Artist Lakin Fain grew up in Louisville, Kentucky, and now lives in Denver, Colorado. She has been painting her whole life. In recent months, her love of bluegrass and her talent in art have come together in a unique way that she didn’t see coming. Lakin went to college to study environmental design. “It’s a broad degree that explores production design, fabrication, and even 3D modeling in the woodshop,” she explained. It was during those classes that Lakin first started making puppets.  But her passion for art was more traditional. “I love oil painting.”  She currently works as a lighting designer in an architectural firm. “It is related to art,” she says. “My job deals with form, light, and color.”  On the side, Lakin does commissions. “I paint people’s pets, children, houses – that kind of thing.” But a serendipitous event last year led to what may be a most creative, and possibly lucrative, side gig. “ I have a friend whose boyfriend plays the drums,” said Laking. “She commissioned me to create an art piece of him. I began to think of ways to elevate the art – perhaps by making something two-dimensional.” Lakin decided to make a puppet out of cardboard. “I added a pull string so that the puppet’s arms would move up and down to simulate him playing the drums.” It really worked, and that delighted both Lakin and her friend.  Where Music and Art Intersect An amateur banjo player, Lakin says she took up the instrument about a year ago. “I wanted to connect with my family’s Appalachian roots. We hail from Williamsburg, in Eastern Kentucky. I grew up fascinated with my grandmother’s house, which is full of historical artifacts collected from area coal miners.”  Lakin wrote her senior thesis in college on Reinforcing Appalachia . ”It was a collage that utilized old and current photos depicting the past and present, and paintings I did on how I envisioned the future.” It was during that time that Lakin began listening to bluegrass music seriously and soon took up the banjo. After the success of her drum-playing puppet, Lakin made a frog playing the banjo and took it with her to a bluegrass festival. “I also took my banjo so I could jam. While I played, a friend picked up the frog puppet, and it was a hit. People loved how the frog played the banjo with the other musicians, and they began to inquire about how they could get a puppet.” Now Lakin makes her puppets out of wood. She began making puppets that looked like her favorite musicians, including Billy Strings and members of his band, including Strings’ banjo player, Billy Failing.  Lakin and several friends attended the Billy Strings show on Halloween. “I made five puppets and gave them to five friends,” she said. People at the show wanted to buy all of them. I realized then that I may be on to something.” She made more puppets to take to the Billy Strings show in Asheville in February.  Not long ago, Lakin says she ran into Billy Failing in the airport, and she happened to have the puppet she made of his likeness with her. “I gave it to him, and he was shocked that someone had a puppet with his image on it. It was really an amazing experience.” It has become apparent to Lakin that she has a new business in the making. “I enjoy the hands-on authenticity of working with wood and making something by hand,” she says. At the time of this interview, she was working on a website. It’s entirely possible that it may be up and running by the time you are reading this article. You can also contact her to make commissions.  pickinpuppets.com

From historic ice cream parlors to roadside frozen custard stands, these seven spots are local favorites with delightful flavors across Appalachia. Ellen’s Homemade Ice Cream — Charleston, West Virginia Address: 225 Capitol Street, Charleston, WV 25301 Website: https://www.ellensicecream.com Ellen’s has been a sweet landmark in downtown Charleston since September 1997. All of its ice cream, gelato, sorbet and sherbet are made on site from scratch, and the menu rotates seasonally with creative options alongside beloved classics. Customers frequently share favorites like banana splits, hot fudge sundaes and espresso Oreo milkshakes. Beyond frozen treats, Ellen’s serves fresh soups, green salads, wraps and sandwiches, making it a local favorite for lunch followed by dessert. You’ll often find a lively downtown crowd — families, college students, and visitors — especially on warm summer evenings. The Meadows Original Frozen Custard — Duncansville, Pennsylvania Address: 471 Municipal Drive, Duncansville, PA 16635 Website: https://meadowsfrozencustard.com The Meadows Original Frozen Custard started in 1950 in Duncansville and is one of the oldest frozen custard stands in Pennsylvania. Unlike