Long before he was inducted into the Bluegrass Music Hall of Fame, Jerry Douglas was a little boy surrounded by music in his hometown of Warren, Ohio.    “My father was from West Virginia and worked in the steel mills in Ohio, and he and some of his co-workers had a band (the West Virginia Travelers) that easily could have gone professional,” Jerry says. “They played in local beer joints, but their main focus was their work at the mills.”    Like many kids, Jerry says he plunked on an instrument when he was a small child. “I started playing the mandolin when I was four or five and did that for a few years before I got a Sears and Roebuck guitar,” he recalls. “It was like playing a cheese grater.”    When he heard the music of Flatt and Scruggs, a lightbulb went off in Jerry’s head. “I saw Josh Graves play Dobro with them, and I was hooked. I wanted to  be him .”    The boy asked his father to help him modify his guitar. “My dad raised the strings on my Silvertone, and I used a piece of copper pipe for my first slide,” he says. Jerry started playing Dobro with his dad’s band when he was 13 years old. “The guys in the band were great to me,” he remembers. “I learned by watching my dad play, and I practiced all the time.”    During that period, he explains, there seemed to be a lot of bluegrass on people’s minds, but there were not a lot of players. His dad took him to festivals, and when he was 13, the young musician met his idol, Josh Graves. “We were at a campground, and we were told that he was coming with Lester Flatt,” says Jerry. “When he saw me, he approached me and suggested we swap guitars before we started playing.   I remember to this day what the neck of his guitar felt like. ”   What Graves taught young Jerry that evening was a valuable lesson in musical generosity. “Now I’m an open book,” he says. “I’ve had the opportunity to teach a few times with Hot Rize. We took over an elementary school in Oregon for a few summers to teach. I love seeing people learn and watching them progress in their music careers.”    Becoming Flux   Jerry joined the Country Gentlemen in 1973 and toured with them until joining J.D. Crowe’s New South in 1975. In September of that year, he formed Boone Creek with his New South bandmate Ricky Skaggs. When Boone Creek disbanded in 1978, Jerry joined The Whites, recording several albums with Buck, Cheryl, and Sharon over the next seven years.    VIDEOS: J.D. Crowe & The New South, “Devil In Disguise”    Boone Creek, “One Way Track”    The Whites with Jerry Douglas, “Swing Down Chariot”   Over his long career, Jerry’s work has been recognized with many awards, from the ten times he’s been recognized as the International Bluegrass Music Association’s Resophonic Guitar Player of the Year, to his induction into the Bluegrass Music Hall of Fame in 2024... and many other honors in between, including an amazing 16 GRAMMY awards and three CMA Musician of the Year awards. (Oh, and he’s also the winner of a 2004 NEA National Heritage Fellowship.)    He’s a sought-after Nashville session musician and producer, and his distinctive sound can be heard on more than 1,500 albums. What Jimi Hendrix was to the electric guitar, Jerry Douglas is to the resonator guitar. He doesn’t just play the instruments; he transforms, elevates, and reinvents them. It’s no wonder that he is a 16-time GRAMMY winner.    Years ago, Jerry was given the nickname “Flux” by Ricky Skaggs because Skaggs thought he was fluid, with the ability to play anything, anytime, with anyone. Flux is playing now more than ever, fronting The Jerry Douglas Band and recording and touring for many other projects, including John Hiatt, The Earls of Leicester, Transatlantic Sessions, and, of course, Alison Krauss & Union Station.    VIDEOS:   The Jerry Douglas Band, “Gone To Fortingall,” DelFest 2022   The Earls of Leicester, “Don’t Let Your Deal Go Down,” Salt Stage/FreshGrass Festival   Transatlantic Sessions, “Route Irish”   And 2026 started with a bang: first, there was the McCoury & Douglas Family Pickin’ Party, followed by Peter Rowan’s birthday party at the Ryman Auditorium, followed by a tour of the United Kingdom with the Transatlantic Sessions. After this month’s Suwannee Spring Reunion, he’ll go back out on tour until October, performing more than 60 shows with AKUS in concert halls and amphitheaters all over the country.      VIDEO: Alison Krauss & Union Station on reuniting and their first album in over a decade   Jerry’s fascination with different musical genres and their origins has led to a board position with the National Council for the Traditional Arts (NCTA), which produces the National Folk Festival. “I’ve been to several cities for the festival over the past several years, and I’ve played in many of them,” he says. “I love that festival because it is so educational. It exposes audiences to music they may never have heard before.”    In addition to touring and playing on his own projects, Jerry has co-produced or produced over 100 albums for major artists, including The Del McCoury Band, The Whites, John Hiatt, Molly Tuttle, Alison Krauss, Steep Canyon Rangers, Maura O’Connell, and others. He also produced The Great Dobro Sessions (winner of the GRAMMY for Best Bluegrass Album in 1995), and Southern Filibuster: The Songs of Tut Taylor, a passion project that honored the late flatpicking Dobro man.    