Free ballroom programming in Chattanooga features live showcases, songwriter sessions, industry panels and a one-of-a-kind fashion show, October 20–24 CHATTANOOGA, Tenn. — Get It Played is teaming up with Turnberry Records, Huckleberry Records, Tall Oaks Music, ShugaShack Designs and The Bluegrass Standard to present five days of live music and special programming during IBMA World of Bluegrass 2026, October 20–24, at the Marriott Plaza Ballroom A and B in Chattanooga. With a lineup spanning established bluegrass favorites, emerging artists, songwriter development, music-industry education and creative design, the programming offers fans and industry professionals multiple ways to connect with the people, ideas and music shaping the genre. All ballroom events are free, and no conference badge is required. The week opens Tuesday, October 20, with the Get It Played Showcase featuring Crying Uncle, Kenny and Amanda Smith, The Sullivan Sisters, Nick Chandler & Delivered, Under the Rocks and Pitney Meyer. Wednesday, October 21, brings the Turnberry Records/Huckleberry Records Official Artist Showcase, featuring Tennessee Bluegrass Band, Shelton & Williams, Donna Ulisse, The Po’ Ramblin’ Boys, Greg Blake, The Larry Stephenson Band, Frank Solivan & Dirty Kitchen, and Danny Paisley & The Southern Grass. That evening, the Get It Played Showcase continues with Vicki Vaughn, Kristi Cox, Olivia Jo, Becky Buller, Sister Sadie and Danica Hart. Thursday, October 22, puts industry knowledge in the spotlight with panels on “Strategies for Airplay and Streaming Success” and “Creating Success with Radio and Media,” followed by the IBMA Bluegrass Music Awards Show. Friday, October 23, offers a full afternoon of conversation and creativity, beginning with a panel on musician wellness, followed by a band fundamentals Q&A, “Creation, Credits & Cashflow: AI in Music,” and the Tall Oaks Music Songwriters Round. At 4:30 p.m., ShugaShack Designs takes the stage for a fashion show celebrating bold design and individual expression. The evening’s Get It Played Showcase features Southern Legacy, The Litch Brothers, Rock Hearts, Water Tower, Farayi and Special Consensus. The programming wraps up Saturday, October 24, with an all-day Turnberry Records Showcase featuring Kevin Denney, Carolina Detour, Dave Adkins & Mountain Soul, Amanda Cook Band, Darren Nicholson Band, The Unfaithful Servants, Tennessee Bluegrass Band, Hammaville, Brad Kaylor & Mineral Bluff Revue, Tyler Griffith, Adam & Amy Pope, Jeff Daugherty, Jaelee Roberts, Alex Leach & Friends, The Asheville Mountain Boys, The David Mayfield Parade, Kings Spring Road, and Radim Zenkl & Ondra Kozák, along with additional artists to be announced. The participating organizations bring complementary perspectives to the week. Get It Played connects artists and their music with DJs and industry professionals; Turnberry Records supports bluegrass and roots artists; Huckleberry Records contributes to the independent bluegrass music community; Tall Oaks Music champions songwriters and song publishing; ShugaShack Designs brings creative design and fashion to the program; and The Bluegrass Standard shares stories, news and perspectives from across the bluegrass world. Together, the partners aim to create a welcoming gathering place where fans can discover artists, musicians can build connections, and the bluegrass community can exchange ideas alongside the music. All events take place at the Marriott Plaza Ballroom A and B in Chattanooga, Tennessee. No conference badge is required for ballroom events. Showcase lineups and times are subject to change.

There’s a special relationship between people who grew up together. They went through rites of passage at the same time, and they have the same frame of reference from a similar upbringing. In the Appalachian Mountains of East Tennessee, Damon Seal, Daniel Oxendine, and Randall Woods grew up together did just that. “We all grew up together, and we played music together,” says Damon, “but as time went on, we all joined different bands.” In 2002, Damon and Daniel got together to jam with Randall Woods. They reconnected instantly and knew there was something special with the harmony vocals they had. Their musical journeys are similar as they all played in church. Damon joined a bluegrass Gospel band named MasterPeace. He toured the Southeast for 23 years as the band’s lead vocalist, guitar player, and banjo player before co-founding Free Rein in 2024. Damon now serves as the lead guitar player and does most of the lead vocal work and harmony vocals as well. Daniel was a founding member of a local Gospel group named Spiritual Strings (later renamed Shadow Ridge), formed in 1998. He stayed in the band through 2009, then went on the road with Jerry Butler and the Blu J’s for a year and a half before playing upright bass for Crosspoint, (Rural Rhythm Records). In 2021, he went back to Shadow Ridge and remained there until co-founding Free Rein with Damon in 2024. Daniel is the banjo player and contributes baritone and lead vocals to the band. Randall played with his family band, The Woods Family, as a child. He later joined a well-known local band, Union Grass, where local legend Wade Hill played banjo. Randall is the bass man of the group and can sing any part you throw his way. David Combs rounds out the band on mandolin. His introduction to bluegrass came while listening to records with a friend. It was a 45 of Tony Rice playing “Me and My Guitar” that hooked David. His love of mandolin came during Sunday rides to church with his mom, listening to Paul Williams and the Victory Trio. As he got older, David played with local bluegrass bands until he had an opportunity to fill in on mandolin when Paul Williams fell and broke his wrist at the Bean Blossom Festival. He filled that spot for a couple of months while Williams healed, and now says that was the most influential time of his musical career. “My playing style changed, and I learned that melody is key,” David said. Cleve May, no longer with the band, played with Free Rein for a year and a half and provided tenor vocals and dobro. “Cleve was on every track of our first album,” says David. Free Rein is a high-energy band with dynamic musical arrangements. “We are all involved in the arrangements,” says Damon. “We collaborate a lot, playing off each other’s ideas.” The band prides itself with its tight harmonies. With a strong foundation of growing up in church, Damon says he and Daniel’s first love is Gospel music. “There is a heavy focus on bluegrass Gospel in the band,” he says. “A song on our first album, Jesus Can Do Anything, was written by the well-known banjo player and friend Stuart Wyrick. But the band also covers classic bluegrass and country. The band members are influenced by a wide range of artists, from George Jones, Waylon Jennings, Tony Rice, J.D. Crowe, Larry Sparks, Earl Scruggs, and even Eric Clapton. “We actually did a cover of Clapton’s ‘Wonderful Tonight for fun.’ Stuart Wyrick wrote ‘Jesus Can Do Anything,’ and we asked if we could re-cut and put our spin on it. He agreed, and we did.” In the end, Damon says the band members are all old school traditionalists. Their newest single, “One Sunday Morning,” was released last April. Daniel wrote the song when he was 19 years old about his salvation experience. The single was recorded at NoraBelle Studios in Sevierville, Tennessee and was produced and engineered by Darrell Webb. “Darrell has been a true mentor to us and we can’t say thank you enough for believing in us,” Damon says. Each member of the band has a job in keeping things running smoothly. They also have day jobs outside of their music life. They have been playing local shows and a few festivals in Virginia, West Virginia, and Kentucky. “Our goal is to play twenty to thirty shows a year at great festivals and venues,” says Damon. “We love traveling together, and we are like brothers. We may bicker, but we always get along.” Katie Penn (The Katie Penn Agency) is the band’s booking agent. “And we have to give a shoutout to Vivian Pennington Hopkins with the IBMA. She took a liking to us, and she’s been so helpful.” Free Rein Bluegrass Band will play in an IBMA showcase on October 21in Chattanooga. “We look forward to seeing everyone there. https://freereinbluegrassband.com/

If ever there was a proud Southwest Virginia musician, Colby T. Helms is that young man. The versatile songsmith and leader of The Virginia Creepers says he wants to represent his region. Franklin County has a history of doing things in a big way, whether it’s moonshining or a deep connection to NASCAR racing. “Despite a colorful history, it’s often overlooked,” says Helms. “I feel like our side of Appalachia doesn't get represented as much.” Helms, 24, compares himself to Tyler Childers. “He represents East Kentucky really well, and I thought, why is nobody representing Southwest Virginia? I wa nted to be representative of my region through my music. That's been my major goal.” An important part of capturing Southwest Virginia is Storytelling. “My dad was a big storyteller, and I feel like in this part of the world where I'm from, storytelling is a big part of the culture. All the old-timers tell stories, and that was deeply rooted in my music from the beginning.” Oh yes, and great musicians too! “Franklin County is steeped in bluegrass. There's a band that's getting in the Bluegrass Hall of Fame called the Lost and Found. They're from Franklin County, and they were a huge influence on me... I just think that we have some of the best musicians in the world here.” On how he borrowed the name The Virginia Creepers “Virginia Creeper is a vine, and it grows all over Franklin County,” explains Helms, who knows the area well. It was an old-time band name back in the day, but that band doesn't exist anymore. So I'm keeping it alive.” Helms formed his version of The Virginia Creepers while still in high school. The band features fiddle player Billy Hurt, mandolinist Chandler Beavers, and banjo and backing vocalist Stewart Werner. “Well, they’re the best. I mean, I always brag on my boys. The Virginia Creepers are as authentic of a Virginia sound as you can get.” Taking his band into the studio, he released 2024’s Tales of Misfortune. “I wrote all those songs when I was in high school,” Helms recalls. “My first album was very selfish, which it should have been. It was just trying to introduce the world to me.” His latest album One for the Losers changes this perspective. “This is a record for people who don’t feel like they have a voice.” Helms took the focus off himself. “Each song tells a story about a different person in my life. Or maybe how they've influenced me. And so you'll find some of these different characters throughout the songs.” Recorded in Nashville with David “Ferg” Ferguson, it mixes electric full-band performances with stripped-down recordings. “It wasn't intentional at first to do a Nashville record,” says Helms, describing it as a good experience. “It definitely has expanded my fan base, I would say, and my sound.” “I never thought that [Ferguson] would be producing an album for me, and I've been a fan of his for many years,” Helms says about the Grammy Award-winning recording engineer, producer, and studio owner. The Virginia Creepers was supposed to be on it — but were not. “I think the biggest mistake the record label made is not promoting my band and the live performances that I do,” says Helms, referring to the decision to use Nashville session players. Overall, he is happy with the result. “I just got the test pressing for the vinyl. I'm really happy with the album, even though it's not what I wanted to begin with. I'm just riding it out. And I'm excited to put what I do have… out into the world. I think it's really good stuff.” The Virginia Creepers will be on future albums. “I don't know if I'll be in a record deal after this record... But either way, I'm going to make sure that the record after this one is with my band.” “I want the Blue Ridge Mountain sound in my music, and so my next record after this is going to be way more bluegrass,” says Helms. “I want people to think, when they think of the Blue Ridge Mountains of Virginia—they think Colby T. Helms.” https://www.colbyhelms.com/

