The Lauderdale County FFA (Future Farmers of America) String Band made history at last year’s National FFA Convention and Expo. The trio comprises Titus Thornton and brothers Conner and Ty McMeans, and they became not only the first band but also the first musical act from Alabama to win the organization’s prestigious talent competition. All three boys were exceptionally young when they became interested in music. Conner began learning banjo at nine, and Titus was the same age when he became intrigued by the guitar. Soon after, he began singing and playing bass. Like his brother, Ty soon proved to be musically gifted as well and started taking fiddle when he was seven years old and began taking guitar lessons and four years later, he also began playing acoustic guitar. Ivy Harbin, who teaches agriculture at Lauderdale County High School in Rogersville, AL, is filled with praise for the three students, whom she met through her role as the school’s FFA advisor. “Every performance offers heartfelt authenticity that reflects their agricultural heritage and small-town pride,” she says, and adds that each performance together has strengthened their bond, while also refining their musical sound. She was instrumental in assembling what was eventually named the Lauderdale County FFA String Band after Conner and Ty’s father approached her while they were still in middle school, explaining they were interested in performing bluegrass. “I already knew Titus, who had been performing and singing locally on his own for quite some time,” Harbin recalls. She soon concluded that his vocals would complement the unique sound that the McMeans’s brothers were working hard to develop. “She pulled us out from the crowd in middle school, and saw something in us,” Titus says. Harbin recognized talent when she heard it. She does not have a formal background in music, but explains she grew up in a musical family. One of Harbin’s former teachers was the bluegrass musician Russ Gant. She states that she has never forgotten him or his belief that Alabama was one of the last states in the nation to still hold true string band contests that preserve classic country, bluegrass, and gospel traditions. “That respect for tradition and heritage is something that has stayed with me and continues to influence how I support students through this unique FFA opportunity,” she says. Beyond the success of their band, all three members serve as officers in their FFA chapter. As if their musical aspirations were not enough to keep them busy in their free time, they also have participated in FFA-sponsored tractor driving, livestock evaluation, and land evaluation contests. Connor, Titus, and Ty’s commitment to their chapter has impressed Harbin. “Their involvement showcases the well-rounded spirit of today’s FFA members,” she says, “students who balance artistic talent with hands-on agricultural skills and community leadership.” The talent competition has been a memorable part of the annual National FFA Convention and Expo for more than seventy years. After performing together for several years in both local and statewide shows, Harbin assured the boys that they were ready to enter the prestigious contest, and in 2024 the band placed as semifinalists. “The hardest part for us was trying to find a song to play at each level,” Ty says, and Titus concurs. “When choosing songs, we looked at what we thought was 'up and coming' on social media to get a good reaction from the crowd,” he says. Titus and the McMeans brothers traveled to Indianapolis with their families for the 98th annual National FFA Convention and Expo. The three youths impressed the audience and judges with their lively and technically impressive set, which included a bluegrass rendition of “Simple Man” by the band Lynyrd Skynyrd. On November 1, the Lauderdale County FFA String Band was declared the winner, a year after the three teens placed as semifinalists. Their winnings include a $250 cash prize, an invitation to guest judge the 2026 contest, and an enduring place in the history of the competition. “We are all ecstatic,” Conner reveals. “Especially to be the first act from Alabama to hold this title.” Reaction to the trio’s win was immediate, heartfelt, and celebrated across social media. The three youths departed Indianapolis as champions and were welcomed with pride when they returned home to Rogersville. The three triumphant musicians certainly delighted their advisor, without whom the band may have never formed. “It has been an honor to support them and watch them grow from middle school students with raw ability into confident young musicians and leaders,” Harbin states. “Their success represents more than a trophy—it highlights what can happen when students are given opportunities to pursue their passions through FFA and are encouraged to stay true to who they are.” “I hope we are able to stay together and grow as musicians both individually and as a group,” Ty says of the trio’s future plans. Likewise, Titus also hopes the band will remain united and continue exploring musical genres, while attracting young audiences to bluegrass and country. After celebrating their win and spending the holidays with their families, the Lauderdale County FFA String Band had one more important trip on their itinerary. On January 20th, the three national champions brought bluegrass to Montgomery—directly to Governor Kay Ivey’s office. Being the consummate professional musicians that they are, the three musicians, clad in their navy signature jackets, did not reveal a sign of nervousness, and the governor was all smiles as she listened. Ivey later posted on her Instagram account that she “called for an encore,” and that the future of the band members “is every bit as bright as their sound.” Having made their families, Harbin, and their hometown proud, bluegrass music will surely accompany Conner, Ty, and Titus on their college adventures and be a part of their bright futures. https://www.ffa.org/tag/lauderdale-county-ffa-string-band/

My name is Donna Ulisse and this is going to be my new landing spot in the Bluegrass Standard magazine. The folks here know about me through my music and also my Facebook postings called “The Wee Farm Musings” where I regale readers with my life; every mundane, insane and joyful part of living here on our 8 acre place complete with a pole barn and a huge hay field we let our neighbor farmer mow throughout the season. Oh, we harvest things here…we plow through songs like you wouldn’t believe. Music is abundant and thriving in these fields. We teach songwriting here with our partner in song, Jerry Salley in our beloved guest house we dubbed “The Little House”. Writers from all parts of this country come join us for a two day writing event complete with the setting of a bunch of cows (which come with an aromatic ingredient), goats, horses, a herd of cats, a dog, lots of rabbits and squirrels, opossums, raccoons, deer, coyotes, a large collection of birds, all of which my lovely husband, branded Farmer Rick tries to feed on our starving artist budget. I don’t know a thing about dirt or raising animals, gardening or how to live among the plethora of insects that call this place home too but I’ll tell you a little secret…the goats that live in the goat field next door are a large part of our life here and in lots of my musings. When we first moved in 9 years ago now, the farmer neighbor next door to us came over and introduced himself that very day. We loved him instantly. He’s a hardworking man with a full time job that takes him away every morning and limited time to do the never ending tasks it takes to raise cows and goats. The neighbor told us to feel free to open the gate and let our kids and grandkids play with the goats anytime we wanted. I had never seen that many goats at one time. There were, like…40 goats of all ages and colors and sizes. A couple of them had a stick taped horizontally to the top of their horns. I remember thinking that was an odd adornment for a goat, silly looking actually. I would find out some months later why