The Bluegrass Cardinals

The Bluegrass Cardinals is a prominent bluegrass group that toured and recorded extensively from 1974 to 1997. The band was celebrated for its flawless harmonies, virtuoso playing, and original material. Formed in California by banjoist Don Parmley, his guitarist son David Parmley, and mandolinist Randy Graham, the band debuted with a 15-week gig at Busch Gardens. A self-titled album – one that featured some of the earliest use of a cappella gospel singing in bluegrass – followed soon afterwards. Relocating to Virginia in 1976, the Cardinals released 23 albums over two decades on labels including Rounder, CMH, and Sugar Hill. Their 1991 project, Families of Tradition, won the IBMA Recorded Event of the Year award. The group became a proving ground for talents like Larry Stephenson and Dale Perry, and counted prestigious venues like The White House and the Grand Ole Opry among its performance roster. Prior to the formation of the Bluegrass Cardinals, Don Parmley, a Kentucky native, played banjo for The Beverly Hillbillies TV show.

Darol Anger and Bruce Molsky

Darol Anger and Bruce Molsky bring together a huge slice of the fiddling universe. Together, they have explored the American Roots landscape for almost two decades, sharing a creative story that’s resulted in epic collaborations such the Grammy-nominated Fiddlers Four (with Michael Doucet and Rushad Eggleston), performing on each other’s concerts and recordings, and finding endless joy in playing music together.

Freestyle fiddler, composer, producer and educator, Darol Anger is at home in a number of musical genres, some of which he helped to invent. Exceptional among modern fiddlers for his versatility and depth, Anger has helped drive the evolution of the contemporary string band through his involvement with numerous pathbreaking ensembles such as his Republic Of Strings, the Turtle Island String Quartet, the David Grisman Quintet, The Montreux Band, his Duo with Mike Marshall, his current touring group Mr Sun, and others. He has performed and taught all over the world with musicians such as Dr. Billy Taylor, Bela Fleck, Bill Evans, Edgar Meyer, Bill Frisell, Tony Rice, Tim O’Brien, The Anonymous 4, Marin Alsop and the Cabrillo Orchestra, the Detroit Symphony, Bruce Molsky, Mark O’Connor, and Stephane Grappelli. He is a Professor Emeritus at the Berklee College Of Music and is deeply involved in music education.

Described as “an absolute master” (No Depression Magazine), Bruce’s take on tradition has landed him in collaborations with some of the world’s most highly respected players from roots to rock. He is a special guest on legendary rocker Mark Knopfler’s CD, “Tracker.” His 1865 Songs of Hope & Home with Anonymous 4 was on Billboard’s top 10 for weeks. Along with Andy Irvine & Donal Lunny, Bruce is a founding member of the supergroup Mozaik, with three recordings. You can see Bruce on the BBC TV “Transatlantic Sessions” with Aly Bain and Jerry Douglas, and on “David Holt’s State of Music” on PBS. Bruce holds the position of “Visiting Scholar in the American Roots Music Program” at Berklee College of Music, where he is the go-to authority for the next generation of roots musicians.

Missy Raines & Allegheny

Missy Raines is a trailblazer in bluegrass music. On her newest release Highlander, the bassist/ vocalist/songwriter returns to her bluegrass roots with a musical homage to the peaks and valleys of her native West Virginia. Working again with producer Alison Brown, she delivers a set of 10 songs featuring her touring band Allegheny and including guest appearances from Laurie Lewis, Dudley Connell, Danny Paisley, Kathy MaKea, Michael Cleveland, Rob Ickes, Bronwyn Keith-Hynes, Darol Anger, Shad Cobb and Alison Brown. Raines explains: “Making this record and having this band has been sort of a homecoming. I’m at a point in my life where I’ve been able to look back at what I’ve gone through, what I’ve done, and the path I ultimately wanted to take.”

That path has taken Raines on a long and adventurous musical journey which has been informed by the Southern Appalachian and Mid-Atlantic bluegrass of her youth. As a child and young teen, Raines soaked up the sounds of The Country Gentlemen, The Seldom Scene, The Johnson Mountain Boys, and the other neo-progressive groups that propelled bluegrass music forward in the 70s. In the early years of her career, she spent hours learning from and playing with many first-generation bluegrass legends and traveled extensively throughout the mid-Atlantic region. She says: “I can almost just go back [in my mind] and rely on those intrinsic things I learned as a 15-year-old in a field at a bluegrass festival — tapping into how I felt back then, and how I still feel today about this music.”

Raines brings that intrinsic knowledge of the music to the forefront on her new project. In fact, she says that the Johnson Mountain Boys helped inspire the sound of her touring band Allegheny who perform brilliantly on each of the album’s 10 tracks. Tristan Scroggins (mandolin, vocals) kicks off the album on the Gary Ferguson original “Listen to the Lonesome Wind,”, a grooving, mid-tempo bluegrass track. Eli Gilbert (banjo) and Ellie Hakanson (fiddle, vocals) add incredible drive to “Fast Moving Train,” a new train song that Raines calls a ‘rare gem’ which sounds like it could have come from Jimmie Rogers’ canon. Ben Garnett (guitar, vocals) adds his deft rhythm and lead guitar throughout, shining on interplay with Raines’ bass on the instrumental “Panhandle Country” and “Looking to You,” a Raines original reminiscent of her work with The New Hip in the early 2000s.

Reaching back to her earliest days, she tapped long-time friend Dudley Connell (Johnson Mountain Boys lead vocalist/guitarist) to sing a duet with her on “Ghost of a Love,” the album’s third single. Raines grew up around The Johnson Mountain Boys and jammed with them often in the early days of the band. She cites their sound as one of the major influences on Allegheny’s sound. With its classic bluegrass fast-waltz feel, Raines says the track was a perfect feature for Dudley Connell’s vocals. The iconic Danny Paisley duets on “These Ole Blues” which Raines discovered on a recent LoreKa Lynn album. Reinterpreting it with a bluegrass shuffle feel makes the song sound like one that’s been a bluegrass standard for years. Raines explains: “Danny was a natural choice for this song because he has an edge and a soulfulness to his voice that cuts deep, and because his voice defines a lot of what bluegrass singing is to me. Danny’s voice and sound are part of the soundtrack of my earliest influences.”

Raines turns her musical attention to the timely topic of opioid addiction in the original “Who Needs a Mine?,” confronting a crisis that has hit her home state harder than any other state in the Union. Together with fellow West Virginian Kathy Mattea on guest vocals, the two vocalists channel the spirit of Hazel Dickens and drill into the deep emotion of despair surrounding this issue, asking, “Who needs a mine to kill us dead when a little pill works fine instead?” Raines explains: “The well-planned and completely targeted war waged by the pharmaceuticals and the FDA on remote and isolated parts of the country, specifically West Virginia, where most jobs involve hard labor and injuries are higher than in most states inspired me to co-write this song with friend and fellow songwriter Randy Barrett. Getting an entire state addicted to painkillers made a lot of money for a few people. Maybe it’s because I’m an artist, but the best of me comes out when I feel deeply about something.”

Raines tapped Laurie Lewis, California-based bluegrass pioneer, to join her on the Nathan Bell penned song “I Would Be a Blackbird.” Although Lewis and Raines grew up on separate coasts, Raines says Lewis’s music was an influence from an early age, as well as the example she set as a band leader, songwriter, and vocalist. Adorned by Eli Gilbert’s clawhammer banjo and Ellie Hakanson’s cross tuned fiddle, the track has the feel of an old-time song that could be a century old.

Taken as a whole, Raines’ lifetime spent steeped in bluegrass is on full display on Highlander. Beyond the impressive array of guest musicians and the outstanding performances of her bandmates, it’s Raines’ extensive knowledge of and deep passion for bluegrass music that make Highlander a bluegrass album for the ages. And, for this musical adventurer, it’s a love letter of sorts to the music and musical community that shaped her. “I love so many different kinds of music,” Raines says. “But I cannot describe how bluegrass affects me, and why it affects me so deeply.”

Allegheny is Ben Garnett on guitar, Eli Gilbert on banjo, Ellie Hakanson on fiddle, and Tristan Scroggins on mandolin. The band is named for the Allegheny highlands of West Virginia where Raines grew up. This band is a significant nod to her deep traditional bluegrass roots. The music is traditional and hard-driving at its core but energized with Raines’ well-known penchant for originality and innovation.

“I grew up in West Virginia, just a few miles from the historic C&O Canal, the headwaters of the Potomac River, and the Maryland and Pennsylvania state lines. Geographically, it was a pretty straight shot down ‘out of the hills’ to the Washington DC, Baltimore, and northern Virginia areas and my family would travel there as much as possible to hear all the incredible bluegrass that was being made there during the 60’s and the 70’s. Washington, D.C. was a hotbed of bluegrass (both traditional and progressive) at the time with bands like Bob Paisley & Ted Lundy, Del McCoury and the Dixie Pals, the Country Gentlemen, and the Seldom Scene. All of that music affected me deeply then and today I’m having the time of life letting those influences shine through with this band, Allegheny.”

