Nashville Scene

In 2000, Brian moved to Nashville to work as a luthier for Fred Carpenter at the legendary Violin Shop. Over the past ten years, Brian has honed his skills and become one of the most in-demand fiddle luthiers in the Nashville area. Brian’s love of music has grown in the appreciation of many different styles. He has played fiddle and mandolin with a multitude of artists spanning many different genres of music. Currently, Brian plays with Grand Ole Opry member Mike Snider in his Old Time String Band.

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Discovered by guitar legend John McLaughlin in 2006, banjoist Ryan Cavanaugh has spent the last 4 years touring the international jazz scene with acclaimed saxophonist Bill Evans. Cavanaugh was a champion of the Merlefest, Rockygrass, and Renofest banjo contests in his early twenties, before performing and recording with Bill Evans, Sam Bush, Victor Wooten, Bela Fleck, Robben Ford, and others. In '07 Ryan released his bluegrass cd "Songs For the New Frontier" and played on 8 tracks of Bill Evans's record "The Other Side of Something" along with greats Bela Fleck, Sam Bush, Victor Wooten, and Dennis Chambers.

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Derek Hoke has crafted a collection of equally endearing and infectious songs for his long awaited sophomore release – Waiting All Night. Out August 21, 2012 on Electric Western / Thirty Tigers, Waiting All Night picks up right where Hoke left off with his first release Goodbye Rock N Roll. There is a significant difference here though. If Goodbye Rock N Roll was slow crafted, simmered in Hoke’s brain on low, and came to life on a lazy saw dust floor one night in town, then Waiting All Night was born under the lights on stage. It’s clear that Hoke and his band have been affected by the past years of playing week after week. Nashville has a way of doing that to a singer. A way of molding a voice around the lingering smoke and whiskey hanging in the air night after night. And first and foremost, Derek Hoke is a singer. The songs, even the ballads, reach out and yearn for a late night in a dark room. It’s the same feeling you get when you leave the house at 2am to catch last call…because if you don’t you might miss something. You might miss the steel guitar or meandering piano solos and telecaster riffs. Well, get out of the house, because you won’t want to miss a tune on Waiting All Night.

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For nearly a decade, Off The Wagon has enjoyed playing bluegrass music for audiences in Nashville and beyond. Featuring a steady rotation of songs by both classic and lesser-known names in bluegrass, the band cut its teeth on the stage of the world-famous Station Inn and other local venues. Off The Wagon continues to grow and delight audiences with favorite bluegrass standards, deeper cuts, and original tunes that put the band's unique stamp on the traditional bluegrass sound.

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Former guitarist with The Allman Brothers Band, Jack Pearson has been playing professionally since the age of 15. Although he may be best known as an A-list blues/rock lead and slide guitarist, Jack is also a soulful, creative songwriter, producer and artist in his own right.

As a songwriter and solo artist, his songs are moving and honest while his grooves make it hard to sit still for very long. Jack’s lyrics often reflect hope and redemption, reminding the listener never to give up no matter how heavy their burdens. His lyrical and musical hooks have also led to cuts by other artists. Jack has worked live or in the studio with a long list of artists including Vince Gill, Jimmy Buffett, Earl Scruggs, Chris LeDoux, Delbert McClinton, Bobby "Blue" Bland, Mac McAnally, Amy Grant, Groove Holmes, Faith Hill, T. Graham Brown, Jimmy Hall, Gregg Allman, Gov't Mule, Buddy DeFranco, Shelby Lynne, Jimmy Raney, Bonnie Bramlett, Jim Horn, Mundell Lowe, The Jordanaires, Lee Roy Parnell, Kirk Whalum, Jimmy Nalls and Chuck Leavell to name a few.

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It's hard to put a label on a multi-talented artist like Chris Scruggs. The Washington Post aptly described him as "part John Lennon pop and part Milton Brown western swing with a little bit of White Stripes edginess."

Anthem, the new release from Chris Scruggs combines modern and traditional styles into a diverse, yet cohesive, collection of twelve soon to be classics. From the tom-tom stadium shaker "Josephine" and the elevating "Sing Your Tune" to the longing of "Change Your Made Up Mind," Anthem is a record that insists on hope.

