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The Stained Glass Playhouse will kick off its 2026-’27 season with the musical extravaganza “ CHILDREN OF EDEN,” which will be presented July 24-26 and 31, and Aug. 1-2 and 7-9, with performances scheduled for 7:30 p.m. Fridays and Saturdays and 3 p.m. Sundays.
4 RICK SPRINGFIELD is winding his way to us at this very moment, claiming that he’s scheduled to perform in Boone later this month. A likely story.
6 “ MINIONS & MONSTERS,” the seventh in the “Despicable Me” series and the third in which the titular characters go solo, is an unalloyed delight, one of the best films of the year, arguably the best of the whole franchise, and a dazzling treat for audiences of all ages.
10 HIGH POINT THEATER, has unveiled its 2026-2027 season. Organizers said that this season is about celebrating the power of live performance with “nationally and internationally recognized artists spanning country, jazz, soul, bluegrass, dance, film, and family entertainment.”
11 It’s a banner weekend for Blue Ridge songbird, Kelley Breiding, who’ll kick up her heels with Kelley and the Cowboys for KALEIDEUM AFTER DARK in Winston-Salem on July 11; but not before taking flight as a “full-fledged solo artist” with the release of her new album, “Nightingale,” out on July 10 via Music Maker Foundation.
12 Activists are questioning a June 29 incident in which police may have temporarily detained BLACK TEENAGERS SELLING CANDY in downtown WinstonSalem. While this occurred in daylight, some have suggested it’s connected to Winston’s recently created youth curfew.
‘Children of Eden’ opens season
BY MARK BURGER
The Stained Glass Playhouse will kick o its 2026-’27 season with the musical extravaganza “Children of Eden,” which will be presented July 24-26 and 31, and Aug. 1-2 and 7-9, with performances scheduled for 7:30 p.m. Fridays and Saturdays and 3 p.m. Sundays. The theater is located at 4401 Indiana Ave., Winston-Salem.
Tickets are $26 (general admission), $23 (senior citizens 60 and over), $21 (students and teachers), and $17 (children under 12). For advance tickets or more information, visit https://onthestage.tickets/stained-glass-playhouse.
“Children of Eden,” which boasts a book by Tony Award winner John Caird and music and lyrics by Grammy Award and Oscar winner Stephen Schwartz, is based on the Book of Genesis and encompasses the stories of Adam and Eve and Cain and Abel in the first act, and Noah and the flood in the second act. It also encompasses themes of conflicts between parents and children, crises of faith, and ultimately redemption, as it imparts a bittersweet but inspiring message that “the hardest part of love … is letting go.”
Remarkably, given its enduring popularity as one of the most licensed theatrical properties, “Children of Eden” was not a success when first presented as a workshop production by the Royal Shakespeare Company (RSC) in 1991. When it quickly closed, any hope of a Broadway production was abandoned.
Yet, over the last 35 years, it has become a mainstay of community theater and a consistent crowd-pleaser that both entertains and moves its audiences in equal measure.
The Stained Glass Playhouse’s production is directed by Maggie Gallagher with choreography by Mike Doyle, and features an ensemble cast including Neil Shapard (Father), Ryan Nicholas (Adam/Noah), Sydnee Steele (Eve/Mama Noah), Arien Price (Cain/Ham), Connor Thomas (Yonah/Storyteller), Lexie Carroll (Aphra/ Snake/Storyteller), Leayha Crawford (Aysha/Storyteller), and many others.
The Stained Glass Playhouse’s 2026’27 season o ers a diverse selection of entertainment that can be enjoyed by all ages. Following “Children of Eden,” it will present James Reach’s medical mystery comedy “Women in White” (Oct. 30 – Nov. 15), Scott Icenhower’s comedy romp “No Kidding!” (Feb. 5-21, 2027), and Sherman L. Sergel’s adaptation of “Twelve Angry Jurors” (May 7-23, 2027), which is based on Reginald Rose’s 1954 teleplay, which was later adapted into the classic 1957 courtroom drama “12 Angry Men,” which marked the feature debut of director Sidney Lumet.
The ongoing mission of the Stained Glass Playhouse is to o er high-quality stage productions in an intimate, comfortable setting, emphasizing shows and theatrical events that focus on community issues, family values, and moral messages.
In addition to individual tickets and group sales, the Stained Glass Playhouse also o ers Flex Tickets, which can be used by customers throughout the current season. Flex Tickets are $93 (general admission), $83 for senior citizens, and $78 for students and teachers, and can be purchased either by calling the reservation line 336-4991010 or at https://onthestage.tickets/ stained-glass-playhouse. For more information, call 336661-4949 or visit https://onthestage. tickets/stained-glass-playhouse. !
wife Pam once told me that there are only three men she would ever leave me for:
Tom Selleck, some guy named Jessie who she dated in college, and Rick Springfield. I am relieved to report that Selleck lives two thousand miles away, and Jessie is in prison making stained glass. However, hunky Rick Springfield is winding his way to us at this very moment, claiming that he’s scheduled to perform in Boone later this month. A likely story.