VIDEO: The Great Dobro Sessions (complete album)   While his schedule doesn’t allow for one-on-one teaching as much as he’d like, Jerry has developed an online resonator guitar course for Modern Music Masters. This video series, described as a “guided tour towards learning and mastering the Dobro, teaches foundational skills for beginners who want a solid start, shares insights with experienced players to help fix bad habits, and offers fans of reso guitars an inside look at how the guitars are made and played. (Check it out at  https://modernmusicmasters.com/jerry-douglas-lp .)   That certainly ties in with Jerry’s musical generosity. Whether he is teaching, promoting, producing, or creating it, Jerry Douglas has made an indelible and lasting mark on bluegrass.   Visit Jerry Douglas online at  https://jerrydouglas.com .

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

Shelby Means is comfortable performing.    That comes from nearly eight years playing bass and singing harmony with the bands Della Mae and Molly Tuttle and Golden Highway. But now she’s center stage and in charge as she leads her own band after the release of her first album, simply called  Shelby Means .   Shelby with Della Mae: Shelby with Molly Tuttle:   “There's a lot more responsibility in fronting my own band,” says Means.  “But the more comfortable I can be on stage, the more authentic and real the music comes across.”   The eponymous album showcases Means’s personal writing (all but two of the songs are originals), and the playing of A-team artists including Jerry Douglas, Bryan Sutton, Molly Tuttle, Bronwyn Keith-Hynes, and Billy Strings. It’s only natural that this is a bluegrass album, given that Mean’s father, a banjo player, used to wake her for school by sitting at the foot of her bed playing “Cripple Creek” or “Salty Dog.” That story is told on “5 String Wake-Up Call,” perhaps the most autobiographical song on the album. Other songs tell about growing up in Wyoming, moving away from Nashville, and life on the road.   “5 String Wake-Up Call”:   “I think it's fun to mix it up like that -- to put a little bit of me and my experiences in there, and then just let my imagination run wild sometimes,” she says. “And whatever happens in that world can be fun to uncover.”   Her father’s musical influence went beyond morning banjo serenades. “He would take us to contests and music festivals when we were growing up,” Means remembers. “My brother Jacob plays the mandolin. He started playing when he was eight, and he stuck with that instrument. Unlike me -- I changed instruments. I first started on fiddle and then I switched around to viola, guitar, and then bass. But singing was really a constant for me.”   Means studied music and business at the University of Wyoming but moved to Nashville before graduating. “I didn't know exactly what I was looking for, but I knew that I wasn't going to find it in Laramie. And I just wanted to be surrounded by musicians that were better than me,” she says.    A chance encounter with the guitarist Courtney Hartman, whom she’d come to know at festivals when they were growing up, led to the gig with Della Mae. And after four years with Molly Tuttle and Golden Highway, Means felt she was ready to step up her game.   “I had a duo with my husband (singer/songwriter Joel Timmons), and that gave me some experience doing stage banter and writing set lists and putting things together,” she says. “And then being in the background and watching how Molly leads a show, and learning from my bandmates Kyle Tuttle and Bronwyn... I feel like all those experiences have led me to this moment where I now get to front my own band.”    One of the covers on the album is Lady Gaga’s “Million Reasons.” Means admires the pop star’s music and stagecraft, and might be inspired by the latter, as her own bold onstage fashions go beyond the denim and gingham of her predecessors.    “Million Reasons”    “I think it's great, and maybe a way to appeal to a younger audience, and get some of the kids thinking, ‘Oh, we can wear cool clothes and be on stage and play acoustic music!’ If you want to wear a t-shirt and jeans, or if you want to wear rhinestones and high heels, it doesn't really matter at the end of the day -- as long as the music sounds good,” she explains.   Ironically, perhaps, Means started her band after having left Nashville nearly five years ago, relocating to her husband’s home in Charleston, S.C.    “It doesn’t have the pool of pickers that Nashville has by any means, but thankfully there is still some bluegrass here,” she comments. “And with my life being on the road, it turns out that it didn't really matter where I live, because when I come home, I'm just a little bit on break, you know? And Nashville is a constant hustle. When you're home, it still feels like you're working. So, coming to Charleston feels like the antidote to life on the road. And that was what I needed.”   Means pulls from a select roster of Nashville players when she’s touring, but the core of the band consists of her brother on mandolin and Timmons on guitar. Though she’s performed and recorded Americana music with her husband, she went back to her musical home on her first album.   “It’s paying homage to my roots, and I was inspired by Bronwyn and Molly putting out straight-ahead bluegrass. Or maybe not traditional bluegrass, but very much bluegrass albums,” she muses. “And I wanted to do that, too. A lot of people maybe didn't know that I could sing before I put the record out. I think it was just important for me to leave a stamp in the bluegrass world and say, ‘Hey, I love bluegrass music.’ I'm choosing to make a bluegrass record, and it's important to me, and I hope to be a part of the bluegrass scene for years to come.”   Check out Shelby online at  https://www.shelbyleemeans.com .