Caleb & Reeb and The Cali Cutups

Dust off your boots and gather around for some true and original modern honky tonk music. An all-star cast of master musicians backs these two soul singers of country music, Caleb Klauder and Reeb Willms. These two are known to roots music fans across the globe for their soulful harmonies, driving dance tunes, classic original songs, and commitment to the raw truth of rural American music. They live in the San Juan Islands of Washington, though until recently, home was Portland, OR. They are foundational to the exceptional old-time and country music scene in the Pacific NW with the Caleb Klauder Reeb Willms Country Band and their membership in the Foghorn Stringband, of which Caleb was a founding member. Charismatic performers, they bring their unique set of talents to the stage with an eye towards good times and an ear towards the deepest songs and tunes.

Caleb Klauder and Reeb Willms both originally hail from Washington State: Caleb from the coastal islands, and Reeb from the high desert plateau. The two have come together in music and are hailed as some of the most compelling musicians making country roots music in America today. When these two sing together, their honest incantations leave us spell-bound and smiling.

Their repertoire is made up of original songs and tunes as well as gems from American roots repertoires, and the music they make is Americana in the truest sense of the word. Music is clearly in their blood. Caleb and Reeb’s originals and interpretations of songs have been covered and recorded by many performers and their musical presence reaches into a diverse and loyal fanbase, giving credence to the impact that this duo has on their listeners. Pillars of the Northwest music scene, they carry the torch of their music around the world, and can be found touring as a duo, as well as with the Foghorn Stringband, and the Caleb Klauder Country Band. Their fans exude admiration for the timeless sound that these two produce, capturing the essence of American roots music.

Sometimes we get so unnecessarily swept up in who’s rising and falling in music these days that the sheer joy of music is overlooked. One of the great things about Caleb and Reeb is that they are a world apart from all of that nonsense and let you immerse yourself in the melody and story of classic sounding country music until all other cares of life fade away. Country music is the music of working people who use it to pass the time and forget about the ever-present hardships in their lives. After years of touring together, Reeb and Caleb work intuitively.

Caleb’s study and understanding of roots music is so dedicated and rich, that he can hauntingly immerse himself in the same perspective of those old primitive country composers and write as if he was right beside them. Their album Innocent Road includes a clutch of lovingly arranged Klauder originals, along with well-placed and rare covers. The pair bring the spirit of legendary country duos into their contemporary takes on country music. Trading vocals back and forth, they complement each other strikingly well in an attractive meld of honky-tonk that brushes shoulders with trad bluegrass. Caleb has penned over 50 songs many of which are standards across America in honky tonk and bluegrass jams and festivals, both on and off stage. There is a long list of bands and singers who have recorded Caleb’s songs over the years.

The blend of true harmonies, the sharply-written country songs, and the un-showy authenticity strike a rich vein that makes them seem like they are born and raised in Music City. They quietly pursue a musical vision without much of a care for what’s expected or in vogue at the time. There’s a lot to admire in this singular perseverance and honesty.

Bronwyn Keith-Hynes

Bronwyn Keith-Hynes has long been renowned as a prolific instrumentalist, earning two IBMA Fiddle Player of the Year awards as well as a Grammy for her work with Molly Tuttle & Golden Highway. But on her latest album I Built a World, the Charlottesville native unlocks an impressive new sound: her voice.

“This is the first album I’ve ever sung lead on. Singing is something I’d always thought I’d do at some point and in 2020 I had the time and space to finally find my voice,” Bronwyn says. Even as the pandemic halted touring and so much else, vocal lessons kept her focused. “It’s funny,” she jokes of the timing, “you put a mask on me and suddenly I want to sing.”

I Built a World marks her first vocal album, but Bronwyn has been a musician since before she can remember. “Apparently, I saw two girls busking on the street playing fiddles when I was three,” she explains with a laugh, “and I pointed to them and said, ‘I will do that.'”

As a child, music lessons gradually transitioned into public performances, with a particular emphasis on Irish music after her family relocated to Charlottesville, Virginia. And her lifelong musical education continues to shape her work today. A background in dance makes her a captivating and energetic live performer. An on-stage collaboration with fellow Charlottesville native Dave Matthews taught her how a crowd could feed your energy. And attending Berklee during the early years of its American Roots Music program offered inspiration from classmates like Sierra Hull and Alex Hargreaves—as well as an introduction to Tuttle and most of Bronwyn’s Golden Highway bandmates. “My favorite bluegrass musicians today are the ones who are rooted in traditional music, but don’t really see any boundaries,” she says. “It’s as if they draw from a traditional bluegrass vocabulary, but use it to say what they want to say.”

Now, as her own entry in bluegrass history expands from celebrated instrumentalist to bandleader and frontwoman, Bronwyn isn’t just crafting a career in the image of genre greats like Sam Bush and Jerry Douglas; she’s bringing them along for the ride. Both Bush and Douglas are featured as players on I Built a World, and they’re not the only of Bronwyn’s musically-inclined pals and heroes to make an appearance.

Darrell Scott sings on “Angel Island,” a Peter Rowan tune. Country fans may recognize Dierks Bentley singing harmony on “Trip Around the Sun” and Brit Taylor on “Answers”. Longtime pal Tuttle and Bronwyn’s fiance Jason Carter (an accomplished fiddle player himself) also appear as vocalists on multiple tracks. And rounding out the band are Bryan Sutton on guitar; Dominick Leslie, Bronwyn’s Golden Highway bandmate, on mandolin; Wesley Corbett and Scott Vestal on banjo; and Jeff Picker on bass.

Indeed, community is the axis on which I Built a World spins. Long before she tapped talent for the studio, Bronwyn sourced songs for the album from her musical network in Nashville and beyond. “A lot of the songs are gathered from my friend group and community here in Nashville,” she says. “I reached out to friends and just people whose music I liked and asked, ‘Is there any chance you have anything that you’re not planning on recording?'” Many did.

Not all of the songs were new territory, though. In fact, she’d been holding onto the title track for years after hearing it on the radio while driving through Kentucky. She contacted the artist, Matthew Parsons, for his blessing to record it, and the song set the tone for the entire project.

“‘I Built a World’ is about daydreaming, about building worlds in your mind. I was definitely a kid who did a lot of that. But as an adult, I feel like music still can take me to that place,” she says. She hopes listeners can take a little bit of that dreaminess with them. “Each song on this album is its own little world, its own story, a space and a place in your mind that you can travel to and explore. Whatever you’re needing or wanting to feel, you can go to that place here. I hope you enjoy the journey.”

The California Bluegrass Reunion

The California Bluegrass Reunion is an annual celebration of California’s rich bluegrass tradition, featuring an extraordinary lineup of musicians with deep California roots who have all made significant contributions to the genre. The Reunion brings together some of the finest talents in bluegrass, including Bill Evans (banjo), John Reischman (mandolin), Jim Nunally (guitar), Chad Manning (fiddle), Sharon Gilchrist (bass) and Mike Witcher (dobro). These musicians, all with deep California connections, have performed together in various combinations for decades.

Bill Evans has been involved with bluegrass music and the world of the banjo as a player, teacher, composer, writer and historian for over forty-five years. He is a recipient of the coveted Steve Martin Banjo Prize, is a member of the American Banjo Museum’s Hall of Fame and the author of “Banjo for Dummies.” He occupies a unique niche in the banjo world: celebrated worldwide for his traditional as well as progressive bluegrass banjo styles as well as his innovative original compositions, he also enjoys a reputation as an outstanding instructor as well as being an expert player of 19th century minstrel and classic banjo styles. Bill currently tours with his solo show The Banjo in America. In over twenty-seven years as a California-based performer, he has performed with David Grisman, Peter Rowan, Alan Munde, Jody Stecher, Eric & Suzy Thompson, David Bromberg, Tony Trischka, and Kathy Kallick among many others. For ten years, Bill hosted a monthly bluegrass residency at the Kensington Circus Pub with Jim Nunally and Chad Manning that drew fans from all over the world. He hosts five instructional courses for Peghead Nation. For more, visit billevansbanjo.com.

Grammy Award-winning musician John Reischman has been a foundational mandolinist, composer, bandleader, and musical educator in bluegrass and North American roots and folk music since emerging from the vibrant “new acoustic” music scene of the Bay Area in the 1980s. A founding member of the groundbreaking Tony Rice Unit, Reischman’s mastery of bluegrass, old-time, swing, and multiple Latin American musical styles, coupled with an Old Masters sense of tone, taste and musicality, has brought him a global reputation as one of the finest mandolinists of his era. John was a founding member of the California band The Good Ol’ Persons and he has led John Reischman & The Jaybirds for over twenty years. For more, visit johnreischman.com.

Chad Manning is a San Francisco Bay Are fiddler who has played with the David Grisman Quintet & Bluegrass Experience and Laurie Lewis. Over the years, he has shared the stage with J. D. Crowe, Curly Seckler, Alan Munde, and Tony Trischka, contributing his fiddle work to a wide variety of projects. Together with his wife Catherine, Chad runs Manning Music in Berkeley, California. The school serves over 250 students. Chad also teaches online courses from Peghead Nation. Chad’s current band, Charlie Torch, brings his family into his music. With his son Jasper on mandolin, daughter Jayna on guitar and vocals, and long-time friends Tyler Stegall and Mark Schatz, the group creates music that reflects their shared history and love for bluegrass and country traditions. For more info, visit chadmanning.com.

