A shed in the shadow of Black Mountain near Brevard, N.C., is not only the studio where an acclaimed banjoist creates albums, does session work, and scores shows such as the television series Poker Face . It’s also where an entrepreneurial educator devises innovative new online music instruction methods.   It’s not that two individuals are sharing this space. It’s just that Bennett Sullivan wears many hats.   “I've never looked at performing as my sole way of making an income,” says Sullivan. “I really enjoy the diversification of being a musician. That could include my banjo playing on The Greatest Showman or on Poker Face . I also want to find different ways to share my teaching message with a lot of people. And so that's why I have gravitated towards technology and websites and subscriptions and YouTube.”   Sullivan grew up in Greensboro, N.C., under the influence of his guitar-playing father. He started on the guitar but gravitated to the banjo around age 12.   “I remember putting on this recording of Ron Block playing the Alison Krauss version of “Cluck Old Hen,” and I started picking out the notes. At that point, the light bulb went off, and I was like, Oh, I can do this myself. I can listen to recordings and figure it out.”   But Sullivan’s musical interests were—and continue to be—wide-ranging.   “I love John Coltrane, I love Dexter Gordon. Oscar Peterson. All those jazz guys. And now I'm obsessed with pedal steel. So, I've been learning a lot of pedal steel music. I've always liked a lot of different music, not just bluegrass.”   Though Sullivan studied music for a few semesters in college, he gained vital experience performing with cruise ship bands. While he was hired to play guitar in the shows, off the clock, he was woodshedding on the banjo.   “I would lock myself on the bandstand late at night and just work out solos and practice,” Sullivan recalls. “I give credit to playing and being immersed in music on a cruise ship and being around really good musicians. That's kind of my education.”   Back on land, Sullivan followed the woman he would marry to New York, where he studied jazz guitar for a semester at the New School. “I tried to switch over to banjo. They weren't really into that, and I ended up dropping out and working a retail job.”   But an acquaintanceship with banjo player Noam Pikelny led to an introduction to Steve Martin—yes, THAT Steve Martin—who was developing the musical Bright Star along with Edie Brickell. After a tryout, Sullivan was hired as the show's banjo player, built around bluegrass and roots music.   “It was not a Broadway thing at the beginning,” Sullivan says. “We workshopped it in San Diego first, and then, we eventually took it to the Kennedy Center and then to Broadway.”   The original five-piece bluegrass band grew into a larger orchestra. Sullivan's experiences and musical chops, which he developed playing on cruises, proved invaluable.   “In a musical, you have to take into account all of the other things that are going on, like what's the next song? How fast do I have to be ready to play the next song? And what key is the next song in? Am I moving around the stage? Do I have to switch instruments? Because I was playing two banjos and one guitar. It is nerve-wracking because it's not just getting up on stage and playing a bluegrass gig. You're waiting for cues. You’ve got to be focused.”   Bright Star played for four months, and after doing eight shows a week during the run, Sullivan was ready for a change. Brevard, N.C., would be the new home for Sullivan, his wife, and his young son. (The family has since grown to include a daughter.) In addition to the music he creates in the studio he built, Sullivan plays with prominent groups including Zoe & Cloyd, Woody Platt and Shannon Whitworth, and Woodbox Heroes, with whom he recently played the Grand Ole Opry. He’s also a prolific online instructor whose projects range from the Pocket Lick  phone app to banjolicks.com , his website that uses short licks as the basic building block for banjo knowledge.   “I just like the simplicity of a small two-bar or four-bar phrase,” he explains. “You don't have to put the pressure on yourself to learn an entire piece of music by ear. I'm all about practicing slowly to really dial in the timing. So, the licks are super slow on the examples. You can play along and dial it in at a really slow pace and then start to speed it up on your own with a metronome or a backing track.”   In the early months of 2026, Sullivan wants to create more of his own music, following up on his eclectic and introspective Eager to Break album. In March, he’ll present his second annual online Lick Fest to subscribers, where he’ll work with 16 artists over a couple of days to develop basic licks into useful variations and themes.   “My primary goal with the Banjo Licks site is to help people become better foundational players with better timing, better ears, and increased creativity. It's going to be a good year for Banjo Licks, but also for me as an artist. I'm pumped about it.”

For many new artists, making music is the easy part. They have grown up mastering their instrum ent, perhaps honing their craft at a well-regarded bluegrass or roots music program at a college or university. The hard part is getting noticed and navigating the complicated and ever-changing entertainment landscape. How does one turn musical talent and ability into a successful career?   Salt Lick Incubator may be the answer. It's a non-profit artist development organization that supports artists in the early stages of their careers.   "I think our idea was, 'How do we help launch emerging artists?'" says Roger Brown, the founder and chair of Salt Lick Incubator. After retiring as president of Berklee College of Music several years ago, Brown realized there was a need for an organization that could help artists starting their careers. "We were trying to think what is the right idea for it, and I tested 'incubator' with a bunch of the artists we were talking to, and they loved it. It's a term not used in music so much, but our name, Salt Lick, harkens back to farms and early incubators that were on farms, so we went with it."   "Salt Lick is a safe space to continue to develop your craft and continue to learn marketing tactics and identify your audience," says Liza Levy, the incubator's president. "And it's a community of other artists as well that you can lean on, whether it's for songwriting or production help or recommendations on where to make your merchandise or if you need places to crash on tour. We've got 42 artists in the incubator right now that all support each other."   Salt Lick works with artists in many genres, and bluegrass is well represented.   "We don't want to try to work with a pop artist or a hiphop artist or a pop country artist because those are such well lubricated commercial spaces," Brown explains. "We're trying to work with artists who can have more of an organic career. People who can play their music, people who write great songs. So bluegrass is right in our sweet spot. We've had Sierra Hull, Old Crow Medicine Show, the Ruta Beggars, AJ Lee, Arkansauce, Molly Tuttle, Bloody Beggars, Twisted Pines, Sister Sadie, Farayi Malek, and The Arcadian Wild, Brown says. "We love the Americana roots bluegrass space."   