they sported a stick taped to their heads. Farmer Rick and his Goat Girl Gone Cat Crazy (that’s me…‘cause I nickname everybody) became so attached to watching the antics of goats from our back patio that we started naming them, feeding them, loving on them and helping our neighbor out when they escaped the fences to come visit in our yard (which is often). And then, lo and behold, an ah ha moment, the reason for the stick taped to their heads was to keep them from sticking their heads through the fences and getting them caught. The goats without the stick beret would do this awful crying and bawling because they wanted to taste the clean grass on our side of the fence and hung their head up in the wire fencing and my farm darling would have to go and twist their necks to get their head back through the fence. Farmer Rick would look like he was in some kind of goat rodeo, down on his knees wrestling that furry creature until it was safely back on the right side. I never love my man more than when I’m watching him wrangling a goat. This occurrence happens almost on a daily basis, now part of the charm of Wee Farm living. We kinda started co-raising the goats. Their entertainment value is priceless. Lawdy, when the baby goats start kickin’ around, it’s full on belly laughing for us. I never get tired of it. One time I looked out our kitchen window and I swear, it looked like a sea of goats eating out of all our bird feeders. Well, our next door neighbor goats must have alerted the farm on the other side of them, who had goats too, and told them about the free food at the Wee Farm. The “down the road” goats PLUS the neighbor goats came over for the all you can eat buffet and cleaned us out of birdseed, cat food, rose bushes, our tomato plants and my irises. We couldn’t get mad because they enjoyed the feast so much, wagging their tales and looking at us with those wide set eyes, wondering what they should do or eat next. We had to get on our side by side farm vehicle we lovingly call Reddie and herd them back through their home gates. It took over an hour to get all those critters back in their own fields. Farming hurts, lol. Songwriting is what keeps my imagination running wild. Between this farm living I’m experiencing today and the fact that for 44 years now I’ve been married to Rick Stanley referred to as Farmer Rick, exposing me to the Clinch Mountain way of life, I have a never ending, always inspired array of song ideas…which leads to songwriting…which gave me a wonderful career in bluegrass music. I’ll just throw in that Rick is a cousin to Carter and Ralph Stanley, the Stanley Brothers. The hillside the Stanley’s came from is filled with a rich heritage and I write about lots of those mountain stories and experiences. My mother had a colorful, big family and my maternal grandparents were such wonderful, gospel grounding ingredients in my upbringing and very present in many of my songs. My dad was Italian and all his family lived within walking distance of each other…so I grew up literally living next door to my Italian grandparents and all my Italian uncles, aunts and cousins, such a gift for this writers soul and palate. Of course my mountain mother in law and father in law and all their extended family is like having your own arena filled with wild mountain stories. It’s a real boon for a songwriter and a gift I never take for granted. When you want to investigate more of what I’m talking about, I have about 14 projects out with 10 to 12 songs on each, giving you some insight on how I see life…prepare yourself, lol, sometimes it’s an uphill climb. In fact, I have a new song out now about a mountain man who never really lived life the way most folks see a good life being led. He rebelled against lot of things mountain people believe in. I sincerely knew a man like this who lived and died by his own set of rules there on the mountain…so I wrote about him, taking some writers liberties and creating some redemption for this mans life by using a city I dubbed “Gate City”, inspired by a road sign I had been passing on our way to Clintwood, Virginia for 44 years…there’s a real place called Gate City, Virginia. Every time I saw that road sign I would let my mind fly and think about a bustling city bordering Heaven where the pearly gates stand. Well, in my song I put a fence around Gate City and had this man worrying as his life was coming to an end, wondering if he would always be standing on the outside, looking into Gate City. I have a long time co-writer, Marc Rossi that put a snappy melody to my story and the result is a mournful yet thoughtful song about this man easing out of life, trying to make sure he gets it right before he’s all the way gone. I’ll say this for the first time in this new platform for my writings here but I promise it won’t be the last time…I. LOVE. SONGWRITING! It’s almost the very breath of me. Sharing what I love and how I gain my ideas for these songs with you is almost the very heartbeat of me…thanks for giving me the read and I’ll look forward to next month…the goats and the gates will be ready!

There are studios where the red light comes on and the air tightens like a courtroom. Then there are studios where someone calmly leans into the talkback mic and says, “Do you guys want to check tuning really quick? I think your B string has gone south a little.” The second kind tends to make the records that last. That quiet moment lives at the center of Eric Uglum’s philosophy at New Wine Studios, a studio that began in Southern California in 1994 and now sits in Watertown, Tennessee, just outside Nashville. It also explains how a lifetime spent onstage became the foundation of a career spent helping other musicians sound like themselves. A life that started onstage Eric Uglum’s path into bluegrass began long before New Wine Studios existed. Born in Fort Campbell, Kentucky, and raised in Huntington Beach, California, he came up through the Southern California bluegrass scene at a time when the genre’s West Coast community was both tight-knit and ambitious. In 1982, he won the West Coast Flatpicking Guitar Championship, an early marker of a career defined by musicianship as much as technical curiosity. Through the 1980s and ’90s, Uglum built a résumé that reads like a map of modern bluegrass connections. He performed with Weary Hearts alongside Ron Block, Mike Bub, Butch Baldassari, and Chris Jones, and later helped form New Wine with Ron and Sandra Block and Rob Ickes. He played in Copperline and toured internationally with Lost Highway, whose recordings included Ralph Stanley. Later collaborations included Chris Stuart & Backcountry and the family group Eric Uglum & Sons. His solo album Shenandoah Wind featured Alison Krauss, Stuart Duncan, and Rob Ickes, names that signal just how deeply embedded he is in the genre’s musical community. New Wine Studios began in Southern California in 1994 and eventually relocated to Tennessee, where it operates today as a recording, mixing, and mastering studio serving bluegrass, folk, and Americana artists. The advantage of a producer who plays Uglum’s dual identity as musician and engineer shapes the studio environment in ways artists immediately feel. “The main asset of being an engineer who plays is the ear training that a player experiences is applicable to the production environment,” Uglum explained. “Being able to resolve small pitch and tuning issues will help the artist create a better product and save time in the studio.” It’s a philosophy rooted in empathy. When the producer has been the person holding the instrument, the studio becomes a collaborative space instead of a technical proving ground. From California beginnings to Tennessee home New Wine Studios’ move to Tennessee reflects both personal and professional motivations. “I always had the goal of moving out here,” Uglum said. “While the business opportunities are great in Nashville, it was being closer to family, friends and grandkids that was the main motivator. Of course, the general musicality of the players out here is very high and lots of