It’s late in Oak City, Utah, and Jake Workman’s house is quiet. His kids are asleep. The room hums faintly from the last ring of an open-G chord. Guitars lean against the wall, their finish dulled by fingerprints and years of work. Workman is still at it — six, sometimes eight hours a day — chasing sound, chasing feel, chasing that invisible thing that makes one note matter more than another.   “Oh, thank you,” he says when told his playing “Rawhide” with Ricky Skaggs in a YouTube video is jaw-dropping. He’s humble, matter-of-fact. But when he starts to talk about the journey that brought him here, it’s clear there’s nothing casual about Jake Workman.   “I started on the guitar when I was 13,” Workman said. “But at the time, I didn’t even know what bluegrass music was. That would have been 2001, and at the time, I was into classic rock. Like my dad loved the Beatles, so I listen to the Beatles. And then I got into Boston and eventually Led Zeppelin, AC/DC, some of the harder eighties bands. And then a year and a half after I started playing guitar.”   “My parents got me a banjo and I thought it was a joke – what am I gonna do with this?” he laughed. “I don’t play bluegrass; I have no connection to bluegrass. I didn’t grow up picking with my grandpa, like a lot of people do, or whatever, and I didn’t have that. My family was a bunch of note-bound piano players, and they’re great, but classical music and whatnot, and everything they do is reading sheet music. I have no problem with that, but I was the odd one for sure. I also grew up out west, where I wasn’t really around bluegrass, so it was weird that I got a banjo, but my parents thought, ‘You took off on the guitar, what the heck?’ And then that was the gateway drug to bluegrass music.”   That gateway drug changed everything.   “I still play the banjo. I still teach it and would do more gigs on it if they ever came to me, but I’m not known for my banjo playing. I don’t play it and practice it as hard as I did at one time.”   What keeps him coming back to the banjo is the raw, physical joy of it. “I love the power that I have at that point. Like, the sheer volume, and the ability to have picks on separate three fingers versus one piece of plastic [for guitar]. That’s nice for speed and just being able to hang with a tune. The speed and the sheer volume and power, you don’t have to play as hard to still be heard. I love that…but if I’m playing by myself, I’d much rather be on a guitar.”   “The cool thing about bluegrass music is it’s so physically demanding and teaches you so much about how to attack an acoustic instrument, but also how to play against chord changes and whatnot. And I use everything that I’ve learned in bluegrass, in all these other genres, and it only helps. It only helps.”   From that discipline came the kind of clarity that would make him stand out in any lineup. In 2015, Ricky Skaggs called. Jake joined Kentucky Thunder, where every night was a master class.   “I was aware of things like rhythm that Ricky either did like about what I was doing –  he always let me know when he’s enjoying the groove – but also, and especially in the beginning, he would let me know a few things that I was doing that he wouldn’t prefer to be going on. And of course, he’s the boss, and I’m happy to also just study from his experience. My groove and my rhythm, just my rhythm awareness. … I became a better listener. And yeah, I became better by being around great musicians, and hearing the ‘isms’ of each instrument at the very top level. You pick up things.”   He learned to honor what he calls “the Kentucky Thunder code.”    “For the Jake era of Kentucky Thunder, I wish we had a record to prove it. We got plenty of YouTube, but we never cut a record. I wish we did, but this is the Jake era. I don’t wanna sound like Brian [Sutton]. I don’t wanna sound like Cody [Kilby]. I love them to death, but I wanna sound like me.”   His time with Skaggs deepened not just his chops but his ear. “He always plays songs, not major, not minor, they’re in that modal in between Mountain minor kind of sounds where you have a major one chord, but you don’t always play the three, you don’t always make it obvious. And then the five chord is often minor, like a minor five chord, which you get in a mix of the Lydian world. And he’s not thinking deep like that. He’s just trusting his heart and his ears.”   That trust — intellect and instinct shaking hands — defines Workman’s philosophy. “Know your theory, but play from the gut,” he says later. It could be his credo.   “I don’t like to plan a record and say, I need tunes, so I’m gonna hurry and write ’ em. That’s just a recipe for cutting corners and not getting your best stuff out there. … If you allow that slow simmer, like from the writing to even the album artwork, don’t rush any piece of it so that it’s truly great and then you can release something epic that you’re proud of.”   