Well, I bet that title has you wondering, too! It sounds like a song title to me, and one I will most likely whittle on at some point because it’s a real place. I know this because lots of my songs come from there, right out of nowhere. The inspirations, the lines I use, the melodies I use come from that platform…from the place I picture looking like a pearly blank slate filling up and orchestrated by orbs floating around and glitter falling and stars shining and a golden light breaking through my thoughts and showering everything with warmth…my idea of nowhere! I quit questioning how I do what I do with a tune and some words years ago because I don’t have the foggiest idea how I became a songwriter or where any of my thoughts for creating a song come from. By accepting the gift from my Higher Power, the Creator, and Master Planner Himself, I just write in honor of the gift and consider it a calling to share what I do through recordings I have made and to try and share my process of composing with other songwriters through teaching what I know. What a lovely journey I have been on, each step a glorious thank you for getting to make my living doing what I love so much. Recently, we had a workshop here on our beloved Wee Farm. We call them the Little House Songwriting Workshops where my farm darling and longtime husband Rick Stanley (also dubbed Farmer Rick) and our partner in song, Jerry Salley (known in my musings as “Lil Chief”) and me, The Goat Girl Gone Cat Crazy (its a long story and worthy of a whole article about how I came to the Cat Crazy lady) teach hungry, on-fire songwriters our secrets of songwriting. I was sincerely blessed to have two fellas in my class who had that real sense for writing, and we had THE BEST time whipping up a song. The lines almost invented themselves as we held on and paid attention to the words each of us were throwing down. Those kinds of co-writing sessions are unique, and the results always make me smile for the next few weeks because I don’t know how that really happens. Of course, developing a discipline in writing songs is a must! For 25 years I faithfully used my morning coffee time to write in journals; stream of consciousness writing where I would dump my thoughts onto a page and go back after I had finished writing them and highlight or circle the lines that stood out to me. I have so many notebooks filled with these ramblings, but what I was actually doing was reaching into “nowhere” and coming up with stories and phrases and melodies to use later when I had a writing appointment. Weird thoughts would just fly to the tip of my pencil and scribble all over the pages. No, I wasn’t taken over by some out-of-body thing; I was just developing the ability to stay out of the way of my own thoughts and let them be and voila…they fell out in a wonderful, new way of saying things…right out of…lol…you know… Somedays I just grab my guitar when the house is quiet and start singing a line. I honestly have no clue where the line comes from, but I just go with it and find a melody that fits over whatever phrase I’m using. In my songwriting classes I use the expression “letting the heartbeat of the song rise up.” Meaning, in those instances, I don’t have a clear direction of what the song will be about. I just keep singing random lines until a true path shows up, and I recognize what I’m writing about. It sounds crazy, right? But it works for me, and I don’t know how. Those are the things I can’t teach to someone else because I’m not sure how it works. Do any of you have a bucket list of questions to ask God when you get to the other side? I do…lol…like, why do we need horseflies? Those poor cows are eat up with ‘em. Here’s another one: how did you decide how to put my family together? I love that one because my family is so very close and so very odd in the most wonderful way! Well, you absolutely know I’m going to be askin’ about the songwriting thing and how I was selected to have that gift…I want to personally thank the Almighty for the golden ticket of being a songwriter and…I want to see where nowhere starts and how it holds so many great ideas! Until next time… Donna Ulisse donnaulisse.com

The West Liberty Mountain Boys got their start with a group of friends who had an interest in music. “We went to the same high school; we all played music, but we didn’t know each other well.” Music has a way of bringing people together, and that’s what happened with Johnathan Keeton, Byron Holbrook, and Matt Bailey. “We named the band for the place we lived – West Liberty in Morgan County, Kentucky.” The band’s first show was in 2015. “We played locally, around West Liberty and surrounding areas,” says Johnathan. “We played at a popular bluegrass festival here for several years, but it no longer exists.” They kept it going through college, then the COVID pandemic hit. “We actually played two shows in 2020 – one in Ohio and another at the Poppy Mountain Music Festival in Morehead, Kentucky.” As often happens in bands, members came and went, but West Liberty Mountain Boys has had the same lineup since 2022. Johnathan Keeton on banjo, Byron Holbrook on mandolin, Matt Bailey on guitar, and Ryan Gillum on bass. When she is available, Byron’s wife, Maddie Murray Holbrook, joins in on fiddle and vocals. We all enjoy playing together, and we hang out together as well,” says Johnathan. “Everyone has something different to bring to the mix. Bryon is big into the Stanley Brothers, and Ryan played on the Grand Ole Opry with Rhonda Vincent. It was on his birthday, and everyone sang to him while he was on stage. We were all there to cheer him on.” While the band plays some covers, they are mostly lesser-known songs. “We like to dig and pull songs that aren’t as well known,” Johnathan says. They also write many of their songs. Their 2024 album release, Finding New Ground, features 12 songs, eight of which are originals, including the title track. That wasn’t the only album they’ve recorded. “Byron, Matt, and I recorded two homemade albums in Matt’s mother’s basement when we were kids. We bought some equipment and figured out how to do it.” Today, the band works hard at their craft. “We love traveling to play music,” says Johnathan. “If I can book a show that’s worthwhile, we’ll be there.” They play a lot of music festivals, as well as churches and hometown festivals. “We’ve been really busy this year. We’ve played almost every weekend.” Johnathan admits that it can be a challenge, since all the band members work full-time jobs during the week. “It doesn’t leave much time to handle things around the house.” That’s a trade-off they are willing to make to play the music they love. Johnathan says he is inspired by country music, rock, and blues. “I take something from everything I listen to. My mom loved all music, although she wasn’t a big fan of bluegrass when I was growing up. But my dad took me to bluegrass festivals around the state.” Johnathan says he is also influenced by his fellow bandmates. “Each one has a distinctive style, and it’s fun to learn from each other.” On stage, the band is high energy with strong harmonies. There is no standout musician in this band – each member plays with the confidence and talent of a seasoned musician, and they complement each other. The band has plans to go into the studio this winter. “We are really excited about that. We are working on material now and look forward to making more music together.” Follow the West Liberty Mountain Boys on their Facebook page.

