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Richelle Putnam holds a BS in Marketing Management and an MA in Creative Writing. She is a Mississippi Arts Commission (MAC) Teaching Artist, two-time MAC Literary Arts Fellow, and Mississippi Humanities Speaker. Her fiction, poetry, essays, and articles have been published in many print and online literary journals and magazines. Among her six published books are a 2014 Moonbeam Children’s Book Awards Silver Medalist and a 2017 Foreword Indies Book Awards Bronze Medal winner. Visit her website at www.richelleputnam.com.
Rebekah Speer has nearly twenty years in the music industry in Nashville, TN. She creates a unique “look” for every issue of The Bluegrass Standard, and enjoys learning about each artist. In addition to her creative work with The Bluegrass Standard, Rebekah also provides graphic design and technical support to a variety of clients. www.rebekahspeer.com
Susan traveled with a mixed ensemble at Trevecca Nazarene college as PR for the college. From there she moved on to working at Sony Music Nashville for 17 years in several compacities then transitioning on to the Nashville Songwritrers Association International (NSAI) where she was Sponsorship Director. The next step of her musical journey was to open her own business where she secured sponsorships for various events or companies in which the IBMA/World of Bluegrass was one of her clients.
Susan Marquez is a freelance writer based in Madison, Mississippi and a Mississippi Arts Commission Roster Artist. After a 20+ year career in advertising and marketing, she began a professional writing career in 2001. Since that time she has written over 2000 articles which have been published in magazines, newspapers, business journals, trade publications.
Singer/Songwriter/Blogger and SilverWolf recording artist, Mississippi Chris Sharp hails from remote Kemper County, near his hometown of Meridian. An original/founding cast member of the award-winning, long running radio show, The Sucarnochee Revue, as featured on Alabama and Mississippi Public Broadcasting, Chris performs with his daughter, Piper. Chris’s songs have been covered by The Del McCoury Band, The Henhouse Prowlers, and others. mississippichrissharp.blog
Brent Davis produced documentaries, interview shows, and many other projects during a 40 year career in public media. He’s also the author of the bluegrass novel Raising Kane. Davis lives in Columbus, Ohio.
Kara Martinez Bachman is a nonfiction author, book and magazine editor, and freelance writer. A former staff entertainment reporter, columnist and community news editor for the New Orleans Times-Picayune, her music and culture reporting has also appeared on a freelance basis in dozens of regional, national and international publications.
Candace Nelson is a marketing professional living in Charleston, West Virginia. She is the author of the book “The West Virginia Pepperoni Roll.” In her free time, Nelson travels and blogs about Appalachian food culture at CandaceLately.com. Find her on Twitter at @Candace07 or email CandaceRNelson@gmail.com.
A Philadelphia native and seasoned musician, has dedicated over forty years to music. Starting as a guitar prodigy at eight, he expanded his talents to audio engineering and mastering various instruments, including drums, piano, mandolin, banjo, dobro, and bass. Alongside his brother, he formed The Young Brothers band, and his career highlights include co-writing a song with Kid Rock for Rebel Soul.
by Susan Marquez
From his home in Chimney Rock, North Carolina, Andrew Wakefield is thankful. “Our house is still standing, so we are grateful for that.” The after-effects were wide-reaching when Hurricane Helene unexpectedly barreled through the Appalachian region. The music community was hit hard. “I lost a bunch of gigs, but it also gave me more time to enjoy with my family.” That family includes his wife, Kristen, and their one-year-old daughter, Irene.
Andrew’s childhood was spent growing up in a musical family. “My father played just about every instrument, and that was inspiring to me. He played in a Christian band in his younger days. My mom played violin, and my sisters played clarinet, flute, and piano. I always sang in church choirs. My dad used to play me to sleep, and he taught me to play ‘Ticket to Ride’ by the Beatles on the guitar when I was in the fourth grade. Of course, that was before I moved on to grunge music, which was easy to play on the guitar.”
Since middle school, Andrew knew he wanted to be involved with music. “It was a hobby for years. I began playing in an electric band when I was 16, and that continued through my early 20s before I moved to Northern California.” Andrew led a nomadic lifestyle for several years, traveling to India, Brazil, the Philippines, Laos, and Mexico. During that time, Andrew was constantly writing and playing. In early 2020, he became disillusioned with the music scene in Northern California, and a friend convinced him to move to North Carolina, where the music scene is quite vibrant.
He got a weekly gig with a house bluegrass band at Jack of the Wood for their Saturday bluegrass brunch. He also began gigging with regional bands, including The Well Drinkers, Supper Break, and The Pigeon River Messengers. That was the beginning of the path he is on now. “I went full-time during Covid.”
Writing is Andrew’s passion, and his verses must have a purpose. “I like cowriting with Jake Bachman from The Well Drinkers. We make a good team.” He typically storyboards his songs. “I don’t freeform it.” Undoubtedly, he has a knack for crafting songs, and his skill on the guitar has folks taking notice. He weaves old with new, and he likes to blur genres, bringing a sound and style of his own to the American roots music communities. Despite Helene putting a crimp in things last fall, 2024 was very good for Andrew, with performances at the Blue Ox Fest and the AVL Fest. He got radio play on The Bluegrass Jamboree and other stations around the country and appeared live on WDVX’s live radio show The Blue Plate Special in Knoxville. Andrew has had the opportunity to share the stage with such greats as Molly Tuttle, Ketch Secor, and others.
His debut album, Bluegrassish, was released in 2023 it quickly reached 45,000 Spotify plays. At that time, Andrew decided to go solo. “I’m going full tilt with my solo stuff,” he says. “I’m just trying to sell more tickets and expose more people to my music. My goal now is to get more songs together for a new record mid-year. With this next album, I want to be more intentional about how I place the songs, so
it should mesh really well. They will be all love songs and all instrumental.”
Andrew says different styles of music inspire him. “I like just about every style from classical music to classic rock– it just depends on my mood. I like Jimmy Martin and probably cover him more than anybody else. I also like Brian Sutton. And I’m obsessed with Tony Rice. To me, he’s the chosen one.”
by Susan Marquez
In the Turnberry Records showcase room during the IBMA World of Bluegrass in the Marriott, downtown Raleigh, NC, one of the performers on the Turnberry stage was a charismatic young banjoist with long hair: Ettore Buzzini. He played his heart out for a room full of music lovers. Although it was very late, attendees sat a little taller in their chairs, leaning forward as Ettore played. His business card bears the image of him holding a banjo, laying down on a Swiss Army knife, and the back reads, “Tradscendental Bluegrass that hits you in the gut and elevates the soul.” That pretty much says it all.
The next day, Ettore performed on the showcase stage next to The Bluegrass Standard’s booth at the trade show. The large crowd they drew tapped their toes and smiled as the 17-year-old banjo phenom played, wearing a wise-beyond-his-years demeanor of someone with an old soul. Confident on the stage, he in no way tried to grab the spotlight, respecting that he was part of a band.