Shades of the British Invasion march over soundscapes one would usually find in southern dance halls as vibes, guitars and fiddles weave through the stitching of a beautifully conceived record. This effortless eclecticism is to be expected from a musician with Chris Scruggs' reputation. Having recorded in the past with a wide array of artists, including M. Ward, Ray Price, Neko Case, Andrew Bird, Justin Townes Earle, Hank 3, Amy LeVere, George Jones, Elvis Costello and Charlie Louvin, the story of Chris Scruggs is one of an artist completely immersed in music.

A native Nashvillian, Scruggs (the surname needs no introduction) was born in 1982. He spent his early childhood on a Silver Eagle tour bus with his hit-making mother, Gail Davies, and graduated to being the teenage frontman for Americana music pioneers BR549, writing and singing the title track of their 2004 release, Tangled In The Pines. Chris has appeared on three Grammy nominated projects, including Beautiful Dreamer - The Songs of Stephen Foster, which won a Grammy in 2005.

Chris Scruggs' life has been a whirlwind of experience, giving this fresh faced multi-instrumentalist a sense of musicality not normally found in someone his age. His youthful maturity is perfectly captured in the delicate waltz "Old Souls Like You And Me," the hook heavy jangle of "Windows" and the nihilistic optimism of "Running From The Graveyard."

Scruggs penned eleven of Anthem's dozen tracks, the one cover, "The Open Road, The Open Sky," being written by his late uncle, Ron Davies (the writer of "It Ain't Easy" for David Bowie).

In addition to the typical role of guitar slinging singer/songwriter, Chris Scruggs is also a master steel guitarist, playing his instrument without pedals. An all but lost art form, Chris does what he can to promote this evanescent style, preserving the older techniques and developing new ones that fit his own musical needs. Often, illusions of a string quartet grace the grooves of Anthem, while the steel guitar of Chris Scruggs sings from behind the curtain.

Recorded and mixed by Craig Schumacher at Tucson's legendary Wavelab Studios, an impressive list of guests make an appearance on Anthem. Howe Gelb of Giant Sand, Nick Luca, Kelly Hogan, Matt Arnn, Chris Dettloff, Paul Niehaus of Calexico and Lambchop, Bob Dylan henchmen Harvey Brooks (Highway 61 Revisited) and Don Herron (Together Through Life) along with members of BR549, make their unique presence felt as Chris Scruggs strums and croons his way through Anthem - a record born of Tennessee soil and Arizona sand.

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"Mike Farris has enough heart, soul, and power to light up a city. He mixes up the elements and turns them into something new, beautiful, and uniquely his own." --Buddy Miller

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Inspired by the Grateful Dead, Todd began playing guitar as a teenager, which led to his discovery of bluegrass music. Along with friends, he formed the traditional bluegrass band Well Strung, providing him the opportunity to develop his chops by playing in bars and at festivals throughout the state of Alaska. Channeling the spirit of heroes such as Jimmy Martin and Johnny Cash, it wasn't long before Todd began crafting his own original compositions. As he felt confined by the limitations of the traditional bluegrass format, though, he sought a more versatile acoustic sound to compliment his vocal abilities and lyrical themes. Enlisting members from Well Strung to back him, his vision was fulfilled by forming an ensemble that relied primarily on guitar, bass, mandolin and fiddle. While incorporating noticeable elements of bluegrass such as drive and harmonization, this new configuration allowed the dynamic room to experiment with honky-tonk and country stylings as well. In homage to his Alaskan roots, he billed the group as Todd Grebe & Cold Country, releasing a self-titled debut album in 2008 that featured all original material and garnered critical acclaim in Alaska and beyond.

