The opening track, Far Away From Home, by Byron Hill and Dennis White, packs a ton of punch, particularly within the vocal performance of Rhonda Vincent and Zack Arnold. As with many of the selections on this project, Rhonda is accompanied here by members of her touring band, the Rage, as well as special guests. Along with Vincent and Arnold, instrumental backing is provided by Adam Haynes on fiddle and bass, Justin Jenkins on banjo, and Jake Stargel on guitar.

This song is immediately followed by Any Other Color Than Blue. Written by Patrick Pigott, the supporting cast here is stout with Ronnie McCoury on mandolin, Ron Stewart on banjo, Bryan Sutton on guitar, Kelsi Harrigill on harmony vocals, and once again Haynes on fiddle and bass.

The title track, A Possibility, is a Vincent original that pairs her with Dan Tyminski. Featuring former Rage member Josh Williams on mandolin, his work here is heavily influenced by the mandolin playing that Tyminski provided on some of the Lonesome River Band recordings from the late 1980s and early 1990s. Rhonda, Dan, Josh, and Adam are also joined by longtime Rage banjoist Aaron McDaris.

Although Scenic Route was written by guest vocalist Avery Kern, it’s performed in a way that makes you think Rhonda herself wrote it. The song encapsulates her love for travel and her eagerness to get from one destination to the next. Harmony vocals are provided here by Kern and Justine Blazer. Playing resophonic guitar on this track is Vincent’s son in-law, Brent Burke. Luke Moseley also provides tasteful backup on the Hammond B3 organ.

Even If I Tried and Would You Like To Buy Some Flowers lean into more of a soft, sentimental nature. The former, written by Bill Anderson, Bobby Tomberlin, and Will Jones, is country through and through with lyrics that tell one’s undying love for another. Rhonda is appropriately accompanied here by Jamie Johnson and Ben Issacs on harmony vocals, and Garrett Stoner on lead guitar. The latter by Conrad Fisher brings Rhonda and Sierra Ferrell together with a simple, yet tear jerking story. Instrumental accompaniment is provided by Rage member Mickey Harris on mandolin and Adam Haynes on rhythm guitar and bass.

A Possibility is one of Rhonda Vincent’s best efforts to date. With a project chock full of powerful selections along with world class musicians and vocalists, Vincent has once again shown why she has endeared herself to so many of us.

The post A Possibility – Rhonda Vincent appeared first on Bluegrass Today.

This column may be shorter than some. This week I made an unplanned visit to see my uncle in Oregon, who recently managed to come back from the dead. He was on life support and when they went to take him off of it, he started breathing on his own, opened his eyes, and promptly asked for a beer. This is absolutely a true story. He’s the banjo player in the family. Interpret that as you wish.

Sometime last year I introduced a set of bluegrass rules that I hoped would lead to less debate than the rules we spend our precious time wrangling over now, like the ones about electric bass, drums, and clawhammer banjo (hey, I think I just formed a band).

I thought it was time for a few additions. Feel free to debate below. If I don’t have time to respond personally, just use this generic response: “I couldn’t disagree more.”

Bluegrass Rules in 2018 (that still hold up in 2026):

As with politicians, bluegrass musicians are always much less controversial after they’ve died. Perhaps Jimmy Martin should now be exempted from this rule.

The opening act will always run over their allotted set time (see last week’s column).

Pleading for votes for IBMA awards is like operating a chain saw or loud lawnmower: it’s annoying when other people do it, and perfectly reasonable and necessary when you’re doing it yourself.

Agents and artists who do their own booking agree: the gigs that pay the least require the greatest amount of time and effort to book.

Only in Switzerland will P.A. equipment be completely set up by sound check time.

Except in Switzerland, all sound check times are set with the assumption that the band will be late.

Because of the two rules above, sound checks are never on time. Except in Switzerland.

It’s socially acceptable in bluegrass music for a band to heap praise on itself during the show if it comes in the form of introducing the band members.

It’s socially acceptable in bluegrass music to make plugging band merchandise the primary focus of all stage patter.

With one or two exceptions (thank you, Frankfort Bluegrass Festival), almost no one buys CDs at free festivals.

