“Our goal is to keep our band going,” explains mandolinist and lead singer Brian Eversole, father of Julia, 16, and David Eversole, 15. The Eversoles, along with friend and Scruggs-style banjo player Ashton Murray, 13, form the family-run Grassy Creek Bluegrass Band. For those not yet familiar with this band from Gatlinburg, Tennessee, they just recorded their first single, “Weather Girl,” and are thrilled to talk about it. “I was a little nervous, but it was a lot of fun. Once we got there,” says 16-year-old bassist Julia Eversole, taking part in her first recording session. Recording at Sound Biscuit Productions, “We’ve heard some of the bands here locally that recorded with them,” recalls the teen bassist about the Grammy Award-winning studio. “We thought, ‘you know, they're putting out really good stuff.’ So when we were thinking about where to record, we decided to go with [Sound Biscuit]. I think that was a really good decision!” Most people listening will be surprised. “We all kind of started together about three years ago,” shares Julia and David’s father, Brian. “I was visiting my father-in-law, and he had a cheap mandolin hanging on the wall. “I saw it and pulled it down, and I just started playing,” the mandolinist recalls. “My [father-in-law] said, ‘why you don’t take that home with you, I don't have any use for it.’ So I took it home, and within the day, I had learned my first fiddle tune.’” The Kids Followed “We had a guitar at the house, and this little ukulele bass,” remembers Brian. Julia picked up the bass and started playing, while David, 15, started playing the guitar. “I just showed them a little thing like ‘Angeline the Baker.’ I think that was the first little easy fiddle tune that we learned together.” “Soon after, we started going to the East Tennessee Bluegrass Association jams,” Brian recalls. “We never missed a jam—we just played together every single day.” Going on, “So we haven't really been playing that long, but we've got a lot of trigger [practice] in a short amount of time.” Megan Eversole, mother of Julia and David, says her husband and kids enjoy each other’s company. “I couldn’t be prouder! Their love for bluegrass, and for each other, shines through every time they play.” “I keep the household running so they can focus on the music,” Megan says about her role in the band. New to Bluegrass “I had grown up around bluegrass, so it was kind of infused in me, same as church music,” explains Brian. “I'd heard bluegrass music a lot, but I didn't spend a lot of time playing it or listening to it. It was kind of an eureka moment.” Julia joins in, “I heard people talking about Bill Monroe, and I was like, ‘okay, I've got to look this guy up.’ So I looked him up, and I started listening to him, and I heard all of those old songs he did, like ‘Can't You Hear Me Callin’ and ‘Southern Flavor,’ and I just fell in love with [bluegrass].” David’s Surprising Music Ability “Tony Rice is a big inspiration for my son David. I would say, ‘how do you know how to play [Tony Rice]?’ [David] said, ‘I pulled it up on my computer and listened to it and figured it out. He's done that with dozens and dozens of Tony Rice breaks,’” explains Brian. Helps With Harmonies “He has a special ear for harmony,” Brian shares. “David figures out our vocal harmony parts on his piano; I don't know if we would be able to sing harmony like we do without David, his piano, and his ears.” Friend Ashton Murray completes the lineup. “I swear, we played with a lot of banjo players, and Ashton is our favorite,” shares Brian, describing their thirteen-year-old banjo player. “He's got that bluegrass drive behind his banjo.” The band’s leader says Murray’s playing has good dynamics. “He's really good at being really loud when he needs to be and then really quiet!” Brian says the band will be going back to the studio to record. “We have quite a few other songs that we're hoping to record this year. ‘Weather Girl’ will be our first release, which is part of that album that we're working on.” The band, currently traveling in Brian’s F-150 pickup truck, says financial backing is welcomed. “If signing on with a record label could reduce some of the expenses and make some of the recording process a little easier, that would be appealing to us. Right now it’s for fun. We just kind of do this as a side hustle—it’s a hobby for me and the kids.” https://www.facebook.com/p/Grassy-Creek-Bluegrass-Band-61578726595805/

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/

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!

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.