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As Robert’s house band, Brazilbilly delivers “traditional country music with a Latin flair” every Friday and Saturday night from 10pm to 2 am. If you love the songs of Marty Robbins, Johnny Cash, Hank Williams Sr. and music inspired by those artists, Brazilbilly is your band. Frontman Jesse Lee Jones began playing Lower Broadway in the spring of 1995 after leaving his native Brazil 10 years earlier – without knowing a word of English – to pursue his dream of making a music career in America. Robert Moore (founder of Robert’s) recognized his talent and offered him a job performing at Robert’s. He was dubbed “the Brazilian Hillbilly” by members of BR-549 (Robert’s former house band) and that name quickly morphed into the band’s name – Brazilbilly. In the years since Brazilbilly was born, the band has gained much popularity and recognition, taking over from BR-549 as house band at Robert’s. In addition to playing a regular Friday/Saturday night set, the band has played many other venues and events, including a performance in downtown for Vice President Al Gore on Election Night 2000. The band has toured Europe, hosted the live radio broadcast of “The Midnight Jamboree” from the Ernest Tubb’s Texas Troubador Theater, played the Grand Ole Opry Plaza, opened for major country music acts, and played many special events, parties, and benefits in Nashville.Brazilbilly was founded on the ideal of traditional country music. Their sound, while traditional and country, is complemented by a Latin flair unique to the Nashville scene. They are fans and followers of the legendary artists who frequented the Lower Broadway honky tonk in the early years of country music. Each band member is diversely talented, professional, and musically educated. This range of cultural backgrounds and musical experience makes Brazilbilly like no other band, embracing a style that is uniquely their own.

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Grammy Award winning multi-instrumentalist Sam Bush doesn't seem old enough to be a musical legend. And he's not. But he is.

Alternately known as the King of Telluride and the King of Newgrass, Bush has been honored by the Americana Music Association and the International Bluegrass Music Association.

"It's overwhelming and humbling," Bush says of his lifetime achievement award from the AMA. "It goes along with the title cut of my new album, Circles Around Me, which basically says, how in the hell did we get this far? In my brain I'm still 17, but I look in the mirror and I'm 57."

But honors are not what drive him. "I didn't get into music to win awards," he says. "I'm just now starting to get somewhere. I love to play and the older I get the more I love it. And I love new things."

Among those new things are the growing group of mandolin players that identify Bush as their musical role model in much the same way he idolized Bill Monroe and Jethro Burns.

"If I've been cited as an influence, then I'm really flattered because I still have my influences that I look up to," Bush says. "I'm glad that I'm in there somewhere."

He's being humble, of course. Bush has helped to expand the horizons of bluegrass music, fusing it with jazz, rock, blues, funk and other styles. He's the co-founder of the genre-bending New Grass Revival and an in-demand musician who has played with everyone from Emmylou Harris and Bela Fleck to Charlie Haden, Lyle Lovett and Garth Brooks.

And though Bush is best known for jaw-dropping skills on the mandolin, he is also a three time national junior fiddle champion and Grammy award winning vocalist.

"In the acoustic world, I've been pretty lucky to play with almost every one of my heroes. I've gotten to play with Bill Monroe, Doc Watson, Earl Scruggs, I've been to the mountain," says Bush with a smile.

But his greatest contribution may be his impact on the future. "I'm secure with what I can do and I know what I can't do," he says. "You just have to stand there and applaud the great young talent.

"Chris Thile, Wayne Benson, Shawn Lane, Matt Flinner, Ronnie McCoury, Mike Marshall—they play in ways that I can't play," he says of today's younger generation of mandolin players. "I'm hoping to be around for is the next generation that comes along after that group. That's going to be something. The music keeps evolving.

Circles Around Me, Bush's seventh solo album and sixth with Sugar Hill, is an aurally inspiring mix of bluegrass favorites and complementary new songs. "I don't know why, but it felt right at this moment in my life to go back and revisit some things that I've loved all my life, which is bluegrass and, unapologetically, newgrass," says Bush. "After all these years of experimenting —and there's experimentation on this record too —I've come full circle."

Produced by Bush, the 14-song set includes appearances by Del McCoury, Edgar Meyer, Jerry Douglas and New Grass Revival co-founder Courtney Johnson (posthumously). The album also employs the phenomenal talent of Bush's band: Scott Vestal, Stephen Mougin, Byron House and Chris Brown.