Rick’s story began in Guildford New South Wales, Australia. He was born Richard Lewis Springthorpe on Aug. 23, 1949. Developing an early love for the guitar, Rick joined a number of di erent bands in both Australia and England (his dad, a career military man, was
stationed on both continents), but as he turned 20, his vocal and instrumental talents really began to gain notice with the pop rock group Zoot.
Rick’s first big solo hit came in 1972 with “Speak to the Sky,” but it was “Jessie’s Girl” that propelled him to superstardom in 1981, which coincided with his starring turn on “General Hospital,” in which he played Dr. Noah Drake. That o cially made Rick a quadruple threat: singer, songwriter, guitarist, and actor, and a heart throb to millions of women.
His TV credits include starring on 1992’s “Human Target” and 1994’s “High Tide,” and guest starring in shows like “The Rockford Files,” “Supernatural,” and “American Horror Story.” Rick has also appeared on the big screen with Meryl Streep and even took his talents to Broadway in “Smokey Joe’s Café.”
This year, his tour includes a concert at Appalachian State University’s Schaefer Center on July 23. I caught up with my rival a few days ago, and here are some highlights from our conversation.
Jim: My wife has had a thing for you since 1981.
Rick: [Laughs] She doesn’t know me.
Jim: Don’t you feel guilty that millions
of husbands still feel threatened by you?
Rick: No, my wife has her hall passes too, so it all works out.
Jim: OK, let’s go back to before you became a rock superstar. I understand that you first picked up a guitar at around age 13. The question is, at what age did you know you were good?
Rick: Oh wow, I’ve always been trying to get better, so I never really felt like I was where I wanted to be. I got a couple of awards in Australia for being the best guitar player or the most popular guitar player. Anyway, it was sometime in the early 70s, so I started thinking I was OK at that point.
Jim: Were your parents musically inclined?
Rick: My dad entered some singing competitions, and he had a great voice, but he never really pursued music professionally. We grew up without TV because of where we lived in Australia, so we would gather around the piano after dinner and sing show songs. That’s how I got started with music. It was great for us.
Jim: Did your mom play an instrument?
Rick Springfield in the 1980s
Rick: No, she couldn’t even sing, God bless her [both laugh]. She had a horrible voice.
Jim: Who was your favorite singer when you were a kid?
Rick: The first one I really became aware of and was a big fan of was Cli Richard. That’s when we lived in England. Cli was sort of a mix between Elvis and Ricky Nelson. He was won-
derful and he had a great band (The Shadows), featuring Hank Marvin, the first English guitar hero.
Jim: Your fans all know that you take great care of your body, you eat right, and go to the gym almost every day, but let’s talk about how you take care of your voice. Twelve years ago, I was talking with Pat Boone as he turned 80, and he told me that to keep his “instrument” in shape, he worked with a voice coach to help him retrain his tone. What, if anything, do you do to keep your voice in shape and ready to perform?
Rick: Nothing really, I mean, I’ve never been good at that kind of thing. I just scream for a couple of minutes, and that’s about it [laughs]. I’ve never really had a focus on my voice, I was mainly into writing songs, so my voice was kind of secondary. It was really just to facilitate the songwriting. I didn’t really view my voice as my instrument. I viewed my guitar as my instrument.
Jim: In 1981, you were touring while also appearing on “General Hospital.” I’ve talked to a number of actors who told me how demanding it is to work on a soap, so just how di cult was it for you to do a soap and tour at the same time?
Rick: It was pretty rough. I was doing the soap Monday through Friday, then on a plane out to the weekend shows, and then I had to be back at “General Hospital” by 6 a.m. on Monday, so I really didn’t sleep much.
Jim: You’ll be performing at the Appalachian Summer Festival in Boone on July 23. In general, when you’re touring, do you ever change up the set or add material from city to city?
Rick: Yeah, we change it around and play what the people come for. We pull out the newer stu later on just to keep it interesting for us.
Jim: Dating from the late 1950s, young actors who starred in a TV series were expected to cut a hit record in order to boost ratings for the show. But you sort of turned that formula on its head. Help me out here. What was the timeline for when and how you were cast in “General Hospital?” Did having a hit record land you that job?