Arriving at IBMA, Ettore had just won the prestigious Freshgrass Banjo competition award, for which he played a traditional song, “Dear Old Dixie,” and an original composition, “Birth of Eros,” blowing the socks off the judges, who included banjoist Alison Brown.
Ettore (pronounced Et-tor-ay) lives in Mooresville, North Carolina. His father is Swiss Italian, and his mother is from East Tennessee. Growing up in Mooresville, Ettore and his sister visited family in both Tennessee and Switzerland. His exotic-sounding name fits him, although his music friends call him Eddie Ray because, to them, that’s what his name sounds like.
At age six, Ettore’s grandfather gave him an old iPod. “He told me I could delete what was on it and put whatever I wanted to on there.” He turned on the iPod in the car on the way back to North Carolina from his grandparents’ home in Tennessee. “I wasn’t a big music person at that time, but when I turned it on, I heard ‘Shucking the Corn’ by Flatt and Scruggs, and it stopped me in my tracks. I say it was my gateway drug to the bluegrass music world. I decided that day that I wanted to play banjo.”
He continued to ask for a banjo for the next two-and-a-half years until his grandfather lent Ettore his. Ettore played it for a month, teaching himself to play several songs. “The day I got the banjo, I saw someone playing ‘Cripple Creek’ on YouTube. I was so determined to learn to play it.” His mom says Ettore woke her at 6 am to play it for her. “I decided it was time to let him take some lessons – something I did to save me from getting headaches,” laughs Yvonne. Ettore took lessons from Bill Rippey for three years before Covid. “He was a good teacher,” says Ettore.
Soon, he was seeking out jams. “I started playing at Richard’s Coffee Shop and then going to fiddlers conventions, which is really my favorite because they are so much fun.” The first time he competed, at the Ashe County Bluegrass and Old Time Fiddlers Convention, Ettore didn’t place. Instead of being discouraged, it motivated him to work harder. Ettore worked up “Home Sweet Home” for the Fiddlers convention in Fiddler’s Grove and won first place. “His grandfather came to accompany him and played backup guitar,” says Yvonne. He was just ten years old and had been playing banjo for one year. He never won the Ashe County contest but won first place at the famous Galax Old
Fiddler’s Convention at age 11.
As Ettore started learning music, something amazing happened. Ettore began writing music, and he became the total package in terms of being a performer. His compositions reflected his emotions, and more importantly, he wanted his songs to make people live in the music and feel things.
“While bluegrass has the typical hurtin’ or gospel song, there are many emotions in the human experience left relatively untouched by the genre,” he says. “This refers to lyrics as well as composition. How many kinds of bluegrass music have you heard? There are five, maybe like the waltz, fiddle tune, sad hurtin’/cryin’ song, gospel/praise, etc. Many feelings and emotions are heavily underrepresented in the music of bluegrass.” He asks, “Have you ever heard a bluegrass song that made you feel heroic, sublime, terrified, ghastly, or emotions that cannot be described in words?” He explains that there is a much broader scope of emotions in the music itself besides the current repertoire of happy/sad/ angry. “I want to bring as much emotion as I can to bluegrass music in an experience that doesn’t depict a describable emotion but rather makes you live an indescribable emotion that only music and life can make you feel. To bring as much of the human experience to our music as possible.”
Ettore’s music reflects the influences from his mother’s Tennessee roots, his father’s European roots, and his upbringing in North Carolina. His debut album, Eddie Ray, opens with a song he wrote when he was 11. “Ragnarok” tells the story of the mythical battle between two Norse gods, Thor and Odin. That song won him the Young Songwriter’s Competition at the Kruger Brothers Festival in Wilkesboro.
Other cuts on the album include the jazz standard “Farewell Blues,” recorded by Flatt & Scruggs in 1950. Ettore closely follows that arrangement. A few more originals fill out the album, including “I’ll Try Not to Care,” a traditional bluegrass song co-written with up-and-comer Mason Via and producer Tom Mindte about the time-honored theme of love gone wrong but with a dash of teen angst added to the mix. “Cash Don’t Sleep,” another original, is an emotional song about a young undocumented immigrant struggling to bring a family to settle in North Carolina.
Ettore’s album piqued Pete Wernick’s interest. Wernick had met a young Ettore at one of the Dr. Banjo jam camps he attended. Wernick invited Ettore to play sets with him at Earl Scruggs Festival and MerleFest.
The friends who attend public school with Ettore in Mooresville support him. They featured him in his high school yearbook. “That gives me hope,” he says. “I want to get people my age listening to my music and break out of the traditional bluegrass audience.”
Ettore is unapologetic with his music, and for good reason. He has it all – he’s a strong songwriter, instrumentalist, and vocalist. He is currently starting to work on a new album, and he’s putting out new singles. “It won’t be long before we will be promoting the new music. It won’t be like any bluegrass album out there – but it will still be very satisfying.”
by Susan Marquez
Brandi Waller-Pace, a native of Atlanta, taught elementary school in Fort Worth. “I taught stringed instruments, and after hearing the banjo, I wanted to get one. I learned to play in the claw hammer style.”
They began playing in a string band in the Dallas/Fort Worth area, playing backup guitar and banjo when needed while they were still learning. Brandi was mesmerized when they attended the Affrolachian On-Time Music Gathering presented by Dr. Dena Jennings, a gourd banjo builder based in Nasons, Virginia (the event is affectionately known as “The Thang”).
“It was my first time around a significant group of other Black folks who played that kind of music.” They began attending other old-time banjo gatherings and listening to artists like the Carolina Chocolate Drops.
Brandi attended many festivals over the next few years. At the Augusta Heritage Center, they took part in a session in which participants discussed Black representation and integrating spaces versus creating spaces, and the creative wheels in Brandi’s head began turning. “I love creating new spaces, and I also thought it would be nice to have folks come to me instead of me having to fly somewhere.” That’s when the seed for the Fort Worth African American Roots Music Festival was planted.
As someone who presents workshops and speaks nationally and internationally, creating this particular festival was a natural thing for Brandi, who holds a BM and MM in Jazz Studies from Howard University and has co-written music curriculum and participated in district and community work in racial and system educational equity during her twelveyear tenure as a public-school music educator. They served on the Texas African Studies Course Curriculum Advisory Team in 2019 and 2020, which helped formulate curriculum standards for the first state-approved African American course. Brandi also serves on the Board of Directors for Folk Alliance International and is an accomplished musician who strongly emphasizes jazz and early American roots music.
The festival is a program of Decolonizing the Music Room, an organization that Brandi founded and serves as the executive director. The mission centers on Black, Brown, Indigenous, and Asian voices in music education, research, and performance. According to the organization’s website, Decolonizing the Music Room accomplishes that mission by providing training and educational content for educators and creating community programming for people of all ages.