"I get to play every show with my favorite musicians and I feel real fortunate," Bush says of his band. "I love playing with them. I feel like this group is limitless and they proved it again on this record."

The title cut, which Bush co-wrote with Jeff Black, "is about being thankful that you're still here, that you're still alive walking around," Bush explains. "Why are we the ones still here when we've had fallen comrades and loved ones?"

"The Ballad of Stringbean and Estelle," which Bush co-wrote with Guy Clark and Verlon Thompson, is the haunting real-life story of the 1973 murder of Grand Ole Opry star David "Stringbean" Akeman and his wife.

Bush and Courtney Johnson, who died in 1996, were reunited thanks to New Grass Revival producer Garth Fundis, who found a previously unreleased recording with Bush and Johnson's fiddle and banjo pairing on "Apple Blossom" from 1976. "It's pretty special and means a lot to me."

Meanwhile, "Souvenir Bottles" and "Whisper My Name" are fine updates of songs Bush first recorded in his New Grass Revival days. "I guess I'm proud that I can still sing it in the key that we first cut it in," Bush says of "Whisper," which was on New Grass Revival's 1972 debut album.

Del McCoury, whom Bush first met in 1970, guests on two Bill Monroe songs, "Roll On Buddy, Roll On" and "Midnight On The Stormy Deep." "Del always encouraged me to sing," Bush says. "So I wanted to do these songs with him. 'Roll On' is one of the few songs Del ever recorded with Bill."

Songs such as "Diamond Joe" and "You Left Me Alone" have roots in Bush's youth. The latter was on an album by the Country Gentlemen that Bush bought in the '60s. "It's a great 6/8 fast waltz tune and I am almost quoting John Duffey's mandolin playing note for note," he says. "It's a great tune and I've never heard anyone else do it."

The Bush-penned "Old North Woods" is a "Bill Monroe-sounding waltz," according to Bush, that features Meyer, his wife, Cornelia Heard of the Blair String Quartet, and their 16-year-old son, George, in his recording debut.

"With Emmy I learned more about singing and more about letting music breathe and I hope this CD is part of that thought," Bush says of Emmylou Harris, his former boss in the Nash Ramblers. "Through her I realized you don't have to whack people over the head with intensity on every song."

There's plenty more of course and Bush fans new and old will find lots to love.

"It's crazy to think about," Bush says of his influence on today's crop of mandolin players. "I'm proud to be part of a natural progression in music. And I hope to still be playing 30 years from now."

That said, it's not surprising that Bush still has goals. "I want to grow as a songwriter, as a song collaborator," he says. "There are still a lot of things I haven't discovered about playing mandolin. I want to be able to be secure in the styles that I know how to play well, but I also want to explore other styles that I haven't learned yet.

"I want to improve as a singer," he adds. "I have to work harder on singing than I do on playing."

"As long as I'm alive I hope I have the ability to play," says Bush, a two time cancer treatment survivor. When the ability to play is taken away, it's humbling. It teaches you a lesson: don't take it for granted."

Here's to the next 30 years.

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"As a vocalist, she's a powerhouse, owning a solid gold tremolo laced with attitude and blessed with range that she wields with style... a world-class singer." Billboard Magazine Just when you think you can label Julie Lee into one category or genre, you hear something different. Lee is a collage, a real scrapbook of various traditional American styles. In her songwriting, as well as her work as a visual artist, Julie takes bits and pieces from each of her myriad influences to make something of her own that is both old and new. Though a Maryland native, Lee has lived in Nashville, TN for 14 years and travelled and performed extensively across the US and Europe. She has had her songs recorded by Country, Bluegrass, and Contemporary Folk artists, most notably and recently by Alison Krauss, who included Julie's songs Jacob's Dream and Away Down The River on her most Platinum-selling collection A Hundred Miles Or More. "When I first heard Julie Lee was taken by her ability to be artful, truthful, commercial and refreshing at the same time. Not at all easy in this day of artiface and facade." -Rodney Crowell

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If you’ve seen David Mayfield perform with The Avett Brothers, Mumford & Sons, Jessica Lea Mayfield, or at Bonnaroo, you’ve caught the charisma, the heart, and the comedy, and it’s likely you’ll come back for more. The David Mayfield Parade’s April 1 release “Good Man Down” begs for that same repeated enjoyment.