Rick: I had just finished recording “Working Class Dog,” and RCA didn’t know what to do with it. It was a guitarbased pop rock album, and the radio was all disco and ballads, so they just held onto it, and I thought, “Oh, they’re not going to release it.” Meanwhile, I went up for the soap opera. I didn’t think I would get it, didn’t think I was right for
it, and didn’t think it would have any e ect on my music because I thought it was just for blue-haired old ladies watching it while ironing [laughs]. But I landed “General Hospital” that summer, and it became the biggest show on television. College kids were rearranging their class schedules because they wouldn’t show up when the soap was on. It was serendipitous that I was on the show at that time because RCA decided to release the album. They didn’t know I was on the TV show, and the TV people didn’t know I had a record coming out, and suddenly it all came together.
Jim: In general, musicians and actors don’t have a great track record with marriage, and yet you and Barbara have been together for 42 years. How have you been able to sustain that relationship?
Rick: Through the good graces of my lovely wife. She’s the reason we’re together. She’s the best person I’ve ever known. We’ve had our ups and downs, but when people ask, “How come you’re still together?” I say, “Don’t get divorced, work through it.”
Jim: Does she ever go on tour with you?
Rick: She comes on tour to the fun places, big cities, and whenever we go overseas. It’s not really a lot of fun on the road because the travel is pretty frigging brutal at times.
Jim: Speaking with Men’s Health recently, you were asked, “Who would you most like to work out with at the gym?” and you said, “My future self.” [Rick laughs] Which I thought was a really brilliant answer. So then, how old will your future self be when he stops performing?
Rick: I’ll keep going as long as I’m not in pain, having fun, and can still do it. If I feel like I’m not putting out 150% on stage, then I’ll stop. But I love those moments on stage. They’re awesome.
Jim: I mentioned that my wife has had a crush on you since 1981, so let me bring her to the phone. Pam, what would you like to say to Rick?
Pam: I love the 80s, and Rick, you made the 80s great. You’re awesome, and I love your music.
Rick: Thank you very much. We’re just finishing up a new record right now, and it should be out in a couple of months.
Jim: One final thing. I know that sometimes you take your shirt o during your concerts, so is that shirt going to come o in Boone?
Rick: [Laughs] I don’t know, it’s a momentary thing and if I feel the energy.
It’s like a party on stage and it varies, the energy varies, but it’s not written into the act.
Jim: We’re about the same age, but I’m not in the same shape as you, and when I take my shirt o , it frightens young children.
Rick: [Laughs] Well, I work out five days a week.
Jim: I think Pam just fainted. I’ll see if I can bring her around, but right now we have several days of 100-degree temperatures ahead of us.
Rick: Well, YOUR shirt may be coming
NCDOT
HOSTING
o then [laughs]. !
JIM LONGWORTH is the host of “Triad Today,” airing on Saturdays at 7:30 a.m. on ABC45 (cable channel 7) and Sundays at 11 a.m. on WMYV (cable channel 15) and streaming on WFMY+.
WANNA go?
For tickets to Rick’s concert, visit www.rickspringfield.com or call (828) 262-4046. The Appalachian Summer Festival runs through Aug. 1. For a complete schedule, visit www.AppSummer. org. YES! Weekly is a sponsor of the festival.
A PUBLIC OPEN HOUSE
A PROPOSAL TO CONSTRUCT A GRADE SEPARATION AT THE EXISTING CROSSING OF NCRR/NORFOLK SOUTHERN AT SOUTH ENGLISH STREET, CLOSE THE HOLTS CHAPEL ROAD AT-GRADE CROSSING AND CONSTRUCT A NEW LOCATION CONNECTOR ROAD IN GREENSBORO, GUILFORD COUNTY
STIP Project No. P-5747
GREENSBORO - The N.C. Department of Transportation is hosting a public meeting to discuss the proposal construct a grade separation at the existing crossing of NCRR/Norfolk Southern H Line at South English Street, subsequently closing the Holts Chapel Road at-grade crossing and constructing a new location connector road in Greensboro, Guilford County.
The purpose of this project is to enhance mobility and improve safety with the removal of the at-grade crossings. The purpose of this meeting is to provide interested citizens with information on the project and gather public input on the proposed design.
Project details and maps can be found on NCDOT’s project input website at publicinput.com/english-street-separation. The information will be available at the meeting allowing for one-on-one discussions with NCDOT staff, but there will be no formal presentation.
The meeting will be held from 5 p.m. to 7 p.m. on July 14 at New Hope Baptist Church, 304 S English Street, in Greensboro.
People may also submit comments by phone at 984-205-6615 project code 4075, email english-street-separation@publicinput.com, or mail at the address shown below by July 31, 2026.
By Mail: Gregory Blakeney
NCDOT- Senior Rail Project Development Engineer 1553 Mail Service Center Raleigh, NC 27699-1553
NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled people who wish to participate in this meeting. Anyone requiring special services should contact Tony Gallagher, Environmental Analysis Unit, at 1598 Mail Service Center, Raleigh, NC 27699-1598, 919-707-6069 or magallagher@ncdot.gov as early as possible so arrangements can be made.