“I began planning the first FWAAMFest in 2019, then Covid hit, and plans changed,” explains Brandi. The first festival premiered virtually in 2021. “I partnered with a friend who had a video production company, Shiny Box Pictures.” In 2022, the first in-person event was held at the Southside Preservation Hall in Fort Worth, a historic venue that dates back to the early 1920s.
In addition to the partnership with the Southside Preservation Hall, Brandi cultivated some strong partnerships to present the festival, including a partnership with Lillian Werbin, co-owner and president of Elderly Instruments, based in East Lansing, Michigan. “I met Lillian through festivals I attended, and we even shared an Airbnb and rental car at Clifftop,” says Brandi. “Lillian has been an important partner in the development of this festival.” Other corporate partners include Ear Trumpet Labs, Universal Music
Group’s Task Force for Meaningful Change, and Fan Alliance. Several public entities and organizations have come on board to support the festival, including the Black Owned Business of DFW, Communities Foundation of Texas, the Fort Worth Tourism Public Improvement District, and the Texas Commission on the Arts. Brandi has also garnered support from cultural organizer, artist, and educator Sister Tufara Waller Muhammad, and the Datule’ Artist Collective. “Fundraising for this event is necessary and will happen until the wheels come off,” Brandi states.
This year’s festival will be held on Saturday, March 15. As the event organizer and founder of FWAAMFest, Brandi says that the festival will feature a show-stopping line-up of award-winning artists, along with educational sessions and jamming – all to celebrate the central role of blackness in American roots music. “Fort Worth is one of few major city festivals of its kind in the United States. This is a Black-led festival centered on Black artists who are reclaiming their place in roots music forms through preservation and innovation.”
This year’s lineup includes Dom Flemons as the headliner act, Yasmin Williams, and Kyshona. “We have another strong lineup of artists this year, which is very exciting,” says Brandi. “We’ll have everything from old-time string bands and early country and blues to artists who infuse their roots music with rap and soul.” Workshops will be held in the Rose Chapel, including a workshop on “Black Cowboy Musical and Cultural Legacies,” presented by Dom Flemons. Other workshops include “Black Appalachian Music and Instrument Building” by Dr. Dena Jennings and a rhythm bones workshop presented jointly by artists Kafari and Demeanor. Dr. Maya Brown-Boateng will present a workshop on “Black Banjo History and Reclamation.”
Click here for more information on the Fort Worth African American Roots Music Festival.
by Brent Davis
Despair not, all ye who have struggled to learn the banjo. Self-described “ebanjolist” Matt Brown brings good tidings of great two-finger picking joy.
He declares anyone can learn to play the banjo using that style.
“I had a 100 percent success rate getting people playing two-finger,” says Brown, who has taught all three styles. “With clawhammer, it was never 100 percent. With Scruggs’ style, it was never 100 percent. But everyone could do two-finger.”
Perhaps you’ve been vanquished by the intricacies of the Earl Scruggs three-finger roll. Or maybe after months of practice, the unnatural stroke of the clawhammer remains a mystery. On twofingerbanjo.com, Brown offers online instruction in a style that he says anyone--and he means anyone--can employ to make music on the banjo.
Brown grew up in West Chester, Pa., in a family that loved old-time music. The night before his birth, his parents were at a square dance. His father played the five-string banjo. Brown grew up going to festivals, and traveling musicians often stayed at the house. At the age of four, Brown took up the fiddle through the Suzuki method. By the age of 16, he was a touring musician and left high school early to study music at nearby West Chester University.
And then, he experienced an instrumental change.
“I never really fell in love with the banjo until I made my first album as a fiddle player, and the banjo player on that record was Paul Brown,” (no relation) says Matt Brown.
“Growing up, I wasn’t super impressed with the banjo. It just seemed like a normal thing that everyone did because my dad and all his friends seemed to play banjo. But there’s something about Paul Brown’s style that broke through the normalcy of that and just blew my mind. He was very tasteful, and he never just pigeonholed himself into one style. I was just riveted by what he was doing.
“I first met Paul at Swannanoa Gathering’s Old Time Week and just fell in love with his sense of humor and then his musicianship.”
Matt immersed himself in the banjo, often taking the train to Washington, D.C., to get a lesson from Paul Brown, an NPR journalist and newscaster at the time. Now retired, he lives in North Carolina and is a highly regarded traditional banjoist and fiddler.
. “I just fell in love with his style and at first, I literally just tried to learn his parts off of our album. And then it became a little bit bigger than that,” says Matt. “That turned into me then taking the two-finger lick that he does in some lead style and starting to explore other tunes in that regard.”
In 2011, Matt moved to Chicago to begin teaching at the storied Old Town School of Folk Music. The introductory class he took over offered basic instruction in three styles:
clawhammer, two-finger, and three-finger. Matt was becoming more intrigued with the two-finger style and offered to develop advanced classes for interested students.
“And so for seven and a half years, I taught hundreds of people in Chicago how to play two-finger thumblead, or two-finger banjo in particular. And I somehow stumbled into this niche that I’m into this day. That’s kind of the main thing that I’m known for.”
The two-finger style was more prevalent before being overshadowed by the three-finger style that Bill Monroe showcased in his band after WWII. Matt has discovered many old-time banjo players who have incorporated various two-finger styles into their vocabulary. And he says there are licks that work in both styles.
“There are moments when two-finger and bluegrass people might be doing the exact same combination of strings. It’s just whether we’re using two or three fingers to produce the sound. As two finger players we can kind of live on the line between bluegrass and old time and hang in both worlds, which is super satisfying.”
Now Matt has embraced online learning and is creating videos, tablature, and other instructional material for his YouTube channel and twofingerbanjo. com. “My focus has turned to how I can teach the most people in the best way and that has led me to hosting a Patreon community where I teach intermediate and advanced arrangements of mostly old time, but not just old-time music to banjo students,” he explains.
After years on the road, Matt doesn’t miss performing. When his second appearance on The Grand
Ole Opry struck him as “just another gig,” he knew his heart was in teaching.
“I’d rather play music in a jam or share what I know about the banjo with the community of people around the world who are also interested in it. That really is much more fulfilling to me than going on a tour and playing the next show somewhere.”
by Richelle Putnam
In a household where the music of Pete Seeger and Woody Guthrie mingled with Beatles tunes, music crafted as resistance and storytelling profoundly shaped a musical ethos that nurtured Roger Street Friedman as a songwriter. “When I started writing songs,” he said, “I thought that’s what you did: write music with a message.” As his discerning social conscience grew, so did his signature writing style, a transformative storytelling reminiscent of ‘60s and ‘70s protest music.
Friedman’s father was a decorated World War II veteran, and his older brothers were vocal opponents of the Vietnam War. To this intersection of military service and activism, Friedman noted that his father entered World War II as an officer in the fall of 1944. “He fought through France and Germany and then got seriously wounded, and I think by the time Vietnam happened, he did not feel that it was a just war, even though he was a war hero.”