Support from the Salt Lick Incubator takes many forms, extending beyond networking among the artists. The musicians are featured on Salt Lick Sessions, a YouTube channel that has garnered nearly 17 million views.   "And, programmatically, it's grants of up to $15,000 to do an EP or a tour or whatever," Brown explains. "It's songwriting camps and retreats. It's the YouTube channel, as well as Instagram and TikTok, that utilize some of the same content to promote artists. It's a weekly radio show that we do here in Boston that promotes emerging artists. And ultimately, the goal is to help very talented, aspiring artists have sustainable careers."   Now in its third year, donors fund Salt Lick. There are two full-time employees assisted by six or seven interns from various colleges. The advisory board includes T Bone Burnett, Jon Batiste, Alison Brown, and Susan Tedeschi.   "They all have empathy for what it's like when you're in those early days," Brown says of the board members. "And I think most of them are people who believe in the kind of artistry we want to support. That's less the latest TikTok sensation and more a real deep artist with something to say. They've all been incredibly enthusiastic, and some have offered mentoring to some of our specific artists."   Levy explains that the grant process has been streamlined, and any artist can apply as long as they are not actively signed to a record label.   "Basically, everything an artist fills out on the application is things that they would need to know about themselves if they were looking to book themselves for a gig or looking to pitch themselves to a manager or an agent," she explains. "It's all about your unique artistic identity and voice and quality of songwriting and sort of fire in the belly. Are you really trying to make a career out of this? Then a selection committee, including the artist advisory board, makes the final selections."   Before joining Salt Lick, Levy worked as a tour manager, did marketing for Rounder Records, worked for Universal Music Group in Los Angeles, and served as talent relations liaison at Berklee College of Music. Although she collaborates with a wide range of musicians at the incubator, she says bluegrass artists can particularly benefit from their unique environment.   "I think the power in bluegrass is the artist-to-artist community. I think the way that they all raise each other up. You can see it in so many careers. You know, Sierra Hull on stage with Alison Krauss when she was like nine years old. You even see it in the hallways at the International Bluegrass Music Association conference. There are artists of a certain stature jamming with kiddos. And I think that the most important thing you can do is have open ears, open hearts, and ingratiate yourself with that community and be a part of it. Be in the scene, embrace that scene, because they will embrace you."

When Steve and Kay Ellis built a barn on their land outside Columbus, Mississippi, they had no idea how to produce and promote concerts. Yet today, The Barn is one of the most popular music venues in the area. “We’ve learned a lot over the past few years,” says Steve. “It’s not just about the music. We are committed to creating a great experience and making lasting memories.” Steve and Kay bought their home 25 years ago. Next to the house was a pole barn that they turned into a playhouse for their kids. They later had a Mennonite family build two barns connected by a large, covered pavilion that they used for family reunions, class parties, and weddings. But Steve and Kay saw a way they could use it for more. Music has always been a part of Steve’s life. A retired broadcaster, he built and ran the radio station at Mississippi State University – WMSV. “I had a vision for The Barn years ago,” he says. Taking his love of music and combining it with community and a passion for giving back, what started as a simple pavilion on the side yard of the Ellis’s home has become a place where locals and visitors gather under the stars to enjoy good food, music, and fellowship. The first show at The Bard was held on October 4, 2019. “It was 96 degrees that day, and Paul Thorne was scheduled to play. We sold 140 tickets, because that’s how many could fit under the roof of the pavilion,” recalls Steve. Despite the unseasonably hot temperatures, the show went on, and the folks attending loved it. “They all wanted to know when the next show was scheduled.” But just as the venue was getting up and running, COVID squashed their concert plans. After a months-long hiatus, concerts started again in the Barn, and being isolated for so long, folks were thrilled to get out of their homes and back into the world. Now, many more people attend, and they bring lawn chairs. On concert nights, the field in front of the pavilion is full. Folks arrive early to claim their spot and visit with other regulars, while also meeting newcomers to the concert series. A $30 ticket covers a show with two artists and a meal. At first, Kay cooked for the crowd, but when a local restaurant offered to provide the food, the Ellises took them up on it. Now, various restaurants in the area rotate, providing meals for the masses, along with cold beer and soft drinks. The Barn’s concert series runs with a few shows scheduled each spring and a few more in the fall. Not just a venue, it’s been called a “sanctuary for music lovers” and a “chapel to songwriters.”  Andrew Doohan was the first to use that phrase when he played at The Barn. Steve transformed the pavilion into a place where artists entertain an appreciative crowd. He hangs the photos of all the artists who have played at The Barn on the pavilion’s back wall. It has become an inviting place for musicians, providing a unique experience for fans who love to listen to their music. The Barn has hosted an impressive line-up of musicians over the years, including singer/songwriter Mac McAnally. Steve and Kay discover many of the acts at the annual Americana Festival. “If it’s someone we want to play, I’ll call their agent and see if they’ll be anywhere in our area. We just go from there.” Steve says they also attended the Folk Alliance International conference in New Orleans in January. “And YouTube is one of my favorite places online. I find a lot of talent by watching videos on YouTube.” But the real test is watching a band play live. “It’s always good when I can see how an audience reacts to a band.” Acts have included Americana, blues, and bluegrass. There have been big names and emerging artists who appreciate the platform provided at The Barn. One of the biggest joys for Steve and Kay is the connection the concert series at The Barn has with their community. Money collected at each show goes to a different charity. “We have donation buckets that make the rounds, and folks donate what they can.” They have raised money for several local charities, including Habitat for Humanity, as well as a neighbor whose home burned just hours before a show. There is a limited number of season tickets, with sales opening in November. Individual tickets go on sale each January.