fun to work with!” Today, New Wine Studios serves a wide range of artists across bluegrass, folk, and Americana, with Uglum working as a recording, mixing, and mastering engineer and producer. The danger of attempting perfection Ask Uglum what defines a great modern bluegrass recording and the answer arrives quickly – and carefully. “In bluegrass in particular and folk music in general, one must be careful not to over-produce,” Uglum deduced. “Modern recording technology allows editing forever and many projects end up having a perfect antiseptic sheen that doesn't really exist in the real world. All of my favorite historic recordings, The Stanley Brothers, Paul Brady, Tony Rice, James Taylor, etc. have some technical timing and pitch inconsistencies that don't affect the end product at all! Music should make you feel something and all those artists have done that regardless of the production process they used.” Even the click track isn’t the standard, but a tool, and only when needed. “The decision to use a click track can be a big problem for a bluegrass band that hasn't trained with it. 4/4 bluegrass will often have a strange feel if played to a click. This seems to be a result of the subdivisions in the banjo roll. The effect seems less in waltz ¾ time. The more the band can breathe rhythmically the better.” Uglum feels that producing across generations offers a front-row seat to bluegrass evolution. “The players just keep getting better and better. A young student has an incredible amount of instructional material and recordings to listen to that has really increased the state of the art. Sierra’s accurate and buttery mandolin tone is unique, Alison's vocal tone and pitch is amazing!” Technology will continue to assist recording, but Uglum sees a steady center that won’t move. “Traditional music will always be about the artist who actually plays and sings with good tone! No amount of studio tricks can replace that!” At New Wine Studios, the microphones sit ready, the room holds quiet, and somewhere between the tuning check and the final take, we hear what recording was meant to do: capture a performance that feels alive. https://ericuglum.com/

Another Hall Of Fame For The Stanley Brothers With this spring’s announcement of a new class of honorees in Nashville, the Stanley Brothers took their place among legendary acts selected to both the Country Music Hall of Fame and the Bluegrass Hall of fame. They were selected to the Bluegrass Hall’s second class of honorees in 1992. “Hailing from mountainous southwestern Virginia, the Stanley Brothers—Ralph and Carter—were a foundational act in Bluegrass whose music has influenced generations of artists in a variety of genres,” said Kyle Young, CEO of the Country Music Hall of Fame and Museum. “Now, they will permanently be enshrined in the Country Music Hall of Fame alongside their esteemed peers and fellow pioneers.” Other honorees in both Halls of Fame include Bill Monroe, Lester Flatt and Earl Scruggs, Mac Wiseman, and the Carter Family. While the Carter Family’s recognition at the Bluegrass Hall focuses on A.P., Sara and Maybelle, their plaque mentions the later line-up that included June Carter Cash, who was selected to the Country Music Hall of Fame in 2025. “Testament To A Legacy” John Lawless, editor of Bluegrass Today, put the contributions of several of these pioneers in perspective: “It is often said that Bill Monroe invented the Bluegrass style and gave it its instrumentation, then Flatt and Scruggs brought it to the wider audience, while The Stanley Brothers gave it its soul,” he said. Ralph Stanley II and his sister Lisa Stanley Marshall and Jeanie Stanley, Carter’s daughter, represented their late parents at the Hall of Fame ceremony. “This moment is deeply personal for our entire family,” they said in a statement responding to the announcement. “Seeing Ralph and Carter – The Stanley Brothers – inducted into the Country Music Hall of Fame is an extraordinary honor, and something we know would have meant so much to them. The fact that people around the world still love their music speaks to the heart and soul they poured into every recording and performance.” “Carter’s emotional lead combined with Ralph’s haunting tenor created a sound that was truly special. After Carter’s passing, Ralph carried on the music they began together, dedicating his life to preserving the spirit of traditional mountain music and sharing it with audiences everywhere through the Clinch Mountain Boys before his passing in 2016. “To see The Stanley Brothers recognized together, side by side, is incredibly meaningful for our family and a testament to a legacy that continues to live on through their music.” That “Old-Time Mountain Sound” Ralph and Carter grew up in a musical family, learning harmonies as their father sang mountain ballads and hymns and their mother played the banjo. The radio expanded their musical horizons, bringing the sounds of the Grand Ole Opry and other talented entertainers. The Stanleys formed the Clinch Mountain Boys band in 1946, with Carter singing lead and playing guitar and Ralph on banjo and high tenor harmonies. What they described as that “old-time mountain sound” found a home base on radio at WCYB-AM in Bristol, Virginia, and later at the Suwannee River Jamboree in Live Oak, Florida, and on syndicated television shows. The brothers’ recording career began in 1947 on the Rich-R-Tone label, continuing with Columbia, Mercury, Starday, King, and Rebel Records. Among their signature songs were “White Dove,” “Little Maggie,” “Mountain Dew,” “Rank Stranger,” “Man of Constant Sorrow,” and “Angel Band.” In 1959, the Stanley Brothers became the first Bluegrass band invited to play at the Newport Folk Festival. That performance gained new fans and showcased the “mountain sound” in the 1960s folk revival. The Stanleys appeared on network television shows, including ABC-TV’s popular “Hootenanny” broadcast from college campuses. When Carter Stanley died at age 41 in 1966, Ralph continued to tour and record with the Clinch Mountain Boys. Just as Carter had served a stint with Bill Monroe’s Bluegrass Boys, Ralph mentored many young Bluegrass musicians over the next 50 years. Ricky Skaggs and Keith Whitley are among the best-known alumni of the Clinch Mountain Boys, and in 1995 Ralph Stanley II joined the group he now leads. In his mid-70s, Ralph Sr. entertained everything except thoughts of slowing down. He was introduced to yet another generation of new fans through the Coen Brothers 2000 film, “O Brother, Where Art Thou?” The soundtrack album, which included several new versions of Stanley standards and Ralph’s own performance of “O Death,” won the CMA Award and Grammy for Album of the Year. At the age of 75, Ralph won the 2002 Grammy for Best Male Country Vocal Performance for his solo from “O Brother”. He followed that up a year later when “Lost In The Lonesome Pines” won the Grammy for Best Bluegrass Album. He also was nominated for Grammys in 2007, 2012, and 2016, the year he died at the age of 89. More Bluegrass Ties in Country’s New Class The other members of this year’s class of the Country Music Hall of Fame also can claim some Bluegrass ties. Songwriter Paul Overstreet’s hits include the classic “When You Say Nothing At All,” which topped the charts for Keith Whitley in 1988 and for Alison Krauss in 1995. Four years later, the song also was #1 in the United Kingdom, Ireland, and New Zealand for Irish singer Ronan Keating. Overstreet’s Randy Travis standards—“Forever and Ever Amen” and “On The Other Hand”—and the writer’s own recording of “Seeing My Father In Me” are a few of his many other Country hits that have been covered by Bluegrass and Gospel artists. Tim McGraw, inducted in the Modern Era Artists category, isn’t generally known for recording Bluegrass tunes. But this year, McGraw joined Bob Minner (his long-time acoustic guitarist and Billy Blue Records recording artist) and Lori McKenna in their “Kentucky Bluebird” tribute to Keith Whitley. The song is on Minner’s album “Where The Mountain Meets The Moon.”

