove. Montgomery draws Jimmy Martin alongside Pete, his beloved coon dog. There’s a blue moon in the sky behind Bill Monroe. Johnny Cash, his exaggerated hair and eyes making him immediately recognizable, wears a nametag reading “My name is Sue. How do you do?” It’s an homage to one of his great songs. “I have really loved adding in those Easter eggs into the portraits,” Montgomery explains. “I found so many for Doc Watson in the folk songs he was known for that I created a key that I include with each print. Same for Flatt & Scruggs. The whole idea started with the Bill Monroe portrait and hearing people react and pick out song titles as they looked around the image.” Montgomery grew up in Northern Missouri in a family that loved art. “My dad’s mom was a schoolteacher, artist, and writer, and his brother and sister are retired art and music teachers,” he says. “My family get-togethers were full of music, laughter, and discussions about art. They were really encouraging and supportive when I would bring artwork to show.” A high school teacher had been a student of the noted artist Thomas Hart Benton, whose “Sources of Country Music” painting is the centerpiece of the rotunda at the Country Music Hall of Fame. Benton’s layered and richly detailed approach impressed Montgomery. “I really learned how to tell a story in one picture. And that's what I loved about Thomas Hart Benton. He's one of my favorite artists.” Though he’s always loved art, his connection to bluegrass music came later, after he moved to Springfield, Mo. “I didn't know about bluegrass until I came down to college, and right about then, the Oh Brother, Where Art Thou? movie came out.” Around the same time, Montgomery discovered Nickel Creek and was amazed by mandolinist Chris Thile. His wife got him a mandolin, and he began taking lessons from Jeremy Chapman at The Acoustic Shoppe in Springfield. Chapman and his brothers and father, who toured for many years as The Chapmans, have championed Montgomery’s work by displaying it and selling it at The Acoustic Shoppe, which they own. They featured the caricatures in their extensive booth at the 2023 International Bluegrass Music Association convention in Raleigh, N.C. “They bought a portrait of Bill Monroe I did, and they hung a painting of Steve Martin with his banjo that I did that showed up in the background of their TV show in several episodes,” Montgomery recalls. “I was collecting names of who they thought I should draw next, and I got deeper into this world of bluegrass.” Montgomery works in various media, including pencil, ink, watercolor, colored pencils, and acrylic paint. Sometimes, he creates caricatures on the computer. But researching his subject is always a crucial step. “When I start working on a portrait, I sort of go into ‘method actor’ mode. I try to listen to all their music I can find, watch interviews and documentaries and live performances. I don’t use any one photograph to make the portrait but find a recognizable expression and pose and go from there. I watch how their mouth moves if they have an underbite or sneer when they talk. I try to find clues from their life or song titles that I can represent with objects to incorporate into the scene.” Montgomery is especially excited about the opportunity to design the artwork for Excelsior, a new album by one of today’s great banjo players. “I was able to connect with Alan Munde through The Acoustic Shoppe. A photographer had taken the cover photo, so I used that photo and then kind of worked around it, adding some of the little elements around the text that Alan had given me.” Montgomery is excited about additional bluegrass projects. He’s created images for singles releases and podcast covers for the Chapmans. And he’s eager to use his talents to help musicians get noticed. “Every musician I know is so talented, and they work so hard. And I feel like they need graphic support to send them to more audiences. If I can make somebody buy a bluegrass album based on the artwork, then the work is done because once they hear the music, they'll be sold. So that's where I see this going.”