At 16, Friedman and Jon Carin, who later played with Pink Floyd, were in a band and co-wrote a song called “The Poor Man Blues.” He laughed, telling this story. “I was in no way a poor man, coming from a solid middle-class background, but I always felt like music was something that should tell the story of the underdog.” He speaks of Jackson Browne’s influence, saying, “I was 17 when I saw [Browne] protesting a big nuclear facility that was going to be put up on the eastern part of Long Island.”
Drawing from other icons like Paul Simon, Neil Young, and Joni Mitchell, Friedman explored love, despair, resilience, and hope with an acute awareness of the human condition. From this early foundation, he wrote to amplify marginalized voices and investigated the complexities of justice by reexamining events and translating them into songs that would resonate universally. On his latest ablum, Long Shadows (out now), he aspired to provoke thought and change and penned his song, “I Think We Know,” after the October 7th attacks in Gaza.
“I knew what the Israelis would do. It was just horror upon horror, and that song came out in 25 minutes,” he said. “That was not a conscious decision I made. I was just so moved by it that the song just flowed out of me” Through this haunting ballad, he captured grief and despair that acknowledges the cyclical nature of violence while still clinging to a kernel of hope.
Friedman’s albums Rise and Love Hope Trust delve into themes of social justice with striking clarity. One single from Love Hope Trust, “The Ghosts Of Sugarland,” examines the horrors of convict leasing after the Civil War. A newspaper article about a school district constructing a new building in Sugarland, Texas, motivated Friedman to write the song. As the construction crew excavated, one bulldozer operator found some bones.
“They thought it might be a crime scene or something, so they called the police. It turned out that it was the remains of a mass grave of convict laborers who worked on a sugar plantation down in Texas after the Civil War.” Friedman explained how some laws had been written to make it easier to arrest people and to exploit the loophole in the 13th Amendment. Slavery had been outlawed, “but if somebody committed a crime, you could use prisoners as slave laborers.” He added that these laws were also called “the black codes”. “I think the injustice made me want to write about it.”
It wasn’t the usual way Friedman wrote a song, but he did extensive research because he felt responsible for getting it right. “The hope in writing about historical topics is that change will be spurred, but I’m not sure that it is possible to change people’s deeply held beliefs.” On “Long Shadows” he further explores this fertile ground with “The Banks Of The Brazos”. Sung from the perspective of one of the condemned men sentenced for petty crime only to die of “heat stroke” 10 days after arriving in the cane fields.
Contrasting feeling inspired to write a story, and feeling obligated to share a story to effect change, Friedman said, “I think it’s a little bit of both.” He admits he has been lucky. “I’m a white guy, born into a middle-class family, with no major stories of discrimination in my past, and I feel that if I can do anything, I should. It’s all I have: the ability to write a song about it.”
Similarly, on “Long Shadows,” Friedman addresses modern social issues with incisive wit and sharp commentary. “The Land of the Leaf Blower and the Mighty SUV” critiques suburban complacency in the wake of George Floyd’s murder. Its rollicking acoustic riffs belie the seriousness of its lyrics, which scrutinize white fear and privilege with biting irony.
“I try not to bang people over the head with words like you’re bad, or this is bad, and this is good. I try to just tell the story. Still, I feel like where there’s life, there’s hope, so you have to, even in the darkest moments, think about people who survived horrific things; from terrible abuse, or tragedy, to the Holocaust. People survived by holding on to hope. Having that vision of how things can be is important because neither man nor womankind has gotten anywhere without imagining it first.”
The reality, he pointed out, is that there is much suffering
in the world and much sadness in people dealing with lost loved ones or the loss of a loved one. “But there is also a lot of beauty. Many beautiful people will come to your rescue, whether you’re red or blue or black or white or yellow.”
Although many of Friedman’s songs tackle societal issues, his personal life also informs his work. His single “Rolling In Again” honestly and humorously probes the dynamics of long-term relationships and captures the push-and-pull of emotional distance and reconciliation and the universality of such struggles.
“When one person checks out emotionally, and one person feels abandoned, it’s about always rolling back in,” Friedman explains. “I like the push and pull of a relationship. I’ve been married for 20 years, and we’re at the point in our relationship where it’s okay to fight and go to the other side of the house, but it’s cool because we’re always rolling back in.”
Friedman also took a 25-year hiatus from the music industry, and when he returned …well, there had been changes …to say the least.
“It seems like, with social media, computers and technology, everything is speeding up, and people’s attention spans are getting shorter. You have to say everything in a tweet. I was on Instagram, and one musician said something about the election, and of course, many of his fans said stick to your music and don’t say anything. But we’re artists, and we’re people with opinions; that’s what we do.”
Sadly, some things never seem to change.
“One thing about writing songs about injustice and stuff like that or telling stories of people who are mistreated or discriminated against is that those are never-ending. It’s like they’ve been here since the beginning of time and will be here forever.”
Friedman’s newest album, Long Shadows,
represents those stretching shadows during the golden hour, symbolizing growth, introspection, and the interplay between light and darkness.
“It’s the first one I self-produced that I’m pretty proud of. I’m hoping to do some touring. We’re working on that now,” Friedman said. “Beyond that, I’m continuing to write, and I’m sure more records will be coming out.” Whether revisiting historical injustices or addressing contemporary struggles, Friedman’s writing will continue to compel listeners to confront uncomfortable truths while also finding solace in shared humanity and joy in his brilliant musicality.
“Spring chickens” refers to the newly hatched. Up-and-coming bluegrass outfit The Spring Chickens echoes this with their band’s name, aiming to give a fresher, more youthful vibe to the bluegrass scene in and around St. Tammany Parish, Louisiana.
Cajun and zydeco consistently thrive in southeastern Louisiana, but bluegrass and folk forms struggle more. They tend to wax and wane. The Spring Chickens aims to infuse that lukewarm local bluegrass scene with a new vitality. For the past two years, local audiences seem to like what they’re hearing and seeing.
According to banjo player and band leader Cody Smith, The Spring Chickens formed at a time when local bluegrass was at the bottom of a popularity trough. The scene has undoubtedly been headquartered at the Abita Springs Opry for years. It’s been the de facto nexus of traditional performance in St. Tammany and perhaps even of the entire greater New Orleans area (it is located an hour north of the city, across Lake Pontchartrain). In addition to the Opry, a longstanding, unique, free music series at a feed store in Covington, Louisiana – the Marsolan Feed and Seed Store – provided another acoustic roots venue. That all ended in 2021 when the store suffered a devastating fire. It was a setback for bluegrass.
by Kara Martinez Bachman
Smith said The Spring Chickens have done their best to assist in re-growing bluegrass. Hopefully, he said, the band’s youthful vibe will be able to grab new, younger fans who might want to tag along for the ride.