In the early days of bluegrass, musicians created festivals so people could have a place to gather and hear them play. Small festivals popped up like mushrooms around the country, and fans traveled to hear their favorite artists. Del McCoury recalls those days, back when he first began to play with Bill Monroe’s Blue Grass Boys in 1963. Since then, he’s played on countless stages as he has risen through the ranks of bluegrass royalty. The bluegrass legend hails from York County, Pennsylvania. Del started on the banjo, an instrument he heard Earl Scruggs play, but Monroe quickly transitioned him to the guitar. It wasn’t long before Monroe discovered Del’s exceptional voice and anointed him as lead singer. Monroe mentored Del, providing him with a priceless education in all things bluegrass. It paid off over the years, with Del becoming one of the most recognized and respected artists, both by fellow bluegrass artists as well as artists from other genres. Del has won IBMA Entertainer of the Year nine times, as well as countless other awards, including Grammys, and being inducted as a member of the cast of the Grand Ole Opry. DELFEST In May 2008, the first DelFest was held “on the mountain side” of Maryland. If Del’s name was on it, he demanded that it be a quality festival, presented with integrity and with both the musicians and attendees in mind. Since its beginning, DelFest has been one of the premier string-band events in the country. This year’s DelFest is bigger and better than ever. It will be held May 21 through 24, with incredible music presented on multiple stages. Acts include many legends of bluegrass, along with the new hot names in the genre. ATTRACTIONS There is much more to DelFest than bands playing on stages. While that is the main attraction, there is the opportunity to learn from the masters at the DelFest Academy, there are late-night shows, there is a fun-filled KidZone, a quality vending faire with crafts by area artisans, food and drinks, and much more. https://www.delfest.com/

In the song “Nashville Cats” the singer describes guitar pickers who can “pick more notes than the number of ants on a Tennessee anthill.” Flashy, fast, high-octane playing on any instrument is prized in bluegrass music. But so is harmony singing. And two veteran bluegrass musicians/educators have created an app that helps people learn how to create the vocal sound that is an essential element of bluegrass music. The name says it all: singbluegrassharmony.com “I love a good bluegrass jam where you rip solos,” says Austin Scelzo, a gifted and in-demand fiddler who is one of the creators of the app. “But sometimes if you only have one singer on every song I almost would prefer not so many talented pickers, but great singers who know how to harmonize so every song has a wonderful chorus. It's just so satisfying to connect with other people to create a good harmony. I'm always searching for that.” The subscription based app features a growing library of bluegrass songs with accompaniment and harmony parts that can be isolated or played in any combination. The user can change the key and adjust the mix of the various parts. The song can be slowed down to study difficult passages. Peter Wernick, the respected banjoist and educator, whom Scelzo considers to be a mentor, has noted that the app is similar to Strum Machine, another teaching and practice app used by many bluegrass instrumentalists. “He saw our app on the same plane potentially as a tool for the bluegrass community,” Scelzo says. “For a lot of people singing good harmony in the jam is just as important as being able to play your solos in time, which is one reason people practice with Strum Machine.” Benjamin Lieb is the other half of the app. He plays reeds, strings, and horns, and is a software engineer, and linguist living in Asheville, N.C. “I have a Masters in education and I started off in education,” Lieb explains. “I look at this as an educational experience for the users. The question is, how can I facilitate their growth? What's getting in the way? “Austin is often in front of people in music workshops that might be interested in this and I'm kind of taking on the technology role and doing a lot of interaction with people who are having technical issues.” Scelzo lives in Connecticut, where he launched The Connecticut Bluegrass Association, and plays fiddle with the band Rock Hearts. He’s a veteran Wernick Method jam class teacher and teaches extensively at festivals and workshops across the nation. His experiences as a teacher led to his interest in developing the app. “Ben and I actually met at a music camp and we connected over our love of music originally and then later over our shared love for education and community and bringing people together.” Scelzo had been experimenting with technology when he was teaching in public schools. Lieb’s software engineering expertise made him a perfect partner to develop the app. While Lieb was immersed in the technical work, Scelzo was getting feedback from potential users. “At all the camps that I was at I would put the app in front of people and see how they responded to it and I would send Ben feedback and he would make adjustments,” Scelzo remembers. “That happened over the course of the year before we officially released it. “We had originally created this app with sort of a broader mindset. We thought it might be adopted by school choir programs or choir programs in churches. And we thought we might expand it to other instruments like twin fiddles or twin mandolins. But we settled on focusing it on the bluegrass audience and bluegrass musicians.” Lieb says the app does something beyond teaching people how to sing. It’s helping preserve a tradition that allows people to create community. “I grew up in the military and we moved around a lot. I didn't really have community until I got to college and stumbled upon this old-time jam. When I went there, my world just exploded. I met all these people. It was a beautiful thing. I just couldn't believe that people were doing this. But I also learned pretty early that it is an endangered thing because of the way we live now. So when I look around and think about what I should be doing with my life, maintaining that tradition is probably one of the most important things I could do. “I think the most beautiful thing about music is that it brings people together. You can be in the same room together looking at cell phones, but you’re not really together. But harmony, especially vocal harmony, brings you together, so I'm just really excited about what we can do for people.” https://www.singbluegrassharmony.com/