San Francisco Bay Area native Jim Nunally is a musician, composer, record producer and teacher – all in addition to being one of the finest guitar players in the world. His third-generation traditional music roots began in Arkansas with this guitar-playing grandfather who taught Jim’s father who in turn taught Jim. This pedigree contributes to his unmistakably traditional sound. For the last several years, Jim has co-led the Nell & Jim Band with Nell Robinson, performing a unique mix of original Americana sounds based around their outstanding duet singing and Jim’s arranging. Jim has performed with the David Grisman Bluegrass Experience, John Reischman & The Jaybirds, and Keith Little as well as leading the path-breaking California band Due West. For more info, visit jimnunally.com.

Sharon Gilchrist has long made her home in the American acoustic music scene. You may have seen her playing mandolin or upright bass, singing a traditional ballad, or performing an original piece on a concert or festival stage anywhere in North America. She has performed with the Peter Rowan and Tony Rice Quartet, Scott Nygaard and John Reischman, Darol Anger, Laurie Lewis, Scott Law and others. She earned a degree in Mandolin Performance from Belmont University in Nashville, Tennessee, and has taught mandolin for 15 years both privately and online at Peghead Nation and at some of the nation’s finest music camps. Sharon currently resides in Nashville, TN after living for almost a decade in California. Learn more at sharongilchristmusic.com.

Resonator guitarist Mike Witcher has toured and recorded with the likes of Dolly Parton, Dwight Yoakam, Peter Rowan, Bette Midler, The Gibson Brothers, Sara Watkins, and Laurie Lewis. Known for his gorgeous tone and tasteful playing, Mike is also one of the most sought-after educators in the world of slide guitar.

Hard Drive

From raging fiddle tunes to brother duets, Hard Drive (Tatiana Hargreaves, Sonya Badigian, Aaron Tacke and Nokosee Fields) brings a sense of deep intuition and silliness to the world that encompasses old-time, country, and bluegrass. They float gently around a Bermuda-Triangle-type spacetime warp in central North Carolina, and they are constantly expanding at the approximate pace of the universe.

The Po’ Ramblin’ Boys

In 10 years as a band, The Po’ Ramblin’ Boys have covered a lot of miles. Their love of bluegrass — playing it, sharing it, growing it — has been the fuel for their remarkable journey through every corner of America and into the hearts of fans drawn to their hard-charging, true-blue sound.

“We live what we play and sing about,” says bandleader C.J. Lewandowski. Indeed, the band has weathered their fair share of the highs and lows that bluegrass songs are known for (except for the murders, of course). They’ve been road-weary, longing for home. They’ve felt the heartbreak of band members leaving and embraced the joy of welcoming new ones. They’ve worked hard to see their dreams come true, playing on some of music’s most celebrated stages. And they’ve been nominated for a Grammy for Best Bluegrass Album (2019’s Toil, Tears & Trouble) and for the International Bluegrass Music Association’s Entertainer of the Year award.

Amid all their travels, The Po’ Ramblin’ Boys have seen every nook and cranny of the country, met people from all walks of life, and kept a keen eye toward the truth, which rings out loud and clear in the songs they write. “Wanderers Like Me,” the title track from their most recent album and the band’s first No. 1 song on the Bluegrass Unlimited chart, shoots straight from the heart: “Wanderers like me don’t settle down for no one / don’t mind being lonesome, chasing dreams is all I ever need.”

Lately, they’ve been chasing their dreams in a new configuration, one that expands the band’s age span and geographical roots. Guitarist John Gooding from California and fiddle player Max Silverstein from “the great bluegrass state of Maine,” as the band likes to say during onstage introductions, are the newest additions, both in their 20s. They join Lewandowski on mandolin, Jereme Brown on banjo, and Jasper Lorentzen on bass, relative elders in their 30s.

Lewandowski describes this new chapter for the band as one of “expansion and growth.” There’s a new energy to the group onstage, with appreciative glances and the occasional good-natured laugh between them as they play. They’re listening to each other and responding. And audience members feel like part of the conversation.

The Po’ Ramblin’ Boys have always been known for barreling bluegrass forward, and as they move into their second decade as a band, they’re maintaining that momentum, both onstage and in the studio. Lewandowski envisions the band’s next project as “kicking it back to the beginning and cutting a record that is solid damn ’grass.” And then, of course, they’ll take it right back on the road, living what they sing about and sharing it with others, just the way they like it.

“We take bluegrass and put it where bluegrass isn’t,” says Lewandowski. “It’s not about putting music that is different into bluegrass music to attract more people.”

Flatpick Hotel

Flatpick Hotel is a guitar passion project of Ian Ly and Owen Ragland. The duo was formed out of a mutual love for the bluegrass flat-picked guitar discovered over late nights jamming. Ian and Owen met at the CBA Father’s Day Festival in 2022 and became quick friends, bonding over their love for picking fiddle tunes on the guitar. In 2023, they recorded an album of live instrumental tunes on the guitar, which is still to be released.

Ian Ly has been wowing audiences worldwide as the guitarist for The Crying Uncle Bluegrass Band. As one of the best guitar pickers from the West Coast of this era, his picking style is like a freight train: powerful, clear, and fast. While attending college in his birth state of Kansas, Ian began competing in the Walnut Valley National Flatpick Contest; he is the 2023 National Flat Pick Guitar Champion.

Owen Ragland is no slouch, either. A fiddle player turned guitarist, he has performed with groups such as Honey Run, The Brothers Strong, Poor Man’s Whiskey, and many others. He turned his focus to guitar some years ago and has developed a dynamic and interesting playing style. His picking is unique and explosive, and he amazes audiences (and jam circles) all over the state with his guitar playing.

The group is an experiment in which excellent players push each other to do interesting and creative things with their instruments. It is a niche style, but if you loved the Blake & Rice albums or the Doc Watson and Tony Rice recordings, this is the show for you.

Hey Lonesome!

The unique musical style of Hey Lonesome! features songs and tunes you may never have heard before, backed by the traditional bluegrass and old-time sound of a mandolin, guitar, bass, and fiddle (sometimes two). Rather than playing all the songs and tunes you might hear at a bluegrass jam, Hey Lonesome! tries hard to find the material less traveled. Bandleaders Tom Diamant (guitar) and Rowan McCallister (mandolin/fiddle) have spent many hours digging through the back catalogs of bluegrass, old-time, and classic country to bring you a unique set of music.

Tom and Rowan, joined by California bluegrass mainstay Dave Courchaine on bass and former state champion fiddler Wendy Wendt, formed Hey Lonesome! in the wake of the pandemic when they were getting together in their backyards and sharing the music they had been working on. From bluegrass B-sides, forgotten country gems, and reimagined blues songs to rarely heard Monroe mandolin instrumentals and old-time fiddle tunes learned from field recordings, they were pulling material from a great variety of American traditional music.

With Dave or Wendy adding a third voice, the band has developed a powerful vocal harmony. This harmony style, combined with their playful yet tight instrumental arrangements, yields a compelling musical experience that they are excited to bring to audiences around the Bay Area and surrounding California.

High Country

“…One of the lonesomest, hard-drivingest traditional bluegrass bands alive… High Country manages to be fresh and exciting, without even the merest nod to modern music. -Bluegrass Unlimited Magazine

High Country has, over the last fifty plus years, earned its place as the West Coast’s premier traditional bluegrass band. Strongly influenced by the classic styles of Bill Monroe, Flatt & Scruggs and the Stanley Brothers, the band’s blend of banjo, mandolin, fiddle, guitar and bass delivers the upbeat excitement of true bluegrass music. With driving rhythm, skillful picking and soulful singing, High Country brings the energy and experience of five seasoned professionals to this spirited American art form. After more than five decades of performing, the band remains fresh and exciting, bringing their love of traditional bluegrass music to an ever-widening audience. High Country’s show offers a vital mix of powerful originals and standards, from blues to breakdowns to gospels sung in close harmony. Even the songs and tunes written by band members themselves remain true to the genre, with careful attention paid to the nuances of the bluegrass style. The band has toured extensively in the US and Canada as well as Europe, the United Kingdom, and the Pacific Rim.

Jesse Appelman’s West Coast Stringband Project

Jesse Appelman’s West Coast Stringband Project unites three standout musicians from the California bluegrass scene, crafting a sound defined by strong melodies, rich vocal harmonies, and rock-solid groove. Their music blurs the lines between bluegrass, old-time, and country, focusing on collective, joyful music-making. Their repertoire features original compositions alongside gems from the Stanley Brothers, Norman Blake, Hazel & Alice, John Hartford, Larry Sparks, and more.

The group is anchored by three core musicians: Jesse Appelman, an Oakland-based mandolinist whose credits include work with the Sam Grisman Project and Brothers Comatose; Yoseff Tucker (the Bow Ties) on guitar; and Christine Wilhoyte (Laurie Lewis & Kathy Kallick, B*Craft) on banjo. For this weekend’s performance, they’ll be joined by legendary bassist Mark Schatz (Tony Rice, Béla Fleck, Nickel Creek) and fiddler Brandon Godman (Laurie Lewis and the Right Hands).

