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

When asked if she always wanted to be a violinist, Sharon Winters Bounds immediately responds with a vehement “No” and a gleeful chuckle. Both of her grandfathers and her father played the old-time style of fiddle, which is derived from traditional European dance melodies. Not all children necessarily want to follow a family tradition, and the young Sharon had no interest in being a third-generation fiddler. When an opportunity to learn classical music arose in grade school, she warily approached her father. “You can imagine an eleven-year-old girl going up to her father and saying, ‘Look, here’s the deal…” Bounds laughs at the memory and adds that she told her father she would try violin but would stop in six months if she did not enjoy it. “My father, perhaps able to see the bigger picture, said, ‘Sure, if you don’t like it you can quit,’” she says. During her test trial, her parents took her to multiple fiddle contests, and she learned about different forms of fiddle playing, such as Texas-style. She noticed that some styles offered more room to improvise than others. “And I said, ‘I want to do that,’” Bounds recalls. She had been hooked by fiddling. Early on she listened to recordings by Mark O’Connor and Randy Howard, both known for their virtuosic skill in country and Bluegrass fiddle playing. “Back in the day we did not have people writing out the notation or tablature for us,” Bounds says of the lack of written notation for instrument fingering in the musical genres that intrigued her. “We would take a 33 1/3 record and slow it down, and of course, we would have to retune our fiddle to match the tuning on that lower speed,” Bounds recalls. She was undaunted by the additional labor. “I would sit down and listen to it, pick it apart, learn a part or two, get good at that and listen to the other parts, then you would put it all together and you would have a song,” Bounds concludes, “That’s how determined my generation was, that’s how we learned our songs.” Now a remarkably versatile fiddle player, Bounds can play Bluegrass, Cajun, country, contest- and Texas-style fiddle, and her talent has taken her from her home in Tuscaloosa to some of the most cherished Bluegrass stages in the southeast. She has only positive things to say about the camaraderie and mutual support she has found in the fiddle competition circuit. “There are fiddlers who also play guitar that will compete in the fiddle contests, then they turn around and back up other fiddlers with the guitar,” Bounds says. “There’s a lot of good friendships in the fiddle community.” A fiddle competition Bounds holds close to her heart is the Grand Masters Fiddler Championship annually held in Nashville, Tenn. It attracts fiddlers worldwide, and she has made the top ten category on seven separate occasions.“ It’s a very fun competition and over the years you get the opportunity to meet so many outstanding fiddle players. You become friends, and it becomes like going home to a family reunion.” The high stakes of winning have not soured the offstage connections. “Now when you get on stage, you’re serious,” Bounds laughs, “but once you get through competing you’re all friends again.” Bounds has also won the Mississippi and Alabama State Fiddle Championship several times and has succinct and time-honored advice for fiddlers who are interested in competing. “A lot of practice,” she advises. “Lots of determination, and just because you enter a competition and lose that first one or two, keep your head up and just keep going.” In addition to competitions, Bounds has kept busy the past several years as a founding member of the band The Ancient Tones. Formed two years ago, Bounds’ band is entirely comprised of Alabama musicians. “We have everything covered as far as Bluegrass instrumentation.” Bounds plays the fiddle; Rick Rorex, a National Mandolin Championship winner, plays the mandolin; Weston Stewart plays the banjo and is a former National Bluegrass Banjo Championship winner; and Jesse Lindsey Smith, who sings, writes music, and plays both bass and guitar for the group. Another member is Alan Tolbert, who plays flat-top guitar. “He’s one of the very best pickers I’ve ever run across,” Bounds says, “And I’ve been around a lot. He reminds me of Tony Rice,” she adds, referring to the late Bluegrass singer and guitarist. “We put the group together because