That’s how Landmark  came to be, and that’s how the next record — still uncut, but written — will arrive. “If you liked Landmark, you’ll like this one. I think my writing is even better.”   “The writing is deeper. I do think that my ears hear new things. I feel like the core progressions are a little cooler. I’ve got some cool arrangement ideas that aren’t just ‘oh, I’ll play A B B, and we’ll just trade solos the whole song. So far, the 10 tunes or so that I’ve got are all, I’m covering a wide range of keys, and I’m not using a capo on a single one of them.”   That challenge keeps him alive as a player. “Every key kind of gives me a vibe, so to speak. Open D can be really pretty, or it can be very bluesy. It depends, but I’ve written a couple in D — one of them’s more of the bluesy thing, one’s more of the pretty thing.” Jazz, for him, sharpened the edges without forgetting the heart. “I had a lot of self-driven desire to understand music theory. So I showed up to school knowing a lot of things. I don’t care for ‘math music’ personally, but I think in general, jazz has a similar mindset as bluegrass, where you’re not wanting to be tethered to paper. You don’t wanna be tethered to sheet music or tab or anything. You want it to be in here and in the heart.”   And the groove, he says, is sacred. “We’re also trying to find this balance of tension and release. That’s the tension in jazz might be more extreme, and the release might still be a semi-colorful note in jazz. … In bluegrass, it’s the same concept of tension release.”   When talk turns to the modern jam-band scene, his response is honest and unfiltered. “I’m not into it, I don’t care for the Grateful Dead personally. I’ve never dug them. … I personally like traditional bluegrass. I don’t mind if guys are up there in suits around one mic. And singing from the Heart Vocal, three-part harmonies. Like I just, I love the Bluegrass, the true bluegrass thing.”   He pauses, then softens. “Billy Strings, for example, is a good friend and a great player, great musician, and I love what he’s doing. ’Cause I think he’s being true to himself. … If you can see that and feel that it’s good.”   Still, he warns, “I think there’s a lot of fakeness out there and a lot of seeking cheap thrills. … A light show and fog machine — if the music isn’t good first, I don’t care.”   These days, Jake is home more often, teaching from his studio in Utah. “Teaching, I love the interaction with people. I find a lot of joy in seeing people get excited about learning something. … Me teaching this stuff just makes me a better player. But I also think it’s just joyful, and I get to do it from right here.”   He’s found freedom in stability. “I can sit here and hold instruments that I would be holding anyway. Talk and think about stuff I would want to talk and think about anyway. It’s just a good gig.”   And like his name suggests, he works. “Yeah. I get after it, and if I get too much downtime, it stresses me out. [laughs] I’ve been practicing hard for so many years that fire lit when I was really young, and then it never went out. I’ll hold a guitar for six to eight hours a day, even to this day, if you let me and I have the time to do it.”   He laughs when told he’s got the perfect name for a blue-collar picker, like a character straight out of a Roger Miller song.    “Yeah,” he says, “it’s a good name for the spot that I’ve landed in.”   So, in a quiet Utah town, Jake Workman still put in the work — a scholar of sound, a craftsman of groove, a stickler for authenticity, and a man who never quite puts the guitar down. But then, I mean, why would he? ************************ Jake Workman’s Bluegrass-to-Plain-English Glossary   1. Modal / Mode A “mode” is a kind of musical scale that gives a tune its unique emotional flavor — bright, dark, or somewhere in between. When Jake says something is “modal,”  he means it doesn’t sound completely major (happy) or minor (sad). It lives in that old-world, Appalachian in-between that makes bluegrass sound both ancient and alive.   2. Mixolydian A mode often used in bluegrass, country, and rock. It sounds mostly major but has one lowered note — the flat seventh  — which gives it that earthy, mountain tone. When Jake mentions “the Mixolydian world,” he’s talking about that raw, rootsy sound you hear in songs like “Old Joe Clark” or “Salt Creek.”   3. Lydian A mode where one note (the fourth) is raised higher than in a standard major scale. It creates an open, floating, almost “glowing” sound. When Jake says “a mix of the Lydian world,”  he means he hears hints of that airy, lifted feeling in some bluegrass melodies — particularly in Ricky Skaggs’ mountain-style tunes.   4. Flat Third / Flat Fifth / Flat Seventh These describe notes that are slightly lower than in the major scale: Flat third = gives a bluesy or melancholy tone. Flat fifth = creates tension or grit. Flat seventh = adds a folk or mountain feel. When Jake lists these, he’s showing how bluegrass players create emotion through subtle dissonance — coloring the music rather than keeping it polished.   