“I think we’re at the bottom of the slope now and going uphill,” Smith explained of the change he senses is happening locally. He said the band – which started in January 2023 – has been picking up steam at a rapid pace. He said most of the other bluegrass acts in the region are older in age, so there’s something a little different about The Spring Chickens.
Smith said in 2024, “We ended up with so many gigs that it was just too much!” He said things started to really click for them during 2024 when, instead of just being “background” entertainment, they “got more sit-down shows.” This included a successful appearance at the Sullivan Theater in Central Louisiana.
The “Chickens” have been featured in local newspapers and have appeared live on WWOZ radio in New Orleans. They’ve played at the expected venues, including the Abita Opry, the famed home of Abita
Beer, the Abita Brew Pub, local farmer’s markets, and festivals promoted by the Magnolia State Bluegrass Association. They participate in events of the Northshore Traditional Music Society, a nonprofit for which Smith volunteers time; it’s designed to promote bluegrass, jazz, Irish, and other acoustic genres. The Society produces an annual festival and hosts a music jam from March through October, among other offerings.
Smith noted excitement about an upcoming performance of the band on March 22 at the New Orleans Bayou Bluegrass Festival, where the rest of the lineup includes East Nash Grass, the Edgar Loudermilk Band, Wyatt Ellis Featuring Chris Henry, Catahoula Drive, and The Tanglers. He suggested following the band’s Facebook page for more information on this event and other appearances.
Along with Smith on banjo, The Spring Chickens include Mitch Bailey (guitar), Madeline Hill (fiddle), Andrew Hoz (bass), and Ben Russell (mandolin).
Right now, the band is presenting its own renditions of classic bluegrass, but it’s toyed a few times with the idea of
making originals. He said he and guitarist Mitch Bailey have dabbled in writing.
“We’ve been asked if we were interested in recording originals,” Smith explained. “I think Mitch has written a few songs; I’ve written a few.” Right now, however, he thinks growing an audience, honing skills, and being part of reviving the scene in his neck of the woods is the main focus. For now.
“We work pretty hard at this,” he said. “We’ve pushed each other to get better.”
Smith said he didn’t start in bluegrass; he learned classical piano in childhood and didn’t transition to guitar and banjo until his later teen years. Despite bluegrass being far less popular in Louisiana than Cajun, he was attracted to it because it was “difficult and engaging.” He sees music, in general, as a way to truly express feelings that might have no other outlet.
“A lot of people invest emotionally in music,” he explained. “And it’s a catharsis…letting emotion OUT.”
When Smith talks about it, it sounds like the bandmates’ hearts are in the right place. For him, it’s
not about “making it big” or even forging a career. It’s about making good music and having a great time. By any account, it’s refreshing to hear these goals when so many young performers are focused solely on appearances – and on winning “clicks” – rather than on creating music that matters.
“I think we’re more familyoriented than living on the road,” he said when asked why they’re not rushing to take things up a notch. For The Spring Chickens, the purpose is as pure and straightforward as can be. “I think we’re just gonna have as much fun with it as we can,” he
Atlanta’s SweetWater 420 Fest has returned, celebrating its twentieth anniversary with its trademark robust weekend of music, craft beer, and good vibes. From April 18th through the 20th, the Sweetwater Brewing Companysponsored music festival takes over the historic Pullman Yards, offering a one-of-akind experience that celebrates music, the 420 lifestyles, the environment and Atlanta, drawing fans from all over America and worldwide. While the headliners include The Revivalists, Marcus King, and Cypress Hill, the touch embodied like Greensky Bluegrass and Sierra Hull indeed weaves the festival together.
“For Patrick and me, this festival is personal,” said Evan Woolard, Senior Brand Manager at SweetWater Brewing Company and 420 Fest co-director. “We were Atlantans who went to the Fest just as music many years, we’ve had a vision of what 420 Fest is and what it means to Atlanta. It’s about bringing great music and SweetWater beer into the community and throwing a party we’re proud to share with friends, family, and coworkers.”
headliners, embodying the festival’s ethos of authenticity and connection.
“Greensky Bluegrass epitomizes that Neil Young quote, ‘Sometimes you just gotta play it loud,’” explained Patrick Clark, Senior Marketing Manager at SweetWater Brewing Company and festival co-director. “So many of their songs start low and slow and just build and build and crescendo to a wall of sound. Playing through your stereo is one thing, but the second you come to 420 Fest, and you’ve got lights, sound, and lasers shooting with Greensky Bluegrass pulling it all together, there’s no better way to end a night.”
It’s not just Greensky Bluegrass representing the genre. Festival goers can soak in Sierra Hull’s lightning-fast mandolin picking and other acts that bluegrass’s storytelling with modern SweetWater 420 Fest doesn’t stop at music—it’s a full-bodied experience that celebrates Atlanta culture in all its quirky, fun-loving glory.
Traditionally, the festival offers a gumbo of genres, and bluegrass feels right at home. It is still as true to its storytelling roots and authentic musicianship as ever. Greensky Bluegrass serves as one of the
“Celebrating 20 years of SweetWater 420 Fest is a testament to the transformative power of music to bring people together,” explained Ty Gilmore, President of Tilray Brands. “This festival has always been about more than just great performances
it’s about building community, supporting artists and Atlanta’s vibrant culture all through a shared love of craft beer in the South. We’re also proud that sustainability remains at the heart of our mission, ensuring we protect the waterways and green spaces that inspire our music and spirit.”
SweetWater 420 Fest has called a few places home over the years, but stakes in the ground at Pullman Yards last year transformed the event. While Centennial Park offers that classic “big festival” feel, Pullman Yards provides a more intimate, historical charm that feels tailor-made for a festival that mixes that old-timey tried-andtrue musicianship with high-energy roofblowers.
“When you arrive at Pullman Yards, it sneaks up on you,” Evan explained. “You’re not in downtown Atlanta anymore. You’re in this intimate, magical space where you can hear the music, smell the food, and maybe even believe you’re in a time warp and have arrived in an old train depot. It’s a vibe.”
Once a bustling train yard, Pullman Yards has been lovingly restored as an arts and entertainment venue. This juxtaposition of historic grit and modern flair gives the festival its unique identity. Much like bluegrass music, space is a meeting point of tradition and innovation.
Bluegrass holds a special place in
SweetWater 420 Fest’s heart, where
authenticity aligns perfectly with the festival’s ethos. Patrick carries a notebook with the motto, “Algorithms be damned!” Needless to say, Evan and Patrick embrace the challenge of finding a common thread that connects every act.
“Good music belongs with good music,” Patrick said. “Our lineup spans genres because we want to create an experience where every set feels connected. That authenticity is what makes 420 Fest special.”