everyone was such a master of their instrument and we thought it would be fun to have a group together,” she says. They have begun crafting a catalogue of original songs for future performances and a potential album. In the two years since its formation The Ancient Tones has already played twice in the Huntsville-based Bluegrass and BBQ Festival and has also performed at Lowe Mill Arts and Entertainment Center. Bounds is looking forward to the band performing in May at the extremely popular Bluegrass music venue Everett’s Music Barn in Suwanee, Georgia. With her experience in the realm of fiddle and Bluegrass competitions, Bounds naturally progressed from the role of contestant to revered judge. “I enjoy that aspect too,” Bounds says. “I still get to participate in the jam sessions, while getting to see a different side as a judge.”  She also enjoys being on the committee for the Southeastern Fiddle Championship, known as Fiddle Fest. 2026 will be the 10 th  year for the annual one-day festival, which celebrates Bluegrass and fiddle music and takes place on the Shelton State Community College Martin Campus in Tuscaloosa. Lily Coleman, one of Bounds’s students, performed in the 2025 Fiddle fest and took home the prize for best youth fiddle. The twelve-year-old Vestavia Hills-based student is—like her teacher—a third generation violinist.“What I like most about playing violin is performing for other people because it makes them happy,” Coleman explains. “Miss Sharon has taught me all the best songs, and she has taught me lots of techniques that have improved my fiddle playing, like slides and double stops.”   “She’s doing very well,” Bounds says of her promising three-year student. “She’s one of the ones I can tell is going to do great things with her fiddle.”When Bounds is not teaching students, which range in age from four-year-olds to retirees, she is also in high demand for weddings. She is equally comfortable playing a stately, classical piece such as “Canon in D” as she is picking a rapid-fire fiddle tune on a Nashville stage. Her husband Bill frequently accompanies her at weddings, and he plays guitar and banjo for another local band. “We stay busy,” Bounds laughs. “I love it. I’m either teaching or playing at a wedding or playing in a Bluegrass festival. I just love the music and it’s part of me.” She may not have intended to follow the family tradition, but Bounds has fiddled her way to an exemplary career, and her oldest son Brandon also caught the fiddling bug, making four generations of violinists. “And my first grandchild is about to be born soon,” Bounds says, continuing with a chuckle, “and you better believe she will have a fiddle in her hand!” You can follow Sharon Bounds and her band The Ancient Tones on Facebook and on Instagram @sboundsfiddle

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.

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/

Kaïa Kater remembers the moment the door cracked open.  She was a kid in Montreal when her mother fell in love with the O Brother, Where Art Thou?  soundtrack, and they sought out an opportunity to see its musicians perform live.  “We went and saw the ‘Down from the Mountain’ tour,” Kater says. The consequent search for more of the same eventually led Kater and her mother to a map, an eight-hour drive, and the Grey Fox Bluegrass Festival in upstate New York. She laughs about their lopsided campsite and the single chair they shared all weekend, but that trip set the trajectory. Next, her mother enrolled her in the Grey Fox Bluegrass Academy for Kids, and eventually she picked up the banjo that would become her anchor. “The first song I learned on banjo was ‘Cripple Creek,’” she says, “then ‘Old Joe Clark’ or something. People were super-generous with their time, and with me.” A short lesson with a family friend changed Kater’s direction entirely. She connected instantly with clawhammer banjo, like it was a piece falling into place, and she still talks about it with a kind of awe. The lesson lasted only minutes, but it echoed for years as she shaped her sound. “It changed my life ,” she says. “There was something about learning the clawhammer banjo that just worked  for me. It sparked something. People would come up to me and say they want to learn the banjo. I would say, ‘Great. Do you have three and a half minutes? I’ll teach you right now! ’” Over the past decade, Kaïa Kater has built