With eclectic, cinematic songs that stir up images of the old West and urban cityscapes, the 12-track album feels like a game changer for a singer-songwriter, band leader, and Grammy nominated producer who stepped out of the sideman shadows with his 2011 solo debut “The Parade.” He likens “Good Man Down” to “Indiana Jones and the Temple of Doom.” Like “Raiders of the Lost Ark,” his first album was lighthearted and fun with nods to the past. His second is darker, creepier, more bizarre and outrageous.

He made “The Parade” without knowing if anyone would hear it, but the stakes for a follow-up were raised when his Kickstarter campaign more than doubled his initial goal of $18,000.

With a successful crowd funding campaign raising expectations, Mayfield felt it was time to take chances musically and delve into more adventurous production while tapping into his bluegrass roots. While anchored in descriptive songwriting with beautiful instrumentation including strings and horns, “Good Man Down” throws its listeners numerous musical curveballs. As producer he didn’t rein in his weirder musical tendencies. Just like his lively sometimes comical live shows, “Good Man Down” illustrates a lot of character without seeming contrived.

“Good Man Down” features notable guests Seth Avett, Mayfield’s bluegrass hero Doyle Lawson & Quicksilver, and country star Dierks Bentley who duets with Mayfield on Marty Stuart’s “Tempted.” Bentley remembered Mayfield from seeing his family’s bluegrass band play long before the former was a country star. That’s the thing. Mayfield isn’t easy to forget.

David Mayfield grew up playing bass and touring with his family’s bluegrass band. As a teenager he established himself as a hot picker collecting national awards for his dexterity on guitar and mandolin. His knack for colorful performances was evident as a backing player in his sister Jessica Lea Mayfield’s band including their appearance on “The Late Show with David Letterman.” He oozed personality on stage – a trait that makes him a natural frontman. He brought his skills and personality when he joined the bluegrass outfit Cadillac Sky, with whom he co-penned the album “Letters in the Deep,” produced by Dan Auerbach and taking the band into a new realm, playing sold out shows with British folk revivalists Mumford and Sons. Around then Mayfield began writing songs after hearing artists like Randy Newman and Simon & Garfunkel. Encouraged by his sister Jessica, Mumford & Sons, and other friends in music to record his original material, Mayfield released “The Parade” to much acclaim. Since that time, David Mayfield has toured almost non-stop including many appearances with The Avett Brothers both with his own Parade and sitting in with the Brothers, until taking time from the road to record Good Man Down in response to pleas from his fans for another record.

Conscious of not just being a musician, but an entertainer – something his father instilled in him in the family band – he certainly makes an impression live. But it’s the strength of his songwriting and musicianship, combined with that charm and personality that keep audiences coming back again and again.

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The Blow Jays are an up and coming band based in Nashville, TN. Their original mix of Orleans style funk, heavy psych blues rock, and even jazz and rebel country, is informed by four members with eclectic musical backgrounds and experience. Consisting of Michael Witcher on lap steel, Ethan Ballinger on guitar, Ben DeBerry on bass, and Jon Radford on drums, with all contributing vocals, they have each honed their crafts on the road with nationally touring acts and in the studio. Together as The Blow Jays they make glorious noise while stretching out on both originals and choice cover tunes ranging from Funkadelic to Freddie King to John Prine. Formed after Michael and Ethan met playing in bluegrass bands, The Blow Jays are an outlet for exploration, as they play with an infectious and often reckless energy where anything is bound to happen. With a sound somewhere between The Meters, early Sabbath and the Band of Gypsies, The Blow Jays are an exciting live force not to be missed.