For more than three decades, CMH Records’ Pickin’ On series has taken songs that seem to belong somewhere else and asked what remains when familiar production is removed. Pickin’ On Post Malone, released July 31, may be one of the series’ more revealing tests, moving through a catalog shaped by trap, pop, hip-hop and country to find out what survives when banjo, mandolin, fiddle, dobro and guitar take over. The album brought together Water Tower, Big Richard, JD Casper, The Barefoot Movement, Holler Choir and longtime contributors Iron Horse, with guest appearances from rapper MyVerse and Sean Jacobs. The twelve-song collection reaches from “White Iverson” and “rockstar” through “Sunflower” and “Circles” to newer material such as “I Had Some Help.” The question was what might happen to the material that seemed furthest removed from bluegrass. Jeremy Stephenson said Post Malone became interesting partly because his move toward country had already opened the door between genres. “We were, ‘Well, I wonder what the rest of his catalog would sound like if it was country or bluegrass,’” he noted. Jeremy Harbin saw the challenge in the earlier records, where the connection to bluegrass was less obvious. “The more country stuff’s gonna lend itself pretty easily to bluegrass,” Harbin said, “but then it’s kind of like the fun element of the earlier material that’s some brand of trap music. What’s that gonna sound like bluegrass?” Answering that question required more than replacing electronic production with acoustic instrumentation. Stephenson and Harbin wanted the arrangements to sound like the musicians making them, so the artists were given latitude in choosing songs and deciding how far to take them. With the exception of Iron Horse, every group was new to the series. Harbin described that change as a way of refreshing both the album and the larger series. “We wanted to inject some new energy into the series. It was just time to get some new talent and some fresh energy.” Los Angeles-based Water Tower fit that approach well. The band already moves between bluegrass, old-time music and punk, while singer Kenny Feinstein knew Post Malone’s music firsthand. Water Tower’s version of “Sunflower” became the first single. Feinstein said “Sunflower” suited the way Water Tower divides its vocals between two lead singers, allowing the group to reinterpret the exchange between Swae Lee and Post Malone naturally. “That was a perfect way to showcase our two-lead singing thing, ’cause Swae Lee does the first verse and then Post Malone does the second verse, and then they kind of interact back and forth.” The approach became less predictable on “rockstar,” where Water Tower brought MyVerse into the arrangement rather than removing rap from the equation. The choice clarified an important point: the goal was not to sanitize Post Malone into something traditional, but to discover how much of his musical character could remain while the surroundings changed. Stephenson admitted that the rapper’s appearance initially gave him pause, even though he trusted Water Tower’s instincts. “I trusted Kenny,” Stephenson said, “but there was definitely the question of ‘Do you put a rapper on?’ I could go either way. But it flowed well and just felt like it was a part of the original song.” Other performers pushed the songs in different directions. Stephenson and Harbin pointed to The Barefoot Movement’s “Wrapped Around Your Finger” and Big Richard’s harmonies as arrangements that surprised them, particularly because some participants had not been devoted Post Malone listeners. That distance may have helped them hear the compositions rather than recordings that had to be reproduced. JD Casper came to the assignment from another direction. Raised around traditional picking and mountain music in Pennsylvania before moving to Austin, he had already reimagined emo and pop-punk through bluegrass with his EMOGRASS project. Casper said the Post Malone songs proved surprisingly willing to move into an acoustic setting. “Sometimes you expect a pop song to fight against a traditional arrangement, but these really didn’t. Once we stripped everything back to the core melody and lyrics, the bluegrass versions came together pretty quickly.” For Casper, preserving the original emotional center rather than proving they could be played on traditional instruments was the real challenge. Acoustic renditions can make almost anything sound like bluegrass, but authentic results only produce a new arrangement that still carries the song’s character, so it was a matter of authenticity rather than adhering to the genre’s sound. “The challenge wasn’t making them sound bluegrass,” he said, “it was making them sound authentic and making sure they still carried the emotion that made the originals so good in the first place.” “Those songs naturally translated to acoustic instruments,” he continued. “A strong melody and good songwriting will always shine through, whether it's played with electric guitars or a banjo and mandolin. I was looking for songs that had room to breathe in a bluegrass setting and could tell a story in a different way. Once we started arranging them, they almost felt like they'd always belonged in that style.” Removing the surface of the original productions exposed melody, chord movement and emotion without the sonic elements most listeners associate with Post Malone. Bluegrass became less a destination than a way of examining what had been there all along, and Stephenson wanted to hear that. He described the process as a stripping-down that revealed the compositions underneath. “It just strips away all the polish and brings out the essence of the song,” he noted. “You just see the song underneath it all.” Feinstein heard that transformation most clearly in Water Tower’s “White Iverson,” whose original depends heavily on airy vocals, the weight of the beat and 808s. Rebuilt with acoustic instrumentation and dobro, the song moved far enough from its original setting to reveal another identity without losing the essence. Feinstein said the bluegrass version took the song somewhere he had not expected. “It just lifted off into a whole different place, and when you hear it, it doesn’t totally sound like a Post Malone song even. It is, but it just really works great in the bluegrass kind of style and totally transformed.” Water Tower had already begun incorporating “White Iverson” into its live performances, turning music associated with an earlier part of Feinstein and his bandmates’ lives into part of their own repertoire. The project had moved beyond reinterpretation and into the band’s continuing musical identity. Feinstein said performing the material altered the meaning of songs that had been familiar long before the project arrived. “Getting