Those who do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior by calling 1-800-4816494.
Aquellas personas no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan llamando al 1-800-481-6494.
magic in ‘Minions & Monsters’
BY MARK BURGER
“Minions & Monsters,” the seventh in the “Despicable Me” series and the third in which the titular characters go solo, is an unalloyed delight, one of the best films of the year, arguably the best of the whole franchise, and a dazzling treat for audiences of all ages.
The film takes place before the events of the earlier films and introduces a new slate of Minions, those mischievous, one-eyed yellow beings whose duty it is to serve evildoers of all shapes, sizes, and species. The principal Minions here are James and Henry, who have been immortalized in a museum devoted to Hollywood history. It seems that James and Henry were among the early pioneers of cinema.
Having scoured the globe for a new master, which they invariably — and uproariously — manage to screw up, they unexpectedly find themselves in the middle of a film shoot, which they (again) invariably and uproariously screw up, and become instant movie stars. But when sound comes to cinema, it turns out they have di culty with scripted dialogue, and the acting gigs soon dry up. There’s only one recourse — to pick up the camera and make their own movie.
The film’s a ection for vintage Hollywood is evident from the opening frames, with visuals that replicate the look and feel of silent films. Smaller children likely have no idea who Charlie Chaplin, Buster Keaton, or Harold Lloyd are, but they are paid proper homage early on — and in ingenious fashion.
There are also knowing, witty digs at contemporary films and contemporary filmmaking, to such an extent that “Minions & Monsters” repeatedly sends itself up. It’s a breathless barrage of sight gags, non-sequiturs, and in-jokes which aims to please, and does so on a consistent, frequently hilarious basis. We even learn how the Minions selected their
trademark blue denim overalls, which — believe it or not — became a fashion craze during the Roaring Twenties.
The star-studded line-up of voiceover talent includes Je Bridges, Christoph Waltz, Allison Janney, Jesse Eisenberg, Trey Parker, Zoey Deutsch, Bobby Moynihan, Phil LaMarr, and George Lucas (as himself), but the real star is Pierre Co n, who co-directed the first four films in the overall franchise, makes his solo directorial debut here, co-wrote the script (his first) with Brian Lynch, and has voiced all the Minions in all the films.
“Minions & Monsters” crams so much into its rip-roaring 90-minute running time that repeat viewings may be required — not that many people will mind. It’s grand entertainment for young and old alike. Grown-ups will revel in the nods to Hollywood history while the children will groove to the razzle-dazzle visual e ects and slapstick shenanigans that have become a “Minions” trademark. It’s got something for everyone — and then some. !
by Natalie Garcia
‘Year of the Diva:’ High Point Theater unveils 2026-2027 season
High Point
The-
ater, located at 220 E. Commerce Ave., has unveiled its 20262027 season.
“There are 11 shows, seven Grammy winners, two Latin Grammy winners, three Oscar winners, an Album of the Year winner, and a MacArthur Fellowship winner. It’s loaded with talent. It’s the year of the diva because there are six amazing female vocalists spread out in our series,” said Dan Barnard, High Point Theatre director.
Organizers said that this season is about celebrating the power of live performance with “nationally and internationally recognized artists spanning country, jazz, soul, bluegrass, dance, film, and family entertainment.”
“Our 2026-27 season reflects High Point Theatre’s commitment to bringing world-class entertainment and diverse artistic experiences to our community,” Barnard said in a release. “From legendary musicians and award-winning performers to innovative theatrical experiences and cherished holiday traditions, there truly is something for everyone this season.”
The season kicks o with Lonestar on Friday, Sept. 11. The American country music band from Nashville was formed in 1992 and are best known for their signa-
ture 1999 Billboard Hot 100 No. 1 crossover hit, “Amazed.” Lonestar has charted more than 20 singles on the Hot Country Songs chart, with 10 reaching No. 1.
Lizz Wright will perform on Thursday, Oct. 8. Wright is an American jazz and gospel singer whose musical compositions and vocal style have led to her being compared to Norah Jones.
Her first album, “Salt,” was released in the spring of 2003 and reached No. 2 on the Billboard Top Contemporary Jazz chart in 2004.
“That voice. She could be singing the dictionary, and I would be happy to hear that. She sounds awesome,” Barnard said.
Leela James will take the stage on Saturday, Oct. 24. The award-winning vocalist is an American R&B and soul singer-songwriter from Los Angeles.