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"By the time most kids had little more to show for their teen years than a driver's license, brothers Jake and Jamin Orrall had already amassed three box sets' worth of mad-scientist studio experiments in their basement lair. Now, their self-starter Infinity Cat label is looking like a blue-chip stock, while their two-man prog-punk project is shaping up as one of the city's most exciting acts. The proof's in their current CD Castle Storm...

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“Music is life,” declares Rod McGaha matter-of-factly. “It’s about finding the common thread, the common bond that we all have. I don’t care whether you’re a classical musician or a jazz musician—let’s see what we have in common, and unite to send a message.” That’s why the critically-acclaimed trumpeter elected to mesh a hand-picked lineup of first-rate jazz musicians with an accomplished string quartet on his new album, A Gentle Man. The resulting sound is both elegant and intimate, distinguished by both technical virtuosity and emotional directness. With its emphasis on dreamy ballads and fresh interpretations of classic material, the album harks back to such string-kissed trumpet touchstones as Clifford Brown With Strings and Miles Davis’ Sketches of Spain. “I wanted it to have that classic type of sound,” McGaha explains—but without the grandeur of, say, the large ensemble heard on Sketches. “There’s a certain intimacy about the string quartet,” he says. “A jazz quartet is more personal than a big band, and a string quartet is more personal than an orchestra. I wanted it to be more cozy.” For the self-produced A Gentle Man, McGaha assembled a crew of players he felt would be best suited to create that “cozy” atmosphere: guitarist Andre Reiss, bass player Roger Spencer, drummer Marcus Finnie, viola player Kristin Wilkinson, cellist Kristin Cassell and violinists David Davidson and David Angell. Jeff Steinberg played piano and wrote the arrangements. “I try to choose musicians like Duke Ellington did, each one for his or her own individual character,” McGaha says. “There are certain cats that have different sounds, so I think about who I want in each chair.”

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BR549 (originally spelled BR5-49) is an American country music band. Founded in 1993, the band originally comprised Gary Bennett (lead and background vocals, acoustic guitar), Don Herron (steel guitar, Dobro, fiddle, mandolin, acoustic guitar), "Smilin'" Jay McDowell (upright bass), Chuck Mead (lead and background vocals, acoustic guitar, electric guitar), and "Hawk" Shaw Wilson (drums, background vocals). Bennett and McDowell left the band in 2001, with Chris Scruggs and Geoff Firebaugh respectively replacing them. Both Firebaugh and Scruggs later left the band as well; Mark Miller has become the band's third bassist.

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member of The Blueprint Project whicnh began as a cutting-edge jazz trio, co-founded by pianist Tyson Rogers, multi-reed player Jared Sims, and guitarist Eric Hofbauer. For this album, they added special guest Han Bennink on drums, whose strong rhythmic feeling with an offbeat flavor gives the group just the spark it needs. Currently also teaches piano in Nashville, as well as playing with seasoned musicians.

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Jesse Lee Jones is the proprietor of Robert’s Western World and the leader of its house band, Brazilbilly.

Jesse Lee was born and raised in Sao Paulo, Brazil. Growing up in one of the world’s largest cities, he was influenced by an incredible and eclectic repertoire of musical styles. After he discovered traditional black gospel, hillbilly country and rockabilly music, Jesse Lee longed to pursue a music career in America.

Jesse Lee immigrated to the U.S. in 1984 and, after a long and rocky journey, he found himself in Peoria, Illinois. Robbed of his belongings on a Greyhound bus and unable to speak English, Jesse Lee was taken in by a family associated with his church. He worked hard babysitting, cooking, cleaning and doing other household work in exchange for room and board. He learned English watching Sesame Street with the family’s children. Playing gigs on his off time, he quickly became a local nightclub favorite, but his most memorable performance was when he lead a courtroom of new Americans singing “America the Beautiful” the day he became a U.S. citizen.