Donna Ulisse spent 25 years on Music Row in Nashville, where, she says, writers were kings.    Now Donna’s in a position to make other writers feel that same sense of importance with her newly formed publishing company, Tall Oaks Music.    “When I signed with Turnberry Records, owner Keith Barnacastle told me to dream as big as I wanted to dream,” she says. “I mentioned to him that there was no publishing company under his umbrella, which is something I had always dreamed of doing. He told me to go for it.”    But for a year after that conversation, Donna dragged her feet. “I didn’t know what the  angle was,” she says. Finally, it dawned on her that Doyle Lawson was the missing link – the  angle  she had been looking for. “We have worked together for so long that we see music the same,” she says. “I’d pitch him 20 to 30 songs, and he’d pick out the ones he liked, and he’d tell me why. He had a way of making all the difference.”    Donna called Doyle to share her idea. Her first words, when Doyle answered the phone, were  “Don’t say no!”  She told him what she had in mind. After thinking about it, he called her back and said he’d partner with her in the new publishing company.    “I phoned Keith and said, ‘What if I can get you a big name?’” she recounts. “I told him it was Doyle Lawson, and Keith was delighted! He’s a big fan of Doyle’s.”    Nurturing songs and songwriters   Donna and Doyle have now joined forces with Keith to form Tall Oaks Music, building it around songwriters. “We have signed some amazing writers,” Donna says, and she’s right: the roster includes Kevin Denney (known for "That's Just Jessie," a Top 20 hit on the Billboard Hot Country chart); Darren Nicholson (formerly with Balsam Range); Tom Botkin (who penned Dailey & Vincent's "On the Other Side"); Jack Shannon (writer of Jim Hurst’s recent hit “Same Old Moon”); Dawn Kenney (co-writer of “Something About A Train,” covered by Valerie Smith & Liberty Pike); and Ali Shumate (known for  Every Bit Of Me , her 2019 album of original material).    “We also have Paul Williams on our roster,” Donna says, adding that the 90-year-old IBMA Hall of Fame member has been writing together with Doyle recently. “It’s an exciting group, with both traditional and edgier writers. We also have a few country writers. We are branching out, just like the branches on a tall oak tree.”    Excited about working with Doyle, Donna says he only knows how to approach music one way. “He sets the bar out of sight, then goes for it,” she explains. The two will share responsibilities at their new company. “My wheelhouse is editing, so I’ll handle that. We call Doyle ‘the song doctor,’ because that’s what he does best. He will also do more song pitching because he knows so many people.” Donna hopes one day to hire an in-house song plugger who can pitch Tall Oak material to musicians, record labels, and other industry professionals. “Our goal is to be a high-functioning publishing house,” she says.    Through Tall Oaks, Donna and Doyle will mainly act as song nurturers, guiding the writers as they go. “We will also nurture the writers [themselves], and make sure they get the credit they deserve.” The company has already received numerous inquiries from interested songwriters, she adds. “But we are cautious not to overburden our roster. We have a few new writers, and we want to give them all the attention they need.”    A lot of that nurturing will take place at The Little House, the cottage next to Donna’s home in Lebanon, Tennessee. “The Little House will be the songwriting headquarters for Tall Oaks Music,” she says, adding that the place was designed to be a nurturing place for songwriters. “I teach songwriting there with Jerry Salley and my husband, Rick Stanley.”    The new endeavor is an exciting one for Doyle, who often travels to The Little House from his home in Bristol, Tennessee, for songwriting sessions. “I am more than a little excited about being a part of Tall Oaks Music, working alongside Donna Ulisse and the songwriters who have agreed to write for us,” he says. “Our mission is to be the place where writers know that we will be working hard to get their songs heard and recorded, and an artist who may be looking for a particular kind of song can reach out to us.”   Donna reports that working with Tall Oaks evokes memories of when she first started in the music business. “I started coming to Nashville when I was 14 or 15,” she marvels. “Now I’m excited to be in the room with these young, on-fire writers! This makes it new for me again.”   Full disclosure: Keith Barnacastle is also the publisher of this magazine. Visit Tall Oaks Music online at  https://www.talloaksmusic.com .