With one or two exceptions, almost no one buys CDs. (2026 note: weirdly this seems to be changing. I’m at a loss to explain why, but I don’t want to discuss it further and jinx it).

The friends and family members who insist on paying for your CD are the same people who insist on paying admission to your percentage gig. Buy these people nice Christmas presents.

Bluegrass promotional material could be written by the same people who write bottled water descriptions.

With one or two exceptions (like Bob Seger’s Old Time Rock ‘n’ Roll), bluegrass music is the only genre which produces songs about the genre itself.

You will sleep exactly the amount that you should at the IBMA World of Bluegrass.

You will get almost no sleep at the IBMA World of Bluegrass.

The executive director and staff members of the IBMA are not personally responsible for the trends in bluegrass music, and are therefore unable to make changes in them upon your request. Try not to request those.

Any bluegrass band that has a bus but does not also have a diesel mechanic in the band is making approximately 40% less money than they should be. (2026 note: this summer make that 50 to 60%.).

Any bluegrass band that has a bus is a band that has somewhere to go when it’s 100 degrees at a bluegrass festival.

The post From The Side of the Road… Bluegrass rules, rule, rules appeared first on Bluegrass Today.

Located about 30 minutes east of Fredericksburg, this opening salvo will be a one-day event, with hopes to expand over time. Music will be provided from noon until 6:00 p.m. by Flat Branch Bluegrass Band, Jay Armsworthy & the Eastern Tradition, and Valerie Smith.

In addition to live music, Belle Grove will have food trucks on site featuring local gastronomic favorites, plus fine Virginia wines, craft beer, and distilled spirits for tasting. A variety of specialty vendors will also be set up with all sorts of artisan goods

King George is less than two hours from Alexandria, Manassas, and DC proper, and general admission tickets are only $25, under 21 and/or designated drivers are admitted for $10. Bring your blankets and lawn chairs.

Your 21+ ticket allows you access to the tasting samples from Virginia brewers, vintners, and distillers.

There is also a VIP option for $300 which gets you your own 10X10 tent, set up and reserved, with tables and eight chairs. VIP ticket holders and their group also receive early admission to the festival.

Tours of the Belle Grove mansion are also included in your ticket fee. It is a beautiful and well-maintained example of 18th century grandeur, well worth the trip.

Tickets are available now online.

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Grand Rapids photographer Steve Baran has shared these images taken at the Ionia Freak Fair, the hometown festival put on by Billy Strings this past weekend. Like most anything he touches, it was a sold-out event, held at the Ionia Fairgrounds, in Ionia, MI, near where Billy was raised.

The Fair offered two full days of top acts from the more progressive and jammier side of the bluegrass world. And of course our Mr. Strings sat in with all of them, and performed with his own band.

Will this become an annual event? Keep an eye peeled for an announcement if so.

The post Billy Strings’ Ionia Freak Fair photos appeared first on Bluegrass Today.

It’s a sincere ballad about losing someone you love, which Roberts has said is quite personal for her. So much so that producing the video had the same effect.

“Creating the video for Memories on the Moon was such a special experience because it gave me the chance to bring the emotion of the song to life in a visual way. The first time I heard the demo for the song I could see it in my mind, and I’m so thankful to have the opportunity to shoot this video.

This song is all about love, loss, and holding on to the memories that stay with us long after someone is gone, and I wanted every scene to feel honest and heartfelt. I hope when people watch the video that they see a piece of their own story reflected in it, and it helps them feel less alone in whatever they’re carrying. 

Thanks so much to Tom Turk, Rebekah Speer, Alexis Peas, and Joelie Young for helping me make this vision a reality, and to Gunnar Peas for his unplanned cameo!”

Assisting Jaelee on the track are Tony Wray on acoustic guitar, Alan Bartram on bass, Justin Moses on mandolin and dobro, and Ron Stewart on banjo. Zack Arnold added harmony vocals.

Have a look and listen.

Memories on the Moon is available now from popular download and streaming services online, and to radio programmers via AirPlay Direct.