to sing these lyrics and experience them in our genre, it totally changes the experience and the feel of the lyrics and just how much it means to us.” Pickin’ On Post Malone works because it does not ask its musicians to arrive at the same answer. Water Tower found places where Post Malone’s music could coexist with punk-bluegrass instincts; Casper looked for melody and emotion strong enough to survive a stripped-down arrangement, and the other bands approached the catalog from their own experiences. What connects them is a willingness to listen beyond the production and find the meaning for themselves. After more than thirty years, the Pickin’ On method is familiar, but Pickin’ on Post Malone proved that the territory it can explore is still difficult to predict. The project remains firmly about his melodies, lyrics and catalog, yet it also demonstrates how much identity a strong song can retain after nearly everything surrounding it has changed. Bluegrass did not need to prove that Post Malone secretly belonged to it; it simply gave the songs another home for delivering those emotions, ideas, and a poet’s unique voice. https://www.cmhrecords.com/products/sunflower-performed-by-water-tower-from-pickin-on-post-malone

It’s common for actor, funnyman and banjo player Steve Martin to take to the stage or studio with the guys of the Steep Canyon Rangers. Not-at-all unexpectedly, the newest record by this Grammy-winning roots outfit continues this longstanding collaborative tradition. The album also features contributions from singer-songwriter Edie Brickell and from Della Mae lead vocalist, Celia Woodsmith. The 14-track release – titled Next Act – features a butterfly on its cover. According to banjo player and a primary songwriter for the group, Graham Sharp, the imagery feels about right for a record that might be seen as a type of rebirth. In this case, the rebirth is paradoxically a look back to the past; it’s a new revisiting of the more traditional bluegrass sounds of Steep Canyon Rangers. “It’s definitely kind of a return to the roots of the band, which is in that bluegrass vein,” Sharp said. “As we were putting these songs together for the record over a couple of years, the early entries were leaning more into the bluegrass string band direction.” They decided to go with the flow and follow this organic move away from the broader Americana sounds they’d been focused on for recent records. This rebirth brought them back to tradition. Sharp called it the band’s “most bluegrass record in 10 years.” The inspirations behind the music are found in everything, from the writing of novelist Barbara Kingsolver to memories of swimming in a flooded quarry in their Appalachian home of western North Carolina. There’s music inspired by stories from grandparents. There’s music guided by love, conjured from feelings wrought by a Valentine’s Day card. Primarily written by Sharp and guitarist and lead vocalist Aaron Burdett, the music is evocative and thematically varied. It relies upon concrete images – as does all good storytelling – but it also leaves space for the listener to interpret the story in their own way. “I think a lot of it is trusting the listener,” Sharp explained, of his songwriting. “If they are paying attention, they can generate their own meaning…I want to leave space for the listener, but I also follow my own emotions.” Sharp sees the guest performer contributions as vitally important to the record. He said they first began making music with Martin 17 years ago. “It’s hard to believe it’s been that long,” he said, of this longstanding relationship. He said it is “amazing how much he is still creating,” and that “every single day he is continuing to create new stuff.” Martin – along with fellow comedian Martin Short – joined Steep Canyon Rangers on some dates of the spring tour in support of Next Act. Brickell – who first gained the limelight in the late 1980s with her band, Edie Brickell and New Bohemians – has been recording and touring with Martin for over a decade. She has also been a big part of the story of the Steep Canyon Rangers. “She is such a true artist, and such a sweet person,” Sharp said. “She sees people with empathy, and that really comes through in her writing.” It seems the contributor Sharp is actually most excited about – based on his tone of voice, at least – is Woodsmith. She is featured on “Hard Times,” a duet with Burdett. “We’ve been friends and fans of Della Mae for a long time,” Sharp explained. “It felt like Celia’s voice was really well-suited to Aaron’s voice…she sings with a lot of roots soul.” Overall, it’s this collective effort – these forays into different ways of being creative, and different configurations of performers – that makes this record fun for Sharp after all these years. “I really like the fact that we have different people playing lots of different instruments…different people playing guitars, banjos, dobros.” He said it “makes things really dynamic” and “lets everybody have some real ownership and a voice in it.” “We have so much talent among the different members,” he added. Sharp was asked about the future: Are there any “bucket list” goals still left undone? Any more goals outstanding, for a group that has truly done it all at this point? He sounded quite content and grateful for what Steep Canyon Rangers has given him. If there were one wish, he said, it would be a hope to give the newer bandmates the chance to experience all those milestones as well. “I love where we are right now, and I feel so fortunate to get to do it,” he said. The band has got Grammy cred, but a few of the new “Rangers” joined up after that big accolade happened back in 2013. Sharp hopes they might be able to do it again. “Maybe we’ll also get them a Grammy as well one of these days,” he laughed. https://www.steepcanyon.com/