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Southern girls have it so good, since they're usually beautiful, fun and have that irresistible drawl where they can tell you to fuck off and make it sound like you're getting an extra piece of pie, with ice cream on top. Throw in a little talent, maybe some long legs or soft curves, and you can kiss your composure goodbye. Then there's Jen Duke. With the voice of an Angel and the wiles of a Siren, she'll lure you in with buttery purrs and the distant memories of smoky shadows, dirt roads and honky tonks. It is the sound of country blues, mountain bluegrass and old-time gospel, of sorrow and hope, righteousness and redemption. She sings the songs of a Southern girl who is complicated and messy, simple and plain-spoken, sacred and profane.

Born into music in New Orleans, Jen was joining in with her piano-playing Grandmother as soon as she could speak. Always singing, playing and listening. The sounds of the brass bands and bayous slowly seeped into her vernacular. In a town where music is always in the air, she soaked up a diversity of influences from street musicians on washboards and whistles to Django-jazz and Delta blues. She was sought out for her sweet tone and quick pickup, and did studio work with various bands, including members of the Cajun-centric Red Stick Ramblers.

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Born in Oklahoma, raised in Denver, Kenny Vaughan's earliest memories of music are his father's jazz record collection:

“My dad listened to Jimmy Smith, Mose Allison, Count Basie, Woody Herman, Miles Davis, Tony Mottola, and used to take me to hear Johnny Smith play at Shaner's in Denver. My neighbor, Charles Sawtelle, listened to Flatt and Scruggs and played Salty Dog on his Martin guitar for me. I knew then and there that I wanted to do that! I got my first electric guitar when I was twelve. The first thing I played was ’Folsom Prison Blues’. My first band played Stones, surf, '60's garage punk, and Memphis soul. I saw the Stones, Jimi Hendrix, The Cream, Howlin' Wolf, Captain Beefheart, Buck Owens and The Buckaroos, The Dead, The Doors, Peter Green's Fleetwood Mac, Johnny Winter, John Mayall, and Led Zep's first stateside gig, all before I was sixteen!"

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Quite simply one of the best voices to be heard in music today, Grace Adele has mixed elements of Americana, Country, and Retro. With her silky sultry vocals she caresses every word in songs of love, loss and laughter.

While on past tours Grace Adele has performed on many radio shows such as WDVX's The Blue Pate Special, Knoxville TN and WFPK Louisville, KY. She is hired for private events, folk festivals and art festivals are just a few examples among many other events.

Grace Adele surrounds herself with the finest talent. Whether she is performing as a duo with her partner in crime, mandolinist Keenan Wade or traveling with her string players known as, The Grand Band, the group always delivers an all out striking performance.

A talented instrumentalist herself Ms. Adele adds a spark of comedy as a master of the kazoo and even provides a little tap-danced percussion on occasion. It's a show that encompasses everything from a traditional fiddle tune to original melodies that are both instantly memorable. Listen to her once and you'll be entranced; see her perform and you'll understand just how compellingly vital and engaging an artist can be.

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THE GRANT FARM is a refreshing harvest of a band from the fertile Front Range of Colorado. This much-anticipated four-piece represents the fruition of the efforts of National Flatpicking Champion Tyler Grant, one of the hottest and best-known guitar players on the scene today. Tyler was a member of The Drew Emmitt Band and The Emmitt-Nershi Band from 2005 until 2010 when he went on his own to pursue his calling as a bandleader. In Grant Farm he is partnered with dynamic drummer Chris Misner, also of the Drew Emmitt Band and Bill Nershi’s Blue Planet. The quartet is completed by funky phenom Adrian “Ace” Engfer on bass and the prodigious Sean Foley on keyboards. Grant Farm has established a movement based on their connection to roots music of all kinds, devotion to their fans and family, and their brilliant performances of Rocky Mountain Rock and Roll.

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Amanda Contreras - Vocals/Acoustic Guitar
Billy Contreras - Electric Guitar/Organ/Lap Steel/Fiddle Members of The Travelers

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True Americana music!!
Whether one calls it kismet or destiny, some things are just meant to be, like The Danberrys. Dorothy Daniel and Ben DeBerry both began to learn music around the age of ten and later joined talents when they met in high school in 1997. They dated through their first two years of college and then after four years, Dorothy and Ben went their separate ways. Five years later they realized they never should have never parted. They were married in October 2006.

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