The West Coast Stringband Project offers a glimpse into the future of California’s vibrant roots music scene, delivering an energetic live show that is deeply informed by tradition while exploring fresh textures and tones. Their spontaneous, collaborative spirit creates a familiar and refreshingly new sound.

Jimmy Touzel Bluegrass Explosion

Hailing from the San Francisco Bay Area, The Jimmy Touzel Bluegrass Explosion is a dynamic new ensemble dedicated to revitalizing and preserving traditional bluegrass music. Formed in 2024, the band is led by the charismatic Jimmy Touzel, a seasoned bassist whose passion for bluegrass runs deep. With a rich blend of tight harmonies, expert instrumentation, and a lively stage presence, the band captures the essence of bluegrass while adding their own unique flair.

Each member of The Jimmy Touzel Bluegrass Explosion brings a wealth of talent and experience to the group. Featuring the masterful banjo playing and singing of Evan Ward, the soulful singing and guitar playing of Ryan Breen, and Jimmy’s walking and slapping prowess on the bass, their sound is rooted in classic bluegrass traditions while incorporating elements of old-time fiddle and classic country. The band’s repertoire includes a mix of standard and obscure bluegrass tunes, old-time country music, and original compositions, all delivered with heartfelt authenticity. From toe-tapping instrumentals to heartfelt ballads, their music resonates with audiences of all ages.

With a growing fanbase and a reputation for electrifying live performances, The Jimmy Touzel Bluegrass Explosion is poised to become a prominent force in the international bluegrass scene. Whether playing at local venues or regional/national festivals, they are dedicated to sharing their love of bluegrass and creating memorable musical experiences for every audience.

Matt and George and their Pleasant Valley Boys

Matt & George and Their Pleasant Valley Boys have been performing traditional bluegrass the old-fashioned way into a single microphone since 2006. They entertain at weddings, corporate events, and parties all over Northern California. Their performances include regular appearances at the Dixon Lambtown Festival, the CBA Father’s Day Festival in Grass Valley, and on ABC Television.

The Pleasant Valley Boys provide fun for all, with hot instrumental licks and sweet vocal harmonies backed by a tight rhythm section. This is all packed into a fast-paced, entertaining music show as you’ve never seen before. Come out and enjoy Matt and George and their Pleasant Valley Boys.

Marin County Breakdown

Marin County Breakdown is a family acoustic string band from the greater San Francisco Bay Area. Their repertoire is built with traditional bluegrass standards, original songs, and progressive tunes.  With acoustic stringed instruments and tight vocal harmonies, hallmarks of the bluegrass style, their sound is consistent across different genres. The band members are Gary Millar (dad) on banjo and Julie Steier (mom) on mandolin, both veterans of the local bluegrass scene. Residents of Marin County for nearly 30 years, they are based in San Anselmo. Cory McClintic (nephew) from Los Altos plays guitar, delivering rich and tasteful solos and fills that are a highlight of their performances. Sarah Jo Millar (daughter) plays bass, and Daniel Coles (Sarah Jo’s husband) is on guitar; both reside in Santa Cruz. Together, Sarah Jo and Daniel have been writing new songs and are the driving force behind the band, ensuring tight and cohesive performances. Recently married in June, they have made Marin County Breakdown a genuine “family band.” Their harmony singing is especially heartfelt, creating authentic and engaging music.

Marin County Breakdown embodies the spirit of the California bluegrass community, with each member trading off singing lead and harmonies. Though they officially formed as a band in 2019, Cory and Sarah Jo have been playing music and singing with Julie and Gary at family gatherings since childhood. Today, they host jams, perform at California music festivals, and play fiddle tunes at 12,000 feet on the John Muir Trail during family backpacking trips. Whether performing at local Bay Area breweries or connecting with festival audiences, Marin County Breakdown demonstrates the power of music to bring families and communities together.

Muddy Mountain West

Muddy Mountain West is a young bluegrass group based in Southern California. In May 2024, lead guitarist and vocalist Pierce Brunton started attending open mics in search of fellow musicians to start a bluegrass band. He quickly found guitar player turned banjoist Grant Chacon in Fullerton, CA. Within a month, Pierce attended the Long Beach Bluegrass Festival, and while playing in a field, mandolinist Maxwell Dotts approached Pierce and started jamming.

They quickly bonded over their similar taste, and their skill levels were complementary. Pierce quickly introduced Max and Grant, and they had a three-piece bluegrass band. Next, Max met bass player Trevor Mulvey at the Thursday Night Pickers Bluegrass Jam in Encinitas. From there, they started playing live shows all over Southern California, honing their skills, building a fan base, writing originals, and having the most fun. The original innovators of bluegrass and modern progressive grass acts inspire them. They hope their voices and life experiences shine through their original music.

They are excited to continue playing live shows and festivals and plan to release music on streaming platforms within a year. They hope to foster a new generation of bluegrass fans and artists in Southern California.

Sidesaddle & Co.

Sidesaddle & Co., based in San Jose California, has been captivating audiences with their unique acoustic sound since 1979 when the band was first established. The five members of the band come from an interesting variety of musical backgrounds, which come alive in their repertoire. The longevity of the band is proof-positive that Sidesaddle & Co lends an air of contagious energy and professionalism to every performance. With the addition of Glenn Dauphin on vocals the band has gained a strong hold on traditional Bluegrass, gently seasoned with vintage Country, Irish and Western. It is the group’s combination of artistry and enthusiasm that has made Sidesaddle and Co. one of the most popular and sought-after Bluegrass bands in the West.

Glenn Dauphin – Guitar
Lisa Burns – Bass
Lee Anne Welch – Fiddle
Sonia Shell – Banjo
Kim Elking – Mandolin

Billboard Magazine has called their music “superbly melodic.” Critics have hailed their performances as “sophisticated and highly entertaining” and their harmonies “impeccable.”
“Sidesaddle & Co. combines the best of traditional and modern ideas. They use their abilities to evoke feelings and pictures in the heart and mind of the lucky listener.”      Eddie & Martha Adcock
Their fiercely loyal fans eat it up.”    San Jose Mercury News, CA

The band has had the pleasure of opening the show for such notables as Bill Monroe, Emmy Lou Harris. Willie Nelson, Billy Dean, Ralph Stanley, New Grass Revival, John Hartford and Jim and Jesse to name a few. Headliners in their own right, this widely traveled band is equally at home performing at national bluegrass festivals, state and county fairs, concerts, on radio and television, at corporate functions, local events and parties.

Skillet Licorice

Skillet Licorice is a dynamic roots music project led by San Francisco Bay Area musicians Elise Engelberg and Matt Knoth. With a rotating ensemble of California’s top old-time players, the group delivers fiddle breakdowns, blues, banjo sparkles, ragtime, and waltzes. Their repertoire combines respect for American folk traditions with a fresh, modern twist, creating music as innovative as it is timeless. Hot, sweet, and just a little greasy, Skillet Licorice captures the heart of old-time music with infectious energy and expert craftsmanship.

Elise Engelberg (fiddle, banjo) grew up in Kentucky as a classical violinist before rediscovering her bluegrass roots in California. A cornerstone of the Bay Area old-time scene, Elise has performed with the Crooked Jades, The Mercury Dimes, and the Stairwell Sisters. Alongside her performances, she nurtures a thriving music studio for young learners in San Francisco. Matt Knoth (banjo, guitar, vocals) combines bluegrass heritage from his childhood in San Jose with a passion for old-time music. A co-founder of The Mercury Dimes, Matt has performed with artists like Peter Rowan and Mark Schatz. When not on stage, Matt indulges his love of nature photography in the Marin Headlands.

The group also features Clinton Davis (multi-instrumentalist) from San Diego, a fifth-generation Kentuckian whose work has been praised by No Depression for reviving lost American musical traditions. Joining him is Rowan McCallister (mandolin, guitar, banjo), a Berkeley native and contributor to the Bay Area bluegrass and old-time communities. Rounding out the lineup, Allegra Thompson (bass) brings a legacy of early country music, influenced by her parents, well-known Bay Area musicians Eric and Suzy Thompson.

Whether performing at festivals, intimate venues, or teaching in their communities, Skillet Licorice represents the best of old-time music, combining rich traditions with modern artistry.

The Arkansas Sheiks

The Arkansas Sheiks is an “old-time string band” that plays fiddle tunes and songs from Appalachia and Missouri and a few selections from the Western swing canon. The group was founded as a trio in 1972 at Sweet’s Mill by Karana Hattersley-Drayton with Tony Marcus and Marty Somberg. The name “The Arkansas Sheiks” was borrowed from the song of that name. In the 1920s rural folks were enamored with Rudolph Valentino and hence several bands and songs at the time adopted “Sheik,” as for example, The Missouri Sheiks and the Mississippi Sheiks.

The Arkansas Sheiks performed at various venues around the Bay Area including the Freight and Salvage, Stern Grove and at two Grass Valley Bluegrass Festivals. The band also toured the country three times in 1975-1976 and recorded one LP with Bay Records, “Whiskey Before Breakfast,” which stands up to this day.