5. Tension and Release The back-and-forth motion that gives music life. Tension occurs when the notes sound as if they need  to resolve; release occurs when they finally do. Jake compares this to breathing — both bluegrass and jazz build emotion by moving between pressure and relief.   6. In Front of the Beat / Lying Back These describe where  a musician plays in time. Front of the beat = slightly ahead, creating that driven, urgent bluegrass energy. Lying back = slightly behind, giving a more relaxed or jazzy feel. Jake switches between these depending on the song’s personality.   7. Open Tuning / Open Key When the guitar’s strings, played without fretting, form a chord by themselves — like G or D. Open tunings let the guitar ring out more fully, giving specific keys a distinct mood. Jake experiments with open keys to find fresh sounds and ideas. 8. Flatpicking A bluegrass guitar technique using a single pick to play fast, melodic lines. It’s precise and percussive, blending rhythm and melody at once. Jake is one of today’s leading flatpickers — a direct descendant of players like Tony Rice and Doc Watson.   9. Mountain Minor A traditional Appalachian sound where melodies fall somewhere between major and minor. It gives songs a haunting, lonesome feel — part folk, part Celtic, entirely bluegrass. Jake calls it that “in-between mountain minor sound” that’s neither happy nor sad, just human.   12. Modal Run A quick musical phrase that uses one of those alternate scales (modes) instead of the standard major scale. It adds spice and movement to a solo, like taking a familiar road with a few scenic turns.   13. Modal Keys (Open A, D, E, etc.) When Jake says he’s writing tunes in open A , open D , or open E , he means he’s using the natural tuning of those keys — no capo — so each has its own color and ring. To him, every key has a “vibe” and a mood, just like a room has its own light.

After a six-year hiatus, The Unfaithful Servants has released Fallen Angels , the sophomore album from the Americana band. Their new record is lovingly crafted by a quartet consisting of Jesse Cobb (mandolin), Singer-songwriter Dylan Stone, Quin Etheridge-Pedden (fiddle) and bassist Mark Johnson. Hailing from Vancouver Island in British Columbia, the band was described as “Canada’s most exciting Newgrass band”   after their performance at California’s Seaside Music Festival and has been nominated for a Canadian Folk Music Award. When asked what sets The Unfaithful Servants apart from other bands in Canada, Jesse Cobb is happy to explain what makes his band unique, stressing the members’ combined instrumental prowess, love of tight three-part harmonies from the bluegrass genre, and the shared commitment to making each song “as epic and memorable as possible.” Jesse said that the band grew out of “a chance meeting at a local jam.” Soon after moving to Victoria, British Columbia, Jesse met Dylan Stone, who complimented his mandolin playing. As the two men began to play together in small local venues, Miriam Sonstenes and Dennis Siemens joined them. It was Stone who christened the band The Unfaithful Servants, after a song by the late Canadian musician Robbie Robertson. Influences on the band’s sound include Robertson’s own group, The Band, as well as modern instrumental music, newgrass revival, and old-school country. “The old-time way of folks just sitting down and coming up with music as a pastime has been the driving factor of the old-time influence,” Jesse explained. “When someone brings a song, much like learning old-time tunes, we may sit and play the song for hours, getting to know the melody and catching the right feel.” As one learns more about The Unfaithful Servants and their dedication to storytelling and emotional substance, the fact of the six-year gap between the two albums is no longer a surprise. Both the careful curation of their material and their thoughtful craftsmanship have ensured that Fallen Angel is more than worth the long wait. Grammy recipient Steve Smith produced the band’s first album in 2019. Despite the catastrophic hard freeze and the COVID-19 pandemic imposed on the music world, The Unfaithful Servants survived both the fluctuations of the post-pandemic concert scene and changes in band membership. The six years it took to rebuild the band “after the Covid times” and the additions of Mark Johnson and Quin Etheridge-Pedden brought revitalizing “capabilities, tools, and ideas,” Jesse said. Their songwriting has grown in depth and honesty. “I believe the songs on Fallen Angel have come from pushing to record material that can be engaging instrumentally, while surrounding and supporting lyrics that are personal and raw,” Jesse said, further adding that the rhythmic ideas and lead lines from Johnson and Etheridge-Pedden have moved the band into exciting new territory. Last