Appalachia isn’t just a landscape of rolling mountains and deep traditions — it’s also home to a small but vibrant network of creameries and dairies producing high-quality, locally made cheeses. While large-scale dairying dominates much of the country, these artisan operations keep alive a tradition of farmstead cheesemaking tied to their land, animals, and communities. From goat milk yogurt to aged cow’s milk cheeses, the region’s creameries demonstrate a commitment to craft, care and flavor. FireFly Farms – Garrett County, Maryland Located in the western mountains of Maryland, FireFly Farms produces award-winning goat cheeses at its creamery in Accident. The farm handcrafts both goat and cow milk cheeses using only a few simple ingredients, without any additives or preservatives. Their production facility incorporates solar energy, reflecting a sustainable approach to cheesemaking. Visitors can explore the Deep Creek Market, where they can sample cheeses, browse local products, and enjoy wine-and-cheese pairings. FireFly’s cheeses are known for their rich, tangy flavors and creamy textures, with options ranging from fresh chèvre to aged rounds, each crafted to showcase the natural taste of the milk. Sequatchie Cove Creamery – Sequatchie Valley, Tennessee Tucked into the lush Sequatchie Valley on the Cumberland Plateau, Sequatchie Cove Creamery makes rustic, Savoie-inspired cheeses using raw milk from their own herd. Their signature Cumberland cheese is a Tomme-style wheel with a natural rind, intended to reflect the character of the Tennessee landscape. The founders, Nathan and Padgett Arnold, focus on regenerative farming, maintaining a close connection between their herd, the pasture and the cheesemaking process. Their offerings include a variety of semi-soft and hard cheeses, each developed to highlight subtle earthy and nutty notes while remaining approachable for all palates. English Farmstead Cheese – Marion, North Carolina English Farmstead Cheese is a multigenerational dairy based in the mountains of North Carolina. The family raises Holstein cows and produces small-batch cheeses including gouda, jack-style cheeses, cheddars and spreadables. Their products were sold in farm stores and local markets, emphasizing freshness and the flavor of milk sourced directly from the farm. Although the creamery retired as of 2025, English Farmstead Cheese played a notable role in sustaining small-scale, family-run dairies in the region, offering artisanal cheeses that balanced traditional techniques with a contemporary approach to taste and texture. Round Mountain Creamery – Black Mountain, North Carolina Set on 28 acres in Black Mountain, Round Mountain Creamery is North Carolina’s first Grade-A goat dairy. The farm raises Alpine and LaMancha goats, whose milk is pasteurized on-site and transformed into a variety of soft goat cheeses with distinct flavor profiles, from sweet to savory and even slightly spicy. The farm offers tours and tastings, allowing visitors to see the process from milking to cheese aging. Round Mountain’s cheeses are noted for their fresh, tangy flavors and smooth, creamy textures, which reflect the careful attention given to the herd and the artisanal methods used on the farm. Shepherd’s Whey Creamery – Martinsburg, West Virginia Shepherd’s Whey Creamery is a goat dairy located in the Eastern Panhandle of West Virginia. The creamery produces goat cheeses, “Goatgurt” yogurt, and other cultured goat milk products. Some of their cheeses are aged in a cave-like environment, allowing the flavors to develop complexity while preserving the character of the goat milk. Their products range from soft and spreadable varieties to more aged offerings with firmer textures and tangier profiles. Shepherd’s Whey emphasizes quality, care and sustainability in every step of the cheesemaking process, maintaining a small-scale approach that highlights the unique qualities of their milk. Meadow Creek Dairy – Galax, Virginia Meadow Creek Dairy is a farmstead cheesemaker located in the foothills of the Blue Ridge Mountains. They produce raw-milk cheeses from a Jersey-style herd, focusing on the nuanced flavors of milk derived from pasture-raised cows. Their cheeses are aged to bring out a rich, nutty and earthy profile, with textures ranging from semi-soft to firm. Meadow Creek’s cheesemaking combines traditional methods with attention to the seasonal variations in milk, resulting in cheeses that reflect the rhythms of the farm and the character of the mountain pastures. From Maryland to Tennessee, North Carolina, West Virginia, and Virginia, these creameries illustrate the diversity and craftsmanship of Appalachian cheesemaking. Each farm is rooted in its landscape, drawing flavor and character from the animals and the pastures they graze. Whether producing fresh chèvre, creamy yogurts, or aged tommes, the region’s artisanal dairies provide a taste of Appalachia that is both traditional and distinctly local. By maintaining small-scale, farm-focused operations, these creameries continue to keep the craft of cheesemaking alive while offering products that are fresh, flavorful and deeply connected to the land. Across rolling hills and quiet valleys, the dedication of these farmers and cheesemakers ensures that high-quality, handmade cheeses remain an enduring part of Appalachian culinary heritage. Visitors and cheese lovers alike can experience the textures, aromas, and flavors that come from careful attention to milk, time-honored techniques, and a deep respect for the farm. These six creameries are just a glimpse of the broader landscape of artisanal dairy in the region, showing that Appalachia’s connection to agriculture is as rich and layered as the cheeses themselves.