traditional ice cream, frozen custard includes egg yolks for a richer, smoother texture, and The Meadows uses a recipe developed decades ago that’s still beloved by locals. In addition to cones and cups of custard, the menu features milkshakes, sundaes, arctic swirls, banana splits, root beer floats and smoothies — classic summer staples that have drawn generations of visitors. The original stand has grown into a familiar summer tradition for families and road-trippers alike, with seasonal crowds forming as temperatures rise. Austin’s Homemade Ice Cream — Ceredo, West Virginia Address: 1103 C Street, Ceredo, WV 25530 Website: https://www.austinsicecream.com Austin’s is one of West Virginia’s most iconic small-town ice cream parlors, with roots going all the way back to 1947. Originally started by a local family and passed down through generations, the business has grown over the years while staying deeply rooted in community tradition. The Ceredo location is known for its wide variety of flavors — over 40 at times — including quirky originals like grape pineapple and national award-winning standbys like chocolate and vanilla. Their makers have won numerous ribbons at national competitions, and even dairy-free options such as apple cinnamon oatmeal have taken home honors in recent years. During peak season, families and kids from across the tristate area line up for scoops, and in winter months the shop closes temporarily, reopening in spring to welcome summer crowds. Small Town Scoops — Jonesville, Virginia Address: 150 West Main Street, Jonesville, VA 24263 Website: https://www.smalltownscoops.net Small Town Scoops lives up to its name — a classic Main Street ice cream parlor in Jonesville where locals and travelers alike gather for cones, sundaes, and shakes. The shop’s atmosphere is relaxed and friendly, where neighbors chat over sweet treats and kids linger out front with melting cones. The menu features traditional favorites alongside seasonal specialties, and Small Town Scoops often hosts community events or fundraisers that bring the town together. It’s exactly the kind of place you visit on a slow summer evening stroll, lingering over conversation and your favorite scoop. 404 Café & Creamery — Big Stone Gap, Virginia Address: 404 Shawnee Avenue East, Big Stone Gap, VA 24219 Website: https://www.facebook.com/404cafeandcreamery 404 Café & Creamery is a local favorite in Big Stone Gap, a historic small town in southwest Virginia. Known for its hand-dipped ice cream and cozy café atmosphere, 404 blends homemade scoops with a menu of coffee, baked goods, light lunches and soups — perfect for cooling off in summer or warming up during fall. The café has been recognized locally for its quality, and ice cream often draws visitors who combine dessert with other menu items like grilled sandwiches or freshly baked pastries. Hours extend into the evening, making it a popular spot for an after-dinner treat. Aunt B’s Ice Cream — Bean Station, Tennessee Address: 1026 Main Street, Bean Station, TN 37708 Website: https://www.facebook.com/groups/2666331496985180/ Aunt B’s Ice Cream in Bean Station brings classic roadside parlor vibes to East Tennessee. The shop has a nostalgic feel, reminiscent of serve-yourself cone windows and generous portions that define family outings. Though it doesn’t have a large web presence, local listings and community guides show it serves up all the classics: cones, floats, sundaes, and shakes. Whether you’re cooling off on a summer road trip or picking up a treat after dinner, Aunt B’s delivers the kind of simple, satisfying dessert experience that makes small towns memorable. Jeni’s Splendid Ice Creams — Athens, Ohio Address: 9 West Washington Street, Athens, OH 45701 Website: https://jenis.com Jeni’s has grown into one of the most respected artisan ice cream brands in the country, but its first shop opened right in Athens, Ohio, where the creative approach to flavor began. Known for thoughtfully sourced ingredients and inventive combinations, Jeni’s blends foodie flair with handcrafted technique. Flavors range from playful, like salty caramel and brambleberry crisp, to seasonal specials that highlight local produce. The Athens shop is a lively stop in a classic college-town setting — perfect for strolling Court Street with a cone in hand and exploring nearby galleries, coffee shops, and bookstores. These seven ice cream and frozen custard destinations aren’t just places to cool off — they’re local traditions, community gathering spots and tasty waypoints on summer road trips. Whether you prefer handcrafted classics, inventive artisan flavors or rich frozen custard, each stop offers its own story and scoop worth tasting.