At the Mentone Fall Festival last October, exuberant Bluegrass melodies floated on the mountain breeze. When not browsing the colorful artist’s booths, visitors to the festival made their way to an outdoor amphitheater with dogs and small children in tow. Three on a String was on stage, and their audience knew they were listening to something special. Few bands or friendships last fifty-four years, but this is what the talented men behind one of Alabama’s most cherished Bluegrass bands have accomplished. With each performance they deliver rousing music and boisterous jokes, and draw longtime friends from across the state, all while turning younger audience members into Bluegrass fans due to their artistry and wit.Three on a String was founded in 1971 by Jerry Ryan and Bobby Horton. Jerry sang and played guitar when he was not coaching high school basketball. Bobby was a college student who loved banjo music. The organizer of a Bluegrass festival at Horse 40, near Steele, AL, asked Jerry to help with the inaugural festival.   Interest in the Bluegrass genre had spiked due to the success of the long-running television series “The Beverly Hillbillies” and the Oscar winning film  Bonnie and Clyde , which featured the song "Foggy Mountain Breakdown" in some of the chase scenes.    “Jerry asked Bobby to join him to do a set,” explains Jerry’s son Brad. “They played about sevensongs, because that's all they had time to learn.” It was a steep learning curve as Jerry took on emceeing and playing in the first Bluegrass festival he had ever attended. “From there they added a bass player to kind of fill out the sound,” says Ryan, “and Three on a String was born.”   “They kind of had perfect on-stage chemistry,” explains Ryan. “And in those years any band that had a decent banjo player could get bookings at festivals.”     An early influence on Three on a String was The Kingston Trio, and Horton and Ryan blended their love of Bluegrass music with folk as they gravitated towards sing-along songs, which Alabama audiences enjoy. “As the years go by you kind of become your own thing, or hopefully you do,” explains Brad, who eventually became the permanent bassist. “That way you can kind of do more original stuff or take some other influences and try to make it your own and put it in your style”After the gifted multi-instrumentalist after Andy Meginniss joined the group, they ventured into more original material as well as continuing to cover standards in the Bluegrass genre such as “Rocky Top,” “Rollin My Sweet Baby’s Arms,” “Mountain Dew” and “Dueling Banjos.”   “People still love those tunes,” Brad states. “Many bands don't like to play them, but we love to.” Some of their most popular original songs are “Best of Friends,” written by Meginniss, and Horton crafted “Baroque-Down,” an instrumental piece gently pokes fun at classical musicians.    “We like to tell little stories throughout our show that folks can identify with,” Brad explains."Still Kicking,” is another audience favorite, partly due to performing for five decades. “We have reached ‘senior status’ as has a lot of our crowd,” Brian says. “So, they can identify with that song, and us,” he laughs. But they also draw young listeners with every concert.VIDEO : Three on a String performing their signature song “They seem to always come up and tell us how much they enjoyed the show, which makes us feel so good that we still connect with all generations,” Brad says. “If you move people in some kind of way, with music, stories or jokes, they appreciate it and they will come back to see you.”   Three on a String’s distinctive sound—due in part to Jerry’s choice to not attempt imitating their extremely popular contemporary Bill Monroe—has wrought some unusual audience feedback over time.