Having one musician in a family is always a good thing. Having two is even better. And when they are twin brothers, it can cause a lot of double-takes. For Kevin and Keith McKinnon, it’s normal to see a mirror image of themselves in their twin. The brothers grew up in Marion, in the southwest part of Virginia. “It’s where the Song of the Mountains  television series was filmed,” says Keith. They grew up exposed to bluegrass music. “Our dad played guitar in the Mountain Ramblers in the 1960s,” Keith says. “He was older when he had us, and we had a half sister who was way older than us. I remember we always had music playing in our house. One of our ‘babysitters’ was watching the TNN show American Music Shop . Our parents would record it on VHS.” When the boys were just five or six years old, their dad came home with a mandolin and a fiddle. “My brother grabbed the mandolin, and I grabbed the fiddle. With some coaching from my father, we taught ourselves how to play.” Keith recalls playing the same records over and over so they could learn the parts. Before they knew it, they were spending their summers going to fiddler’s conventions. “We went to the same three conventions each summer, with the biggest one in Galax, Virginia.” They began playing on stage at competitions when they were around eleven or twelve years old. “We started competing and winning some ribbons here and there. That was enough to keep us going.” And of course, there were the friendships made along the way. “We made a lot of lifelong friends at those competitions, many of whom are in the business today – people like Jamie Harper, who plays with the Grascals, and Jason Davis, who plays with the Dan Kyminski Band. I’ve known those guys since I was 11 or 12 years old.” “I don’t think either of us had aspirations of playing professionally,” says Keith. “We didn’t know what our options were at the time. I went to community college right after high school, trying to figure out my way in this world. My goal at the time was music education, but things just came together for both of us to be in the music industry.” Kevin began playing professionally with Johnny and Jeanette Williams when he was 18 years old, before he and Keith joined Carrie Hassler & Hard Rain. “We met Jim Van Cleve, who was producing an album for Carrie,”  recalls Keith. “She needed a band, and we tried out. Josh Swift joined the band on dobro, and Josh Miller played banjo. Carrie hired us all, and that was the beginning of that phase – we got our first taste of the professional bluegrass industry. We toured in Europe and Canada, and it was a great experience for my brother and me.” When Carrie wanted to quit touring, Josh Swift went with Doyle Lawson. “Josh called my brother and said Doyle needed a sound man. Kevin was asked to travel as the front-of-house audio engineer for Doyle Lawson & Quicksilver for a weekend in 2010 and ended up working with them for the next 12 years.” He and Kevin also formed their band, Still-House, in 2010, and hit the road. Keith also had a knack for audio engineering and used his talents behind the controls for Lonesome River Band. Two years later, he was tapped to be the banjo player and vocalist for Russell Moore & IIIrd Tyme Out. The brothers ended up on stage together again in 2021 when Kevin took over bass duties from Dustin Pyrtle in IIIrd Tyme Out. For two years, audiences really did do a double-take when the twin brothers were on stage together. “It would have made my dad so happy to see us both playing with IIIrd Tyme Out. That was one of his favorite bands.” Kevin now works as a sound engineer for Authentic Unlimited, and Keith continues to do some sound engineering. “I have been doing the engineering for Daily and Vincent since last April, when Russell started touring with Alison Krauss,” Keith says. The brothers live in separate cities, and between music and kids, there isn’t a lot of time to get together, but they enjoy it when they do. Keith has two children, and Kevin has four. “It’s funny,” says Keith. “We don’t really have time to do any pickin’ when we get together for family gatherings.”

Photo Credit: Wes Hobbs Better Focus Photography Amanda Cook works all sides of the music industry, stepping in and out of various roles with ease. She is a talented musician, engineer, and label executive. But in the end, it's all about the music. Growing up in Pensacola, Fla., Amanda was surrounded by music. "My mom was always playing music – in the car, in the house, and she loved to sing. I listened to strong female singers like Stevie Nicks and Christine McVie of Fleetwood Mac, and Linda Ronstadt." On the other hand, her dad was a lover of traditional bluegrass. "He always had bluegrass playing in his vehicle. And he always loved to sing – he was in bands throughout my lifetime and performed all over the Southeast." Amanda's formal music training came from playing flute in the marching band at school. In her early twenties, Amanda decided to participate in a karaoke contest. "My husband begged me not to do it," she laughs. "I did it anyway, and I made it through the rounds. My dad came, and afterwards, he said we needed to start a bluegrass band." Her dad, Mike Blanton, bought Amanda a mandolin and told me to learn how to play it. "I did, and I did the same thing with the bass. It was trial by fire, but I knew all the songs, because I had listened to them in the car with my dad my whole life." The band was called High Cotton, and it became a learning ground for Amanda. "I learned to sing harmony and about stage presence." The standards, like Flatt and Scruggs, influenced the band. "I remember my dad gave me a copy of the Bluegrass Album Band , and said, 'Here, learn this.'" Amanda formed The Amanda Cook Band, eleven years ago. She signed a five-album contract with Mountain Fever Records. "My first project with Mountain Fever was On Deep Water . My interest in sound engineering began after recording our second project at Mountain Fever – Point of No Return . Mark Hodges offered me the role of sound engineer-in-training in 2018, and we moved to Virginia in 2019. I began engineering and producing full-time after the move." Her first project as an engineer was for Sweet Potato Pie, an all-female band from North Carolina. "Then COVID happened. But I came in every day and worked. I learned that I enjoy the production side. I had already produced my own vocals." Today, she is Mountain Fever's Chief Operating Officer and her band's fifth album, Restless Soul , was released in October 2024. All the singles from the album achieved top ranking play on SiriusXM and made the Bluegrass Today charts. "I think we all have a maturity now, and we like to try things that are out of our comfort zone." Putting an album together is an art, and Amanda says she thinks about a lot of things when she works on the song list for her albums. "I try to group songs so that there aren't too many slow songs, or too many fast ones. We also look for songs we can make our own – we try not to put things in boxes. I look at the flow from the perspective of the listener." While she loves to be behind the scenes, Amanda says the 45 minutes she and her band spend on stage are the best. "All the work we have done goes into getting that 45-minute high. The audience's feedback is everything." Amanda was selected to participate in the 2024 IBMA Leadership Bluegrass program, and she says that being in a room with people from all aspects of the business was a great experience. "They were all highly professional and very motivated to carry on our genre of music. It was humbling. In the end, I'm a label executive and an artist. I'm nerdy and geeky, and those were my people."