When Danny Roberts learned to play the mandolin while growing up in Kentucky, he never dreamed it would take him all over the world. “When I was coming up, my musical idols played in contests. They did it on the weekends, then went back to their regular jobs. That’s what I saw, and that’s what I wanted to do.”  He never dreamed that he could have a full-time career in music. Yet, for the past 22 years, Danny has been playing with The Grascals, a group he formed with a childhood friend, Jimmy Maddingly. “Jimmy and I grew up together.” In addition to Danny and Jimmy, the other OG’s (Original Grascals) were Terry Eldredge, Jamie Johnson, Terry Smith and David Talbot. A few months after they formed The Grascals, they were asked to be Dolly Parton’s opening act and to serve as her backing band on tour. It was the kind of endorsement bands dream of – they had professional respect, they were adored by their fans, and they were celebrated by the industry.   “Dolly is as sweet as can be,” says Danny. “When we were in the studio with her, we’d all sit in a circle and work on a song, then she’d feed us. She made us chicken and dumplings or biscuits and gravy – she’s a great cook.”  It didn’t take long for The Grascals to get recognition in the form of awards. Their blend of modern traditional bluegrass, along with country influences and gospel, earned them plenty of accolades. They were honored on a big scale right out of the gate. Their self-titled debut featured a duet with Dolly Parton on “ Viva Las Vegas .” It won the IBMA Album of the Year, and the band was named IBMA’s Emerging Artist of the Year. More recognition followed, with two IBMA Entertainers of the Year awards, a Dove award nomination, and three GRAMMY nominations.  The Grascals have shared the stage with many stars and recorded with many more. They have recorded and toured with Charlie Daniels, Tom T. Hall, Kenny Rogers, Vince Gill, The Oak Ridge Boys, George Jones, Hank Williams, Jr., Brooks & Dunn, Dierks Bentley, Patty Loveless, Steve Wariner, The Jordanaires, and Joe Nichols.  The band has performed worldwide and for two United States presidents. “We played for George W. Bush at Fort Campbell in Tennessee,” recalls Danny. “We were in a huge hangar with thousands of soldiers both inside and outside. Air Force One approached as we finished a song, and it was inspiring to see all those soldiers turn to watch the President disembark. We also played for a going-away party for the President’s staff at the White House, and the President and First Lady came backstage and talked with us. They were just as friendly and down-home as could be.” The band also played during an ancillary event honoring Native Americans as part of Barack Obama’s inauguration. Playing overseas has been a wonderful experience for Danny and the band. “The most memorable places we went, for me at least, were Japan and Greece. In Japan, we couldn’t communicate with the people because of the language barrier, but they still loved the music. And Greece was so different in culture and lifestyle. I marveled that I was so far from home. In Japan we played a festival with Charlie Daniels, and we were the only bluegrass group. I remember that it was set up like a 90’s festival, and the people there were all dressed in cowboy attire.”  Today, the band members include Danny, Kyle Perkins, John Bryan, Jamie Harper, Kristin Scott Benson, and Jamie Johnson. When asked what keeps them going, Danny emphatically responded, “It’s the love of the music.”  Danny is the only member who has been with the band since its beginning. “Jamie left and returned after eight years. Throughout hard times and adversity, we are all still friends. You have to have a purpose. It’s like a marriage, where it’s not all roses all the time. And when you have six people with six different ideas, you’ve got to know when to give and when to take. That said, it’s never been as easy in the band as it is now. The singing is so good, the music is fun, and everyone gets along. We really have a blast together! This is not a chore for any of us – it is always a pleasure for us to play together.” That camaraderie shows when the band is on stage. A Grascals show is upbeat and light-hearted, yet the music is always on point. Whether it’s at a festival, Radio City Music Hall, or the Grand Ole Opry, every time they walk on stage, they put on the best show possible.  “I have to admit, any time the Opry calls, we are always ready to go,” says Danny. The Grascals have played over 200 times at the iconic venue, and Danny states that the times they have played there are his most memorable shows. “It’s an honor every time we walk out on that stage. I always thought if you got on the Opry, you’ve made it. One very special highlight was playing with Dolly Parton and Porter Wagoner the last time they sang together on the Opry stage.”  Danny’s daughter, Jaelee, who is now a member of Sister Sadie, literally grew up in the wings of the Grand Ole Opry. “We used to measure her growth by Little Jimmy Dickens,” he laughs. “But she kept getting taller!” The Grascals have a new album – their 14 th  - coming out this summer on Billy Blue Records. “It’s our first record with Billy Blue, and we are really excited,” Danny says. “That album will include our first single with the label that features Dolly, ‘Broken Angels,’ and a music video with her as well. We have a new sponsor, Hopeless Holler Trading Co., and they are wonderful folks who we are so happy to be partnered with.”  Danny says the band is ready to “run up and down the road in our new ride and keep making great music.”

