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

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

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.

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.

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."

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!”

“I grew up in Union, South Carolina,” she recalled, “and the first banjo I got, I was about nine. We’d only had it a month or two, and our house burned down.”   It’s the kind of memory that could have ended a childhood dream, but for Kristin Scott Benson, it simply began another story.   “The first thing that I remember well — you know, small towns can be so special. I remember how sweet the town was to us when it happened. I remember going back to school, and all these kids were bringing clothes and shoes and coats and everything, so it was that immediate, we had nothing except what we had on when we left, which was in the middle of the night.”   When you talk with Benson, she sounds exactly like the kind of person you hope a world-class musician would be: humble, thoughtful, and quietly grateful for the life she’s built around the banjo. She’s a seven-time IBMA Banjo Player of the Year, a recipient of the Steve Martin Prize for Excellence in Banjo and Bluegrass, and a 2024 inductee into the American Banjo Hall of Fame. But none of that has changed how she speaks — with honesty and warmth, grounded in her work and her faith. She’s a lightning-quick picker who’s a teacher at heart; Benson holds herself with the calm and grace of a legend who shrugs at high praise while also embracing gratitude.   It’s also that sense of kindness she experienced after the fire — people showing up when you need them most — that may reveal the reason she’s spent so much of her life giving back through teaching, passing on what she’s learned with the same generosity she once received.   “I probably played the first song on the banjo maybe two or three months after I started. And by six months, I was ready to play in jam sessions and that sort of thing. I was about 13 when I got a full-size real banjo and started playing. Once I started playing the banjo, I just became obsessed.”   Her obsession became a lifelong career. In an industry that has historically underrepresented women in instrumental roles, Benson has more than earned her place alongside today’s most outstanding performers of bluegrass. Her technical mastery rivals anyone holding a five-string today — male or female — and her command of tone and timing has become a benchmark for aspiring players. She has shattered stereotypes not by talking about them, but by playing circles around them. Additionally, she’s one of the most respected teachers in bluegrass, known for her patience, her encouragement, and her ability to meet each student where they are.   “If I’m home for the full length, I teach Monday through Thursday, anywhere 15 to 20 hours a week,” said Benson of her typical teaching time. “However, with the scheduling and the follow up work, if you teach 20 hours a week, you’re probably spending 25 hours a week on it. But that has become special to me because like any other job, you get better at it. And most people burn out teaching. They can’t sustain that for years and years. The way I’ve sustained it is by caring about these people. You want them to progress and do well, so you care about the person and then suddenly it’s a labor of love instead of just a labor.”   It’s a simple philosophy, but one that explains her endurance. She doesn’t see teaching as routine or transactional; it’s relational. Every student becomes a story, every lesson a small act of faith in someone’s potential. Conversely, everyone has a challenge to overcome, and the love of the craft has to emerge for the talent to surface.   “For my adult students, it tends to be memory,” said Benson of the common issues that arise in instruction. “That’s the toughest part. For the kids, it really just depends on them. If they’re really motivated, they can just soar right away. And I’ve had some who have done that. They’re phenomenal musicians and they’re gonna set the world on fire as they continue to age and get better. But I just say to mom and dad, can you make yourself love something? Even if the kid would like to love it, that would make their parents happy, but maybe they don’t love it. You have to trust that we can’t make  ourselves love something, or dislike something we love, so you just trust that instinct. What is the desire of their heart? Just put the energy behind that.”   As the longtime banjo player for The Grascals — one of the most awarded and beloved bands in modern bluegrass — Benson has been a cornerstone of the group’s sound since 2008. Her crisp rolls, impeccable timing, and emotional restraint define much of the band’s signature style, anchoring the music with a sense of purpose and joy. In a band filled with powerhouse players, she’s never simply “the female banjo player.” She’s the banjo player — and many of her peers would say, one of the finest working today. As for band fatigue, she said that one can start to play on autopilot if you’re not the type that improvises every night and changes the set list daily, so on those few occasions, she can reset with good old band shenanigans.   “Our set list is relatively the same with a few changes over time, but I think the elements that I respond to, the camaraderie with the guys in the band personally, that can be fun every night, because it’s different every night. Somebody messed up, and you can get a rise out of that, and take great enjoyment in their failure (laughs). That kind of fun stuff that goes on in bands where we give each other a hard time, that stuff helps it stay fresh.”   Her humor is as sharp as her timing, keeping her grounded through the endless repetition of touring life. Even in routine, she finds community.   “I’m incredibly grateful for those awards. They’re a mystery to me. They truly are a mystery to me. But I’m grateful and will very humbly give the credit to, I’m a Christian. I just really thank the Lord for those kinds of blessings in my life. But ultimately, it’s just about playing the banjo, and I am so blessed that Wayne is my husband, and we’re professional musicians. We have steady work. There’s always a steady stream of what’s next.”   That partnership has extended far beyond marriage — it’s a musical collaboration of equals. Kristin and Wayne’s acclaimed duo album Pick Your Poison  showcased their intricate interplay and shared musical intuition. Their chemistry on that record, as well as on stage, reflects both their technical precision and their deep personal connection.   “I taught lessons today,” Benson revealed. “As soon as you and I hang up I’m proofreading tabs for a book that I co-wrote with Bill Evans called 25 Great Bluegrass Banjo Solos . It’s amazing, and I think that each player gets 25 players, 25 solos, and they get about 2,500 words a piece. So this was a big endeavor that’s finally about to come out.”   Even when she’s home, she’s creating, writing and editing, but gratitude keeps her from feeling jaded, as does the look in a student’s eye when they really just want to play. She knows that look better than anyone, but more as a player than a teacher.   “Honestly, I can say this, and I’ve said it before, that I’ve never picked up the banjo and not wanted to play it. I’ve certainly not wanted to get in the car and drive all night to meet the band at four in the morning. I’ve certainly wanted to be home more or wanted to be gone more, in some stages of life. All of those things ebb and flow, but I’ve never in my life picked up the banjo and not wanted to play it.”   Her voice softens when she talks about her older students — people learning music for the joy of it, not the spotlight. For Kristin, that’s where the meaning lives: not trophies or accolades, but in the connection between players, and between player and instrument.   “The kids are special to me even at the camps I teach. I think after you become a mom, that’s just how the world works for you. You see kids with a totally different lens. But I just think they’re so precious, and when you get a kid who’s interested in banjo, there’s automatically a kinship there because it’s not a popular thing to be interested in. Also, I have a heart for the very young and the very old. I’ve had students who started playing banjo in their sixties and seventies. And I love that too, because first of all, neurologically, it’s incredibly healthy. It’s like learning a language. So rather than deciding that you’re gonna start learning German to stay sharp or doing the New York Times crossword puzzle, you can play an instrument.”   As for her legacy in this bluegrass world, Benson is, as expected, much more modest than a player as talented as she should be.   “I know where I stand musically, and I’m not the kind of generational player that’s gonna stamp the instrument indelibly, like Bela Fleck or Earl Scruggs,” she said. “I think the most important legacy I guess you would say that I might have is how I’ve been able to pour that into students, because if they can play the banjo and enjoy it, and I have a part in it that’s pretty special: just affecting people’s lives by enabling them to play this instrument that I love so much.”