Few musicians in the world of bluegrass garner as much respect and acclaim as banjo expert Alison Brown. Recently, Brown decided to produce a new record for the all-female, Grammy-nominated Americana-bluegrass-folk group, Della Mae. With both a guest turn on banjo and an acumen that happens behind the scenes, this consummate performer’s imprint on the new Della Mae record has created excitement for all involved. Della Mae guitarist and vocalist Celia Woodsmith exuded delight when speaking of the collaboration with one of her musical heroes. “She is such an incredible mind, and an incredible musician,” Woodsmith said. “She is one of the people who we really look up to most.” The compliments are easily returned by Brown, who admires Woodsmith and her bandmates: Kimber Ludiker (fiddle), Avril Smith (guitar), and Vickie Vaughn (bass). She called working with them in-studio “the best.” “I was so struck by the mutual respect they brought to the process,” Brown explained, “and that’s on top of their vocal prowess, instrumental chops, and the great songs they wrote for the album.” “Honestly, I felt like we were recording a project that was just waiting to be made,” she added. “Magic Accident” – Della Mae’s 7th studio album – was released in late January under the banner of Compass Records. Woodsmith said the music will feel familiar to previous work, with one exception: This record expands the influences by bringing new co-writers into the fold. She said the process brought out the best in everyone involved. “If you’re really good at co-writing, you can kind of pull stories out of the other person,” Woodsmith said. “You have to tell your ego to take a back seat. You have to be all about listening and collaboration.” All four bandmates contributed writing, as did Caroline Spence, Melody Walker, and more. Guest musicians also showed up on various tracks.  “Alison Brown is playing on a lot of the songs, and Jen Gunderman, Cheryl Crowe’s keys player, plays on a track,” she added.  She said this much collaboration is an exciting new turn, but Della Mae is still “being true to ourselves.” For Della Mae, that truth dates back to around 2010, when the band formed. “We were basically the only all-female touring bluegrass band on the circuit. We were a novelty at that time,” Woodsmith reminisced.. “People thought we’d be a lot more ephemeral, like a lot of the other lady bands.” Listeners detected real quality, however, in what Della Mae was doing. The band proved it wasn’t a novelty; it was the real deal. “In that time [since 2010], a lot has changed in bluegrass music, and the culture of bluegrass music,” she said, adding that women now see that true success – and industry respect – is possible. “We are honored to be standing in a space that encourages young women and young people,” she added. Each member of the quartet brings to the mix a background that expands – and enhances – the sonic content. As it is with much of the Americana genre, there’s a musical melding that takes place. A synthesis of sound. Their individual creative aesthetics and techniques blend seamlessly, creating something larger than its individual parts and pieces. Woodsmith said she started out playing rock music. Smith’s guitar work came from the worlds of jazz and folk. Ludiker specialized in “west coast, Texas-style fiddle.” Rounding out the influences, Vaughn’s bass delivered the traditional vibes of bluegrass and country. “The combination of those things work well together,” Woodsmith said. Della Mae has a number of dates lined up across the U.S. in support of the new record. They’ve already been playing some of the tracks from the new album for about two years now; while the studio versions will be new to fans, the live shows will feature material that’s all been stage-perfected. “We have been road-tested…we are time-tested…we have been through a lot with one another, and that comes through on the album.” Woodsmith summarized the relationships among members of Della Mae in the simplest and clearest of terms: “It’s a sisterhood,” she said. https://www.dellamae.com/ https://www.alisonbrown.com/

“Who’s Gonna Fill Their Shoes?” That George Jones country classic has been covered by Bluegrass artists Ricky Skaggs and Mo Pitney, The Steep Canyon Rangers and others.  In a real sense, the International Bluegrass Music Association also is taking action to answer that song’s question. Through Leadership Bluegrass, IBMA is identifying and developing the next generation of leaders for the music’s future. Leadership Bluegrass selects a 25-member class each year. In just over a quarter century, the program has graduated more than 500 alumni from all sectors of the Bluegrass community. Participants take part in an intensive three-day program to enhance their leadership and networking skills. They broaden their understanding of the business of Bluegrass and the music’s place in the world of entertainment. “Seeing the Leadership Bluegrass participant list each year gives me real hope for the future of our industry,” said Ken White, IBMA Executive Director. “This year’s class highlights the growing global reach of Bluegrass, bringing together industry professionals from Quebec, British Columbia, Switzerland, Australia and the United States. Their diverse experiences and perspectives will help guide the future of Bluegrass music.” This year’s class met March 2-4 in Nashville. Jeff Westerinem served as facilitator and Nancy Posey was assistant facilitator. Panels and discussion topics included (insert info to come later this week from Haley Grimm, IBMA’s Leadership Bluegrass staff liaison), and possibly Jordan Laney, Leadership Bluegrass Planning Committee Chair. Alum Donna Ulisse, songwriter artist on Turnberry Records and co-CEO of Tall Oaks Publishing, recalled her participation as a “high level crash course in Bluegrass.”  A member of the program’s Class of 2010, Ulisse had just come from the country music world with Atlantic Records. She said she learned a lot about doing social media and publicity, dealing with promotion and booking agencies, and other aspects of the industry that require more direct involvement by Bluegrass artists. Ulisse said meeting Leadership Bluegrass panelist Doyle Lawson had a big influence on her career. “We talked about how he goes about selecting songs,” she said. “That discussion started our friendship and led to his producing my records. I’m now proud to be his business partner in Tall Oaks Publishing.”  Jerry Salley—songwriter/artist/producer and Creative Director/Head of A&R for Billy Blue Records—was in the Leadership Bluegrass Class of 2011. “I made lasting relationships in that group,” he said. “One of the greatest things about the program is that you work with and continue to be friends with those folks for the rest of your life.”  “We had speakers and discussions about how record labels operate, artists and their needs, challenges that booking agents face, venue owners and how they do business, and the work of songwriters, publishers, and broadcasters,” Salley said. “It’s an opportunity to get to know more about every single facit of the industry.” “None of us can succeed without the others,” Salley said. “In Leadership Music, you learn how people navigate their aspect of the industry and how we can work together more effectively.” Online applications for Leadership Bluegrass open each fall on the IBMA website. The program is open to all professionals in Bluegrass—including artists, label managers, broadcasters, event promoters, publishers and songwriters. Applicants must be at least 21 years old and have demonstrated leadership and potential for future contributions to the Bluegrass community. For each applicant, up to four letters of recommendation may be sent from industry colleagues. Leadership Bluegrass Class of 2026 Congratulations to these members of IBMA’s Leadership Bluegrass Class of 2026: Chassady Abernathy – Sound Biscuit / Appalachian Road Show / ETSU (Ellijay, GA) Evie Andrus – East Tennessee Bluegrass Association, President / University of Tennessee, Lecturer of Appalachian Music / Pellissippi State Community College, Adjunct Music Faculty / Laurel Theater, Managing Director (Knoxville, TN) Jessica Blankenship – Kentucky Music Hall of Fame & Museum (London, KY) Kathryn Boucher – Spartanburg Philharmonic (Spartanburg, SC) Madeleine Cody – The Cody Sisters (Brooklyn, NY) Amy Sue Combs – International Bluegrass Music Association (Bowling Green, KY) Joe Dan Cornett – North Chapel Music (White House, TN) Gina Dilg – Square Dance Agency (Radford, VA) Helen Foley – California Bluegrass Association (Sonoma, CA) Tanya Guenther – NimblePie Creative Co. / NimbleFingers Bluegrass & Old-Time Workshops & Festival (Mile Ranch, British Columbia, Canada) Byron Hill – Byron Hill Music (Franklin, TN) Tyler Hughes – The Crooked Road (Big Stone Gap, VA) Stephen M. Johnson – Represent / GPA Government and Public Affairs (Owensboro, KY) Sarah W. Larsen – Black-Eyed Suzies / Little Fiddle Studio (Stevensville, MD) Joanne Ledesma – Musicbizgal.com  (Glendora, CA) Isaac McCarthy – The Ohio State University / Bluegrass Pride (Gerrardstown, WV) Will McSeveney – Skyline Records (Nashville, TN) Bridget Rees – Dorrigo Folk and Bluegrass Festival (Megan, New South Wales, Australia) Benjamin Russell – Gordon Rees / Delta Hayride Association (Nashville, TN) Mark R. Schuster – IBMA Foundation (Langley, WA) Elliot Siff – The Bluegrass Journeymen Academy / Elliot Siff Productions (Golden, CO) Carly Speno – Bonfire Entertainment (Laval, Québec, Canada) Randy Steele – tnjams.com (Chattanooga, TN) Shelly Surdoval – The Recording Academy (Franklin, TN) Urs-Rainer von Arx – Swiss Bluegrass Music Association / Country Ramblers (Zürich, Switzerland) Liz Wolfe – BluegrassJamsNearMe.com (New York, NY)

If there is an act that Americana music fans will look upon with excitement as they rummage through the twenty-first century, recapping their favorite artists, it will no doubt be L.A. roots rockers Rose's Pawn Shop. Their latest effort, American Seams , captures the synergy that has become the band's trademark. Weathering numerous personnel changes while navigating the revolving music industry, the band's current incarnation has dialed back punk tempos for nuanced songwriting. “We’re super excited about getting new music out into the world,” shares Rose’s Pawn Shop lead singer Paul Givant. “I’ve had a handful of songs written over a time period of our last record, and I started looking at which ones fit together. [ American Seams ] is about looking back on our life, our careers, and our relationships and taking stock—looking at the good, bad, and the ugly of how things have gone,” explains Givant. The title track, “ American Seams ,” became the focal point of the album.“I’m not taking a political stance,” assures Givant, whose song lyrics touch on the current polarization. “With the country going in two different directions, the singer warns, it feels like it’s falling apart at the seams.” The band collaborated with award-winning producer Eric Corne.“Eric is a super cool, mild-mannered dude!” describes Givant about the Canadian producer. “He has a chill vibe, but he knows how to get what he wants out of performances.” A musician himself, Corne helped capture the nuances. “He has a great ear for helping us shape our sound. If he doesn’t like something, he will let you know, then give you suggestions.” “We tracked the album around four or five days,” shares the band’s founder. “We did a lot of [recording] live, minus the vocals and a few overdub parts. We recorded at Robbie Krieger’s studio, then finished it at Eric’s home studio. There we did another week and a half working on vocals and harmonies.” “Capturing a live energy was easy,” explains the L.A. songwriter. “With the guidance of Eric, we did five takes for each song. Once we were sure of what our arrangement was like, we would just go at it! What I really like about the record is it sounds very close to how we sound live—it’s not overly produced.” Givant credits the band for pulling it off. “These guys are fantastic!” shares Givant. “[ American Seams ] came together nicely—it’s a testament to the high quality of the musicians that are playing with Rose’s right now.” “We definitely had some folks come and go,” says Givant about the band’s roster over the years. “The longest-tenured guy is our bass player, Stephen Andrews. He and I have become the core of the band,” shares the Rose’s Pawn Shop singer. Guitarist Zachary Ross brought in his own style. “Zack is a different type of guitar player from a blues-rock background—he gives the band a bigger sound! I think the sound has changed since [he] joined.” Adding new members—fiddle player Jesse Olema, drummer Deacon Marrquin, and guitarist Ross—Givant says the band’s sound has evolved. “Our very first record pulled from punk rock—at one point we were like, ‘Let’s be like bluegrass Flogging Molly.’ Some of that energy is still there, but we dialed it back. The cool thing about American Seams  is we pulled together different styles of American music.” “We wouldn’t be considered bluegrass by purists, but we have a lot of bluegrass in our instrumentation,” admits Givant. The new album features stronger vocals. “It’s always been an important part to me—going back to the bluegrass side of things. I love those tight bluegrass harmonies. It’s what we spent the rest of our time working on with American Seams . It was really Zack and Jessie working out the parts. They are incredible singers in their own right!”  Givant says the band is ready.“We have a big year of touring ahead,” the singer shares. “I am really excited to get back to Europe—we have only been out there one other time. We’re trying to make Europe a regular part of our tour circuit.” The band will make a trip to the East Coast.“We are thrilled to play some places we haven’t played in a while,” shares the singer. “We want to promote the album and get the new songs out there to the people, and hopefully they are well received.” https://rosespawnshop.com/