Steve Ray Ladson strolled confidently across the America’s Got Talent  stage to the microphone. Cowboy hat, dreads, overalls tucked into boots, holding a banjo. With a big smile, he spoke, commanding the stage. “I’m Steve Ray Ladson.”  Judge Howie Mandel asked if he made a living making music. “Yes, I do.”  Mandel asked, “What’s the dream?”  “The dream,” said Steve, “is to do my own thing. I’ve been on tour with a lot of professional bands, but I’m here today to bring my own genre of music to the world.”  The genre is one of his own making: Blackgrass Brothercana, and Steve Ray Ladson owns it.  “It’s part bluegrass, part Americana, but with hip-hop, rock ‘n roll, funk, and soul mixed in,” he explained to me via telephone from Ireland, where he was scheduled to play at the Folk in the Fusion festival. ‘They say it’s from Nashville to Belfast. I am so excited to be here.”  Steve says his appearance on AGT was life changing. “It put me on a national stage that I hadn’t been on before. It was one of the best moments of my life. It’s somewhat unpredictable, so I told my band we just need to do what we do, and if they like it, they like it.”  They liked it.  Steve leaned into the microphone and looked at the audience. “Are you ready?,” he shouted. Then he began to play a song he wrote called “In the Back of My Truck.” The crowd went wild, as did the judges. Sophia Vergara said it was her favorite act of the season. Former Spice Girl Mel B. said, “I like seeing things I haven’t seen before. The swagger, the lyrics, I love all of it.” And hard-to-impress Simon Cowell said, “That was on point. I love the song. I love you. I love the band. This is when I love my job. That song is a hit.”  Steve got a unanimous “yes” from the judges to move on in the competition. For his next song, during the live round, He sang “Boots Like Mine.” Confetti rained down on Steve and his band when Sophia Vergara hit the Golden Buzzer. It was validation for the artist and a reward for his life of hard work. Born and raised in Hopkins, South Carolina, Steve got his music training both in the chorus at school and in church. “I was in the school chorus from elementary school through high school, and I loved it. I learned so much by doing that. I made the all-state choir, so I had the opportunity to sing with students from other schools as well. Being in the chorus shaped me in so many ways.” Steve says he would have loved to be in the band as well, but he played both football and basketball in high school, and sports practice schedules overlapped with band. But he did sing in church, where his father was a preacher.  He toured with the Blind Boys of Alabama, an experience that taught Steve stage presence, including how to build a moment that lands. Those tours took him around the globe and gave him a broader worldview. “That also helped with my arrangement skills and expanded my musical knowledge about rhythm.”  A multi-instrumentalist, Steve plays banjo, Dobro, and bass guitar to Hammond organ, harmonica, keyboards, drums, and he can also play a mean set of spoons.  Steve writes about what he knows. He was raised on a farm, and his lyrics are not only catchy, but they are also personal mission statements. He draws on his lived experiences to write, arrange, and produce songs that hit with audiences. He’s working on a new album now, recording in both South Carolina and Los Angeles. A single, “I Like it Like That,” was released in February.  As a young black man, Steve didn’t always feel that he fit in with the bluegrass and country mold. But he has widened the definition of who can play bluegrass or country. “If you’re going to be boxed out of genres, create your own.” That’s what he did when he coined “Blackgrass Brothercana,” a unique musical genre where he tells his stories his way. Stories of family, farm, church, and the road.  Steverayladson.net

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 .

Sara Bradley, the acclaimed chef behind Freight House in Paducah, Kentucky, has become one of the most recognizable culinary voices to emerge from the region in recent years.    Raised in Paducah, Bradley grew up surrounded by family traditions that blended her Jewish maternal heritage with her father’s Appalachian background. This upbringing instilled in her an appreciation for seasonal, locally sourced ingredients, and the resourcefulness that defines Appalachian cooking.    While she has appeared on national television, her most significant contributions remain rooted in her hometown, where she preserves and reinterprets regional food ways.   Roots and Heritage Bradley’s connection to Appalachia is defined by both culture and place. Appalachian cooking, she notes, has historically relied on making the most of available ingredients, using preservation techniques such as canning, pickling, and fermenting to extend seasonal produce.    These traditions informed Bradley’s approach to food, emphasizing sustainability, creativity and respect for the land. At Freight House, these influences manifest in dishes that highlight local ingredients and seasonal produce, bridging the gap between fine dining and regional culinary heritage.    Her menus change seasonally, reflecting both availability and the rhythms of Appalachian farming.   Professional Journey After earning a psychology degree from the University of Kentucky, Bradley pursued her passion for cooking, gaining experience in kitchens in New York and Chicago.    