Her debut album, “A Change Is Gonna Come,” was released in June 2005. Her third album, “My Soul,” her first with the Stax label, was released on May 24, 2010, and debuted on the U.S. hip hop/R&B chart at No. 7. On July 8, 2014, James released her fifth studio album, “Fall For You.” The album’s first two singles, “Say That” feat. Anthony Hamilton and “Fall For You” both reached Top 15 on the Billboard Urban AC charts, with “Fall For You” reaching No. 12. James supported her album with tours nationwide, including performances at Essence Music Festival, Arizona Jazz Fest, San Diego Jazz Fest, Capitol Jazz Fest, and more.
released in October 2017. By the week of Feb. 10, 2018, it was listed number one on the Billboard jazz charts, a position it held for two weeks.
For their album “Good Time,” the band won the 2020 Grammy Award for Best Regional Roots Music Album. In 2023, they won a second Grammy in the Best Regional Roots Music Album category, for Live at the 2022 New Orleans Jazz & Heritage Festival.
Celebrate the 50th Anniversary of “Rocky” with “Rocky” in Concert on Saturday, Nov. 14. Attendees will be able to watch the original Rocky film on massive screens as the orchestra and piano perform the score live.
“This usually happens at big halls - at 2,000-seater arenas, 2,000-seat halls, and we got it right here. It’s going to be awesome,” Barnard said.
Chris Thile & Aoife O’Donovan will take to the stage on Monday, Dec. 14. Grammy award-winning artists O’Donovan and Thile will illuminate treasured holiday songs with spellbinding harmonies and joyful musicality. Thile is a MacArthur Fellow and founding member of Punch Brothers and Nickel Creek. O’Donovan is a vocalist, guitarist, and founding member of I’m With Her and Crooked Still.
“I love this company. They make you feel comfortable,” he said. “This is an amazing company. The movements that they make are so elegant. You’re never trying to figure out what it means.”
On Wednesday, April 22, Stanley Clarke & Hiromi will take to the stage. NEA Jazz Master and four-time Grammy Award-winning bassist Clarke teams with innovative pianist and fellow Grammy winner Hiromi to honor Chick Corea in a new program of Corea works and original compositions inspired by the late, great pianist. Clarke and Corea were already longtime friends and bandmates in the iconic jazz fusion band, Return to Forever.
James’ sixth album, “Did It for Love,” was released on March 31, 2017, by Shesangz Music under license to BMG. The single “Don’t Want You Back” reached number 1 on Billboard’s Adult R&B Songs chart on April 15, 2017, becoming her highest-charting single ever.
In February 2021, James debuted the song “Complicated,” the first single o her seventh studio album “See Me.” It peaked at No. 1 on Billboard’s Adult R&B Songs chart, becoming her second number one.
Ranky Tank will take the stage on Saturday, Nov. 7, with guest vocalist Lisa Fischer. The group is an American musical ensemble based in Charleston, S.C. It specializes in jazz-influenced arrangements of traditional Gullah music, a culture that originated among descendants of enslaved Africans in the Lowcountry region of the U.S. Southeast.
Their debut album, Ranky Tanky, was
The Improvised Shakespeare Company will perform on Friday, Jan. 23. The group creates a brand new, fully improvised Shakespearean masterpiece right before your eyes. Nothing has been planned out, rehearsed, or written.
“There’s no huddling up. They get the title of the show from one of you,” Barnard said. “I don’t know how they do it, but it’s remarkable.”
In celebration of the 150th anniversary of Maurice Ravel’s birth, RIOULT Dance presents an evening dedicated to the ballet music of the visionary French composer who has deeply inspired Pascal Rioult throughout his choreographic career on Wednesday, Feb. 18. This program features three works set to Ravel’s iconic scores: a brand-new creation set to “Daphnis et Chloé,” alongside two cornerstones of the RIOULT repertory — Wien (Viena) and Bolero. Together, these pieces honor Ravel’s enduring influence while reflecting the evolution of Rioult’s bold and musical choreographic voice. Barnard called them his favorite dance company in the whole world.
The season closes out with Eliane Elias on Friday, May 8. The multi-Grammy and Latin Grammy award-winning pianist/ singer/composer/arranger Eliane Elias’ distinctive musical style is one of the most recognizable sounds in jazz and Brazilian music. She blends her Brazilian roots and alluring voice with her virtuosic instrumental jazz, classical, and compositional skills. With now 32 albums and over 2.5 million albums sold to date, Eliane has toured in 78 countries.
“I think she is probably the greatest living practitioner of the bossa nova,” Barnard said. “This would be a great date night.”
For tickets and additional information, visit High Point Theatre’s website or call the Box O ce at 336-887-3001. !
CHANEL DAVIS is the editor of YES! Weekly and graduated from N.C. A&T S.U. in 2011 with a degree in Journalism and Mass Communications. She’s worked at daily and weekly newspapers in the Triad region.