For a 20-year-old, old-time banjoist, Nora Brown already has quite the resume.   She’s toured the United States, Japan, and Europe. She’s recorded four albums. She’s appeared at the Newport Folk Festival, on NPR’s All Songs Considered , and has performed on NPR’s Tiny Desk Concert . Twice.   Oh, and she’s a full-time college student, where, among other things, she’s an American Studies major and leads a Slavic choir.   “It's a little bit difficult to coordinate, but I mostly play shows when I have breaks,” Brown explains. “I'm not a working musician at this point in my life. Over the summer and on my break is when I'm really working and doing music stuff. There are conflicts that can be tricky to figure out.”   The Brooklyn neighborhood of Crown Heights isn’t particularly known as an incubator for clawhammer banjo players, but that’s where Brown, as a six-year-old ukulele student, was introduced to old-time music by her teacher, the late Shlomo Pestco.   “A whole new world kind of opened up for me in terms of music. Not that I had a lot of worlds going already at six, but that was how I was exposed to old-time music and traditional music from different parts of the world.   “I also met a lot of great friends through the music, and I think that that helped maintain my interest in it because lots of people around me were playing, and it was a real community, and that really encouraged my continued participation.   “Shlomo’s house was full of instruments, and we would sit encircled by them. He had them all on stands, and there were two chairs in the middle, so I was always seeing all of these different instruments. Sometimes, at the end of the lesson, I would pick different ones up and then try them. I ended up playing the banjo ukulele for a while, which is like a hybrid instrument, and I got really used to the sound in the projection of the instrument, and I think I just kind of liked the tone.”   Brown attended the Frank Sinatra School of the Arts, a high school in Queens.   “I was singing a lot of classical songs and that really helped me understand my own voice, but still, I wasn't as intrigued by the theory behind it, which is a big part of music education.”   What intrigued her was the music of Eastern Kentucky.   “When I was a kid, I learned a lot of music in Whitesburg, Ky., at the Cowan Creek Mountain Music School,” Brown explains. “I also visited a few real old masters of the music when I was younger, and that was an influential period of time where I was very focused specifically on Eastern Kentucky banjo music.   “I also learned a lot when I was about 12 from John Haywood. He’s a very legit Eastern Kentucky player, and he really plays in that specific regional style.”   Brown’s banjo playing incorporates many sounds and textures. Her clawhammer playing can be both brash and subtle. It can evoke the rawness of old-time music and the sophistication of a thoughtful, introspective artist.   “I'm generally drawn towards the more mellow, warmer-sounding tones that the banjo can produce,” Brown says. “Usually, there’s a lot of brightness with the banjo. But the banjo can also make really nice, warm, mellow sounds, and I'm really attracted to that.”   Brown’s playing is often punctuated with harmonics, a chime-like sound created by barely touching the string above the fret. This technique is often used in the Eastern Kentucky style of playing.   “I also do a lot of two-finger playing. People play two-finger banjo style in a lot of places, but it is especially prevalent in Eastern Kentucky, and that's where I was introduced to it.”   In addition to performing and recording on her own, Brown is an enthusiastic musical collaborator. In 2023, Brown recorded Lady of the Lake  with fiddler Stephanie Coleman, a frequent colleague in the studio and at shows.   “Stephanie and I have just always gotten along really well. We've been great friends for a really long time. We have similar values in what we think is good and what we think is important. It's great playing with Stephanie.”   Brown and Coleman have recently completed a tour of the United Kingdom. She says the audience is interested in her music.   “It's not too different from America in a lot of ways. There's a heavy connection between the British Isles folk music and American folk. People often put them in the same bucket.”   The new year will bring a new semester for Brown. And she’s got plenty going on in addition to her studies.   “I'll be touring in California at the beginning of the year, and I will also be doing some recording in January. I'll have some projects coming out in the following months, so January is going to be a big time for me.”

Some photographers frame shots. Laci Mack frames moments — and in bluegrass, that’s the difference between a picture and a piece of history. You can spot her in the shadows at the Grand Ole Opry, in the corner at the Ryman, or tucked against a wall at the Station Inn, silent as a prayer until the shutter cracks like a snare hit. Then she’s gone again, already hunting the next frame.   “Patience is everything,” she says, and you believe it, because in her photos you can see the patience baked into every angle — the waiting, the watching, the exact millisecond when the bow arcs across the strings and the crowd leans in, breath held.   She didn’t learn this from a book or from a classroom. Laci grew up around music, the daughter of East Tennessee’s bluegrass and old-time scene. She didn’t just listen, she played. She was on stage with her band, feeling the lights, the nerves, and the energy rising in waves.   “Playing bluegrass growing up and getting to be on stage with my own band  definitely  set the tone for how I see my shots,” she says. “Being in that  moment, feeling the energy, plus watching us just lose ourselves in the music, stuck with me. So, when I started shooting full-time, I wanted to bring that same feeling into my photos. I want you to feel like you’re right there on stage with the band, plus I enjoy focusing on each member separately for what they bring to each group. I go for a lot of tight shots, weird angles, and little moments that make it feel real, because that’s how it feels when you’re actually living it.”   That’s the root of her work: not the perfection of the pose, but the imperfection of reality, the kind that breathes. It’s the sideways glance between bandmates, the bead of sweat that clings to a fiddle player’s temple, the instant when the bass player’s foot stamps just as the crowd claps. Laci has learned that to catch these, patience is the key. And that philosophy doesn’t change whether she’s at a dusty festival in July or inside the sacred wood of the Opry stage.   “Especially in legendary venues like the Opry, the Ryman, or the Station Inn, where the history is so powerful,” she explains. “When working with bands, I do a lot of prep. I learn the set list and the breakdown of each song, I walk the venues and really try to feel out the vibe of the area. It’s about knowing when to step in and when to let the moment breathe. Not just at iconic venues, but anywhere a band plays, patience for the band, for the crowd, and for the shot is key. I like to quietly observe and be ready. My goal is to add to the comfort of the situation. Be patient, be discreet, and let the moments happen naturally. Sometimes I’m right up front in full view of hundreds of people, other times you’ll never even spot me, but either way I’m doing my best to capture the real energy without disrupting it.”   Last year (2024), her work got a nod from the highest level when she was nominated for the IBMA’s first Photographer of the Year award, validating that her work is not just decoration, but documentation.   “First off, I was super stoked to hear that a Photographer of the Year category was even coming out, along with the other new categories through IBMA,” she says. “To be nominated alongside my fellow nominees in the very first running was incredibly humbling. Overall, I was happiest to see photography being officially recognized as part of bluegrass history. It’s more than just pictures; it’s the archive of our music. Growing up and traveling to festivals, I was obsessed with old photos I’d see. One-off artists collaborating, backstage moments, people just shooting the breeze and doing what they loved. That’s why that first nomination means so much to me. I feel blessed to be nominated again this year (2025). If I ever needed recognition, it would be enough to know that in 50 or 60 years, people will look back at my photos and remember the good times the same way I did with the ones that inspired me.”   Today, her camera lens is also pointed toward something new: Little Sugar Creek Farm (LSCF) in Thorntown, Indiana. Forty acres of Boone County earth, first worked in the 19th century, now getting a second life as a hub for bluegrass music, events, and even a new record label. Laci is their official photographer.   “It’s exciting and nerve-racking—but in the best way,” she says. “I still get to do things as I’ve always done as Laci Mack, Photographer, but now I’ve got an incredible company supporting me. LSCF has many phases in place to grow over the next few years. I’ve been tasked with their Hopeless Holler Trading Company. This is their new merch company that just launched in August of this year (2025), providing bluegrass merch to bands, festivals, music lovers, and everyone in between. They are currently sponsoring with the Grascals and the Po Ramblin’ Boys, so I’m sure you’ll see a lot more about Hopeless Holler on their social media."   She isn’t walking away from her bread-and-butter work — the live music, the stills for albums, the posters that show up taped to light poles before a show. She still loves it all.   “I honestly love every project I’m part of, but there’s something about wrapping up a job that just feels good,” she says. “Part of it is being proud of what we pulled off, and part is being fired up to jump into the next one. I started with a focus on festivals and live music, and that’s still where I feel most at home. I find it to be the perfect mix of bluegrass life, good people, and catching those little moments you can’t plan for.”   And maybe that’s what makes her photos feel different — they’re not just about what the audience saw but about what being there felt like. And if you’re in the audience and you catch her in your peripheral vision, quiet and steady, you might want to hold still. You’re about to become part of the archive.