Some of the Bay Area’s finest old-time and bluegrass musicians cycled through the Arkansas Sheiks from 1972-1987: Barbara (Josie) Mendelson, Laurie Lewis, Hoyle Osborne, Michael Drayton, Tom Marion, Kate Brislin, Gene Tortora, Paul Shelasky and John Pedersen.

Today’s band includes the group that last performed at Grass Valley: Michael Drayton (fiddle/vocals), Karana Hattersley-Drayton (keyboard/vocals), John Pedersen (banjo/fiddle) and Paul Shelasky (fiddle/guitar). Laurie Lewis (fiddle) is an invited special guest.

AJ Lee & Blue Summit

AJ Lee & Blue Summit are an award-winning energetic, charming, and technically jaw-dropping band quickly rising on the national roots music scene. Based in Santa Cruz, California, the group met as teenagers, picking and jamming together as kids at local music festivals and jams
until one day, they decided they would be a band.

“Our roots go really deep,” explains de facto band leader Lee. “We met when we were young kids… We definitely decided to choose each other as a chosen family band later on in life, but in a lot of ways it was naturally just like that in the beginning.”

“It was like one of those late at night things,” she continued. “We were sitting on a trailer at Grass Valley” at the annual Father’s Day Bluegrass Festival held in the Sierra Nevada foothills – “Someone said, ‘All of us right here, we’re a band now.’ We kind of didn’t take it seriously, but
we were like, okay, we’ll be a band!”

And thank goodness they became a band. Their first gigs were local, small venues, cafes, restaurants, coffee shops, where they’d play for multiple hours honing their set list and learning shared musical vocabularies. Now, as they criss-cross the country performing hundreds of shows a year to larger and larger audiences, you can sense the intention they had back then – to make music together not for just aspirational reasons, but because it’s fun – and it’s all you want to do as young musicians.

Currently made up of Lee on mandolin, fiddler Jan Purat, and guitarists Scott Gates and Sullivan Tuttle, the band carries that youthful, festival-parking-lot energy with them still today, but at the same time there’s a genuine ease and confidence to their music making. This is not
the bluegrass of ambitious musicians intent on industry success, this is music made firstly for the joy of making it and primarily made for each other. It’s part of why, as they ready their third studio album, City of Glass – their first label release, out July 19th via Signature Sounds – their product feels mature and fully realized, while deep in the Blue Summit pocket.

Junior Sisk Band

Junior Sisk founded Ramblers Choice (the original band name) in 1998, releasing Sounds of the Mountains on Rounder Records. After leaving Blueridge in 2006, he reformed the group, Ramblers Choice and began a successful career with Rebel Records. His 2011 album Heart of a Song helped bring the band into the spotlight and eventually was named IBMA Album of the Year in 2012. It’s single “A Far Cry from Lester and Earl,” which Sisk co-wrote, became a rallying cry for a resurgence of traditional sounds in bluegrass and received the 2012 Song of the Year Award from the IBMA. Sisk was furthered honored when he was named 2013 IBMA Male Vocalist of the Year, while his band earned the 2014 SPBGMA Bluegrass Band of the Year award. In 2016, “Longneck Blues,” a collaboration with noted singer-songwriter, Ronnie Bowman, was named Recorded Event of the Year by the IBMA. Most recently, Sisk received the 2017 Male Vocalist of the Year award from SPBGMA. He and his band now record for Mountain Fever Records.

Junior’s band today is now simply known as, the Junior Sisk Band. The band consists of Johnathan Dillon, Tony Mabe, Heather Berry Mabe, and Curt Love.

Johnathan Dillon is in his tenth year as a member of the Junior Sisk Band. He’s the mandolin player, vocalist, driver, and bus expert.

Over the years, Heather Berry Mabe has recorded several albums including two for Tom T. & Miss Dixie Hall’s label, Blue Circle Records. She has sang all over the country at many different venues including the Country Music Hall of Fame and the Ryman Auditorium in Nashville, Tennessee. A two time IBMA award winner for her work with the Daughters of Bluegrass, and a two time SPBGMA female vocalist of the year nominee, Heather has been gifted with a mountain clear voice.

Tony Mabe, husband to Heather Berry Mabe, began playing music at the age of 6. Over the years he’s played with several well known bluegrass bands including, The James King Band, The Jeanette Williams Band, Danny Paisley & The Southern Grass, Bobby Atkins & The Countrymen, and Travers Chandler & Avery County. He has won and placed numerous times at fiddlers conventions with his banjo.

Curt Love was first introduced to bluegrass music at 3 years old, but it wasn’t until much later he turned his love for bluegrass into a profession. The Junior Sisk Band is Curt’s first professional music job. A long time fan of Junior’s and familiar with his music for years, Curt was a great fit for the bass.

With the combined vocalists and instrumentalists currently in The Junior Sisk Band, a new level of good, traditional bluegrass is reached every time they take the stage or record a new album together.

Laurie Lewis & the Right Hands

For nearly four decades, Laurie Lewis has gathered fans and honors for her powerful and emotive voice and her versatile, dynamic songwriting. She is a sought-after recording producer and an equally skilled teacher and mentor.

And she is an inspiration and a ground-breaker – across genres, across geography and across gender barriers.

Laurie has shown us how a woman can blend into any part of the classic bluegrass singing trio, and she showed us how a great voice could move fluidly between bluegrass and other types of music. She showed us how a female fiddler could emulate the strength and grit of the early bluegrass musicians. She has shown how a Californian can appeal to traditional bluegrass audiences, as well as winning acclaim in the worlds of Americana and folk music.

She has shown us how to lead bands of talented musicians – learning from them while helping them make their best music. And she has shown us how to thrive in a constantly changing musical environment – without ever sacrificing her art.

Good Ol’ Persons
Kathy Kallick, John Reischman, Sally Van Meter, Paul Shelasky, and Bethany Raine Sorkey

This reunion of this beloved Bay Area band is a chance for Kathy, John, Sally, Paul, and Bethany to revisit some of their favorite music from days gone by. Expect performances that go far beyond nostalgia, as these musicians have continued to evolve; their music is filled with dazzling playing, passionate singing, inclusive humor, and some really good ol’ songs.

The Good Ol’ Persons were formed in 1975 as a result of the success of five women performing at a Freight & Salvage open mic. The name filled a spur-of-the-moment need and provided a wry comment on the dominant bluegrass culture of the era. It didn’t take long for a band to form, for men to infiltrate — and for the music to become more important than a gimmicky name.

The Good Ol’ Persons were among the first bluegrass bands to feature the songwriting, lead playing, and vocal harmonies of women, and went on to be trendsetters in the incorporation of Latin, swing, folk, Cajun, and other musical genres into their bluegrass. The band released several albums, toured throughout the US (including Bill Monroe’s Beanblossom Festival) and Europe, and had a profound influence on several generations of bluegrassers.

Since 1995, members of the band have continued to enjoy successful musical careers (as well as occasional GOP reunions). Kathy, Sally, and John are Grammy and IBMA award winners; Kathy, John, and Paul were awarded Lifetime Memberships by the California Bluegrass Association; all are outstanding performers, composers, producers, bandleaders, and teachers.

Laurie Lewis and Kathy Kallick
50 YEARS OF TOGETHERNESS

As Randy Pitts noted, “Before Laurie Lewis and Kathy Kallick became the highly respected and successful singers, songwriters, and bluegrass bandleaders they are today, they were founding members of the groundbreaking and influential band, the Good Ol’ Persons. Although Laurie remained in that group for only a short while before moving on to lead her own bands, she and Kathy forged a lifelong personal and professional friendship that endures to this day.”

Kathy and Laurie have been guest performers on many of each other’s albums, and they’ve released two collaborative projects: 1991’s Together, and the 2014 tribute to their mentors, Vern Williams and Ray Park, Laurie & Kathy Sing the Songs Of Vern & Ray.

Both Laurie and Kathy have won a Grammy and two International Bluegrass Music
Association awards for their contributions to True Life Blues: The Songs of Bill Monroe, both have released some two dozen albums with bands and/or under their own names, and both have received Lifetime Member Awards from the California Bluegrass Association. Laurie has twice won the IBMA Female Vocalist of the Year award, and all the Kathy Kallick Band albums have charted in the Top 10 of both the National Bluegrass Survey and Folk Alliance International charts.

Crying Uncle Bluegrass Band

Widely recognized as one of the most exciting young bands in acoustic music, Crying Uncle Bluegrass plays a unique mix of bluegrass, Dawg (David Grisman music), jazz, and modern originals. Brothers Miles and Teo Quale are joined by bassist Andrew Osborn and 2023 National Flat Pick Guitar Champion Ian Ly, all outstanding young musicians of the vibrant California bluegrass scene. Founded in 2016 as a Duo band, Miles and Teo formed the bluegrass band in 2017 and since then, they have continued to make waves in the world of bluegrass and acoustic music. The bluegrass band was the recipient of the 2023 International Bluegrass Music Association’s Momentum Band of the Year award. The band was also honored to perform for the Bluegrass Music Hall of Fame’s induction of their hero, David Grisman.