She trained under professional chefs before returning to Paducah to open Freight House in 2015, a restaurant located in a restored 1920s produce depot. Bradley’s culinary vision blends Southern, Midwestern, Jewish, and Appalachian influences, sourcing ingredients from nearby farms and emphasizing seasonality.    Through this approach, she demonstrates that Appalachian and regional cuisine can thrive in a contemporary, fine-dining setting.   Influence on Regional Food Systems A major part of Bradley’s influence comes through her commitment to supporting Appalachian farmers and producers. By sourcing ingredients locally, she strengthens small farms and preserves heirloom crops, creating an ecosystem that benefits both the kitchen and the wider community.    Freight House acts as a conduit, bringing the work of regional growers to a broader audience. Her practices encourage other chefs in the area to adopt sustainable sourcing, gradually shaping a more resilient and connected Appalachian food system.   Beyond her work in the kitchen, Bradley has become a strong advocate for preserving Appalachian food knowledge at the community level. She collaborates with regional food historians, seed-saving networks, foragers, and educators to document the ingredients and stories that define mountain cooking.    Through workshops, farm tours and public events, she helps demystify Appalachian cuisine for newcomers while deepening locals’ pride in their heritage. Bradley emphasizes that the region’s culinary traditions are living practices, evolving through each new cook who adopts them.  Her advocacy ensures that Appalachian foodways remain accessible, celebrated, and understood by both those who grew up with them, and with a wider audience. Cultural Ambassador Bradley also plays a significant role as a cultural ambassador for Appalachian cuisine. Through television appearances, guest chef events, and public speaking, she challenges stereotypes that portray the region as culturally or culinarily limited.    Her storytelling highlights the ingenuity and creativity embedded in Appalachian cooking, particularly the contributions of women who preserved these practices across generations. She frames the region’s cuisine as dynamic, sophisticated, and worthy of national recognition.   Television Recognition Sara Bradley gained national visibility through television competitions. She was the runner-up on  Top Chef: Kentucky  (Season 16) and later returned as runner-up on  Top Chef: World All-Stars (Season 20).    Additionally, she won the competition  Chopped: All American Showdown  in 2023, earning recognition as a “Chopped Legend.” These appearances showcase her unique blend of Jewish, Southern, and Appalachian flavors, and highlight her ability to elevate regional cuisine on a national platform.   Commitment to Sustainability and Education Bradley’s dedication extends beyond her menus to education and mentorship. She hires and trains young people from the region in professional kitchen practices, helping them build skills and confidence while maintaining a connection to their heritage.    Her approach encourages the next generation of Appalachian chefs to innovate while remaining grounded in regional food traditions. Sustainability, local sourcing, and community engagement are central to her philosophy, demonstrating that fine dining and environmental stewardship can coexist.   Preserving Heritage Through Food Perhaps Bradley’s most significant impact is her ability to use food as a tool for cultural preservation. By sourcing ingredients from nearby farms, celebrating seasonal produce, and incorporating Jewish and Appalachian traditions into her menus, she connects diners to the history and identity of the region.    Her cooking honors the past while inspiring contemporary innovation, ensuring that Appalachian cuisine continues to thrive and evolve for future generations. In everything she does — from restaurant leadership to media appearances — Sara Bradley reinforces that Appalachian culinary traditions are worthy of celebration, preservation, and national attention.   Learn more about Sara Bradley’s Freight House in Paducah, KY at  https://freighthousefood.com .

She’s one of the most respected voices in Bluegrass and Americana, yet Dale Ann Bradley is as down-to-earth as your next-door neighbor. From her home in Middlesboro, Kentucky, in the same county where she grew up, Dale Ann walks a line between two worlds. One is the familiar place of her childhood, and the other is on stage in front of her adoring fans. She’s equally at home in either place.  Dale Ann got her first guitar when she was 14, and she began singing in front of live audiences when she was a junior, thanks to the urging of the band director at school who recognized the young girl’s talent. He and his wife spent their summers singing at Pine Mountain State Park, and they invited Dale Ann to perform with them. She played with the band Backporch Grass, which led to a position with the famed Renfro Valley Barn Dance. She performed there regularly and recorded two solo albums. Dale Ann joined the New Coon Creek Girls. Recording four albums for Pinecastle Records, she built a reputation as both a powerful vocalist and a strong performer.  