Crooked Still, Punch Brothers, and Hawktail fiddle player Brittany Haas continues to push creative boundaries. Her latest is pairing with Dallas/Fort Worth native guitarist and composer Ben Garnett on his new album Kite’s Keep . Haas, who appeared on Garnett’s debut album Imitation Fields , says the pair have agreed to form a trio. “We just kind of developed a friendship,” Haas points out. “There is that moment where we thought, Shouldn’t we also play together professionally ?” She said she really liked Garnett's music and thinks it’s super creative and beautiful! "It has a lot of space in it for me to grow and also to be showcased as a fiddle player." He wanted to do something a little bit different than his first album, Haas explains. She was among the studio musicians who played on Garnett’s 2023 release. “He was thinking more along the lines of a steady band. He was starting to conceive of the idea of touring as a trio, with fiddle and bass—which is an instrumentation that I am very used to from my time in Hawktail.” Haas says that Kite’s Keep  is a mix of charts and improvisation. “Some of it was prescribed by Garnett, such as a melody part; then there are a lot of open solo sections as well,” Haas describes about her fiddle lines. “He has the form all figured out, and then he’s like, ‘Now you take a fiddle solo.’ … That’s a cool thing about his musicianship. He wants to capture a moment and for the musician to be themselves.” The songs on the album were rehearsed in front of audiences before going into the studio. “We would play some local gigs to test some stuff out,” recounts Haas. Kite’s Keep  provided another opportunity to work with an old pal and mentor, Darol Anger. “He’s my hero! I met him when I was ten years old,” remembers Haas, who plays a fiddle duet with Anger on Kite’s Keep . “Anger was around California at the time, and that is where I grew up—so I got to see him play.” Anger asked then fourteen-year-old Haas to join his band, Republic of Strings. “That was a quartet with the great bluegrass guitar player Scott Nygaard and Rushad Eggleston, who was also in Crooked Still. It was my first professional opportunity,” recalls Haas. “Getting to play twin fiddles with him was a really cool way to learn!” Turning her attention to another close friend, Haas says it was Bruce Molsky that made her want to become a fiddle player. “I was pretty obsessed with his music and learned so much from listening and being around him,” recalls Haas, who saw Molsky for the first time while attending a fiddle camp in the Santa Cruz Mountains. “We are going to play a show together at Wintergrass Festival this coming February. He is such an incredibly deep musician with a beautiful ethos around traditional music.” Haas shares that she and her sister, cellist Natalie Haas, will be recording their second album. “We’ve done a couple of gigs this summer where we were trying out new material we’ve been writing over the last year.” Although Natalie lives in Spain, most of her shows are in the U.S. “We just try to tack on a few days to work on music. We are going to record in early January.” Winner of the 2025 Eisenson Family Prize for American Roots Music, Haas says the fiddle has been a lifelong companion. “I would say it is one of the things that shaped my life the most. It brought me to so many cool places and communities. I like the fact that we are all the same—we all have the same desires and needs, and music is such a great way to connect with people." She said it is also how much of a bond it creates. "You can go halfway across the world and meet another fiddle player and sit down and play a tune. That feels so good!” Haas is featured on countless albums and describes herself as a team player. “I love being supportive; I love being part of a band. I like to make everyone else sound as good as they can. That is the fun part about it for me!”