September, when the band announced their first single, “Fallen Angel,” they expressed their excitement in an Instagram post about journeying into the world of bluegrass music. They described their sophomore album as carrying “the sound of the old world into a new light.” It is an unusual but apt description of all that The Unfaithful Servants offers in their new album. Their lyrical musings on mortality and the best and worst of human interactions today, the mournfulness in some songs serves to make the buoyant joy of their music all the brighter for the contrast. Leading up to the album’s release in October, the band’s social media followers were treated to waterfront views of Canada’s many lakes and islands, evocative promotional photographs taken with a tintype camera, and more casual photos of band members with their dogs and a fierce-looking rooster. The band is eagerly awaiting their upcoming tour stops, where they will play alongside Canadian folk singer Shari Ulrich, whom Jesse describes as “an icon.” It is a long way from Vancouver Island, in the westernmost province of Canada, to the most popular American music destinations, such as Nashville. The band’s enthusiasm appears to override any nervousness about their future and the very long journeys ahead. “We are excited to begin some touring in the US in the coming years,” Jesse said. “As a Canadian acoustic band, we are in a smaller niche community that exists in a more consistent, larger way in the States.” “Negativity” is one of the last tracks on Fallen Angel , and one of the most deceptively simple. Without using clinical words such as depression or rumination, the lyrics accurately describe the destructive cycle of self-doubt. “All this negativity has defeated you and me for the last time,” Stone’s plaintive voice rings out: “I hope before you die you realize you’ve been on the wrong track.” By the time the listener finishes the album and has basked in the “new light” of its memorable songs, they have heard enough to know that The Unfaithful Servants is without question on the right track.

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."

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."

If you happen to pick up a copy of the album Ghost Stories  by the indie-country group The Whitmore Sisters, brace yourself for some soul-stirring sibling harmony! Three years after their debut together, Eleanor and Bonnie Whitmore say they are still recording, writing, and playing venues together—despite having no plans for a follow-up album. “We have this bi-monthly residency at Gold Diggers here in Los Angeles [venue] called Mastersons & Friends, ” explains Eleanor. The sisters enjoy performing with some of their favorite artists, including Eleanor’s husband and music partner, Chris Masterson [The Mastersons]. “We have various guests join us each time. Some of the big highlights have been Jackson Browne, Dave Alvin, Shooter Jennings, and many others.” “We both have a lot of other projects outside of [The Whitmore Sisters],” shares the duo’s vocalist, keyboardist, and fiddle player. “I have been doing some session work in and around Los Angeles. I recently did a taping with Elvis Costello for Words and Music. ” Younger sister Bonnie says she is also busy with session work. “I have been playing a lot of bass, which is nice! I work on solo stuff when not playing with Kelly Willis and Scrappy Jud Newcomb.” The Austin singer-songwriter has added an all-star tribute celebrating the anniversary of Wilco’s AM  to her list. “My ADHD has been triggered lately from bouncing around from so many different projects,” she laughs. The sisters agree that today’s music business is a challenge. “I don’t think that live music has fully recovered after COVID,” observes Eleanor. “I think many of our fans, especially the older ones, have gone on to different habits. They are watching TV shows instead of going to clubs because COVID is still going around.” Bonnie adds that records are not making money for performers. “I don’t know the exact number, but I know it’s over four thousand spins [plays] on Spotify that equates to fifteen dollars—not for one song but for an entire album.” Prices have gone up for manufacturing and distribution. “We have to buy our records from the record company,” shares Eleanor. “The last time we checked, the prices have gone up for ordering our own music. There is usually a price per unit in your contract—that’s pretty standard across the board.” “You hope that you sell it all and didn’t order too much; otherwise, you’re sitting on it,” says Eleanor about printing CDs. “We have to figure out how to make creating music more affordable, or people aren’t going to be able to do it for a living.” Born and raised in Denton, Texas, the Whitmore Sisters, both licensed pilots, share an upbringing filled with aviation and music. “In our family, you have to sing, play an instrument, and fly an airplane,” jokes Eleanor. “Dad is