This year’s lineup reflects this approach, with bluegrass acts like Greensky Bluegrass and Sierra Hull sharing the stage with The Drive-By Truckers and even hiphop artist Linqua Franqa. The connection is an unspoken commitment to moving audiences through their music, whether a winking veteran delivering a traditional reel or some whipper snappers out to show off their chops.
Patrick drew a particularly striking connection between bluegrass and other genres on the lineup:
“If you listen to Drive-By Truckers, holy shit, you’re going to hear some of the hardest stories that are out there, but they’re all universally real and rooted in something that, at the end of the day, has got an uplifting message to it. And then you keep putting that throughline like you get over to Athens-based Linqua Franqa. If the throughline of real is what you’re going for, you can listen to any of their rap. They only talk about real issues and only talk about real experiences that women are going through, and people are going through, and they put that into a rap song.”
For SweetWater, the festival also serves as a chance to give back to the environment and community. It aligns with Earth Day and supports organizations like the Waterkeeper Alliance. Sustainability is woven into every aspect of the event, from green energy powering parts of the festival to bike valet services that encourage eco-friendly transportation.
“You can’t have good beer without clean water,” Patrick said. “What Waterkeeper Alliance does is they make it possible for communities here locally, across the country, and all over this world to ensure that people have the right to clean drinking water. Ten dollars from every ticket sold is going to the Waterkeeper Alliance.”
Even with these lofty goals, the festival doesn’t lose sight of its main purpose: a good time for everyone.
“We’re going to do this the SweetWater way, the 420 Fest way,” proclaimed Patrick. “And if you show up to the party, you’re going to have a good time.”
At its core, SweetWater 420 Fest is about being together, and that resonates with music and beverage fans alike. Evan and Patrick, who started as fans of the festival, have poured their hearts into helming an event that is simultaneously grandly massive and deeply personal.
“It’s a celebration of the music we love as a SweetWater family,” Evan said. “We want people to gravitate to it, discover new artists, hear music they love, and leave with memories they’ll never forget.”
by Brent Davis
A pandemic project that modestly began in Great Britain as an instructional tool for an aspiring guitar picker has grown into a twice-weekly podcast that features interviews with some of the biggest names in bluegrass.
Matt Hutchinson, the host and producer of Bluegrass Jam Along, has been recognized with a Momentum Award from the International Bluegrass Music Association.
“In the middle of the pandemic, I was stuck at home like everybody else was and found myself picking the guitar up again,” Hutchinson says. “So, I started learning fiddle tunes, and I went looking for backing tracks to play along with and couldn’t really find what I wanted. I started recording some tracks for myself to play along with, and I thought, well …I wonder if other people might find these useful.” He concluded that they would, and he put them out as a podcast. “And it grew from there.”
Hutchinson, who lives and works in London, says he’s been into music since he was a kid.
“My dad listened to the Beatles a lot, but we also had Johnny Cash records, Buddy Holly, and all sorts of stuff. And in my late teens and early 20s, I got into things like Neil Young and Bob Dylan, Tim Buckley and singer-songwriters. I think it was the Neil Young thing that first got me interested in the sort of more country Americana side of things.”
Hutchinson was considering expanding the podcast to include interviews when he received an interesting email from guitarist Jake Eddy.
“We were in the same guitar Facebook group, and he said, ‘Oh, I’ve got a record coming out. How about we do an interview for your podcast?” And I was like, Yeah, great, let’s do that!’ So, I did that, and then I just carried on. After that, I spoke to Marcel Ardans from the Lessons with Marcel podcast and did an interview with him. The third interview was with guitarist Bryan Sutton. Once you’ve had Bryan Sutton on your podcast, it becomes a little bit easier to get other people to come on it.”
In a relatively short time—and an ocean away from where most of his interview subjects live—Bluegrass Jam Along has included features with some of the biggest names in the business, including Alison Krauss, Sierra Hull, Chris Eldridge, Sarah Jarosz, and Tim O’Brien. For someone with no formal training as an interviewer, Hutchinson is able to engage his guests in compelling and illuminating conversations.
‘“My day job, which has nothing to do with music at all, involves working in communications. And I’ve been interviewed a few times for that. And I write quite a lot. I figured I’m curious, and if I ask the questions I want to know the answers to, presumably other people will as well.
“Some musicians just do the rounds and talk about their album and what they’re doing now, and you can hear the same interview on four or five different podcasts. I wanted to dig a bit deeper into what makes people tick, what they really care about, and what being a musician means to them and how they feel, rather than what strings they use and what picks they use and that kind of thing.”
Among the most notable Bluegrass Jam Along interviews was with dobroist Jerry Douglas about a concert celebrating Earl Scruggs’s 100th birthday.
“The funny thing is, I interviewed Jerry for that, and we spoke for an hour, and the next day, I realized that all of my side of the conversation had been recorded, but his had not. There had been some sort of tech problem. I emailed back, and Jerry said, not a problem, let’s just do it again. And it was a different conversation the second time around. Equally interesting, You could interview Jerry seven days a week and get seven different interviews because he’s such a great interview.”
Hutchinson experienced the sense of community, a vital component of the genre, when he made his first trip to the International Bluegrass Music Association conference in 2023.
“I just felt like I’d arrived somewhere that I belonged slightly, which is an odd way to experience basically three days in a conference center in an American city. I just kept bumping into people I’d interviewed. And people who’d listened to the podcast would come up and talk to me. I just felt remarkably connected. And then coming back again this year and being around and meeting people again and just sitting and bumping into people I’d interviewed and sitting and having a drink for 20 minutes, I just felt connected and welcomed and like I belonged. And it’s such a powerful feeling whenever you find it.”
Hutchinson produces two weekly episodes: a ten-minute news update called The Bluegrass Briefing and an hour-long interview show. Throughout it all, he’s on his journey into bluegrass and inviting others to join him.
“If I tried to set up a bluegrass podcast that told people what bluegrass was, well, I am the least qualified person in the world to do that. But if I’m trying to do something that explores my curiosity and invites people to come with me and hope they’re curious too, then I’m the only person who’s qualified to do that the way that I would do it. Hopefully, there’s a version of that that other people find interesting.”
by Susan Marquez
Celebrating its 25th year this September, the premier event of the Americana Music Association – AmericanaFest – turns downtown Nashville into a veritable hive of roots music, performers, recording industry professionals and listening fans. The buzz is loud, with both A-list and upand-coming performers descending upon the music city for a five-day huddle of those who love the sound and culture of roots. It’s headquartered at the Embassy Suites by Hilton Nashville Downtown, but the building is overflowing far and wide, with a bevy of performances happening at intimate club and restaurant venues across town. AmericanaFest is a sonic feast for fans of the still-burgeoning genre, which combines and expands various genres.