Happy 2026!  This year marked the latest in an unbroken string of midnight countdowns that I wasn’t invited to perform on “Dick Clark’s New Year’s Rockin’ New Year’s Eve With Ryan Seacrest.” I was in good company, though, since not many Bluegrass entertainers were featured on TV specials welcoming the New Year. But maybe that’s because a good number of pickers and fans were just hours away from kicking off the first festivals of 2026. Before most of us had finished our first helping of black-eyed peas, the Jekyll Island New Year’s Bluegrass Festival was set to open at noon. Georgia’s Sea Isles hosted three days of top performers “where the ancient tones of the mountains meet the gentle roar of the emerald sea.” A highlight on that schedule was a salute to the Stanley Brothers, with Ralph Stanley II and the Clinch Mountain Boys and a slew of special guests. Clear across the continent, more music echoed from the Wig Wam Resort in Phoenix, Arizona. Del McCoury and Jerry Douglas hosted their “Picking Party” from Jan. 2-5, featuring more all-star performances, master classes, and workshops. If you’re hosting a festival that includes a songwriting workshop, we’d like to help promote it in this column of The Bluegrass Standard . Please send the information—including dates and writing workshop leaders—two months in advance of the event to DavidHaleyLauver@gmail.com .   SPBGMA Writers Workshop Scheduled Jan. 23 Looking ahead, the Society for the Preservation of Bluegrass Music in America (SPBGMA) will hold its 51 st  national convention and awards show Jan. 22-25 at the Sheraton Music City Hotel in Nashville, Tennessee. SPBGMA is an extended family reunion, part Bluegrass equivalent of Nashville’s storied Fan Fair and part concert venue and awards stage. There may be more January jamming per square foot than any place else on earth. The event’s Songwriter Workshop will be held from noon to 2 p.m. on Friday, Jan. 23. Returning workshop leaders are Johnny and Jeanette Williams, award-winning writers and performers who, with Jay Shelton, perform as “Shelton and Williams.” Joining this year’s workshop panel are Kristen Bearfield, hit writer, solo artist and member of the band “High Road”; and Thomm Jutz, IBMA’s 2021 Songwriter of the Year producer, and past Grammy nominee for Best Bluegrass Album. For more information, go to spbgma.com . Big Times at the “Little House” The “Little House” Songwriting Workshop in Lebanon, Tennessee, has earned a reputation for helping aspiring writers reach the “next level” of success. For 2026, organizers have scheduled the initial sessions and made plans to take the workshop on the road. You can find more information, including tuition and registration, at littlehousesongwritingworkshop.com . The Little House Workshop is led by Jerry Salley, Donna Ulisse, and Rick Stanley—award-winning writers, recording artists and producers. Their intensive two-day sessions help newer writers expand their creativity and understanding of how to be a better songwriter. These workshops are limited to four aspiring writers each month. Each day, two-person teams are paired with a pro writer to co-write a song or two. Then there’s an opportunity to perform at a pickin’ party that includes other artists, publishers, label execs and broadcasters. And there’s great home cooking from Donna and Rick’s farm kitchen, along with delicious desserts brought by Erin Salley. While cuts aren’t guaranteed, several Little House songs have been recorded by Bluegrass and Gospel artists. These include "Bacon In My Beans" by Joe Mullins & The Radio Ramblers; “Lie To Me” by Jaelee Roberts; “Dancing With The Stars” by Valerie Smith; “Yesterday’s Heartache” and “Front Porch of Paradise” by Kristy Cox, “Flowers and Lace” by The Grascals; and “Heart of Rosine” by Donna Ulisse.   I’ve been fortunate to be a co-writer on several songs that have gone from the Little House to the radio. Those include “Jezebel,” my first co-write (with Donna and writer/artist Ali Shumate) to reach #1 on the charts.  And the songs that aren’t cut? For Little House alumni, they’ll be on our own recordings and on our set lists for the rest of our lives. Songwriting workshops are back at the Little House on March 25-26, April15-16, and May 12-13. But if you can’t travel to the farm in Lebanon, there will be three larger group workshops outside Middle Tennessee. Workshop leaders will critique one song that each participant brings and give feedback on songs co-written at the events by small teams of aspiring writers. The first “Little House on the Road” session is set for Feb. 27-March 1 in the Historic Gatlinburg (Tennessee) Inn, where Felice and Boudleaux Bryant wrote “Rocky Top.” The next workshop, July 23-25 at Strawberry Point, Iowa, is an extension of the Strawberry Jam Camp ( strawberryjamcamp.com .)   The Palmetto State is the site of an August 28-30 group workshop, hosted by the South Carolina Bluegrass and Traditional Music Association at Bills Pickin' Parlor in Columbia ( scbtma.com ).

From the Blue Ridge ridgelines to the Ohio Valley and the eastern Kentucky hollers, Appalachia’s brewing scene pours history, place, and personality into every pint. The region’s mix of deep-rooted tradition and creative independence shows up in its beer, its breweries, and its people. These eight breweries illustrate how craft beer in Appalachia is rooted in land, labor, and local storytelling — each one offering a glimpse into how communities across these mountains celebrate where they’re from. Blue Mountain Brewery — Afton, Virginia Perched in the shadow of the Blue Ridge, Blue Mountain is a true farm brewery — a place where beer is grown as much as it’s brewed. The brewery cultivates its own hops on-site, creating a rare full-circle experience that few operations can match. Its barrel-aging program, centered on flagship stouts like Dark Hollow, reinforces the sense that patience and place are central to what they do. The tasting room looks out over rows of hop trellises and working farmland, giving visitors a literal window into the source of their pint. The beer list balances easy sippers, like a crisp Kölsch-style lager, with more complex barrel-aged statements that show off the brewery’s farm-to-glass philosophy. If you want mountain views with your pint — and a brewery that lives its values in every pour — this is the stop. Appalachian Mountain Brewery — Boone, North Carolina In Boone’s High Country, Appalachian Mountain Brewery has grown into a true community anchor. Known affectionately as AMB, it serves as both a local hangout and a showcase for regional flavor. Core beers like Boone Creek Blonde and Long Leaf IPA lean into a sense of place, highlighting the natural character of the area and the pride locals feel for their mountain home. But beyond what’s in the glass, the brewery is active in community partnerships and conservation work, reflecting the civic spirit that runs through so many Appalachian towns. For travelers, the taproom feels like a post-adventure refuge — the kind of place where hikers, students, and families gather after a day on the trail to swap stories over a pint. Bad Shepherd Beer Company — Charleston, West Virginia Bad Shepherd brings an experimental energy to Charleston’s downtown that blends traditional craftsmanship with playful curiosity. Its lineup ranges from clean, crisp German-style lagers to the bold barrel-aged and sour beers in its “Sour Holler” series — a fitting nod to both the region’s landscape and the brewery’s fearless creativity. The taproom, filled with reclaimed wood and industrial accents, mirrors that balance of refinement and rough edges. The result is a space — and a set of beers — that feel approachable but still adventurous. For visitors to West