a reputation as the owner of one of the most distinctive voices in modern roots music, earning a Juno Award for the album Strange Medicine  and a Canadian Screen Award for Best Original Song on The Porter, a CBC dramatic series. Her earlier albums — Sorrow Bound, Nine Pin , and Grenades —garnered nominations for the Polaris Music Prize and wide critical acclaim from NPR, Rolling Stone , and The Guardian , among many others. She has collaborated with revered artists like blues guitar legend Taj Mahal – she’ll be touring with Taj next month -- singer-songwriters such as Allison Russell and Aoife O’Donovan, and jazz drummer and composer Brian Blade, weaving their voices and textures into her expanding sonic palette. International touring, and appearances at stages like Carnegie Hall and NPR’s Tiny Desk, have further cemented her influence. Through all of it, she’s built a catalog that reflects both her restless curiosity and her command of tradition. Early on, Kater’s identity carried the weight of several landscapes. Montreal formed her artistic instincts, Appalachia taught her a musical language, and Grenada offered a family story she didn’t fully understand until she reached adulthood. Asking her father about his past unlocked a history that shaped her perspective. “My dad is from Grenada, and he came to Canada as a refugee in the mid-‘80s,” she says. “He was really quiet about his story. I thought, ‘Hey, I should ask my dad about his experience being a refugee,” and it was really positive. I’ve been going back every couple years ever since.” Kater first stepped onstage when she was around 14 or 15 years old. When she looks back at that teenage version of herself, she recognizes talent, uncertainty, and a kind of wide-open creative energy that is harder to access now that music is also a job.  Her advice to that earlier self comes with equal parts tenderness and grit. “Try to keep that flame of joy alive, of why you do it,” she says. “When it becomes a business, it can become dispassionate. There was this fountain of creativity in that young person I was, and I constantly have to work to get back something that was a lot easier for her back then.” After a pause, she adds: “Oh, and get a good bookkeeper!” Kater’s 2024 album Strange Medicine  grew into a cinematic, textured work, and touring with it has changed the songs in unexpected ways. She never treats the recorded versions as final; she sees them as moments captured before the music shifts again. The live versions breathe differently -- sometimes leaner, sometimes more personal. “When you record the song for the album, it’s really just a snapshot in time of how it exists in that moment,” she says. “The songs, for me, have definitely changed. A good song should stand on its own without all that stuff. I should be able to play any of those songs alone on stage and still have them impact people.” Touring takes Kater far beyond North America, and her European audiences leave an impression. Their silence surprises her, but it comes from attentiveness, not indifference, and she has learned to trust the room’s stillness. “They listen really intently, almost to the point of silence, to the point where sometimes I’m like, ‘My God, do they even like this?’” she laughs. “I think music is valued in a really cool way there.” Writing requires a different kind of environment altogether. She needs the kind of conditions that don’t exist on tour, so when she finally steps away from the road, the songs begin to come together in her mind. “I have to have a lot of silence and boredom and be in an empty room with myself,” she says. “When I’m off the road, I’m writing. A lot of the stuff that I’ve been writing lately is looking back over my youth and memories and family recollections.” Kater will release a deluxe edition of Strange Medicine  in early 2026, adding songs from the same creative period. After that, she will continue shaping a quieter, more introspective record rooted in the vantage point of her thirties. Her music keeps changing because she  keeps changing, and she listens closely to each shift.  And somewhere between dedicated performance and the solitude of writing, Kaïa Kater taps into her original spark, knowing full well that it has never left her.  Visit Kaïa Kater online at https://kaiakater.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 .

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.