In a culture where most music is focused on examining the hardships and challenges of life, it’s refreshing to come across messaging that truly lifts spirits. In bluegrass, country, folk and other roots genres – where “hard times” and grief are essentially coded into the DNA of the music – unbridled feel-good vibes are more rare. For Maitland, Florida-based indie folk group The 502s, however, a mood boost would be a certain, expected outcome. For this group, Banjo and guitar are used not to relay stories of misfortune, but to share a true sense of unbridled joy. “It was totally a result of the personalities and philosophies of the band,” explained Ed Isola, banjo player and lead vocalist for The 502s. “Early on we knew that we wanted to make music that was upbeat and fun to play at concerts, but hadn’t homed in on what we wanted to write about lyrically.” He said as the band evolved over time, however, his natural point of view (“I tend to be an optimist!”) began to infuse the band’s music. In fact, on their website, the band self-describes in a creative way that invokes a promise of pure joy: “With breezy banjos, shout-along choruses, and an energy that bursts like a cannonball into a swimming pool, their music feels like sunshine you can dance to.” Add to that cheery, pastel-colored visuals and attitudes that can best be described as Florida-centric, and the result is something that’s unique and memorable in the world of folk/roots. “A lot of times people think beach and think tropical, but growing up in Florida, the ‘beach vibe’ to me is all about driving around in the summer, windows down, blasting music with friends and family,” Isola said. “So a lot of what I write is inspired by that feeling and experience, which I’ve had as long as I can remember…and even [have] today!” The 502s have been dishing out feel-good since the group was founded, when Isola was still a college student. “The band essentially started in my college dorm room,” he said. “I started playing banjo and writing music while at school and would come home in the summer and play at open mic nights with a few of my cousins. From there the band naturally evolved, and most of the current members are from Orlando.” The current lineup includes Isola (banjo and vocals); Joe Capati (horns); Sean Froehlich (drums); Nick Melashenko (bass) and Graci Phillips (guitar). While they are currently writing new music, they’ve also toured heavily throughout August, with some European shows in September in Ireland, Germany, and The Netherlands. More fall and winter dates are expected to be added over time, and those interested in catching a performance should check out the website at The502s.com. According to Isola, a big intangible reward of being onstage comes from knowing The 502s are improving the mood of just about everyone who attends one of their gigs. “It feels great to know what we are doing positively impacts people,” he said. “It gives a purpose to our music and professional lives, and a lot of excitement to continue doing this and continue helping people through our music.” “The world can be a very easy place to feel isolated and alone in,” he added, “and having a way to connect to each other is so, so important!” https://www.the502s.com/

Continuing a family tradition dating back to the 1930s, The Hawkins Kids band is inspired by family, faith, and the love of music. The Hawkins family lives on their farm in Woodstock, Virginia, where the three Hawkins children are homeschooled. Siblings Olivia (16), Tanner (12), and George (14) have musical gifts that are gaining notice around the region and beyond. “They are humble about their talents,” says Wade Hawkins, the father of the talented trio. “People will thank us after a show, and we have to explain that we didn’t do anything. It’s all the Lord’s work.” Wade says he and his wife, Jessi, don’t have musical talent, but they both enjoy listening to music. “I grew up listening to 90s country. But the musical talent skipped a few generations,” he says. “My great-grandfather and his brothers were in a band called The Hawkins Band. They played bluegrass, Gospel, and country at dances up and down the valley.” Jessi bought a guitar and instruction books a few years ago with the idea of teaching herself to play. Instead, daughter Olivia, who was 10 at the time, asked if she could try, and she took to the guitar like a duck to water. Younger brother Tanner received a small guitar for Christmas when he was eight years old and immediately started playing it. He soon outgrew the small guitar and began playing a full-size model. Wade and Jessi signed him up for lessons. Olivia began taking lessons after Tanner. Larry Rinard, the pastor of the church the Hawkins attend, and his wife, Kathy, have had a big influence on the kids. Larry is a musician and songwriter, and Kathy has taught music lessons to students in the area for decades. George discovered his interest in music while attending a jam session with Tanner and Larry. George tried the bass guitar and liked it. And like his siblings, it just clicked for George. The three siblings began playing together. “We like playing together,” says Tanner. “Our music teacher helped us perform at churches and carnivals, and George started joining us, and we had a band.” Learning to play on stage in front of an audience came fairly naturally to the Hawkins kids. Wade explains that the kids all participate in 4H and one of the club requirements is to give a speech in front of the other members. “It helps them with public speaking. There is also a ‘share-the-fun’ session, which is like a talent show. That’s where Tanner first played in front of a crowd.” Tanner says it was nerve-wracking. “But playing in front of my friends gave me a little bit of confidence, and every time I play, I get a little more confidence.” That confidence took them into a recording studio where they cut their first album, Life on the Farm, released in 2025. The album features a few songs written by Larry, as well as a couple of songs co-written by Tanner and Olivia, along with Larry, called “Do Right” and “Flood of ’24.” Tanner sings lead on most of the songs, with Olivia singing lead on one of the songs. Tanner and Olivia are headed towards being multi-instrumentalists. “I’m learning piano and still learning guitar,” Olivia says. Tanner plays guitar, a 12-string guitar, bass, dobro, drums, harmonica, and he’s working on playing the banjo. George says he’s content playing bass. All three have an amazing gift of “hearing” music. “I think it’s because of our genetics,” says Olivia. “Once you get the pattern down and figure out the key, you can learn to play anything.” The trio is inspired by the Rinards, as well as Clint Black, Dolly Parton, Tim McGraw, and Reba McIntyre. Like their dad, they enjoy older country music rather than today's music. Between homeschooling, working on the farm, and their activities in 4H, the Hawkins kids stay busy. But they always find time for practicing together. They are hoping to play festivals and larger venues, but for now they are happy playing for a hometown crowd at churches and at Backyard Music, an outdoor music venue Larry Rinard built on his property. The Hawkins Kids recently returned from Nashville where they recorded three songs produced by Dean Miller, son of famous singer Roger Miller. “We recorded at the Sound Emporium, and the songs are being mixed for radio play,” says Wade. “We are new to the music industry, and we want to do all the right things.” Tanner has a goal of his own. “I want to play at the Ryman and the Grand Ole Opry.” With his talent and determination, playing at these venerable venues may happen sooner than he thinks. Follow The Hawkins Kids on Facebook.