Based in Northern California, Crying Uncle Bluegrass has opened for prestigious bands, including Marty Stuart and his Fabulous Superlatives and David Grisman Bluegrass Experience. The band has played at venues such as IBMA’s World of Bluegrass Festival, CBA’s Father’s Day Bluegrass Festival, Strawberry Music Festival, SF’s Hardly Strictly Bluegrass, Delfest, and Grey Fox Bluegrass Festival. Internationally, the band toured in Japan in 2023 and in 2022, they headlined at Bluegrass in La Roche, France. In 2019, they toured throughout Finland, culminating at Kaustinen Folk Music Festival. In 2018, the band was featured on a TEDTalk by Nashville-based singer/songwriter Phoebe Hunt. Miles was also a proud recipient of the Whippoorwill Arts Fellowship in 2022.

The band released their eponymous album, Crying Uncle, in 2018. And in 2020, they released their sophomore album, Monroe Bridge, which features guest artists, fiddler Chad Manning and mandolinist Sharon Gilchrist and produced by banjoist Keith Little. In 2021, the bluegrass band came out with an EP of mostly self-written tunes, Till I Dance Again with You, inspired by a year of “isolating” during the pandemic. Most recently (2022), they released their newest album, The Thing of Dreams, which highlights their originals. Crying Uncle Bluegrass is proud to be a Fishman artist and an Ear Trumpet Labs artist.

The Alum Ridge Boys & Ashlee

Mining the fertile common ground between bluegrass, early country music, and traditional mountain music, The Alum Ridge Boys & Ashlee are Virginia’s torchbearers of the old time sound. Featuring the classic quintet of fiddle, banjo, mandolin, guitar, and bass, the band comprises five masterful musicians and singers who have immersed themselves in the dance music traditions of the Blue Ridge region and developed a deeply rooted old time bluegrass sound. Deep appreciation for Country and “Hillbilly” music of the ’30s, ’40s, and ’50s enables the band to craft tasteful original songs and instrumentals that blend seamlessly alongside the classics.

Their powerful harmony singing and energetic instrumentals have captivated audiences around the globe and helped the band to win many awards including first prize in the old time band contest at the 85th Annual Old Fiddlers’ Convention in Galax, Virginia and the bluegrass band contest at the 51st Mount Airy Fiddlers’ Convention in North Carolina. Band members have also won a slew of individual awards including first place bluegrass banjo at Galax, first place old time fiddle at the Appalachian String Band Festival in Clifftop, WV, and first prize in the 29th Annual MerleFest Chris Austin Songwriting Contest. The Alum Ridge Boys & Ashlee cut no corners when it comes to real, hard hitting, old time country music – an approach that is quickly gaining them loyal followers far beyond the reaches of their Virginia mountain home.

Clinton Davis String Band

Clinton Davis is an old time folk musician currently based in San Diego, California. A fifth-generation Kentuckian, Davis grew up in rural Carroll County. His repertoire spans fiddle and banjo music native to his family home, the exuberant ragtime piano and guitar of early 20th-century New Orleans, and ballad songs and dance music of the Southwest.

Davis’ prowess across instruments and traditional American styles has gained notice from the standard-bearers of previous generations, and earned him a place amongst a new generation of American folk musicians. Stefan Grossman, renowned authority of American roots guitar, has called him “a master…carrying on the traditional music torch of Mike Seeger.” No Depression has called his work “a joyous and soulful restoration of one of the lost treasures of American musical tradition.” Deering Banjos has called his playing “simply sublime.”

In 2021, Davis released his first full-length solo album, ‘If I Live and I Don’t Get Killed,’ on Tiki Parlour Recordings. In 2025 he will release TWO follow-up albums

Mission Blue

Mission Blue delivers straight-ahead bluegrass, featuring our unique brand of family harmony singing and heartfelt storytelling. Led by the father-daughter duo, Dana and Avram (AJ) Frankel, Mission Blue has been performing since 2017. Drawing from a deep well of traditional bluegrass, you can expect songs from Larry Sparks, The Stanley Brothers, Bill Monroe, Flatt & Scruggs, Mac Martin, and Red Allen, as well as bluegrass innovators like J.D. Crowe and The New South, Hot Rize, Southern Blend, and The Johnson Mountain Boys. In addition, Mission Blue enhances each set with reinterpretations of older folk tunes, ballads, and original material. Our traditional five-piece format features Dana Frankel on fiddle, AJ Frankel on guitar, Sam Reed on banjo, David Thiessen on mandolin, and Tom Sours on bass.

The Canote Brothers

Early country music was a simple style with sparse instrumentation. The first commercial country music recordings in 1922 and 1923 by Eck Robertson and Fiddlin’ John Carson were either solo or duo recordings by fiddlers. Duo acts performing old-time country music were common, often featuring the uniquely blended harmony singing of two brothers were a common combination. One of these early acts, the Monroe Brothers, included the future “father of Bluegrass Music,” Bill Monroe. The Delmore Brothers, the McGee Brothers, and the Blue Sky Boys (Bill and Earl Bolick) were other popular brother duets performing and recording country music in the 1930s.

The twin brothers Jere and Greg Canote from Seattle continue that tradition. As they describe their music: “We are proud to think of ourselves as links in the chain of musical brother duets like the Stanley Brothers, the Blue Sky boys, Sam and Kirk Magee or the Everlys. But we are always amazed by the possibilities of a fiddle and a guitar, (and those genetically matched voices). While we have one foot firmly planted in the traditions of American Roots music, we certainly have an ear tuned to the novel and the quirky.”

They have taken advantage of their genetics for as long as they remember; starting as Christmas elves tap dancing their way around the wishing well in the first grade. They have played an important role in the active old-time music scene on the West Coast through a string band class they have been teaching for more than 30 years. And apparently they still have fun with it: “We love the beautiful old fiddle tunes and the hypnotic ‘in the moment’ experience of playing this American Old Time music. We wish everybody could join us!”

The Gibson Brothers

There’s a reason why Ricky Skaggs pulled Eric and Leigh Gibson off the stage at the Ryman two decades ago and offered to produce their debut record. The same thing that led David Ferguson and GrammyAward winning producer and Black Keys frontman DanAuerbach to co-write and produce their 14th album “Mockingbird” (2018) and release it on his own label Easy Eye Sound alongside cultural icons such as HankWilliams Jr. and Dr. John, the Gibson Brothers are the real deal. They can pick. They can sing. And they can write a damn good country song. They’ve won about every bluegrass award you can name and released albums on almost every premier Americana label you can think of including Sugar Hill and Rounder, and, if that’s not enough, their songs have been recorded by bluegrass legends no less than Del McCoury. It’s a resume almost anybody in country music would be proud to have. But despite all of this, the Gibson Brothers are not yet household names. Their latest album, “Darkest Hour,” produced by dobro master Jerry Douglas might just change that.

As soon as you hear Leigh singing with Alison Krauss [“I FeelThe SameWayAsYou”] on the new project you realize that his voice is as good as anyone in music today. Add the brother harmony to that and they have something truly unique. While “Mockingbird” featured gorgeous production, recreating the sound on stage was difficult. “We put together a little band to go out and try to recreate it,” Eric told me, but we couldn’t. We would have to have such a huge band to try to recreate that record, but we did the best we could.”

Douglas—who has won 14 Grammy awards and backed up everyone from Ray Charles to PaulSimon and George Jones—wanted to make a record they could actually play on the road. So he picked the best songs (out of dozens) and squirreled them away in Sound Emporium’s Studio B. But then the pandemic hit. “We did our last shows in March of 2020,” Eric told me. “We were in Nashville the week everything was shutting down. It was surreal, but Jerry was like, ‘Guys, the world’s going crazy. Let’s let this be our little cocoon.’And we did. We cut all of the acoustic stuff and then went home and didn’t play any more gigs until things started opening. Then we went back and finished the record with Jerry in February of 2021.”

The result is arguably the strongest record The Gibson Brothers have ever made. The songs recorded in the first recording period featured Mike Barber (bass), Justin Moses (mandolin),Eamon McGloughlin (fiddle), and of course, Jerry Douglas, adding in John Gardner (drums), Guthrie Trapp (electric guitar), andTodd Parks (bass) for the final tracks, “Darkest Hour”showcases just how easily Eric and Leigh move from what DanAuerbach dubbed “country soul”(“I Go Driving”) to high octane bluegrass (“What a Difference A Day Makes” and “Dust”) with Douglas always keeping the spotlight on the songs themselves. “That’s what I love about those guys,” Douglas told me, “they are just great songwriters.”

Growing up on a dairy farm in northern New York and then traveling around the world in a bluegrass band has given them a unique vantage point on life, and the songs on “Darkest Hour” are a testament to that. “Jerry wanted to hear everything we’d written,” Eric told me, “so we just sent him songs: brand new songs, old songs, there’s stuff on that record 20 years old that we never recorded. We wanted to see what he would do with us as a singer-songwriter. We respect him that much. Some of my favorite records are Jerry Douglas-produced records. He didn’t disappoint.”