Chanel Davis
Editor
Eliane Elias
Leela James
Boots, brews, and songbirds take flight
It’s a banner weekend for Blue Ridge songbird, Kelley Breiding, who’ll kick up her heels with Kelley and the Cowboys for Kaleideum After Dark in Winston-Salem on July 11; but not before taking flight as a “full-fledged solo artist” with the release of her new album, “Nightingale,” out on July 10 via Music Maker Foundation.
With a voice made to soar, Breiding has long wrangled the world of bandleading and stringplucking, a true rounder in the old-time music sense, she’s an accomplished guitarist, fiddler, banjo player, bass player, and singersongwriter — “deeply rooted in the traditional sounds of the Blue Ridge, from old-time to honky-tonk and classic country.”
And while Breiding’s roots with the Music Maker run a decade-plus deep — first as a 2015 Music Maker Next Generation Artist with the Spencer Branch trio, followed by the eponymous rockabilly outfit, Kelley and the Cowboys, the old-time Crooked Road Ramblers, and hostess supreme of the country variety show The Blue Ridge Opry — “Nightingale” marks Breiding’s first foray into solo territory.
As Music Maker shared, with “Nightingale,” Breiding finally “spreads her wings…From folk and old-time to rockabilly and classic country, Kelley Breiding has spent decades exploring the roots and branches of Appalachian music with some of the region’s finest players. On her new honky-tonk album Nightingale, Kelley carries this rich experience forward into bold new territory: defining who she is as a true solo artist.”
Looking through the lens of her work, all of which ripples with an undeniable authenticity framed around anachronistic personas and crackerjack showmanship — there’s always been a group or a theme or time and place in which Breiding is framed. But on “ Nightingale ,” the curtains are drawn. The shrouds are lifted. It’s an album laid bare in the best sense. “Coming out of it, I felt like maybe I threw off a cloak I didn’t know I had on,” she told Grayson Haver Currin for Music Maker. “A lot of the things I’ve involved myself with historically involved a persona or a story. No project has been about me entirely. When I walked into Music Maker, there was no armor, no gimmick. It was just me, saying what I want to say.”
And while “Nightingale” speaks Breiding’s mind, making the record wasn’t what she’d planned — not directly, at least. Sure, she may have foreshadowed the possibility when she prescribed the “mid-” to her 2023 Music Maker Lifetime Achievement Award: “there’s much more for me to do!”
But a solo album wasn’t in the cards until Music
Maker’s Tim Duffy served as a match-maker, linking Breiding with the one-and-only Jimbo Mathus (co-founder of the Squirrel Nut Zippers) in early 2025. Having caught Breiding’s performance at Music Maker’s 30th-anniversary party, Mathus wanted to produce a solo-Breiding effort.
“The way he presented it,” Breiding told Currin, “was very much, ‘Do you want to make some art?’ And that’s the whole point, isn’t it? To make something great.”
By May 2025, the pair — who’d never formally met before — had spent a few months of long-distance song-swapping, and entered Music Maker’s Fountain studio with a team assembled by Mathus (Scott “Paco” Goolsby, Nathan Golub, and Kirk Russell). The resulting sessions produced a range of tracks, from the humorous “Quit Calling My Husband” to the haunting “Nightingale,” to build an empowering body of work that Breiding sees as just the start of her solo recording experience.
That said, she’s hardly hanging up her hat in the Blue Ridge Opry or giving up her bootscootin’ Cowboy ways. After all, “it’s about connecting people together,” she said in an interview with Music Maker, reflecting on elements of musical communities central to her career.
“And there’s another aspect where the music has a cultural situation where it’s not just music; it’s music of a place, music of a kind of way that a particular place feels and the way those people are. It’s part of the fabric.”
With that, Breiding will cloak herself in familiar fabric — rhinestones, fringe, and the occasional tengallon hat — taking center stage with Kelley and the Cowboys on the Kaleideum rooftop on July 11. As the featured performers for a country-fied rendition of the museum’s After Dark adult social takeover event, the Cowboys will fill the evening air, echoing twang across the downtown Winston-Salem skyline.
“Grab your crew and kick up your heels after dark
during a country-inspired night of music, dancing, creativity, and fun,” organizers from Kaleideum said of the event, which will include line-dancing led by instructors from Spring Theatre, country karaoke in the Kaleideum Digital Dome, and a craft-your-own Boots & Brews keychain workshop in the Try It! Studio.
“Whether you’re a seasoned two-stepper or just along for the ride, there’s something for everyone. Don your best cowboy and cowgirl duds as we transform Kaleideum into a boot-scootin’ celebration where learning and fun collide.”
“Nightingale” hits shelves and streaming July 10; Kelley and the Cowboys will be at Kaleideum on July 11; and the Blue Ridge Opry rolls into the Ashe Civic Center in West Jefferson on July 24. !
KATEI CRANFORD is a Triad music nerd who enjoys spotlighting artists and events.