a pilot and still teaches. Mom is also a pilot.” “I flew solo when I was sixteen and got my license when I was seventeen,” Eleanor recalls. “I was soloing when I was sixteen,” shares Bonnie, “but I didn’t get my license until I was in my thirties.” “It’s kind of fascinating because our parents have drastically different styles and always tried to find songs they could do together,” Eleanor shares about their musical parents. “Joan Baez seemed to be a good meeting point for them.” Bonnie joins in, “Gordon Lightfoot was another favorite! I always found it interesting that when we were young, we didn’t know the songs our dad sang were by other artists like Bob Dylan.” Eleanor and Bonnie both credit their mom for their singing. “I wouldn’t have my classical training if it wasn’t for my mom,” explains Eleanor, sharing that her mom is an opera singer. “I don’t think we would sing like we do without our mom’s influence.” Bonnie had no desire to play the same instrument. “I could tell at a very young age how talented my older sister was at violin. I didn’t want to be in direct competition with my sister.” The youngest of the two recalls turning the violin upside down. “I would play it more like a cello. My dad eventually put me on bass guitar in his band.” Eleanor and Bonnie agree that they won’t repeat their debut album when the time comes. “We don’t want to recreate the same record,” explains Bonnie. “We don’t know what the next record is going to be, but we want the creative efforts that we have together to continue.”

When Missy Raines is playing on stage, she doesn’t just want people to hear her songs; she wants them to feel them. Each song she plays has special meaning, from the songs she has written or the ones she has carefully chosen. Love and Trouble , her most recent album, with her band, Allegheny, is described on her website as “views from the highest peaks of her native West Virginia and from the deepest hollers of heartbreak. The ten songs come to life with people, places, and stories that have caught her heart during her five-decade journey with bluegrass and beyond.” Growing up in Short Gap, West Virginia, Missy Raines’ parents were avid bluegrass fans and supporters. “They listened to early country music and bluegrass before I was born,’ she says. My dad bought a bass for himself – he wanted to learn to play.” He wasn’t the only one. Missy played other instruments, but she learned to play the bass when she was ten years old. She learned to play from neighbors and friends, and she participated in jam sessions at bluegrass festivals. “I have always been attracted to the bass,” she says. “When I played guitar, I didn’t feel like I was a contributor,” Missy still plays her daddy’s bass. By the time she was 12 or 13, Missy began playing with bands in the area. “I played in bars where I wasn’t old enough to go to on my own, but we always had folks looking out for us.” She continued to play throughout junior high and high school. “I played just about any gig that opened up,” she laughs. “Sometimes I was thrown into a situation where I had to learn on the fly, and that helped me craft my ear for music.” She also had some strong mentors along the way. When she graduated from high school, Missy knew without a doubt that music was what she wanted to do. “I naively thought it would be more of the same as what I had been doing throughout high school.” She left West Virginia and moved to Charlottesville, Virginia, where she spent ten years. She played for four years with Bill Evans’ band, Cloud Valley. “I learned so much while I was there, and I gained so much experience.” Wanting to further her music career, Missy made the move to Nashville on May 12, 1990. She recorded her first album, My Place in the Sun , in 1998, the same year she first won the Bass Player of the Year award from IBMA. Since then, Missy has received the award nine more times – the most awarded bass player in the industry- and she has recorded five more albums under her own name, and many more for other artists, including duo albums with Jim Hurst. She is a GRAMMY nominee for her 2018 album, Royal Traveller . “I started writing more seriously around 2011 or 2012. On my album, Inside Out , I wrote the title track and also another instrumental for my dad called ‘Ides of March.’” I wrote the song 'Inside Out,' an instrumental for my dad. Words took longer for me, but now I try to write all the time.” Missy says she is inspired by anything and everything. “It can be something I see, so I’ll make a note. Or it may be a phrase, a sentence, or even a word. I love to listen to people talk. I think that’s what’s resonating with me most at this time. Often, I write about what is on my heart and mind that I’d like to pursue.” Missy is inspired by people who creatively tell their stories. “I enjoy Tim O’Brien and Sierra Hull – both are doing great writing. I’m also listening to an artist from Kentucky, S.G. Goodman. She is not