If the Gibson Brothers had stayed in Nashville in 1999 they might possibly be Grand Ole Opry members by now. At the very least they would be hit songwriters on Music Row. But, just like their buddy Del McCoury, they chose family over success (McCoury was in his 50s when he moved to Nashville and didn’t really see major success until he was approaching 60). All they need is someone to shine a light on them. Their talent level is well-established, the only producers they have ever worked with are Ricky Skaggs, DanAuerbach, David Ferguson, and Jerry Douglas. I dare say not many musicians can stack up a list of producers that strong. For the Gibson Brothers though, they just want to keep writing, singing, and standing on a stage.

The Travelin’ McCourys

From a source deep, abundant, and pure the river flows. It’s there on the map, marking place and time. Yet, the river changes as it remains a constant, carving away at the edges, making new pathways, gaining strength as it progresses forward. The Travelin’ McCourys are that river.

The McCoury brothers- Ronnie (mandolin) and Rob (banjo) – were born into the bluegrass tradition. Talk about a source abundant and pure: their father, Del, is among the most influential and successful musicians in the history of the genre. Years on the road with Dad in the Del McCoury Band honed their knife-edge chops, and encouraged the duo to imagine how traditional bluegrass could cut innovative pathways into 21st century music.

“If you put your mind, your skills, and your ability to it, I think you can make just about anything work on bluegrass instruments,” says Ronnie. “That’s a really fun part of this- figuring the new stuff out and surprising the audience.”

With fiddler Jason Carter, bassist Alan Bartram, and latest recruit Cody Kilby on guitar, they assembled a group that could take what they had in their DNA, take what traditions they learned and heard, and push the music forward. In fact, the band became the only group to have each of its members recognized with an International Bluegrass Music Association Award for their instrument at least once. There were peers, too, that could see bluegrass as both historic and progressive. Rock and Roll Hall of Fame inductees The Allman Brothers Band, improv-rock kings Phish, and jamband contemporary Keller Williams were just a few that formed a mutual admiration society with the ensemble.

The band played the Allman’s Wanee Festival, and guitarist Warren Haynes’ Christmas jam- an annual holiday homecoming of Southern music. An early-years jam with the Lee Boys was hailed by many as the highlight of the evening, and with the video catching fire online, earned a legion of new, young fans of their supercharged combination of sacred steel, R&B, and bluegrass. There were unforgettable collaborations with country smash Dierks Bentley, and onstage magic, jamming with titans String Cheese Incident and Phish, cutting an album with Keller (Pick), and creating the Grateful Ball- a tribute concert-turned-tour bridging bluegrass with the iconic music of the Grateful Dead.

“That’s something that’s part of us being who we are,” says Ronnie. “It comes, too, with us plugging in. It gets louder, for sure. We can’t be another version of our dad’s band. It wouldn’t make any sense for us to do that.”

Their concerts became can’t-miss events, whether headlining historic venues or as festival favorites, drawing the love and respect of a growing fanbase craving their eclectic repertoire. At the 2016 edition of DelFest, an annual gathering of the genre’s best aptly named for the McCoury patriarch, the band delivered the take-away highlight. Rolling Stone called it “a sublime combination of rock and bluegrass, contemporary and classic, old and young. The best set of the festival…” The river was going new places, getting stronger. It was time to re-draw the map.

“We’ve tried to pick songs we think people are going to enjoy,” says Ronnie. “Something we learned from our dad is that a good song is a good song. It can be done in any way.”

So arrives the long-awaited, self-titled debut album from the quintet. A brilliantly executed set overflowing with inventive style, stellar musicianship, and, of course, plenty of burnin’ grass, the 14-song collection is a true culmination of their decades-long journey. From the headwaters of Bill Monroe and the waves of Jerry Garcia to a sound both rooted and revolutionary, soulful and transcending that belongs only to the Travelin’ McCourys.

“The album definitely shows what we’ve evolved into as a band. And, it’s a pretty good representation of what’s happening with the whole genre,” says Rob. “The old bluegrass material is something I love but it’s been done many times. We’re forging ahead with our own sound. That’s what you have to do to make it all work.”

Windy Hill

Formed in 2008 by a couple of high school friends from the Bay Area, Windy Hill has covered a lot of ground in 16 years, performing all over the western states and recording four albums.

​While the band is steeped in the traditional style, they’ve cultivated their own distinct bluegrass sound. The balance between their love for classic bluegrass and keenness to explore fresh musical ideas defines their style and approach, and makes them a fan-favorite for music lovers of all types.

​Three-part harmony, lonesome duets, banjo breakdowns, honky-tonk sorrow, blues mandolin, and original material all combine to create their vision for bluegrass music and its future.

They’ve won numerous awards, performed at festivals, venues, and bars across the west coast, and released four albums:

Live from the Ratz Nest | 2018
Bluegrass Sounds from California | 2017
The Lonesome Garbage Man | 2013
Let’s Go To The Fair | 2011

The Town Howlers

The Town Howlers play traditional, straight ahead, bluegrass music, with some occasional originals and often pulling material from neighboring genres like old time and country. They take their inspiration from the classic singers and instrumentalists of the golden era of bluegrass, such as Bill Monroe, The Stanley Brothers, Vern Williams, and Jimmy Martin, as well as lesser known artists like Buzz Busby, Connie & Babe, Charlie Moore, and Mac Martin. The Town Howlers put heavy emphasis on overall band presence, opting to fill the air with the sound their instruments create rather than letting microphones do all the work for them.

John Mckelvy (guitar), Rowan McCallister (mandolin), and Michael Small (banjo) started the band more than 10 years ago, in 2014, soon pulling in Matt Crimp on fiddle, and eventually Jimmy Touzel on Bass. In 2018 they released their debut album “Alright Everybody! It’s The Town Howlers,” recording 16 tracks straight to tape, all live with no overdubs. Since the departure of fiddler Matt Crimp who still comes down from Washington to join them for occasional performances, The Town Howlers are joined by a rotating cast of California’s best fiddlers, including Chad Manning, Andy Lentz, Amy Kassir, & Dana Frankel.

Having played all over California from festival stages like The Sonoma County Bluegrass & Folk Festival, The Hoes Down Harvest Festival, and numerous appearances on Grass Valley’s Vern’s stage, to weddings and private events in the various nooks and crannies of the state, The Town Howlers are always ready to gather around the single mic and play some bluegrass music.

The Bearcat Stringband

The Bearcat Stringband – hailing from Oakland, California – play old time music that drives hard. Influenced largely by southern style old time square dance music, they know how to hold the groove and throw a party.

Equally comfortable when playing raging dance tunes, quirky rags, or “old time does country” honky tonk numbers, the Bearcat Stringband is excited to represent the vibrant and thriving California old time music scene at the 50th Father’s Day Festival.

The Bearcat Stringband features Bay Area traditional music compatriots Robin Fischer on fiddle (also doubles as square dance caller – but not at the same time as when she is fiddling!); Rowan McCallister on banjo and mandolin (you might recognize him from bluegrass bands the Town Howlers, and Hey Lonesome, besides being a sought-after sideman); Katy Hill Harris on guitar (the Barn Owls, KC and the MoOnshine Band); and Allegra Thompson on bass (Thompsonia, Skillet Licorice). Everybody sings.

The Bearcat Stringband has appeared at the Berkeley Old Time Music Convention, the Los Angeles Old Time Social, and has held down a monthly residency at Cato’s Alehouse in Oakland for over ten years. The last time the Bearcat Stringband played the Father’s Day festival it was 2015!

Music has always had a resounding presence in the lives of twin sisters Leanna Price and Lauren Price Napier. Growing up, their parents sang traditional and old-time country songs and as the sisters grew up hearing duet harmony, they naturally became accustomed to singing together themselves. In the spring of 2016, Leanna and Lauren signed to Rebel Records and released an EP that August, thus pursuing to tour professionally as The Price Sisters. The Price Sisters have since performed at numerous venues and festivals across the United States as well as in Germany, Austria, Switzerland, and Canada. The Sisters released their first full-length album for Rebel Records, “A Heart Never Knows,” in the spring of 2018 and in 2019 hired their first full-time touring band.

While Lauren and Leanna front the band and are recognized for their twin-sister harmony singing, the girls are supported by band members who are each accomplished musicians in their own right. The band is made up of young multi-instrumentalists and vocalists who showcase traditional, yet fresh and innovative sounds. Lauren has instructed at the Monroe Mandolin Camp, DelFest Academy, Mandolin Camp North, Camp Bluegrass, Augusta Bluegrass Week, and more; Leanna has been a featured artist in Fiddler Magazine, presently works as an apprentice of set-up and repair at Nashville’s The Violin Shop, and is a frequent fiddler on WSM’s Grand Ole Opry. Banjo player Trevor Holder was awarded first prize on the banjo at the prestigious Old Fiddlers’ Convention in Galax, VA. Bobby Osborne Jr on bass is no stranger to bluegrass and country music, having started his musical career touring with his father, the late Bobby Osborne of the Osborne Brothers. Conner Vlietstra is not only a talented guitarist and vocalist, but has soloed on the Grand Ole Opry, is an award-winner on several instruments, and is well-versed in material stemming from pre-bluegrass and country music catalogs. Both collectively and individually, band members have instructed and hosted various vocal and instrumental workshops/lessons in private and festival/group settings.