Figuratively speaking, Stephen Mougin wears a lot of hats. (Literally, he’s nearly always seen in a black pork pie number). He’s a songwriter, producer, studio owner, radio host, solo performer, and, since 2006, he’s been singing and playing guitar with bluegrass legend Sam Bush.  But every year attendees of the International Bluegrass Music Association’s conference pack a convention hall room to see Mougin (“Mojo,” nearly everyone calls him) in a different role as he conducts his band coaching session.  “It's one of the favorite things that I get to do in my professional career,” he says. “I started as a music teacher, and I was a choir director for three years before I moved to Nashville to play full time. I love teaching. I don't have a lot of time for it these days with everything else that's going on. So, the band coaching scratches that itch for me in an intensive, focused way.” Often Mougin knows nothing about the band that has volunteered to be coached in the open session. He might stop them before they’ve completed the first line of their song. He may comment on something very specific--the way they use the microphone or explain that fill-in licks should always come between  vocal lines. Other observations are more philosophical. “One of the things that I focus on with all the bands--especially younger bands--is to play it like you love it. Whatever song you're playing, it has to be your favorite song at this moment. Because if you're playing it as if it's not your favorite song, it's going to sound that way.” He also stresses that great musicians are good listeners. “You spend most of your time focusing inward to make sure you're playing the right chords or that you're playing in time or any of those kinds of things,” he explains. “And the real hurdle is the moment when instead of looking in or listening inward, you're listening outward, where what you're doing is basically on autopilot. And all it is doing is reacting to the things around you. And that's when the real music starts to happen.” Mougin can’t recall when he started doing the sessions at IBMA. (“It’s been more than a decade, I think.”) He began working with youth bands and then invited older musicians to take part. In 2023 Fox Crossing Stringband volunteered for the public critique. In fact, banjo/dobro player Cassie Lynn Wright says the band profited from being in front of an audience. “Getting Stephen's ideas in a conference session also allowed us to see and feel the audience's reaction instantly,” Wright recalls. “There’s nothing like the feeling of trying something new, stepping out of your comfort zone, and seeing Mojo and the whole room light up because everyone can feel that it’s working. “After playing together for a while, you naturally settle into certain 'roles' or 'grooves.' Mojo’s coaching made us realize that those are actually all choices, and many of which we’d been making without even realizing it. By suggesting different approaches and explaining the 'why' behind them, Mojo helped us unlock new ideas to improve our music.” Under the Rocks, a band from British Columbia, Canada, participated in last year’s coaching session at IBMA. “I saw Mojo post on Instagram that he was looking for a band for his workshop,” says Chris Baxter, who sings and plays banjo and mandolin with the band. “I DM’d him right away thinking this would be an awesome opportunity to learn some tips from one of the best. Gratefully, he accepted. “I’d met Stephen before, but didn’t really know him. What we got out of it was learning how to be more dynamic in a song during a live performance. We learned small tricks like watching each other's lips while singing so that our phrasing all matched. And playing slow songs with the same energy as ripping tunes. “Going into it I think most of us didn’t really know what to expect. We weren’t apprehensive, rather excited for the opportunity to gain some real skills that would hopefully take our performances to the next level.” Mougin does some coaching sessions during the year between conferences. But his other myriad activities--he recently began hosting “Mojo’s Mixtape,” a weekly show on Sirius XM focused on 1980s and ‘90s bluegrass music --keeps him busy.   “I learned a long time ago the secret to success in the music business is to do a lot of different things, so something's happening all the time,” he says. “I don't have a ton of time for band coaching. It’s not something I've ever really put a lot of effort into advertising or publicizing or trying to market. It's something that folks have seen at IBMA, and they reach out.” And it’s not just new or up-and-coming bands that attend the coaching sessions. Veteran musicians are interested, too. “A lot of times we're talking about basics, but I have professionals who come every year and sit and listen and tell me the things that I reminded them of are not particularly new,” Mougin explains. “But, you know, it's good to have a little-touch up every once in a while on some things that you can think about differently and find ways to improve what you're doing.” https://stephenmougin.com/

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)