Virginia’s capital city, Bad Shepherd offers a taste of what happens when heritage and innovation meet. Weathered Ground Brewery — Cool Ridge, West Virginia Built on southern West Virginia farmland, Weathered Ground Brewery feels like the heart of its community. Every part of its operation leans into local sourcing, family-scale hospitality, and a steady commitment to craft. Beers like Cool Ridge Lager and a rotating lineup of small-batch ales showcase a sense of honesty and place — nothing flashy, just quality and care. The barn-like taproom, often alive with live old-time or bluegrass music, completes the experience. It’s one of those rare spots where you can sip a pint, listen to a fiddle tune, and feel entirely at home. Parkersburg Brewing Company — Parkersburg, West Virginia Parkersburg Brewing connects the dots between Appalachia’s brewing past and present. The company traces its roots to the Hebrank & Rapp Brewery, established in 1864, and has proudly revived that heritage while thriving in the modern craft scene. The brewery’s Cell Block 304 earned gold at the 2018 World Beer Cup, cementing its reputation for quality on an international stage. Inside its restored downtown taproom, historic character meets contemporary craft, and visitors get a sense of how Parkersburg’s identity — once industrial, now entrepreneurial — continues to evolve through beer. AleWerks — Williamsburg, Virginia Alewerks bridges history and innovation with ease. Operating a traditional Peter Austin brew house, the brewery leans on older English systems that lend a timeless quality to its process. Core beers like Tavern Brown Ale and Chesapeake Pale Ale reflect that same balance of heritage and drinkability. Though technically located in the lower Appalachian foothills and Tidewater transition area, Alewerks’ approach makes it a meaningful inclusion here. Its use of classic equipment and its emphasis on honoring brewing’s historical roots show how Appalachian influence extends beyond steep slopes into foothill and lowland communities — where craftsmanship and respect for tradition still guide the work. Dueling Barrels Brewery & Distillery — Pikeville, Kentucky Dueling Barrels stands out as both brewery and distillery, giving visitors a fuller picture of Appalachian spirits — literally and figuratively. Located in downtown Pikeville, it tells the story of eastern Kentucky through its dual craft operations, offering beer and house-distilled spirits under the same roof. The venue embraces local heritage, from its nods to moonshine history to live music and community gatherings. Its beers, such as Pikeville Ale and Hopfield and McCoy IPA, are approachable, flavorful, and deeply tied to their place of origin. Together with its distilled offerings, Dueling Barrels presents a well-rounded taste of Appalachian craft culture in one stop. A last pour: why these stops matter These breweries weren’t chosen for trendiness or size alone; they stand out because each connects production to place — through local ingredients, historical revival, community investment, or an enduring link to mountain culture. Across Appalachia’s 423 counties, breweries like these function as small but mighty economic engines, gathering spaces, and cultural ambassadors. They create jobs, host events, and foster pride, but they also do something quieter and more meaningful: they tell the story of a region through flavor. Drink a pint at any of these stops, and you don’t just taste great beer — you taste the land, the labor, and the lineage of Appalachia itself.

Along with a recent engagement to her guitarist and producer Eric Julio Carranza, St. Paul, Minn., singer-songwriter Molly Brandt shares that she and Carranza—who work famously together—have a few treats in store for their fans. For those just getting familiar with Brandt’s music, she has come a long way from writing her first songs during the COVID-19 lockdown. Since then, she has released thirteen singles and two albums, including the critically acclaimed American Saga . Taking home the American Artist of the Year Award twice at the Midwest Country Music Awards (2023–2024), Brandt swears that she never had lofty goals of “making it”—but making it she is—and that includes new music. “I think not putting pressure on myself helped when I started writing songs. Knowing that your first few songs are gonna be [rough] was helpful,” recalls Brandt. As it turned out, her first few songs not only led to her debut release, 2023’s Surrender to the Night , but also spurred a music career. “I’m working on recording another album right now, which will be called Museum of Being ,” shares the Twin City artist. “I’m taking a break in December and January to finish this record and hopefully release it in early to mid-2026.” The new album will be recorded in the couple’s home studio. “It’s not like one of the fancy studios,” explains Brandt, who is psyched about recording from the comfort of their home. “It’s working out really well so far. We are getting really good sounds out of it.” Now that the couple plans to tie the knot, Brandt says it won’t change how she and Carranza work together. “We already feel like we are married [laughs]. We work really well together. It’s been really great having a collaborator like Eric.” Carranza is helping to push musical boundaries. “He comes from a background of many different genres and styles, which include jazz, R&B, and rock 'n' roll. With our last album, American Saga , we brought in a lot more synthy sounds and gritty guitar tones.” She adds, “We’re working on having some different grooves and maybe some more electronic elements coupled with my Americana/country style.” Some music ideas don’t always work, shares Brandt. “If he shows me something that I’m not vibing with,” explains Brandt about the rare disagreement, “that’s okay—there’s lots of other avenues we can go down. I really trust his artistic instincts.” The album and title song, " Museum of Being ," came out of nowhere. “We were trying to come up with a name for our studio. I think the name " Museum of Being"  just popped into my head, which is not usually how things work with me.” An ardent reader, Brandt might have found the inspiration in a book. “I got a library card about a year ago. I’ve been reading about the history of libraries and getting interested in the Library of Alexandria. So, I was utilizing what I have read for [' Museum of Being' ].” “What the song means to me is a wide-encompassing term,” shares the songwriter. “We are all libraries of existence—all our past experiences are collections of knowledge and artifacts.” She relies more on observation as a songwriter and says the new album will differ from her previous records. “I’m using a lot of inspiration from current events, my own neighborhood and environment, as well as the books I read.” Besides building her solo career, she and Carranza plan to launch a new band. “We’re starting a new band with a songwriter, Jacob Mullis, and his wife, Amy Hager. We are naming it Brandt, Hager, Mullis & Carranza—which is kind of like Crosby, Stills, Nash & Young.” The award-winning singer-songwriter shares that they have already begun working together. “We’ve been writing and recording songs together. We have some songs mastered and just did some photos together.” “Songwriting is new to me, and I feel like it’s sort of a vulnerable process,” shares Brandt about her insecurity as a songwriter. “So doing it with others requires a bit of bravery. I feel like working with Hager and Mullis has been helpful.” Brandt is looking forward to staying creative as an artist. “I’m really into pop music lately, especially girl pop music like Chappell Roan, Charli XCX. There are no rules—I want to write a pop song next—let’s go!”