Lauren and Leanna have been Artists in Residence for the Bluegrass Music Hall of Fame & Museum in Owensboro, KY and featured on Mandolin Café and in Fiddler magazine. Bluegrass Unlimited magazine has featured articles on The Price Sisters in three separate issues to date; every one of their professional releases earned “highlight” reviews in the magazine as well. The Price Sisters have garnered significant press through outlets such as No Depression, Paste Magazine, For Folk’s Sake, The Bluegrass Situation, and WSM’s The Eddie Stubbs Show. The Price Sisters band collectively has been nominated for the International Bluegrass Music Association’s (IBMA) Momentum Band of the Year (2024 & 2019) while Lauren has received nominations for Momentum Vocalist and Instrumentalist of the Year (2019 and 2020, respectively) and Leanna for Momentum Vocalist (2020.) The group has been featured as an official showcase act for the IBMA and has appeared at DelFest, the University of Chicago’s Folklife Festival, ROMP, Bean Blossom, and many more. Presently, The Price Sisters have signed to the Del McCoury Band’s family record label, McCoury Music, and released their first album for the label titled “Between the Lines” and produced by Ronnie McCoury, in 2024. Following the release of “Between the Lines,” The Price Sisters Band made their debut on the world-revered Grand Ole Opry stage.

Broken Compass Bluegrass is leading the way in the contemporary bluegrass revival, combining tradition with innovation in a way that appeals to both longtime fans and new listeners alike. Their live performances are characterized by tight harmonies, truly impressive solos, and an undeniable joy that permeates with every note they play. The band’s repertoire includes numerous original compositions as well as fresh takes on timeless classics, all delivered with their own distinctive style.

From the moment they take the stage, it’s clear that Broken Compass Bluegrass is something different. Their energy is palpable as they weave intricate melodies and harmonize with ease, creating a wall of sound that transports fans to a place where tradition meets innovation. Whether you’re a die-hard bluegrass aficionado or just looking for some foot-stomping fun, Broken Compass Bluegrass is sure to leave you spellbound and inspired.

Sam Grisman Project

Sam Grisman is a bass player, music appreciator, and bandleader who grew up in Mill Valley, California in a home where some of the great acoustic music of our time was being recorded on a regular basis. His father, legendary mandolinist, composer, and producer, David Grisman, was constantly having friends come over to his home studio for recording sessions and rehearsals. These friends, such as Doc Watson, Jerry Garcia, John Hartford, Mike Seeger, and Tony Rice all left an impression on the younger Grisman and inspired him to pursue a life making music with his many talented friends.

Sam Grisman Project was created to shed light on the music that Sam grew up around, and highlight that music’s influence on the members of the collective and in the greater music community. The band’s shows create a safe space where the band and audience can bask in the shared love and reverence for the great music and musicians who continue to inspire us all.

The friends who make up Sam Grisman Project are a rotating cadre of acousticians who are some of the brightest individual voices on their respective instruments. Members of this rotating cast of instrumental wizards include guitarists Max Flansburg, Logan Ledger, Sam Leslie, Henry Moser, Jesse Harper, and Jefferson Hamer, mandolinists Dominick Leslie, Joe K. Walsh, Matt Flinner, and Jesse Appelman, clawhammer banjo maestro Victor Furtado, fiddlers John Mailander, Alex Hargreaves, Nate Leath, Shad Cobb, and Phoebe Hunt, cellist Nat Smith, and Todd Livingston on the Dobro.

This ever evolving collective of exceptional humans who happen to be incredible musicians is a testament to the abundance of joy, and wealth of experiences that growing up around this timeless music has brought into the younger Grisman’s life. Sam Grisman Project is committed to putting their love, gratitude, and individuality into the music that they share on stage each night, and to participating in the community effort of preserving, expanding, and appreciating great American acoustic music.

“They don’t just play this music. They live it. And they make you feel like you’re part of it too.” – No Depression

“This isn’t nostalgia. It’s a living breathing celebration led by musicians who understand the soul of the music.” – Bluegrass Today

“One of the most joyful and reverent tributes to the Grateful Dawg legacy you’ll ever witness.” – Relix Magazine

Bay Area Special

Bay Area Special is a Bluegrass Band from the Bay Area. The band which is rooted in traditional bluegrass sound brings their own taste and innovation to the music. The band has received a reputation for their tight harmonies, and stellar instrument playing at venues in the Bay Area and all across California. 

Led by Ruby Davis (Rhythm Guitar, Lead Vocals) and Elijah Chen (Lead Guitar.) The two young up-and-coming musicians seeked experienced players to join the group.  Phil Cornish (Mandolin, Vocals), Danny “Hootenanny” Clark (Fiddle, Vocals), and Ryan Triolo (Upright Bass, Vocals) make up the rest of the group. 

Formed in early 2024, Bay Area Special has quickly built momentum as they continue to make their way through the California Bluegrass Festival Circuit. “The group is one of the hottest up and coming bands to emerge from Northern California’s thriving bluegrass scene,” says Donna Hargis, CBA SoCal Regional Director.   

Critical Grass

Critical Grass is a collection of San Francisco East Bay musicians who discovered each other by accident at a Berkeley restaurant. 

We dig all forms of bluegrass, all of bluegrass’s cousins, and great songwriters. We do Bill Monroe and Flatt & Scruggs, but we also play John Prine, Norman Blake, and John Hartford. We love women songwriters – Kathy Kallick, Martha Scanlon, and Hazel Dickens are in our setlist.

On guitar and vocals is Chris Quale, who comes from a musical family – two of his sons are professional musicians. Jeremy Reinhard is on banjo, vocals, and bird identification. Leah Wollenberg sings and plays fiddle. In a previous 19th century life, she was an itinerant fiddle player in County Clare, Ireland. Leah’s fellow D&D nerd John Haupert plays mandolin and sings. Lee Jones plays bass and wrangles the band.

We celebrate our obligation to share and perpetuate music. Leah is a full-time fiddle teacher at Manning Music in Berkeley, and we’ve had her students come up and play a tune with us at gigs.

Like the D&D-inspired avatars on our band t-shirt, Critical Grass is on a campaign to spread joy and peace through music. We hope you’ll join us.

The Jimmy Touzel Bluegrass Explosion (JTBX)

The Jimmy Touzel Bluegrass Explosion (JTBX) is not your grandpa’s bluegrass band—but he’d probably love them anyway. Born in the San Francisco Bay Area in 2024, this high-energy supergroup is on a mission to shake the dust off traditional bluegrass and make it swing, stomp, and slap.

At the helm is Jimmy Touzel, a South Carolina native with a big bass and even bigger stage presence. He’s joined by a crack team of pickers and singers: Evan Ward burns up the banjo, Ryan Breen brings the soul on guitar, Dana Frankel fiddles like it’s 1939, and Josh Gooding’s mandolin might just catch fire if you’re not careful. Together, they mix tight harmonies, wild solos, and a whole lot of fun.

Their sound is steeped in first-generation bluegrass but also takes inspiration from old-time, honky tonk, gospel, swing, and 1950s rock ’n’ roll. Expect deep cuts, fresh originals, and classics that’ll make you shake your booty—whether you’re at a dance hall, dive bar, or festival lawn.

JTBX isn’t just about hot licks—they’ve got serious chops. Between them, the members have worked with some of the most respected names in traditional bluegrass such as Audie Blaylock & Red Line, The Earl Brothers, Doyle Lawson, Windy Hill, Jason Carter, Dailey & Vincent, and more. But don’t let the resumes fool you—this band is all heart, grit, and good times.
Whether it’s a packed festival or a back-porch jam, The Jimmy Touzel Bluegrass Explosion is here to blow the doors off and bring traditional bluegrass roaring into the present.

Sweet Sally

Sweet Sally is an exciting young band from the vibrant California bluegrass scene, celebrated for its exceptional instrumental prowess, tight vocal harmonies, and inventive arrangements that draw from bluegrass, folk, and jazz. Band members Lucy Khadder and Sophia Sparks, who started the band as a duo in 2020, now joined by Clare O’Grady, came together at Oakland School for the Arts.

Lucy, on fiddle, guitar, and vocals, is a YoungArts Award winner who has twice been featured as a Next Generation Jazz artist at the Monterey Jazz Festival. In 2025, she received the Jimmy Lyons Scholarship to study at Berklee College of Music. Sophia, on mandolin, guitar, and vocals, is a YoungArts Award winner and the 2024 RockyGrass mandolin contest winner. She has been passionate about mandolin since she joined Sierra Hull on stage at age 9, and is finishing her senior high school year in the jazz program at Oakland School for the Arts. Clare O’Grady, on bass and vocals, brings an extensive background in percussion and jazz to the band. She studies jazz and psychology at UC Santa Cruz.

They have performed together at festivals including DelFest, High Sierra Music Festival, and IBMA’s World of Bluegrass. 

Deep Thicket Dwellers

Deep Thicket Dwellers are a four‑piece ensemble originating from Alaska and Virginia, now based in Oakland, California. Their music weaves together Bluegrass, Old‑time, Gypsy Jazz, and the playful ingenuity of John Hartford into a distinctive style called Hillbilly Jazz. With the fiddle at the heart of their sound, they deliver dynamic, high‑energy performances that inspire foot‑stomping revelry.