a bluegrass artist, but she has strong Appalachian roots.” Goodman received the 2023 Emerging Artist of the Year award from the Americana Music Association. “I’m so inspired by her writing. It resonates strongly about what she believes in, and it’s a very real look at life.” Teaching others her craft has been important to Missy. “I taught for the first time around 1998, and I love it. I have taught at various camps and workshops for years. In 2010, I was asked to start an online bass school for ArtistWorks.” Missy created the curriculum and likes the fact that those classes have a much larger reach. “I have students all over the world, and I love to help them and see them so happy.” She is currently an artist-in-residence at East Tennessee State University. It’s a 250-mile drive from her home to the campus in Johnson City. “I’ll be doing that for the next year,” she says. It’s been a wonderful opportunity for me to stretch myself, which is always a good thing.” Seeing musicians she taught as a child grow into artists who keep growing and learning is rewarding for Missy. “It always surprises me.” Currently, Missy is getting ready to “try to be creative for what’s next.” She is actively touring and teaching. “I’m also writing, sometimes at home, but I always like to go to other places to write.” A member of the first class of IBMA’s Leadership Bluegrass, Missy says that experience gave her the ability to understand what other people at her level are doing. “I think it creates a mindset of excellence. It’s something I highly recommend.”

She’s an award-winning singer, songwriter, teacher, and bluegrass ambassador. The multi-talented Donna Ulisse has had a career in music that has spanned decades, and her talent, perseverance, and passion have earned her respect in the world of bluegrass and country music. Born and raised in Hampton, Virginia, Donna grew up surrounded by music. “My dad loved the Osborne Brothers, and I have vivid memories of him flying down country roads when I was very young, singing at the top of his lungs.” Another childhood memory goes back to when Donna was just three years old. “I grew up in a large Italian family that celebrated everything. I remember my dad hired a band for a party they had, and when the band took a break, I climbed up on the stage and began singing ‘Take This Hammer’ into the microphone. The band returned and started playing backup for me.” By the time she was ten or 11, Donna says her dad bought a steakhouse. “He said he did it so I’d have a place to sing.” She sang on weekends with a house band. When she was 15, Donna began performing with Jimmy Caldwell. “I cut my teeth with that band.” Donna credits her high school choir teacher, the late Barbara Davis, for teaching her to sing correctly. “She recognized my talent, and because of her, I learned so much that I still use when I perform today.” Donna recalls when Davis surprised her at a performance in Hampton. “When I realized she was in the audience, I broke down in tears on stage. I was finally able to tell her how much I appreciated what she taught me.” Songwriting is Donna’s passion, and in 2014, she published a book, The Songwriter in Me: Snapshots of My  Creative Process . “It took me 45 years to learn songwriting, and it felt great to pass that knowledge on.” The book still sells well, and now Donna is working on a follow-up. “It’s about 95% finished. This book is a little more intense – it gets into the nuts and bolts of writing.” When she was a child, Donna wanted to be a teacher. “I used to play school with my three younger brothers. I always thought I’d love to be a teacher, but I loved music more.” Today, she combines those skills with the songwriting workshops she holds at her “Wee Farm” in Lebanon, Tennessee, inspiring a new generation of songwriters and musicians. Donna is married to Rick Stanley, whom she met when she was 15. “Because I was my dad’s only daughter, he went with me everywhere. I was playing at a talent show, and Rick was the bass player in the band. I was watching him, and my dad asked why I was staring at that boy. I told him that I was going to marry him and iron his pants.” While their paths crossed fairly often, Donna was not on Rick’s radar until she was about 20. Today, the couple writes songs together, and Rick plays in Donna’s band. The couple moved to Nashville shortly after marrying, and Donna got a deal with Atlantic Records. Her debut album, Trouble at the Door , was released in 1991. She has since released many more albums that showcase her love of narrative and tradition. “I’ll do a cover from time to time, but it has to be a song that has special meaning to me.” Donna says she writes many of her songs when visiting her mother-in-law’s cabin in the Clinch Mountains. “Sitting in that cabin on Honey Camp Road, there isn’t much else to do. There is no cable TV, no cell service, and I am not a big hiker. So, when everyone is gone, I write about what I