In the late 1990s, Pinecastle offered Dale Ann a solo deal, which was the launch pad to her meteoric career—and having Sonny Osborne as her mentor didn’t hurt. Her solo debut album , East Kentucky Morning , received critical acclaim. Follow-up releases, including Old Southern Porches  and Songs of Praise and Glory,  furthered her reputation as a gifted singer of both secular and sacred songs.  More albums followed. Pocket Full of Keys  was released in 2015, earning Dale Ann a Grammy nomination. She released a self-titled album in 2017, and another, The Hard Way , in 2019. “I love all genres,” Dale Ann says, and her albums can attest to that. She can seamlessly blend traditional bluegrass with more contemporary music.  Dale Ann’s powerful voice has been recognized six times by the IBMA as Best Female Singer of the Year. Her second Grammy nomination came via Sister Sadie, and the all-female supergroup’s 2019 album, Sister Sadie II.  She was a founding member of the group, which won IBMA’s Vocal Group of the Year award. The following year, they won Entertainer of the Year.  Stepping away from Sister Sadie in 2020, Dale Ann put her focus on her solo career. She released Things She Couldn’t Get Over  in 2021, which received IBMA’s Gospel Recorded Performance of the Year.  In 2023, Dale Ann’s Kentucky for Me  album was released, featuring guest appearances by Sam Bush, J.P. Pennington, and Danny Paisley. “That was probably as close to a themed album as I’ve ever done,” she says. “Every song is somehow related to Kentucky in some way. It wasn’t planned that way – it just happened naturally.”  Now a new album has been recently released. “We’ve been working on it for quite a while,” she says. “I spent a long time looking for the right songs to go on it, and it has a lot of wonderful original songs.”  Dale Ann is a lover of story-driven songs, and this album has plenty of them. “One I really love is “Mary’s Rock,” by Ellen Britton and Will Hopkins. There is a song by Paul Breedlove that tells a ghost story that I just love. And there’s another song called “Watching Corn Grow” with a story I am very fond of.”  A song written by Dale Ann, “Uncle Jake,” is reflective, from the perspective of an old man. “If there was a theme to this album, I suppose it would be reflective storytelling. Writers have been so good to send me songs. I’ve really listened to a lot. I love it when a singer or writer lives the story. That’s special.”  Dale Ann says she’ll be on the road as much as she can in 2026, and she’ll start on another album. “I have a new line-up that I’m thrilled with,” she says. “Rachael Boyd plays fiddle for us, and she is also a great singer. She is very dedicated and puts all she has into everything she does. Matt Ledbetter has been picking with me for ten years – he recently won Dobro Player of the Year at SPBGMA. Brian Turner joins us on bass, and he also engineers my vocals along with Tony Ray. And Stewart Wyrick plays banjo with us, and he has a good right hand as I’ve ever heard in my life. This band is cohesive and consistently delivers.”

In a moment when most young musicians are learning through screens—isolated, headphone-deep, and algorithm-directed—the work of the Ozark Mountain Music Association feels almost countercultural. Here, music is taught face-to-face. Instruments are acoustic. Learning happens in rooms, on porches, and on courthouse squares. And the goal isn’t virality—it’s continuity.   “We are event-oriented,” said Wendy Wright, executive director of the Ozark Mountain Music Association. “Most of what we do is youth-centered. We host bluegrass camps, an old-time music and square dance camp, a winter festival, square dance workshops, and a youth and bluegrass contest.”   That calendar anchors OMMA’s mission: to preserve and promote traditional music of the Ozarks for future generations, guided by the values of kinship, appreciation, and legacy. Since 2006, the organization has focused on passing down old-time fiddle music and related traditions by placing young musicians directly alongside experienced players who carry those styles in their hands—and in their memory.   Why Old-Time Music Still Matters   OMMA’s roots trace back to small youth camps founded by Bob and Carlene McGill, long before the organization formalized as a nonprofit.   “They had a little camp with about 15 or 20 kids,” Wright said. “They lined up fiddle players with guitars on each end and performed old-time songs.”   Those early groups didn’t just perform locally.   “They went to Washington, D.C., a few times and played in churches and communities during the year,” she said.   When Wright took over leadership, she initially continued that blended approach—until her first summer revealed a deeper truth about the music itself.   “My very first camp, I modeled it after what had been done before,” she said. “We had old-time instructors and bluegrass instructors together. It was very eye-opening.”   At the time, Wright admits she couldn’t easily distinguish between the two styles.   “I couldn’t have picked out old-time versus bluegrass,” she said. “I got a real education that week from the old-time musicians. Bluegrass music is more performance-oriented, and old-time music was meant for dance. It was about bringing the community together—square dancing, fiddle tunes with a strong downbeat. It wasn’t necessarily for performance.”   For old-time musicians, preservation is personal.   “Some of these tunes have been passed down generation to generation,” she said. “They can hear a style and know who played it. It’s very close to their hearts.”   Old-Time Music & Dance Camp: July in Mountain View   That philosophy comes fully to life each summer at OMMA’s Old-Time Music & Dance Camp, held July 14–17 at the Ozark Folk Center State Park in Mountain View.   Students spend full days immersed in traditional old-time fiddle music and community-style square dancing, with camp days beginning at 9:00 a.m. and continuing into the evening.   “They take fiddle lessons, calling lessons, and square dance lessons,” Wright said. “The callers are dying—the youngest callers we have are in their 50s and 60s—so we’ve been training new callers.”   Evenings generally move outdoors.   “Mountain View has a courthouse square with an old dance floor,” Wright said. “We put a band up for about 30 or 40 minutes, then do a community square dance. People bring lawn chairs, the square is full, the dance floor is packed. They’ll dance until 10 o’clock. It’s like Mayberry.”   The Old-Time Music & Dance Camp is open to ages 12–18, priced at $300, and centers on participation rather than performance—an intentional contrast to the competitive pressure many young musicians experience elsewhere.   Bluegrass Camps: June in Branson   Earlier in the summer, OMMA turns its focus to bluegrass with two week-long Bluegrass Camps, held June 9–13 and June 16–20 at Weddings at the Homestead in Branson.   The structure is deliberate and demanding.   “The bluegrass camp is performance-oriented,” Wright said. “Kids are divided by skill level and placed into actual bands. Each band has a coach for the week.”   Students learn as part of a traditional bluegrass band—fiddle, banjo, mandolin, guitar, and bass—with instruction that includes:   * Individual instrumental lessons * Band rehearsals * Group workshops * Vocal and harmony lessons * MC coaching * Evening jams * One night of square dancing   “All instruction ends by 6 p.m.,” Wright said. “Parents are welcome throughout the day and encouraged to join evening jams.”   Each camp culminates in a public performance—Saturday, June 13 at 7 p.m. for Camp 1, and Saturday, June 20 at 7 p.m. for Camp 2—giving students a tangible goal without turning the experience into a pressure cooker. Last year, participation surged.   “We had 110 kids,” Wright said. “There were 19 bands. We had to split the final show into two performances.”   This year, OMMA is adding a second full bluegrass camp, a move that comes with both opportunity and risk.   “There’s a break-even point,” Wright said. “I’m going to have to pray it works.”   The Youth in Bluegrass Contest   OMMA’s season begins with the Youth in Bluegrass Contest, held May 22–23 (Memorial Day weekend) in Branson. The contest, once run by Silver Dollar City for two decades, now lives under OMMA’s stewardship.   “They decided not to do it anymore, and we didn’t want to see it go away,” Wright said.   The contest includes up to 20 youth bands, offers $7,500 in prizes, and emphasizes growth over trophies.   “It’s not about winning,” Wright said. “Kids hear other bands and realize what they need to work on. It takes them to a different level.”   Why the Model Works   At the core of OMMA’s success is its intergenerational teaching model—older musicians mentoring younger ones in person, often for hours at a time.   “I think the secret sauce is that our society is craving connection between generations,” Wright said. You’ll see a kid bent over an instrument with someone who’s 70, or 50, or even 25. They’re passing along tunes, tricks of the trade, stories, and experiences.”   Parents are welcome to stay on site, reinforcing trust and community.   “When they leave camp, they have musical friends for life,” Wright said. “They go to festivals together and grow up listening to this music together.”   Music Without Electricity   For Wright, the unplugged nature of this music is not incidental—it’s essential.   “It has nothing to do with electronics,” she said. “It’s real music passed down from generation to generation.”   She recently saw that reality crystallize during a power outage at a festival.   “It was dark and quiet,” she said. “You could hear music coming from the stairwell. My daughter was up until four in the morning singing.”   No amps. No screens. Just sound.   “You don’t need anything but instruments and voices,” Wright said. “You can’t get that on YouTube. You’re not going to get that without it being in real life.”   In a culture increasingly mediated by devices, the Ozark Mountain Music Association is making a different bet—that the most enduring way to keep this music alive is to put it directly into young hands, let older hands guide them, and trust that the sound itself will do the rest.