Have another helping of Irish stew or corned beef and cabbage. Wash it down with a pint of Guinness, green food coloring optional. Then continue your Saint Patrick’s Day celebration by listening to traditional Irish tunes.More than a few should sound familiar to Bluegrass fans. When it comes to influences on American music, the Grass literally is greener because of contributions from the Emerald Isle. First came the fiddle, easier than most instruments to take on board ship and down the Great Wagon Road into the Appalachian backcountry. Many pioneers of the 1700s were Protestant Scots-Irish, a few generations distant from the Lowland Scots who’d been relocated to Northern Ireland’s Ulster Plantation. Fiercely independent and ready for a better life, they booked passage to the American colonies. Most landed in Pennsylvania and some settled there. Others trekked to Virginia and the Carolinas, then on to what’s now Kentucky and Tennessee. Fiddles provided the soundtrack for settlement. Family gatherings and barn dances echoed with reels, jigs and other lively melodies brought across the sea. A Musical Inheritance  Some fiddle tunes were updated for the new land. The Irish tune “The Beggarman” became “Red Haired Boy,” while “Lord MacDonald’s Reel” is more widely known here as “Leather Britches.” And in a burst of patriotic pride (or prototype political jingle), “The Gobby-O” became “Jefferson and Liberty.” Ballads also were part of a musical inheritance that continued to expand. The potato famine of the 1840s brought new waves of Irish families to America. Protestant or Catholic, their songs focused on everyday life—love true or lost, memories of family and home, tales of strong drink and shenanigans, and the hope of Heaven—themes still heard in Bluegrass and traditional Country music. In 1998, Irish and American musicians recorded “Long Journey Home,” an album celebrating musical ties between the two lands. The album shares a title with a Monroe Brothers song, but this title track is a co-write by Paddy Moloney of The Chieftains and Elvis Costello (whose given name is Declan Patrick MacManus). Their lines include this bittersweet reminder for all leave home in search of a new opportunities: “But as you ascend the ladder/Look out below where you tread/For the colours bled as they overflowed/Red, white and blue . . . green, white and gold.” On the same album, Vince Gill recorded a mashup of the Irish outlaw ballad “Bard ofArmagh” and its American offspring called “Streets of Laredo.” To the same tune, he sang three verses of each song. In contrast to the Texas cowboy’s lament, “The Bard” has a happier ending: “ How I love to muse on the days of my boyhood/Though four score and three years have flitted since then/ Still it gives sweet reflection, as every first joy should/For free-hearted boys make the best of old men.” Hillbilly Irish and “Showing Roots”  In his popular “Hillbilly Irish” album, singer/songwriter Marty Falle offers another look at the Irish legacy in America. Jim Capaldi, reviewing in 2025 for  Country Music News International Magazine , calls the title track “not just a nod to heritage—it’s a rousing celebration of the Scots-Irish blood that pulses through Appalachian culture.”   The reviewer says that “the song bridges continents, connecting the stone-walled pubs of Ulster with the tobacco barns of Eastern Kentucky. (Carley) Greer’s voice pairs beautifully with Falle’s, both seasoned and stirring, as they sing of faith, migration, and hard-earned freedom.”   The latest collaboration between Irish and American singer/songwriters happened thisJanuary in Belfast, Northern Ireland. A five-day event billed as “Your Roots Are Showing” featured workshops, panels and showcase performances that attracted more than 1,000 people and gained international news coverage.   Chris Barilla, staff editor of  People  magazine, said the gathering “crossed border and genre lines to provide a truly unique conference experience, earmarked by the most important aspect of it all:  the music.”   The opening “Folk iN Fusion” concert featured several artists familiar to American audiences, including Amy Grant, Jim Lauderdale, Rissi Palmer, and Wyatt Ellis. One of the highlights was a performance by Ellis, the 2024 IBMA Momentum Instrumentalist of the Year, and veteran Irish musician Gerry O’Connor. SPGBMA Refused To Be Snowed Under This year, the “P” in SPBGMA might have stood for “Perseverance.” The Society for the Preservation of Bluegrass Music in America declared its annual meeting would go on despite the January storm that disrupted travel to and around Nashville. Folks who made it up the hill to the Music City Sheraton enjoyed the performances, workshops, awards show and jam sessions that have made this weekend special for more than 50 years. Thanks to SPBGMA and volunteer panelists for continuing to offer the Songwriters Showcase session. This year, Daryl Mosely, Kristen Bearfield and Thomm Jutz performed some of their award-winning songs and give insights on writing. At the awards show, Rick Faris was named Songwriter of the Year. Other talented writers nominated in this category were Rick Lang, Edgar Loudermilk, Daryl Mosley, Seth Mulder, and Donna Ulisse. You’ve probably seen photos of the event’s final day, when Daryl Mosley, The King James Boys and other artists performed despite an electrical outage at the hotel. Songwriter Rick Lang commented that, “Even when  the power went out on Sunday, everyone carried on and didn't miss a beat.”  After all, the music SPBGMA is preserving is  acoustic  music. I can only imagine the electric-withdrawal frenzy that could be triggered if the power went out at the Rock & Roll Hall of Fame.