With five Grammy Award wins, eight gold albums, hundreds of television appearances, and a Lifetime Achievement Award, Noel Paul Stookey is still as creative as ever. Designing a new instrument might not have been his lifelong ambition, but design one, he did. The still-vibrant Stookey, 88, can add inventor to his list. “I realized that what I had created was kind of a United Nations of instruments of sorts,” Stookey says. Stookey is not the first person who comes to mind when you think of bluegrass, but his Manulenjo prototype, nicknamed Manny, could someday wind up in the hands of someone like Chris Thile, Jeff Austin, Sam Bush, or Sierra Hull. The Manulenjo, pronounced man-U-LAIN-Yo, with a Spanish-style “j” sound, is a unique, custom-built acoustic hybrid instrument, conceived by Stookey and built by craftsman David LaPlante. Anyone with knowledge of bluegrass instruments will recognize that the resonator guitar, too, was once an exotic instrument—that is, until Lester Flatt and Earl Scruggs hired comedian and bassist Buckett ‘Uncle Josh’ Graves, who wound up playing dobro for The Foggy Mountain Boys. Today it’s a staple—think Jerry Douglas. “In terms of it crossing over into bluegrass,” explains Stookey, “I would imagine if somebody flat-picked it, you know, like many people do the mandolin, it could have an edgier sound. “And certainly if you take the resonator off the back, it really cuts. I mean, it's really edgy.” Combining a banjo, mandolin, and a ukulele, the Manulenjo represents three musical traditions: mandolin (Italian), ukulele (Portuguese), and banjo (African). “Together with [guitar luthier] David LaPlante, who has built both of the guitars that I use on stage and did a lot of repair work for me in the ’70s and ’80s, I just couldn’t help but design with him this strange-looking marriage between a mandolin, a banjo, and a ukulele.” As for the “uke,” as Stookey refers to it, he has a history with the instrument. “I was brought up on the ukulele when I was a little kid, so ‘My Dog Has Fleas’ came pretty naturally to me.” [laughs] What the Manulenjo came to represent Inspired by the instrument, Stookey wrote the song “Dance to the Manulenjo.” “The song ‘Dance to the Manulenjo’ came, which was kind of a parable for us all learning the value of each other’s cultures and points of view.” “It sounds a little like a ukulele, a banjo and a mandoline, and a little like how WE The People became American”—Lyrics by Paul Stookey “This contentious age in which we live, it doesn’t seem like a bad lesson to pass along,” says Stookey, who performed during the historic 1963 March on Washington alongside fellow bandmates Peter Yarrow and Mary Travers. Peter, Paul, and Mary’s performance came immediately before Dr. Martin Luther King Jr.’s iconic “I Have a Dream” speech. “There is a time for dance, but there's also a time for contemplation,” says Stookey, who features his unique instrument in his live performances. The message he carried through the social upheaval of the '60s still has weight today. He continues to perform around the U.S., both as a solo artist and in a duo with his daughter, A.S. Aubrey, combining music and poetry. “I think the person-to-person contact is going to be increasingly important as we move into social media and, you know, the AI generation of music as well as movies.” The artist's role could change. “The one thing that we will see happen with the advent of AI, disassociating real human contribution to music, is everybody will be a producer, you know, rather than a performer.” While AI could jeopardize performer-audience interaction, Stookey feels a smaller space could be the answer. “I’m not sure you will find that in large arenas,” pointing to the need for human connection, “so much as we will in what I think is probably going to happen: a resurgence of the small venue.” “I think coffee houses are going to come back!” Like Peter, Paul, and Mary, the Manulenjo can bring people together. Stookey wonders how they would have used it in their music. “In a sense, it's a shame that we never had a chance to explore it [Manulenjo] with the trio.” “I mean, [Peter Yarrow] was always an incredible partner in terms of the way we played and integrated our two instruments together.” “I just wonder what he would have done integrating with the Manulenjo.” Dedicated to William H. Young — a lifelong Peter, Paul, and Mary fan. https://noelpaulstookey.com/

The guys in High Cotton are rooted in the past, preserving the traditions of bluegrass, while looking forward to the next generation. It’s been that way since Dan Defend, Rick Rhodes, and Bill Blickhan played in the house band for Cotton Patch Gospel. It was there that they connected with the late Milt Craig. “Milt was a large part of why we became High Cotton,” says Dan. “He helped found the band, and he came up with the name High Cotton, which represents prosperity and good times.” Bill adds that Milt would bring the band song after song. “That exposed us to bluegrass in a whole different way. Milt mentored us. We had the honor of playing with him for about 15 to 20 years.” Other original members of High Cotton include Tom Koehler and Cliff Anglen. Andrew Kaufmann came on board as the band’s golden-throated lead singer about three or four years ago. “I played pick-up with older guys as a teen, where a band was kind of thrown together,” recalls Andrew. “I love playing with High Cotton because these guys hammer out the vocals, etc. We have a good feel together on stage.” Dan’s daughter, Emily Erickson, plays mandolin and guitar, and his daughter-in-law, Rachel Defend, plays the fiddle. Nate Baker, a gifted young flat picker, has also joined the band in the last few years. “Nate brings in ‘different’ songs,” says Dan. “We play for audiences that aren’t necessarily bluegrass fans, so we will kick off with songs they know and can sing along to before sliding into bluegrass. Then we’ll throw in some Gospel. We are all strong Christians, and our mission is to point audiences to Christ. We are always looking forward to the future with Jesus.” Based in Monticello, Illinois, High Cotton plays primarily around