Katei Cranford
Contributor
Brieding and Mathus
Kelley with Freeman Vines Guitars at Music Maker Studios.
PHOTOS BY TIM DUFFY
Community questions response to teens selling candy
Activists are questioning a June 29 incident in which police may have temporarily detained Black teenagers selling candy in downtown Winston-Salem. While this occurred in daylight, some have suggested it’s connected to Winston’s recently created youth curfew.
According to City Attorney Camille French, the curfew “was not a factor,” but French hasn’t answered questions about why the o cers were dispatched, what occurred between them and the teens, or how the incident was resolved. Community organization Hate Out of Winston asked such questions, both on social media and in an email to city o cials, after DaKisha Williams made a public Facebook post about witnessing the incident, which occurred around noon near 418 W. 4th St.
In that post, Williams described officers questioning four young Black male teens, then placing three of them in a patrol car. She stated other onlookers said the teens had been selling candy, and hadn’t said or done anything threatening or disruptive.
In a Thursday message to YES! Weekly, Williams wrote:
“Three of the four teens were placed in a police vehicle. Other eyewitnesses indicated to me that the three in the vehicle all resided on or near [address redacted]. They knew this because they talked to the boys prior to police arrival. They told me the kids were selling candy and that apparently someone called the police.”
According to Williams, “I did not witness any conclusion to the situation. When I left the scene, the three boys were still in the police vehicle, and the remaining youth was being questioned.”
It remains unclear how the incident was resolved.
After Hate Out of Winston shared Williams’ post, founder Miranda Jones sent an email to French, Mayor Pro Tem Denise Adams, North Ward Representa-
tive Barbara Burke, Southwest Ward Representative Scott Andree-Bowen, Community Assistance Liaison Zina Johnson, and Police Chief William Penn. It stated:
“This afternoon, Hate Out of Winston was made aware of several WSPD o cers approaching a group of Black teenagers selling candy in a downtown public space. Witnesses confirmed the youth were not engaged in any disruptive or unlawful conduct.”
Jones then asked:
“What specific conduct justified directing the youth to leave? Who called law enforcement, and what was reported? Were the youth suspected of any criminal activity? Children sell lemonade and snacks across this city without police response; what was di erent here?”
In her June 2 response to Jones, French stated that the reason she could not answer most of these questions is that there is an ongoing investigation involving minors.
“The only information we can confirm is that o cers were responding to a reported call for service. The call for service was not related to the selling of candy or to a curfew violation.”
The only other city o cial to respond to Jones was Andree-Bowen, who wrote: “Thanks for reaching out on this. I saw the email, then saw your Facebook post. I do look forward to hearing about what and why.”
In a phone conversation, Jones expressed frustration with what she called the city’s overreaction and lack of clarity.
“Why, if the children were not being charged or arrested, were they being put in the back of a squad car? If it’s a permit issue for selling food, why not just assist in getting the permit?”
Jones said she’s witnessed multiple white vendors on downtown sidewalks without police interference.
“There has been one guy in particular, a real chill dude who goes around on his scooter selling flowers to people out drinking or clubbing. I’ve never seen any police interaction with him. There’s a lot of concerns about the inequities facing Black children.”
She also expressed concern about the Youth Protection Ordinance, as the curfew is called.
“It’s not that we don’t want children to
be safe; it’s because the city doesn’t have data. They were using Charlotte as a model, while not looking at other models throughout the country or at Charlotte’s Youth Diversion program.”
According to CharlotteNC.gov, the program o ers “qualified juveniles the opportunity to avoid prosecution in the court system” and prevents “disproportionate minority contacts and the school-to-prison pipeline.”
Jones expressed concerns that Winston’s curfew “will lead to more oppression of Black and Brown youth during the day, as well as potential segregation due to historic disinvestment.”
On June 15, WSPD Lt. Joel Morissette presented the proposed curfew to council, which voted 8-3 to adopt it.
Representatives Adams, Burke, Robert Clark, Annette Scippio, and Vivián Joiner voted for it, while Andree-Bowen, Regina Hall, and James Taylor voted against the measure.
The city announced on June 16 that council had taken “decisive action to address a growing pattern of late-night youth gatherings, ‘teen takeovers,’ and related disruptive behavior that has increased across the city in 2026.” This ordinance, which went into e ect June 22, forbids minors in public spaces and establishments between 10 p.m. and 6 a.m. daily, and expires Oct. 12. While some outlets reported the curfew applies to “children under 17,” it actually applies to anyone under 18.
Although Mayor Allen Joines can only vote to break a tie, he made his support evident, stating:
“Our o cers are seeing more young people out late at night, unsupervised, and unfortunately, that’s when we tend to see an increase in problems, whether it’s kids becoming victims themselves or getting involved in disorderly or unsafe behavior.”