see. I write a lot about mountains. It’s a great place to work and I’m always inspired there.” Her peers have recognized Donna’s work, and she has received many awards over the years. She received her first International Bluegrass Music Association award for Songwriter of the Year in 2016, followed by the 2017 IBMA Song of the Year with “I Am a Drifter,” co-written with Marc Rossi and recorded by Volume Five. Donna is as busy as ever. She signed with Turnberry Records last fall. “I’m working on a new project now,” she says. “It’s my first project for Turnberry and the first project I’ve self-produced. That experience has made me realize what a luxury it is to have a producer sitting behind the glass.” The project will be released in Spring 2026. In the meantime, Donna is busy starting a new publishing company with Doyle Lawson. They are co-COO’s of Tall Oaks Publishing, under the Turnberry umbrella. (Look for more information in the February issue of The Bluegrass Standard .) “We are super excited about it,” she says.

Almost nine years after recording her Grammy-nominated album North by South , Claire Lynch, a three-time IBMA Female Vocalist of the Year Award winner, is back with new songs. “This project is all original. I have either written solo or co-written every song on the album, which is something I have never done,” shares the singer during a recent interview. “I started co-writing when I signed with Polygram Music Publishing on Music Row, and later on with Universal Music Publishing,” recalls Lynch, who was hired as a staff writer by both companies. “When I entered the Nashville world of writing, co-writing was just a thing we all did.” Traveling between the U.S. and Canada left the singer little time for anything else, especially recording, says Lynch, who has been out of the spotlight. “I was touring, and I had two bands. I had a U.S. band and a Canadian band because I had moved to Toronto. It was incredibly difficult to tour in two bands. It was wonderful but tiring.” Like most artists, she was affected by the pandemic. “As for COVID, we had longer restrictions than in the U.S. We were out of commission for three years,” remembers Lynch, who relocated to Ontario with her husband. Lynch hopes to release the album by the end of 2025. “Fans have been asking for more music, plus I have been working with wonderful songwriters. I felt that I had an obligation,” explains Lynch. “I also recorded it as a treat for myself.” [laughs] Lynch feels that touring to promote the album is unnecessary. “I honestly don’t see the point, because I’m not pushing a big career or trying to get tour dates. I’m like, here is my record! “I will warn you that several songs on the album are swing,” shares the former Tennessean. “It’s something I feel, after all these years, I have the privilege of doing. I had people ask me to do a whole swing album for years, but I wasn’t able to because the record company didn’t want me to. “It’s still a Claire Lynch record,” reveals the veteran singer-songwriter. “It’s a mixture—I would call it mostly Americana. There’s gospel, but there are a lot of original songs.” Lynch, who traveled to Ben Surratt’s studio in Nashville to record, enjoyed reconnecting with friends. “It was great! I got to work with Missy Raines, who played with me for many years. It was a wonderful reunion being with her again. And my old bandmates, Jim Hurst and Matt Wingate, were there too. It was like a party! I think listeners are going to be able to feel that on the tracks.” Not all of the record was recorded in Nashville, explains Lynch, who joined members of her Canadian band—Shane Cook, Joe Phillips, and Darrin Schott—at Casa Wroxton Studios in Toronto. “I also have Andrew Collins, who is a very renowned mandolin player up here [Canada], and Don Rooke,” adding, “He is a lap steel/dobro player but plays alternative music.” Although she misses the people in Nashville, Lynch admits she is happy to be in Canada. “In Ontario, we don’t have as many bugs! I’m in the city, so I have never seen a snake up here [laughs]. I do like the big city. There are also millions of people here with different ethnicities, plus the policemen are friendly. It’s a relaxed society, which is refreshing!” She feels welcomed in Canada. “I found that Canadians appreciate and accept Southerners with a sweet kind of respect.” Passing the torch to a new generation, Lynch likes the direction in which younger musicians are taking the music. “I’m behind them one hundred percent! They are doing cutting-edge stuff, like we [The Front Porch String Band] were in our time. The older people wanted us to keep it their way, without innovation.” Lynch wants to continue writing music. “I would like to stay in touch with friends and fans. I would be happy to pitch songs to other people. As far as money is concerned, there isn’t a whole lot left for songwriters, but as far as the pleasure of sharing, I would like to keep doing it.”