Illinois – from Bluegrass Gospel Festivals to churches, festivals, bluegrass concerts, and more. Dan handles booking the band, and he has scheduled shows in Chicago, St. Louis, and all around Illinois and Indiana. On stage, the band is cohesive, and there’s no doubt they enjoy performing with each other. “We always enjoy getting together to try new music,” says Bill. “We have always gotten along well, and our audiences pick up on that. They become an extension of who we are on stage.” Bill says the band respects that different members have different perspectives. Dan adds, “Some are obsessed with how the early masters did something. I went to the school of Scruggs, and it’s important to me to play a song accurately.” Rick likes to bring his own style to it. “I love good harmonies, and we all love duets, trios, and quartets.” Regarding non-bluegrass songs, they are influenced by bands like the Doobie Brothers and Credence Clearwater Revival. While the band has done a few originals, they love the nostalgic, old songs. “Sometimes we’ll put our own fresh spin on songs,” says Dan, “but it’s done with everyone’s blessing – it’s very democratic.” Dan adds that the band typically gets together to work on a set list for the season. “We have also begun doing more online – trying out new songs on Facebook.” While the band plays around with the country side of music, they always try to get more bluegrass in their shows. All the band members have musical backgrounds, but it is a side gig for everyone. “Bluegrass is entertainment and fun,’ says Bill, “but we all have families, and we all put family first. That way, it’s always been a fun thing for everyone. That’s important to us, because we want the next generation of musicians to see us having fun.” Affirmations along the way have confirmed they are on the right path. “We once played a festival where Rhonda Vincent played,” recalls Rick. “After the festival, she sent us an email. We also played a festival with The Whites, which was big fun.” The band released a couple of CD’s early on, and in recent years they have released a few studio projects on Spotify. “My son, Eric, is a sound engineer,” says Dan. “He mixes for us.” In the end, High Cotton enjoys a multitude of generations who play and listen to music. “What we do isn’t to satisfy any one age group,” says Bill. “We cherish the strength of a tight musical community, and we try to bless our audiences. Bluegrass is part of you until you die.” Hear High Cotton: Take Me Home, Country Roads - High Cotton http://highcottonbluegrass.com

When Kenny Feinstein first started playing music, he probably had no idea he’d some day end up being a vital part of the Los Angeles, California, bluegrass community. Traditional music wasn’t a part of his life. Yet. “I picked up the guitar after hearing Offspring, Nirvana, and Blink-182,” Feinstein said, of his beginnings as a musician. One day he set up shop to busk outside a Target store in Santa Cruz. He played Nirvana’s “Smells Like Teen Spirit” and received his first ever five-dollar bill for making music. “I was completely changed by that five-dollar bill,” he laughed. At age 16, he first encountered a banjo. It was owned by a neighbor. Not long after that, he went to his first square dance. “Something awoke in my blood,” he said. Eventually, he and his neighbor would start a band. Since they both lived next to a water tower, that looming part of their everyday life would become a part of the story. That first iteration of the group was called The Water Tower Bucket Boys. After some years and several band lineup changes, that name would eventually be shortened to Water Tower. Yes, Feinstein moved into bluegrass, but this evolution wasn't a simple parting of ways as you’d expect; he brought his early influences along for the ride. He blended bluegrass with the rebellious spirit of the grunge and punk bands he liked. “I believe punk rock and bluegrass come from the same spirit,” he explained. “A bluegrass circle isn’t that different from a mosh pit.” He added that an emphasis on energetic playing – speed, essentially – is a common thread. As anyone who is familiar with both rock (in all its forms) and bluegrass can attest, they’re both infused with an in-your-face sense of noncompliance. A vibe of being an outsider. A refusal to abide by things that are too genteel. Once the genres are examined not for sound, but for their base zeitgeists, what Feinstein said rings true. He said those unexpected parallels were on full display at one of the band’s most memorable outings. It happened as part of the Van’s Warp Tour, which is mainly focused on punk and skate culture. The video appears on the band’s website. “We were the very first bluegrass band to ever do it in 30 years,” he said, adding that what happened at that show illustrated how the two genres he loves might at first seem to be strange bedfellows, but in his opinion, are compatible. The crowd was feeling it for sure when the band got them to start some of the oddest square dancing ever. They began to line up and do what they were accustomed to doing at gigs in the mosh pit. “Screamo, punk and hardcore…they all call it the wall of death,” Feinstein said. Instead of slamming when the walls of people meet up, he said at Water Tower gigs, everybody faces off in a kinder, gentler way that’s more aligned with bluegrass. “We call it the wall of love, and made everyone hug each other.” This fall, Water Tower will appear primarily in California, Oregon, Washington, and Colorado. In March of 2027, they’ll set sail on a 311 Caribbean Cruise. There’s a steady supply of online content available as well. “We put out new music every month,” he said. “We do traditional and punk rock covers.” He said another record is also in the near future. They’re aiming for a release sometime in early 2027 that features their unique sound, with a more traditional bluegrass album to follow shortly after. Feinstein said he loves being a part of the Los Angeles (and beyond) music scene. “I’ve been in a lot of bluegrass communities,” he said, adding that music can “connect us to each other.” https://www.watertowerband.com/