There are penalties for minors violating the ordinance; parents or guardians knowingly allowing them to do so; business owners who permit minors on their premises during restricted hours; and adults who help a juvenile violate the ordinance. These include a misdemeanor charge and maximum $500 fine.
Exempt from the ordinance are teens accompanied by a parent or guardian; teens at their jobs or traveling to or from employment; teens responding to an emergency; and students attending or traveling to supervised school, religious, civic, or recreational activities.
Other exceptions are for teens enrolled in college; traveling directly through the city in a motor vehicle; who are married or legally emancipated; or “exercising their First Amendment rights.”
Asked if the First Amendment exception meant that teens taking part in peaceful protests were not violating the curfew, City Media Contact Annie Simms replied:
“The Winston-Salem Police Department respects everyone’s Constitutional right to peacefully assemble. At the same time, there are circumstances in which law enforcement may lawfully intervene to protect public safety. For example, o cers may take action when an assembly creates a safety hazard, disrupts tra c, blocks roadways, restricts access to businesses or parking lots, or otherwise threatens public safety or public order.”
While some lower courts have ruled that teens have the same right to assembly as adults, others have upheld youth curfews that include an exception for political and religious expression but forbid recreational gatherings. The U.S. Supreme Court has so far rejected appeals on the issue. !
IAN MCDOWELL is an award-winning author and journalist whose book “I Ain’t Resisting: the City of Greensboro and the Killing of Marcus Smith” was published in September of 2023 by Scuppernong Editions.
Ian McDowell
Contributor
PHOTO BY DAKISHA P. WILLIAMS
[KING CROSSWORD]
[1. TELEVISION: What is Walter White’s codename in the drama “Breaking Bad?”
[2. GENERAL KNOWLEDGE: Which month of the year has the fewest letters in its name?
[3. U.S. STATES: Which state is known as the Prairie State?
[4. LANGUAGE: What is the British term for a bike’s training wheels?
[5. ASTRONOMY: What is the Earth’s only natural satellite?
[6. FOOD & DRINK: What is a more common name for the fruit sometimes called “alligator pear?”
[7. MOVIES: What kind of creature is Thumper in the animated movie “Bambi?”
[8. LITERATURE: What is the name of the python in “The Jungle Book?”
[9. GEOGRAPHY: Which countries and islands make up the geographic area known as Oceania?
[10. ANATOMY: What is a more common name for cerumen?
[SALOME’S STARS]
Week of July 13, 2026
[ARIES (March 21 to April 19) You might be the Zodiac’s Sheik of Sheep, but Cupid could soon turn you into a doting little Lamb who wants to be somebody’s very special someone!
[TAURUS (April 20 to May 20) Your gift for creating order out of chaos might be severely tested as problems continue to arise. Be alert! Someone might be trying to undercut your e orts.
[GEMINI (May 21 to June 20) A romance that seemed to have a chance for a long run could be winding down instead. Take time to assess your true feelings before attempting to restart it.
[CANCER (June 21 to July 22) More allies rally around as you deal with your workplace challenger. However, things are much easier on the home front, where good news brings cheer to you and your kin.
[LEO (July 23 to August 22) An unexpected complication might force you to change your usual travel plans. But instead of growling over the situation, see it as a
chance for a new experience.
[VIRGO (August 23 to September 22) A hazy atmosphere that you’ve been living under is clearing up. Things become more defined and easier to deal with. Celebrate with your special person!
[LIBRA (September 23 to October 22)
Expect to learn some surprising facts about some people in your life as you sort out a misunderstanding. Everyone benefits when the air is finally cleared.
SCORPIO (October 23 to November 21) Your aspects are positive for new ventures. As usual, let your sharp insight guide you as you consider a new undertaking. Travel is also favored!
[SAGITTARIUS (November 22 to December 21) If you’ve been planning a career change, you could soon get some exciting news. Positive developments are also favored on the home front.
[CAPRICORN (December 22 to January 19) A longtime relationship with
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Heisenberg.
May.
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Stabilisers.
The Moon. 6. Avocado.
Rabbit.
Kaa.
9. The four regions are Australasia (Australia and New Zealand), Polynesia, Melanesia and Micronesia.
a partner or spouse is put to a severe emotional test. Your strength and innate wisdom will help you get through the difficult times.
[AQuArIus (January 20 to February 18) Continue to make the needs of your loved ones your priority despite distractions. Once things are settled in your personal life, you can deal with other challenges.
[PIsces (February 19 to March 20) Go with the flow and let a new relationship develop before you make a commitment. Things that you might have missed will come to the surface with time.
[BorN THIs week: You have a flair for the dramatic. You also have a hot temper, which you often struggle to keep under control so that you can remain the cool cat who people admire.
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