No conversation about today's preservationists of Appalachian string band music would be complete unless it included the music and work of Fiddlin' Earl White.    Well-respected as both an educator and a storyteller, White, who was born in Newark, New Jersey, started his music career dancing as a co-founder of the Green Grass Cloggers while still in college studying psychology.   He’s happy to share the story. “I hooked up with some people at East Carolina University who were starting a crisis intervention center called The Real House,” White recalls. “It was through  that  that I met my late friend.”   White is referring to Dudley Culp, another student at East Carolina, who sadly passed away in 2021. While attending the Old Time Fiddlers Convention in Union Grove, North Carolina, Culp had learned clogging, the delightfully percussive Appalachian folk dance. “Nobody wanted to be around him because he appeared to be afflicted when he was trying to do it,” jokes White.   But as Culp improved, other students, including White, wanted to learn. “Eventually, it started to sound rhythmic and very percussive. Before you knew it,  everybody  was doing it.”   Inspired, White and his collegemates formed the Green Grass Cloggers in 1971. “I dropped out of college and became a full-time professional clogger,” says White, who wound up trading his dancing shoes for a fiddle. “It was during that time that I became intrigued by the musicians.”   VIDEO:  Dance of the People (A Green Grass Cloggers documentary)   Drawn to the fiddle   White still remembers the first time he knew he wanted to play fiddle. The revelation came when he and his cloggers danced at a festival in Evergreen Valley, Maine.    “It was one of the strangest shows we ever did,” he laughs. “It was Seals and Crofts, Jefferson Airplane, Blue Öyster Cult, and Alice Cooper—and the Green Grass Cloggers.”   The catalyst, for Earl White, was Papa John Creach. “He was sitting in the corner of the green room just playing the fiddle,” White remembers with awe. “I had seen Black violinists before, but I’d never laid eyes on a Black person playing the  fiddle!  It was very much a turning point in my life.”    White acquired a fiddle and taught himself how to play. “I've never had a fiddle lesson,” he says, explaining that he simply copied the sounds he heard. “I think one of the advantages for me was spending a number of years dancing to the old-time music.”   When Fiddlin’ Earl met the Father of Bluegrass   Of the many adventures he’s had over his long career, Earl White will likely never forget meeting the Father of Bluegrass.   “The Green Grass Cloggers were dancing at the Angier Bluegrass Festival, and Bill Monroe walks over to me and says, ‘You know, you remind me a lot of this fella I used to play with many years ago.’ I found out that the person Bill Monroe referenced when he spoke to me was Arnold Schultz.”   White was deeply honored to be compared to an early Black bluegrass musician like the powerfully influential Schultz. Searching for others, he reached out to North Carolina old-time fiddler Joe Thompson.   “Joe was one of the people I went to visit,” remembers White. “I asked about other Black fiddlers that he might have played with in his community. His response was that they were pretty much all passed away, and that the young Black people did not really seem to be interested in the music.”   A negative association with old-time and bluegrass music might be to blame, White feels. “A lot of the Black community associate it with segregation and discrimination,” he observes sadly. The irony is that this hasn’t always been so. “It's obvious that, from an old-time perspective and early bluegrass perspective, Blacks and whites played together,” explains White, recalling his conversation with Bill Monroe.   The Virginia fiddle player feels that our music is for everyone. “In my opinion, the only way the Blacks could learn from the whites, or the whites learn from the Blacks, was that they were playing  together ,” he offers.    He hasn’t forgotten Joe Thompson’s words about Black youth and string band music. “I don't think it's that they’re not interested in it,” White comments. “It's just not in their community.”   Putting the music out there   Accordingly, Earl White established a mission for himself to try to change this. “My goal has been to put the music out there in the community,” shares White, who has taught both Black and white students. “No matter what ethnicities they are, they [should] have a resource to learn about it.”   As White teaches his students how to play old-time music, he also teaches them the origins of the songs. “I do a lot of camps where I'm teaching a whole class of people, and I make a point of saying, ‘Whoever you learn the tune from, that’s who you should give credit to,’” he comments. “So many songs have come out of the Black community, and there was no credit given.”   VIDEO:  The Earl White Stringband at Pre-Festival Old-Time Jam Camp, Minnesota Bluegrass Festival, August 2024   These days, White and his wife, Adrienne, who is also a musician, own and operate Big Indian Farm Artisan Bakery in Willis, VA. “My retirement went out the window,” he laughs. “Our goal is to build the infrastructure here on the farm and to do music camps.” Along with the organic bakery, White also hosts his own event, The Fiddler’s Jam, in Floyd, VA. “I said to myself, ‘If I had a camp at my place, all of those people who wanted to learn my style of fiddling would come to my camp!’”   And he was absolutely right. Fiddlin’ Earl White has hosted many jams at his lovely farm. “The fiddle has changed my life in so many different ways,” he says with passion. “I can't imagine not playing. One of the biggest effects it has had on me is seeing the impact that it has on other people. That just brings me so much joy.”   Visit Fiddlin’ Earl White at his farm at  https://bigindianfarm.ecwid.com/  or at The Fiddler’s Jam at  https://thefiddlersjam.com/ .