The original aim of the Americana genre was to expand the diversity of sound made from all corners of (primarily) acoustic styles. The goal was to remove the demarcation lines that might divide folk from bluegrass or country from blues, to include instead of exclude. It’s a way to bring more types of people –and more influences – into the fold. It’s a way to allow for the dissolution of all the old boundary lines and rules and make roots…well…better. Americana appears to be a culture of thinking forward instead of always backward. It’s a culture of welcoming anyone who might not have previously fit perfectly within the confining traditional strictures of specific genre boxes.
Perhaps the biggest event of AmericanaFest is the annual Americana Honors and Awards show, where some of the biggest legends in alternative roots forms will appear onstage alongside newcomers making new waves in the biz. For AmericanaFest 2024, longtime gospel act, The Blind Boys of Alabama shared the same stage as acts as disparate as Jobi Riccio, Dave Alvin, Fantastic Negrito and
Larkin Poe. The stage at the hallowed Ryman Auditorium was truly alive as honors were bestowed and music – both classic and new – reverberated among the old wooden pews of the beloved venue. Dwight Yoakam was among six greats who received Lifetime Achievement Awards, and performers such as the eclectic Sierra Ferrell were recognized for their recent work.
“AmericanaFest is the unique event of the year in which a large portion of our scene comes together to commune and share a watering hole for a few days, metaphorically speaking,” explained Clint Roberts of Western North Carolina’s Holler Choir. Roberts and his group – which specializes in old-time Appalachian music – performed at the 2024 fest at the music venue, 3rd and Lindsley.
“It’s a chance for artists to make new bridges between one another where they may not otherwise cross paths,” Roberts continued, “and it’s a chance for fans to witness that exchange. It is a family photo of those who live on the road.”
3rd and Lindsley isn’t the only venue that welcomed the best of Americana – over 50 downtown spots participated in some way, including small lounges, large event spaces such as the Mainstage at Cannery Hall, and stages at famous Nashville night spots such as The Bluebird Cafe, The Station Inn, and more. Bluegrass acts The Kody Norris Show, The Po’ Ramblin’ Boys, Rhonda Vincent and the Rage, Missy Raines & Allegheny, Tray Wellington, Liam Purcell & Cane Mill Road, and The Steel Wheels are just a few names from the 2024 performer slate that might be familiar to readers of The Bluegrass Standard. The festival offers not just the awards show and concerts but a trade show/ vendor area and several days of panelist discussions led by industry professionals.
In 2024, there were songwriter rounds, artist management and record label parties, jam sessions, a gospel brunch, and much more. There were tributes to everything from John Denver to Hispanic heritage and women’s impact on music. It’s all designed to entertain, educate, and create a meeting place for the entire Americana community. The panel discussion topics were wide-ranging. Conversations included the expected marketing and recording/ production techniques topics, plus more cutting-edge concerns, such as using Artificial Intelligence in the music business. Offerings also included cultural-oriented discussions about more than just the nuts and bolts of business.
Photographer Jeff Fasano has been a regular at AmericanaFest for years and plays a recurring role.
“Back in 2009, I attended my very first AmericanaFest and absolutely LOVED it,” Fasano said. “It touched my soul deeply.” In 2011, Fasano partnered with AmericanaFest and created the “AmericanaFest Portrait Sessions.” He takes portraits of the attending artists, and eventually created a rich collection of photos from these years of capturing the character of those who make the music. They were published in book form in his “Americana Portrait Sessions.”
“I have photographed many amazing artists during my 25-year career, and these sessions are my way of giving back to the Americana community. The sessions have served many young artists who give up so much to come to AmericanaFest so they can be seen and heard.”
“That’s the beauty of AmericanaFest,” Fasano added. “One never knows who you are going to see and hear that will blow your mind. Someone you have never heard of will grab your heart; it is guaranteed.”
Someone else you might encounter is RJ Stillwell, Founder and CEO of Sound Healthcare and Financial. It might seem odd for a healthcare company to participate with a booth and as a panelist at AmericanaFest, but Stillwell’s company is interconnected with the music business. The company reports representing “approximately 70 percent of Nashville’s Music industry professionals” for health insurance solutions.
“The enthusiastic energy from attendees, panelists, showcasing artists, participating venues, and fans alike is infectious,” explained Stillwell of his company’s participation. “I love that the Americana Music Association creates such an inclusive and exciting container to celebrate Nashville’s entertainment industry. Most importantly, the all-encompassing mission of the conference – to offer incredible all-level counsel for artists and musicians to enhance their careers and experiences – speaks volumes about its value to our community.”
by Brent Davis
“Wanted in Kentucky” is the seventh album from American Bluegrass singer-songwriter Marty Falle. Falle paints musical pictures of Appalachian landscapes, timeless struggles, and universal themes of love, faith, heartbreak, and resilience.
Wanted in Kentucky” was recorded at County Q Studios in Nashville and is produced by Grammy Winner Jonathan Yudkin. The Pickers, Singers and writers on the album include Josh Metheny on Dobro, Marty Falle on Lead Vocals and Acoustic Guitar, Carl Miner on flat-pick Guitar, Jonathan Yudkin on Fiddle and Mandolin, Jim Hoke on Harmonica, Matt Menefee on Banjo and Mike Bub on Acoustic Bass. Singing with Falle are Marty Slayton (George Strait), Kim Parent (Brooks and Dunn), Carley Greer (Crandall Creek), Beth Green and Macklin Falle. Chart-topping songwriter Jonathan Holmberg contributes co-writes on ““Freddie’s Runaway Balloon”, “Breaker Boys” and “Ghost Bride of the Cumberland Falls”. Grammy nominated songwriter Rick Lang teams up w/ Falle on the title track“Wanted in Kentucky”.
“Wanted in Kentucky” is steeped in the traditions of Eastern Kentucky Coalfield Roots Bluegrass and the stories are compelling -
“Up Against the Big Hill Line” (Falle) is a song inspired by true events. Per Falle, “The energy company called to say they are going to run transformer power lines through our farm, claiming the right to do so by Kentucky Law and Eminent Domain Law. We are in a fight to keep them off. My wife has kinfolk buried on the land going back 200 years. I decided to write a song about a good woman who turned bad to protect the land”.
“They came wearing suits flashing greenbacks in her face. Showing up to church singing Amazing Grace. They were slicker than a slop jar, claiming eminent domain. Pissin’ down her back and tellin’ her that it’s rain”
“Freddie’s Runaway Balloon” (Falle/Holmberg), is another true story that took place in 1910 in Southeast Ohio. A 10-year-old boy went to the county fair to witness a hot air balloon event, climbed in the basket, and the untied balloon took him away. He was 2500 feet in the air, while the townspeople rushed to follow him to try and save him. The balloon miraculously crashed and the young boy jumped off just before it hit the ground. Freddie Meyer became a legend.
“Higher and higher goes young Freddie Meyer. Riding in a runaway hot air balloon. Floating on a breeze high above Chillicothe. Nothing that the poor boy could do. Young Freddie Meyer in his runaway balloon.”