“It's kind of funny but someone once said, 'Ya'll don't sing like a bluegrass band’. We think it was meant as a negative comment, but we always thought of it as a compliment,” Brad explains. “Jerry’s thinking was, ‘let's just sound like us.’”   Three on a String has either opened or performed with musical luminaries such as the Statler Brothers, Red Skelton, Barbara Mandrel, Jeff Foxworthy and Ray Stevens. “We recently did a Christmas tour throughout the south with 'Sean of the South', who has a huge following,” Brad says of the humorist and musician Sean Dietrich. A particular thrill for the band was their induction to the Alabama Music Hall of Fame in 2023. Brad says that everyone appreciated the recognition for their accomplishments over five decades in the music business. “We just walked around on cloud nine for a year or so,” he laughs. In addition to his contributions to Three on a String, Horton—who plays an astonishing twenty instruments—has collaborated with the renowned filmmaker Ken Burns. Horton’s musicianship has been featured in more than ten documentaries for PBS, including the most recent  The American Revolution. Bobby Horton performing in the Ken Burns documentary The Civil War: “Bobby's work with Ken Burns has been incredible,” Brad says. “We like to brag on that fact. He is a history nut, so he has been able to combine his love for music and his love for history into a very rewarding career.” When a band performs together for fifty-four years changes are inevitable, and Jerry Ryan’s decision to retire as leader of the band, which led to an outpouring of appreciation from devoted fans. Today, when Horton, Meginniss and Brad Ryan get together, they are just as stoked to perform at small community shows as they get excited for a large concert. “We love to perform and just be ourselves,” Brad states. “We love to see old friends and make new ones. We just feel very blessed to be able to do this. And we still appreciate every minute of it.”   Learn more about Three on a String online at  https://www.threeonastring.com/

In a world grappling with artificial intelligence and smartphones, the genre-defying Damn Tall Buildings would like to remind us that we are living, breathing human beings.   Both their latest self-produced album (released in October 2025), and its title track, “The Universe Is Hungry”— equipped with joyous harmony and front-porch playing chops — invite us to look beyond the virtual veil.   VIDEO: “The Universe Is Hungry,” Damn Tall Buildings   Injecting levity into their music, fiddle player Avery Ballotta, bassist/vocalist Sasha Dubyk, and guitarist/banjoist and vocalist Max Capistran (who is Sasha’s husband), sing about a world struggling to catch up with itself.   “We are very sarcastic!” admits Max Capistran, who writes much of the band’s material. “I am a big fan of stand-up comedy; in fact, the whole band is.”   Not surprisingly, Capistran looks to the late John Hartford for inspiration.
“Hartford is a huge influence of ours, and we have been vocal about that for a long time,” the songwriter says. “He had a great way of talking about heavy topics while making you smile, and having a little laugh.”   VIDEO: “Steam Powered Aereoplane" by John Hartford   Driven by humanity   As a 21 st  century songwriter, Capistran is acutely aware of the dangers of media. “We are surrounded by crises that can feel like a weight pushing down,” he cautions. “It’s the constant knowing all the worst things happening around the world that are always on your cell phone.”   He is convinced that real human interaction can help. “I think a good initiative for everyone is if we would say to ourselves, ‘Ya know, I need to talk to at least one stranger today,’” he observes. “It doesn’t have to be a big conversation -- just a connection. The more that happens in day-to-day life, the better.”   Capistran speaks from experience. 