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

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

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

If you've attended the IBMA awards over the past several years, you've heard Katy Daley's voice. She announces the nominees for the annual awards show. But last year, she stepped from behind the microphone to the spotlight when she was inducted into the IBMA Bluegrass Music Hall of Fame. When she started working on the radio, Katy had never dreamed of such accolades. The Washington, DC native went to college in Brevard, North Carolina. "Everyone there was born with an instrument in their hand, and they were all dancers and cloggers. On the weekends, students without dates spent time in the dorm lobby for hootenannies. They didn't call them that, but it's essentially what they were." She returned to Washington to earn a BA in communications. Katy says she had never heard of the term "bluegrass" before returning to Washington. Looking back, she says her natural progression towards bluegrass began when her dad sang songs to Katy and her brother before bed. "He sang gruesome songs like 'Wreck of the Old '97' and 'The Prisoner Song,' yet we never had bad dreams. By the way, 'The Prisoner Song' was the first million-selling country music song." When her father was stationed in Okinawa while in the military, Katy listened to "The Rice Patty Roundup" on Armed Forces Radio. "A song came on one day – 'Pike County Breakdown.' It was like a bolt of lightning," says Katy. "I had never heard anything like it." After college, Katy listened to Gary Henderson's Saturday morning bluegrass show on WAMU. Washington had a thriving bluegrass scene, and Katy volunteered to compile and announce the area's concerts, club dates, and festivals on Gary's show. That volunteer gig launched her career in broadcasting. Each thing Katy did led her to the next thing, and over the years, her storied broadcasting career has taken her to extraordinary heights. She took over the 10 p.m. to midnight spot at WAMU and then alternated the afternoon drive-time show with Jerry Gray. In addition to getting to know the community of bluegrass musicians and fans through her work at the radio station and volunteering at events, she began a lifelong practice of teaching others. She encouraged fans to share their personal record collections and taught those interested how to run a control board and host a show on-air. "I have taught a lot of people how to do radio over the years." Katy left public broadcasting in 1979, moving to WMZQ-AM/FM, Washington's commercial country station. In her nearly two decades there, she worked as an overnight DJ, program director of the AM station, public affairs director, and member of the on-air morning team. In 1991, she produced a documentary on Arlington National Cemetery that received an honorable mention at the International Radio Festival in New York. In 1994, she won the Achievement in Radio (AIR) award for best mid-length interview of the year. In 2006, Katy returned to WAMU's 24-hour streaming station, bluegrasscountry.org . The following year, she took over the weekday morning show and remained there for a decade. She followed that with a writing gig for Bluegrass Today  and launched the Bluegrass Stories  podcast with Howard Parker. A Lifetime Member of the IBMA, Katy is a 2008 Leadership Bluegrass class graduate. She was named the IBMA Broadcast Personality of the Year in 2009 and 2011. In 2019, she picked up the IBMA Distinguished Achievement Award. She was also awarded the 2019 and 2020 IBMA Liner Notes of the Year honor for her contribution to Epilogue: A Tribute to John Duffy  for Smithsonian Folkways, and as the sole writer for Rebel Records' re-release of Seldom Scene Recorded Live at the Cellar Door . She recently joined the Board of the IBMA's Bluegrass Foundation. With a mission to build a brighter future for bluegrass music, the Foundation "helps create a bluegrass legacy by supporting programs and projects that focus on bluegrass music-related arts and culture, education, literary work, and historic preservation," according to their website. It's an organization Katy is passionate about. "We award numerous scholarships and grants. I can see that it genuinely makes a difference. I encourage everyone to visit bluegrassfoundation.org to learn more about the organization. While she may be retired from radio, Katy is as busy as ever. She has learned to play the banjo and is now taking guitar lessons. In addition to her work on the Bluegrass Foundation Board, she started the Katy Daley Broadcast Media/Sound Engineering Scholarship with her husband, Bill Brown. "When our son finished his academic career, we found ourselves with a little extra money, so we started the scholarship. We want to help those interested in learning more about broadcasting or sound engineering. There are plenty of schools for musicians, but the sound engineers are a real partner with the musicians. And the broadcasters play their music for the world to hear. For bluegrass to be successful, it takes three things: music, business, and community. You can't have one without the others."