“Wanted in Kentucky” (Falle/Lang) came from an 1883 article in a Kentucky newspaper. While Marty’s wife, Amber, was researching her family ancestry, it was discovered that her relatives, The Wyatt’s, were involved in a blood feud with The Youngs that resulted in a well-publicized killing near Richmond Kentucky. Most people think of the Hatfield’s and McCoy’s, but there were other Bluegrass feuds and this was one of them. The song is told from the perspective of Milton Wyatt, who was one of the shooters. Milton is Amber’s Great Great Great Grandfather.
“They claim Henry Young, was a Constable so true, but I put him down when he crossed my kin in that fatal rendezvous. An eye for an eye and a tooth for a tooth. You could smell the burn of powder when Cyrus fell and the bullets flew.”
The track “Breaker Boys” (Falle/Holmberg) is a chilling song. In 1899 “Breaker boys” were children who worked in coal mines to separate coal from impurities by hand. Their work was dangerous and often involved long hours for little pay.
“Forced down chutes as dark as night. You failed to learn to read and write. Your fingers bled from the anthracite. God help the fools who forced your plight.”
“Ghost Bride of the Cumberland Falls” (Falle/Holmberg) is about one of the most famous hauntings in Kentucky, the widely reported “ghost bride” who on her honeymoon, slipped and fell to her death over Cumberland Falls in the 1950s, followed by her devastated husband who plunged in after her and also died. The idea came from Falle’s many visits to the spooky Cumberland Falls at night, just a few exits down from his farm in Kentucky.
“When the full moon shows off its bow. In a wedding dress she appears on the side of the road. At the Cumberland Falls her ghost dances in the light of the full moons bow. Of the full moons bow.”
One of the best tracks on the album is Falle’s cover version of Dwight Yoakam’s “Bury Me (feat. Carley Greer). Carly Greer, vocalist of the Bluegrass Band Crandall Creek out of Wheeling, WV., delivers with a voice that echoes the spirit of the mountains.
The album is chock full of amazing instrumental Bluegrass Breakdown Music which has become a signature for Marty Falle Contemporary Bluegrass. “Riling Up the Rooster” feels like chasing chickens in a farmyard, “Black Hell Breakdown” takes you to the depths of a coal mine, “Dancing in the Emerald Grass” has the magic of dancing in a bright green pasture and “Bluegrass Wars” is like being in a movie about blood feuds. The picking is melodic and mesmerizing.
“My Old Kentucky Home” is the final track on the record. Stephen Foster first wrote the song in 1852, and it has become the Commonwealth of Kentucky’s State Anthem. Falle’s rendition is traditional and special. One of Falle’s musical influences is John Prine, and it shows on this track.
By Candace Nelson
Many of the world’s most famous chefs thrive in bustling big cities, where culinary innovation and diverse cultures shape their craft. However, some of these celebrated culinary talents have ventured into Appalachia, drawn by its unique charm, deep culinary traditions, and rich natural resources.
For some, the chance to connect with the region’s foraged ingredients, like ramps and pawpaws, inspires their menus. For others, a specific initiative draws them to the mountains. From fostering healthier eating habits to offering a new dining option, these celebrated chefs have left lasting marks on the communities they visited.
Andrew Zimmern visited Appalachia on his show Bizarre Foods to explore the region’s rich culinary heritage and unique traditions. During his visit, he delved into the region’s food culture by foraging for wild mushrooms, experiencing a liver mush festival, and learning the art of squirrel hunting and cooking—a practice deeply rooted in the area’s history. He also showcased local delicacies like venison, sumac and more, shedding light on the ingenuity and resourcefulness of Appalachian cuisine. Zimmern’s visit not only highlighted the flavors and traditions of West Virginia but also brought national attention to the state’s culinary identity, fostering a sense of pride among locals and inspiring viewers to appreciate the richness of Appalachian culture.
Jamie Oliver visited West Virginia as part of his television series Jamie Oliver’s Food Revolution, where he aimed to tackle the issue of unhealthy eating habits in America. Focused on Huntington, a city once labeled one of the unhealthiest in the United States of America, Oliver worked to introduce healthier food options in schools and communities. He collaborated with local families, teachers, and school cooks to educate them about the benefits of fresh, homemade meals over processed foods. His visit sparked conversations about the importance of nutrition, the role of food education, and the challenges of transforming entrenched eating habits. While his efforts were met with some resistance, Oliver’s presence ultimately shone a spotlight on the need for systemic change in food culture and inspired ongoing efforts to promote healthier lifestyles in West Virginia and beyond.
Aarón Sánchez, celebrated for his roles on shows like Chopped and MasterChef, partnered with West Virginia University (WVU), where he helped open a restaurant showcasing his signature Latin flavors. Sánchez lent his expertise and recipes to Adobo Cantina, a new Mexican food dining station at Café Evansdale. The menu bridges traditional Mexican food with a modern approach and utilizes the best ingredients available. By teaching the value of fresh, local ingredients and how they can elevate dishes, Sánchez reinforced the importance of supporting local farmers and food producers—a key element of a thriving regional economy. This endeavor brought worldclass cuisine to Morgantown, giving students and residents a taste of Sánchez’s bold, innovative dishes.
Anthony Bourdain visited West Virginia on his show No Reservations to explore the state’s rich cultural traditions and misunderstood identity. During his visit, he immersed himself in Appalachian culture by sharing meals with locals, including classic dishes like trout, vinegar pie and corn chowder. Bourdain highlighted the region’s closeknit communities, rugged beauty, and culinary ingenuity born from necessity. His conversations with residents shed light on the stereotypes Appalachia faces and the resilience of its people. Bourdain’s thoughtful approach brought national attention to West Virginia, challenging misconceptions and celebrating the authenticity and warmth of its food and culture.
Guy Fieri has brought his signature energy to Appalachian restaurants through his show Diners, Drive-Ins, and Dives, spotlighting the region’s hidden culinary gems. From homestyle diners to innovative eateries, Fieri has showcased Appalachian staples like hearty soups, scratch-made biscuits, and unique twists on comfort food. His visits have highlighted the food and the stories behind the chefs and families who pour their passion into their dishes. By featuring these establishments, Fieri has helped introduce Appalachian cuisine to a national audience, boosting tourism and providing welldeserved recognition for the area’s culinary talent and traditions.
While each chef brought their expertise and mission to Appalachia, common themes emerged from their visits: food education, empowerment, and celebration of local ingredients.
Appalachia’s food culture is more than its challenges—it is a vibrant, evolving tradition rooted in pride, resourcefulness, and hospitality. The chefs’ contributions have not only shone a light on Appalachia’s rich culinary potential but also sparked ideas and
opportunities for the region to embrace its future.
At its core, food in Appalachia reflects resilience, creativity, and community. Thanks in part to the work of these celebrated chefs, the region continues to grow, inspired to build healthier habits, stronger businesses, and a deeper appreciation for its unique food traditions.