While she’s half of the award-winning duo Kenny and Amanda Smith, Amanda is a powerhouse on her own. A native of Davisville, W. Va., she has been singing since she was eight. “I sang in church. My mama always sang, so I sang with her. My daddy got me an autoharp that I played and sang to, and my mama encouraged me to sing in church, so I did.” By the time she was in junior high, Amanda had won talent competitions and was singing at local events. “I learned to play guitar in high school,” she says. “I’m fortunate because my parents listened to all kinds of music, so I was exposed to a lot early on.” Amanda’s first taste of bluegrass was playing guitar and singing at an auction barn where folks picked in the parking lot. But the person who really got her attention was Alison Krauss. “I was driving home from work and heard her sing ‘New Fool’ on the radio. I went straight to the mall and bought the CD. I was mesmerized.” She started attending bluegrass festivals with her dad in Ohio, Kentucky, and West Virginia. She met her husband, Kenny, in 1995 at a Lonesome River Band concert. ”I looked up and said, ‘That’s not Tim Austin.’” It was Kenny, and he got Amanda’s attention. “My mom encouraged me to give him my cassette.” The cassette was a demo tape that had her phone number on it. “I gave it to him and told him I’d like his feedback. He called me the next morning.” Kenny was in the studio cutting his first album with Lonesome River Band, so the couple didn’t start dating until a month later. “I remember our first date. We went to the movies, then to my parents' house. We sat on the couch and neither of us knew what to talk about. I finally asked if he wanted to pick, and he said yes.” They married on November 16, 1996, and they’ve been picking together ever since. Kenny and Amanda sang in churches, and when they made a CD for family and friends, WDVX radio station and soon other DJs began to play it. Without trying, they were on the charts at #26. “We decided that maybe that was our sign to get serious about a band,” laughs Amanda. Now they are “nine or ten” albums in and still going. “We are working on a new one now. We have half the album cut and we’re hoping to get the rest done early this year.” Kenny and Amanda have their own record label. “We record at Gat3 Studio in Charlotte, North Carolina. We’ve cut most of our albums there.” Choosing the material for an album is one of Amanda’s favorite things to do. “I try to pick songs that match our sound. We can listen to a song and tell if it’s right for us. Lyrics are a strong driver, and for me, the melody is important because I’m a singer. We are so grateful that we’ve had songwriters write songs for us. That is something special.” Amanda says Whitney Houston inspires her. “I can’t listen to her albums without crying. She is my all-time favorite vocalist. She sang with such emotion.” Other artists who inspire Amanda are Alison Krauss, Rhonda Vincent (“she has a great work ethic”), and Dale Ann Bradley (“she is always so kind and encouraging”). “And I can’t forget Donna Ulisse, who is so talented. She is also a good friend.” Other artists have been supportive over the years, including Del McCoury (“he is so kind to us”) and Russell Moore (“what a singer”). Andrea Roberts has also been a great supporter. “One of my first albums was with her band, Petticoat Junction. I was fortunate that I got to play a show with them.” Amanda’s career highlight was when she was nominated for IBMA Best Female Vocalist for the first time. “Kenny and I found out we were pregnant with our daughter, Annabelle, after thinking it may not be possible. I kind of forgot about the nomination because I was excited about the pregnancy. On awards night, we sat with Barry Bales and his wife, Aliceson. Barry leaned over and wished me good luck. I laughed and said I hadn’t even written a speech. I was just thrilled to be considered.” When she won, Amanda accidentally let the secret out on stage when she said she was excited for their baby to come. Amanda Smith, known for her powerful and expressive voice, brought her unique style to the partnership with Kenny. Together, their work pushes boundaries in the best ways while continuing to honor classic bluegrass traditions.

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!”