Finding a song that puts a band on a winning trajectory is always a blessing.  That’s the case with “Fall in Tennessee,” the song that garnered praise and honors for Authentic Unlimited at the 2024 IBMA Awards.  With the song comes an interesting story of how it came to be recorded. But first, it’s important to understand how Authentic Unlimited came into existence.  “We started the group... and grew into it,” explains founding member and banjo player Eli Johnston.  Growing into it When Doyle Lawson retired in 2021, three members of his legendary group, Quicksilver, regrouped to create a new band. Eli, bassist Jerry Cole, and fiddler Stephen Burwell formed Authentic Unlimited, eventually recruiting seasoned musicians John Meador on guitar and vocals and Jesse Brock on mandolin to join them.  “I played music with John in Gatlinburg,” says Eli. “Over coffee one day, I asked him about joining Authentic Unlimited. He recorded our first two albums with us, so we knew he was a good fit. Fortunately, he felt it was a good opportunity. After he did another album release with us, we put our trust in him and brought him in as an owner in the band.”  John Meador had done some songwriting with Bob Minner, known for his originals recorded by Special Consensus, Blue Highway, and Dailey & Vincent, among others. “We had talked with Alison Krauss about guesting on a song with us,” says Eli, “but the timing wasn’t right.”  The band wanted to include a guest with a “name,” so to speak.   “We had a song John and Bob wrote, ‘Fall in Tennessee,’ that called for a Dobro,” recounts Eli. “I know who my  favorite Dobro player is, and when I asked the other band members who they would suggest, they all came up with the same person [as I did]: Jerry Douglas.” Doyle helped connect them with Flux (as the great Dobro player is known), and he came in to record the song with the band. “That song blew up for us,” says Eli. “We played it at the IBMA Awards Show in 2024, and it was posted online, and it went crazy. We knew it turned out good but never expected this.”  The tune was named IBMA’s Song of the Year and received an award for Music Video of the Year; Authentic Unlimited was named Vocal Group of the Year. So Much for Forever was also nominated for Album of the Year and Collaborative Recording of the Year with Jerry Douglas.  “It turned out pretty good for us,” says Eli, in a charming understatement. New fire & energy Exactly a year ago this month, Colton Baker, formerly with IIIrd Tyme Out, replaced John Meador on guitar and lead and tenor vocals. “Colton has brought new fire to the group,” Eli reports. “He brings a lot of personality, and he pushes us further. I feel like we are really coming into our own. We’re doing more energetic stuff. We love traditional bluegrass, and we love gospel. But now we want to reach beyond the norm.”  In the business of bluegrass music, a sound technician is just as important as any band member. Eli says they are grateful to have the services of sound tech Kevin McKinnon. “Kevin was the sound tech for Doyle for 12 or 13 years. When Doyle retired, we inherited all his gear. He told us to do something good with it. We were so blessed to receive it and to have Kevin working with us.” This past November, Authentic Unlimited finished recording a new album in Smith County, Virginia, Eli confides. “We rented an Airbnb on Smith County Lake, and the studio was just down the road. We enjoyed living together, cooking together, and making music. We have a full-length album that we are looking to release this summer. We recorded eleven tracks, plus a few extras for the song bank to put out as singles.”  The new album, packed with soulful melodies and heartfelt lyrics, is totally different from the band’s four earlier recordings, Eli reports. Infused with fresh new energy, Authentic Unlimited honors traditional bluegrass while bringing an innovative new sound to the mix. True to its name, this band has an endlessly authentic sound that appeals to both old and new generations of bluegrass fans. “We are rebranding ourselves a little bit as we develop our own distinct sound,” Eli says. “I think people are going to like it.”    Visit Authentic Unlimited online at https://www.authenticunlimitedband.com .

Bluegrass has always been music built on movement—between towns and tents, borrowed fiddles and borrowed time, tradition and the next idea waiting to happen. And if there’s a modern map to that movement, it lives at BluegrassRoadTrip.com , the official online directory for bluegrass festivals across the United States. At the center of that map is Amy Ricci, who didn’t set out to build a digital institution. She stepped in because something worth keeping was about to disappear. “Originally it was called Bluegrass Circle, and that started in 2012,” Ricci said. “Corey Hemel, who promotes the Outer Banks Bluegrass Island Festival, started it with a friend. He put the website together, opened a store, and ran the festival—but he got really busy and was going to let it go.” Ricci wasn’t having it. “I told him, ‘No, don’t do that. It’s too good of an idea.’ In 2018 he asked if I wanted it, and I said yes. I took over the business and renamed it Bluegrass Road Trip.” The name change wasn’t branding—it was direction. “His idea was a circle of bluegrass people, businesses, and festivals,” she said. “My idea was Bluegrass Road Trip—using the site to plan your road trip to festivals.” That concept now anchors one of the most comprehensive bluegrass resources in the country, built not on automation, but on persistence. “Maintaining an accurate calendar is very time-consuming,” Ricci said. “I go to each festival’s website and verify the dates directly. Right now, the site is updated through the end of May. I started June, but many festivals hadn’t posted their dates yet, so I stopped and waited.” Accuracy, for Ricci, also means confirming survival. “I also have to make sure a festival is still running,” she said. “After COVID, a lot of festivals folded. That’s one of the hardest parts—going to a website and realizing it’s gone.” Her research extends beyond festivals to the artists themselves. “I check artists’ tour schedules—traditional bands and progressive bands—to see where they’re playing,” Ricci said. “If there’s a festival listed that I don’t already have, I add it. I want to make sure everyone is included.” BluegrassRoadTrip.com isn’t built from a desk alone. Ricci is out in the field—tent up, stickers in hand. “I go to festivals, set up a table, talk to people, and give out stickers,” she said. “I tell them, ‘If you know a festival I don’t have listed, email me and I’ll add it.’” She’s clear about the site’s limitations—and its honesty. “There’s a note on the site reminding people to double-check details,” Ricci said. “I’m human. This isn’t an AI thing.” In December, Ricci made a leap that turned a long-running passion into a full-time commitment. “I worked for GSK Pharmaceuticals for 26 years,” she said. “In December, I left my job. Now I’m building a better office, working on the online store, and putting more emphasis on Bluegrass Road Trip because I finally have the time.” Financial sustainability is still evolving. “I’ve been using money from my job,” Ricci said. “What I’m working toward is compensation from promoters and bands for featured links and listings. That’s part of what I’m building now.” But community—not monetization—remains the site’s backbone. “I go to as many festivals and shows as I can,” she said. “I live near Raleigh, so I’m close to a lot of venues