 “I have these little moments with the band on the road, and as an individual in New York,” shares the Brooklynite, “all these tiny interactions with strangers where [we] make each other smile, whether it’s a cashier in a restaurant or someone on the street. That gives me hope in humanity.”   Though the title track from the new album has a theme that could have been inspired by science fiction, it’s actually driven by humanity. “Whatever is taking hold of us in terms of technology and the internet is a powerful, mysterious thing. I think that is the metaphor behind ‘The Universe is Hungry,’” explains Capistran.   Not all songs, however, have the same message. “There is a thread that ties the album together; I wrote them in a chunk of time,” reveals Capistran, the band’s chief songwriter, whose lyrics on the songs “Simulator” and “Can’t Slow Down” combine with “The Universe Is Hungry.” The project also includes material from other artists, like Roy Orbison’s “Blue Bayou,” Bill Monroe’s “Big Ball in Brooklyn,” and a cover of an Ethiopian song called “Legesse Abdi.”   VIDEO S:   Damn Tall Buildings, “Big Ball In Brooklyn,” LIVE The band’s adventures aren’t restricted to music. In September, Damn Tall Buildings wrapped up a thrilling week-long visit to Saudi Arabia, as part of the U.S. State Department’s Cultural Exchange Program. The visit included both performances and workshops. “Learning from each other promotes peace and a better discourse between countries,” shares Capistran. “It is so important, and we feel honored to have been a part of it. It’s something we wanted to do for a long time.”   During a highlight of that tour, Saudi composer Majed Mohammed performed with Damn Tall Buildings at Jeddah arts complex Hayy Jameel. “Collaboration is essential, and it is truly amazing. Experiences like this, where Arabic music connects with other cultures, help share our art with the community and broaden our understanding,” Mohammed told Arab News . “For me as a composer, working with them has been inspiring and has pushed me to explore new creative directions.”   Diverse backgrounds, positive vibes   Tracing Damn Tall Buildings’ roots to Boston’s Newbury Street, where the band did plenty of busking in its early days, Capistran says each member brings something unique to the table.    “Our sound has a lot to do with our different backgrounds,” explains the writer, who says his wife Sasha grew up with jazz and theater. “Her grandmother was a Copacabana dancer, so there was a lot of art and music in her family, including an aunt who played bluegrass.”   And according to Capistran, many fans have no idea that Avery Ballotta is a classically trained violinist. “He’s also a composer, so he has great ideas when it comes to motifs, and he has a very percussive way of playing.” (By the way, fiddle legend Darol Anger was Ballotta’s teacher and mentor at Berklee College of Music, which is also the alma mater of Capistran and Dubyk. No wonder Damn Tall Buildings makes such damn great music!)   Capistran himself grew up listening to blues and rock music. “I thought I was going to be a blues guitar player!” he says. “I also like Bob Dylan and Modest Mouse. I think you can hear a lot of that stuff in my playing and songwriting.”   This is obviously a trio that encourages its listeners to make their own music --  and to seek out plenty of human interaction. About a year and a half ago, Dubyk and Capistran opened the Brooklyn doors of their Crown Heights Music School, which now has 160 students. “It’s been really cool working with people who are trying to connect to music,” Capistran says.     He believes he can explain why Damn Tall Buildings has such a positive vibe. “We started this band as friends,” he offers. “It’s like a relationship; it laid so much groundwork for us.” That groundwork, Capistran says, led to his marriage to Sasha. “The band has its little quarrels and hissing matches,” he laughs, “but we love each other.”   Whatever holds up these Damn Tall Buildings, this is good, solid stuff – damn fine music made by real human beings.   Visit the band online at https://www.damntallbuildings.com .

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.”

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."

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.

The monumental Hillberry Bluegrass festival recently reached a milestone decade year, offering a five-day bluegrass festival at The Farm, just a few miles outside of historic Eureka Springs, Arkansas. Each year's atmosphere creates a unique persona of welcome, relaxation, and the indulgent appreciation of a grassroots movement that has been entertaining audiences for years. 'Happy Hillberry' was uttered on multiple occasions. It was almost as if this five-day bluegrass festival, with loyal concertgoers, campers, craft distributors, vendors, and newcomers, had morphed into a nationally recognized holiday.  Jon Walker, Deadhead Productions Manager and The Farm Campground Events owner, said this of Hillberry Harvest Moon Festival 2025: "We have produced 33 music festivals over the past 14 years. This year, I feel like we finally accomplished what we set out to do. The community came together and supported us on our 10-year anniversary of the Hillberry Music Festival. It was the highest attendance to date, yet the smoothest run event we have ever produced. We had some of the nicest people on the planet who traveled long distances to be here. We work hard to provide great production and great staff, but the people are truly what make our event special. The energy, gratitude, and love expressed by our attendees are what continue to push us forward. We are proud that we built this organically and that our intentions are driven by our love of music. We are beyond grateful to our community for their years of support in helping us build something so special that is the Hillberry Music Festival." The Farm is a large plot of rolling hills and autumn-changing trees that serves as a host for many local and far-reaching roots musicians, not to mention the hundreds of fans who show up, year after year, to enjoy their favorite bands and taste new and rising future bluegrass artists.  