Lathemtown, a small, unincorporated community in North Georgia, is the kind of place where cows outnumber streetlights, and where people grow up knowing every neighbor by name.    This is the place that shaped singer-songwriter Kurt Lee Wheeler — first as the son of a cattleman and homemaker, then as a musician who would one day return to its soil in search of the stories he left behind. When Wheeler talks about his hometown, his voice settles into an easy rhythm, the kind that comes from a lifetime of telling certain stories without ever needing to embellish them. This landscape, these people, and the quiet struggles folded into their days, form the spine of Wheeler’s new album  Lathemtown . It is his most personal work yet.   “We're about 35 miles north of Atlanta,” Wheeler says, “and this is an agricultural community for the most part. I grew up in the cattle business and hog business, and there was nothing else to do but to play football and baseball, and fish.” He estimates the community’s population at only a couple of thousand people when he was growing up. “I mean, our elementary school had 200 students in it – first through eighth grade.”   Growing up in Lathemtown also gave Wheeler the opportunity to observe the resilience of people weathering hardship with quiet dignity. The stories passed down by his parents and grandparents, the tragedies stitched into the fabric of his family, and the lessons learned by watching others endure, became the foundation for his songwriting.    “My mom and dad are still alive, and my grandparents' land just finally sold last year,” Wheeler said, noting that several generations of his family grew up in Lathemtown.    Those memories sat dormant for decades before reemerging in the form of melodies and narrative threads, sometimes in dreams, sometimes arriving all at once after days of fasting and reflection. “I do a lot of fasting,” Wheeler explains. “I'd just come out of an 11-day fast, and I think I wrote two or three of these songs one morning, sitting at the table.”   He’s been making records since the early ’90s, but  Lathemtown  marks a turning point — an album written from a deeper place, shaped by age, distance, and a sharpened sense of what matters. Wheeler’s songs feel lived-in, rooted in his decades of experience as a teacher, father, pastor, military veteran, and storyteller. He claims he did not set out to write a concept album; instead, the pieces surfaced on their own, tapping him on the shoulder until he followed.   “Every album I've ever done meant more than the last one,” he reflects. “But because of family,and home, and going back,  this  album -- beyond the shadow of a doubt -- means more to me than any other.”   New textures and depth   Wheeler’s earliest musical inspiration came from many directions, including classic southern rock, alternative rock, and college radio from the ’80s and ’90s. His first album,  Bama Motel (1992), offered hints of these influences, even while he was still finding his own voice.   “Growing up, my biggest influences would've been The Monkees, and Lynyrd Skynyrd, and Deep Purple, probably in that order,” he says, “and Edgar Winter’s album  Shock Treatment . I actually would like to cover some Monkees songs at some point.”   The personal depth of  Lathemtown  is also attributable to Wheeler’s experience as a father. He says that watching his son struggle, adapt, and ultimately carve out his own path provided great inspiration for the song “Portland.”   “You'd think it's about losing a lover, but it's really about a father and a son, and having to trust him with the process,” Wheeler reflects. “My son decided to move out to Portland, and I was very proud of him. That was a bold move. We packed up that Subaru and he took off across the country.”   VIDEO: Kurt Lee Wheeler, “Portland”    Wheeler’s collaborators on  Lathemtown —producer and multi-instrumentalist Jeff Partin, along with Aaron Ramsey on banjo and mando, guitarist Jake Stargel, and John Rice on fiddle—helped translate the songs into their final form. Their bluegrass acumen brought new textures and depth to Wheeler’s project.    Covers often find their way into Wheeler’s catalog, but always with intention, and this recording is no exception. His version of the Foo Fighters’ “Times Like These” grew out of the sudden death of a close friend, and the emotions that followed. His take on Chris Isaak’s “Wicked Game” came from long-standing admiration of the tune, and a realization that its ethereal feel aligned perfectly with his own sensibilities. Rather than imitate, he reshapes these songs into meditations that carry his own fingerprint.   “That song is haunting,” Wheeler said of the Isaak tune. “It's spiritually  otherworldly . It's almost cult-like in its ability to grab hold of my soul. It's three chords played 44 times. It violates every songwriting principle. I thought we could keep the same melody and add a D major 7, and ended up having an Alison Krauss kind of vibe to it.”   VIDEO: “Wicked Game” covered by Kurt Lee Wheeler   Whispers between the lines   The most enduring lessons come from home. Wheeler talks often about his father—a cattleman with a gift for conversation, a deep love of the earth, and a steady generosity that left a lasting imprint on an impressionable son. Those qualities continue to guide Wheeler through his life and music.   “My dad is the most gracious, generous man I've met,” he says. “He loves cattle, he loves the earth, he loves nature, he loves people. I learned how to give by watching my mom and dad give, sacrificially, sometimes out of their own deficits.”   As for what he hopes listeners take away from  Lathemtown , Wheeler speaks with quiet honesty. The album is not an attempt at grandeur, or a bid for reinvention. It is an invitation to sit with emotion—his, and perhaps our own—and find a measure of solace or recognition in the stories.   “There are things I say and whisper between the lines,” he says. “People might find  themselves  in there and go,  ‘Oh,  okay . I  get  that.’ ” He’s glad his music serves as a balm. “If listeners can find a little respite for their journey, or if they can touch loss in a way that helps them identify better with it, that's what I hope.”   Visit Kurt Lee Wheeler online at  http://www.kurtleewheelermusic.com .