and festivals. Since leaving my day job, I hope to travel farther—to Kentucky, Tennessee, and beyond.” That freedom has deepened long-standing relationships. “The first festival I ever went to was the Outer Banks Bluegrass Island Festival in 2012,” Ricci said. “I met Corey [Hemel] in person in 2014, and we became instant friends. He gave me flyers and asked me to hand them out at festivals. That led to meeting promoters, bands, and so many people in the community.” After more than a decade, the biggest shift hasn’t been technological—it’s cultural. “When I started, it was the same festivals every year,” Ricci said. “There weren’t many new ones. After COVID, everything changed. Festivals started appearing and disappearing much more frequently.” That change has pushed Ricci toward documenting festivals as experiences, not just listings. “When I go to a festival, I try to show what it’s really like,” she said. “Is there camping? A pavilion? Is it covered if it rains? I take photos, make reels, and add them to the site so people can see if it’s something they want to attend.” Sometimes, those experiences veer delightfully off the map. “One midnight jam had black lights, and people were marked with designs that glowed,” Ricci said. “Everyone was glowing—it was so much fun.” Another involved floating mushrooms over a crowd. “He tied giant inflatable mushrooms to fishing rods and had us walk them over the audience,” she said. “I thought, ‘Where else do you see something like this?’” Increasingly, the answer is BluegrassRoadTrip.com —now approaching four and a half million total site hits and supported by a Facebook community of more than 73,000 followers. And then there’s Roscoe. “He sat on my desk for years,” Ricci said. “I brought him to festivals, and people started asking for him. Now he’s kind of the mascot.” It’s fitting. Bluegrass thrives on personality, presence, and showing up. BluegrassRoadTrip.com isn’t just a directory—it’s a working archive of how bluegrass actually moves through the world. One road at a time. One festival at a time. One person deciding that something worth loving is also worth maintaining. Go take a look at everything they are doing at www.BluegrassRoadTrip.com

Hannah Harper is striving to balance raising a family with three little boys and following a musical journey as an aspiring songwriter and singer. It’s a journey that began when she was just nine years old, growing up in Southeast Missouri in a family steeped in the rich traditions of bluegrass gospel music. The nation was introduced to Hannah when she first appeared on Season 24 of American Idol  on February 2. She auditioned for judges Lionel Richie, Carrie Underwood, and Luke Bryan with an original tune she wrote and sang called “String Cheese.” It’s a song that brought Carrie Underwood, also mom to two young boys, to tears on national television.  Hannah shared that she suffered from post-partum depression, and the song was her response to a struggle many mothers battle. She has always been a stay-at-home mom, but after the third child was born, the stress of caring for three little ones was difficult. “I’m 26 years old and had my first child at 19, with the other two following every two years.”   With lyrics like, “I smile because I know/ Meetin’ their needs fills my soul/ And being their momma is who I’m meant to be,” Underwood immediately connected with Hannah’s song. But it was the lyric, “When I’m overwhelmed and touched out/ Here they come climbin’ up on the couch/ Sayin,’ Mama, can you open my string cheese?” that brought Underwood to tears. “Well, that’s about the most relatable song I’ve ever heard,” said Underwood. “You’re one I’m going to be thinking about after you leave here, wondering what you’re going to sing next. I’m rooting for you.” Bryan added, “With that mountainous bluegrass sound you have in there, I kept thinking like Kacey Musgraves in there. I kept thinking, Alison Krauss…and a little Dolly in there…you’re going to be able to move some people. Way to really write the moment you’re in.”  Much like Dolly Parton, Hannah is a true storyteller, sharing her life in songs. “I took interpersonal communication and creative writing in college. I had never written poems, but those classes unlocked something in my brain.” She started writing “String Cheese” after the birth of her third child. However, Hannah emphasizes that her songwriting influences aren’t limited to her experiences as a mother: “I have written songs about things other than motherhood.”   But motherhood has taught Hannah that words matter so much. “As a mom, my words matter to my kids. I have found songwriting to be one of my favorite outlets.”  Hannah’s path to stardom has been a winding one. “My mom is the daughter of Gospel singer Bob Lewis. My parents, Katrina and Gaylon Harper, were in his band. After they eloped in Arkansas, they came off the road to raise a family in Bunker, Missouri. Hannah is one of three children. “I have two older brothers who are both musicians. Dalton and Dillon Harper.” Hannah has lots of ties with the bluegrass world. “I sang on a song with Rhonda Vincent when I was 11.”  Hannah says her dad quit his job to do full-time music ministry, and that’s where she got her start. The family traveled on a 40-foot bus, and the children performed extensively. Dalton played guitar, and Dillon played mandolin. “We played a lot of churches,” says Hannah. “From 2009 to 2016, our livelihood depended on love offerings.” Her brothers are still touring with Hannah today, with Dalton on guitar and Dillon playing bass.  When Hannah got married, she began posting videos of her cleaning house. “I posted a video of me doing dishes at the sink to a 90s playlist, and it went viral.” Surprised that her videos had garnered a following, Hannah did a live on TikTok one night, and a recruiter from American Idol  reached out. Hannah thought it was a joke, but soon realized it was for real. The preliminary Zoom calls went well, and Hannah was on her way. “I said a prayer, ‘ Lord, don’t let me tread on ground not appointed for my feet .’”  That audition video is one of the most-watched American Idol  reels. The judges loved her and unanimously voted to send Hannah to Hollywood. The next television appearance for Hannah was during Hollywood Week on February 24, when she sang Lee Ann Womack’s “A Little Past Little Rock.”  The show’s finale is in May. Until then, she is unable to release anything. “But I can write,” she says. And she is writing. And she is soaking up all she can with her American Idol  experience. “The show has definitely changed my life. So many doors for opportunities have opened. I’m doing things I’ve never done before, like singing in front of vocal coaches and getting feedback. It’s a learning curve, and I’m grateful for it.” Hannah’s husband, Devon, was in law enforcement but is now a stay-at-home dad. “This is something I want to do because I want the opportunity to give my boys the kind of life I had growing up, but in a bigger way. I want to sustain my family and do music full-time.”