Hillberry 2025: The Harvest Moon Festival is a family-friendly event catering to all ages, from the youngest to the oldest, offering something special for everyone at this fall outdoor music lover's paradise in the heart of the Ozarks. While evening is when the heavy-hitting bands and solo artists put on their grand shows, daytime at Hillberry is full of a wide array of entertainment all its own. From human wheelbarrow races in the circus-striped media tent to multiple afternoon parades led by children of all ages, there is never a dull moment at this bluegrass oasis in the hills. Jon Walker of Deadhead Productions and owner of The Farm Campground and Events at 1 Blue Heron Lane in Eureka Springs, Arkansas, invited his soon-to-be 85-year-old mother to the Hillberry Harvest Moon Festival this year. "This was her first music festival. I have always tried to explain what I do, but I felt that she needed to see it with her own eyes, because it's hard to describe to someone what a festival is all about. She loved it!" shared Walker. On the other end of the age spectrum, proving that Hillberry has something to offer for every age, Adams Collins, Arkansauce banjo player, gave a touching shout-out to his four-month-old daughter, who also experienced her first Hillberry. You gotta start 'em young! (Something tells me, with her dad's mad string pickin' and vocal skills, this will not be his daughter's last Hillberry. She may even take center stage in the next few years, giving her ole man a run for his money). Tom Anderson, the stand-up bass player for Arkansauce, wished his wife, Holly, a Happy 10th anniversary while performing live in front of hundreds. Arkansauce is familiar with Hillberry, having performed at the festival since its inception. A local band from Fayetteville, Arkansas, these four bandmates, now with a complete brass and percussion section, have really put the state of Arkansas on the map as a bluegrass hot spot. The band is scheduled to record a new album in Nashville, Tennessee, in the near future.   Presented by Railroad Earth and Deadhead Productions, the intent behind this five-day annual festival is to provide a warm and welcoming environment for bluegrass music lovers to 'get away from it all' and experience tried and true favorites, as well as newly discovered talent. This year's lineup included such artists as Railroad Earth, Greensky Bluegrass, The Infamous Stringdusters, Yonder Mountain String Band, Arkansauce, Crescent City Combo, The Steppers, Taylor Smith, and many more. (See full lineup here: https://hillberryfestival.com/#lineup ). If roughing it for five days isn't your thing, there are many other ways to experience Hillberry. From basic tent camping to the glamping experience of an RV, a mini home on wheels, some festival goers pick a day or two and choose to stay in historic and romantic Eureka Springs. Some come and go to the festival at their leisure, based on the year's lineup of performances. Each year, there are the fan-favorite familiar vendors, with a sprinkling of new artisans proudly selling their wares, making the festival a prime locale for those who love handmade jewelry, vintage clothing, and everything from leather accessories to custom-made pottery. The festival offers breakfast, lunch, and dinner, with an extensive array of food and beverage trucks to suit every fanciful palate. Many choose to bring their own food and tailgate with friends and family while enjoying the atmospheric backdrop of popular pickin' and grinnin' in the distance. The merchandise tents are always available with each band, artist, or general Hillberry attire. This year's showcase was a large knit throw with the Hillberry insignia and lineup printed on the front. A true work of art, and a valuable keepsake for those cool fall evenings when the music knows no time limit. In addition to shopping, Hillberry offers daily craft workshops, refreshing showers, and a wide array of breakout sessions to cater to the diverse interests of its bluegrass-loving crowd. Deadhead Productions, named after the iconic rock band, The Grateful Dead, shared that the current state of affairs in our society feels heavy. They aim to create a relaxing and entertaining space that fosters solitude and freedom of expression. A place where guests can truly escape the hustle, bustle, and everyday stress of life to enjoy a beautiful natural backdrop accompanied by the soothing sounds of music, along with the fast-paced, melodic, toe-tapping and full-on dancing to the beat of each individual drum.  Plans for a festival of this magnitude are made months in advance. The promoters and management team are already looking forward to the 11th annual Hillberry in October 2026. You can find the lineup and ticket information here: https://hillberryfestival.com/ . Fully describing this yearly fall music festival in the heart of the Ozarks is a monumental task. You must personally experience it to truly appreciate the chill vibe, friendly atmosphere, and enjoyable music performed each year.