The post Memories on the Moon video from Jaelee Roberts appeared first on Bluegrass Today.

The Smiths know a thing or two about recording good music. Their choice in gifted musicians, story-telling tunes, and a great team of sound engineers along with their perfect blend of voices makes this recording one of my favorites of the year.

Hammering the banjo is Calib Smith (no relation). He is truly underrated in music circles, and hopefully this recording will help to draw his picking into the limelight. He knocks it out of the park.

Cory Piatt adds just the right mando breaks to the mix. Kyle Perkins, now of Grascals, lays down a solid bass foundation. Kenny’s guitar work on a historic 1937 D-28 (on loan from Gary Burnette’s Bee-3 Vintage Guitars of Asheville) just helps to underscore why he is an award-winning guitarist.

The songs range from the Dillards’ classic original and title cut of the album, Whole World Round, to modern day new songs. Four tunes are penned by David Summers. One, Tears of the Cherokee, has been number one on the Bluegrass Today Weekly Airplay chart.

Kenny shared…

“I met David when I played in a band in Chattanooga. He wrote a song called Ten Mile Tennessee that my friend Bobby Burns used to sing. I always loved that song. We met David’s brother at a concert and he played us a demo of Wiley Parker and River Road. 

I called David and talked about wanting to record those two songs. David then told me about Tears Of The Cherokee, and sent that demo. I listened to the demo and couldn’t even talk, it immediately made me think of my Grandma. David is one of the best songwriters that I have ever met and we’re blessed to know him.”

A band of faith, their project includes a couple of powerful gospel songs: The Inventor and Don’t Let Me Go Astray. The lyrics and harmonies are chilling.

Kenny lends his songwriting talents with Brent Trout to Last Summer. Amanda shared how the collaboration came to be.

“We sold a toy diner set on marketplace, and a songwriter bought it. Kenny had on a guitar shirt and he asked if we played music. He told us he was a songwriter. Kenny said, ‘We should write together sometime.’ He came back about a week later and we wrote Last Summer.”

The project includes a heart-warming selection, Pretty Little Baby, by the Smiths’ 11-year-old daughter, Annabelle, that shows her vocal talents exceed her birth years. This little lady is bound for stardom.

Finally, this recording is an artistic audio mix. All the voices and instrumentation are melded in a perfect balance. Crank up the volume and you’ll hear what modern day studio bluegrass music should sound like. With this, the Smiths have recorded ten albums at GAT3 in Charlotte. 

Amanda stressed the studio’s value to their sound.

“Glenn Tabor is the best engineer we’ve ever worked with. He always tries to outdo the last album and tries different techniques to make the sound better. He’s in a class of his own. He is a big part of our sound sonically since we started our band. 

Glenn’s whole family works at GAT3, so his daughters did the photography and design of the CD artwork. Glenn’s wife, Susan, does all the scheduling and coordination of the project with the studio.”

Obviously, from start to finish, the album is a labor of love. I think there will be more number one hits coming from Kenny & Amanda’s Whole World Round.

Highly recommended.

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What you can control is whether the file you send them is actually ready to play.

None of it has anything to do with how much money you spend on the recording, who played on it, or whether you have a record label behind you. They’re simply things that make an otherwise usable track unnecessarily difficult for a radio programmer to work with.

And when a DJ is sorting through a pile of new songs, “unnecessarily difficult” is not a category you want to fall into.

Lose the Scratchy Record Intro

You know the sound: a few seconds of fake vinyl crackle, hiss, and pops before the song actually begins. Somebody thought it gave the track a cool vintage feel, and maybe it did when everyone was sitting in the studio listening to the finished mix.

That doesn’t necessarily mean it belongs on the version you’re sending to radio.

Unless that sound is genuinely essential to the recording, leave it off the radio single. Seasoned DJs have heard this trick plenty of times, and it doesn’t automatically make a song sound old-time, authentic, or clever. More importantly, you’re adding something the programmer has to sit through every single time the song is cued.

Your song should establish its own mood. If the recording needs several seconds of fake surface noise to convince us it sounds vintage, the production probably isn’t accomplishing what you think it is anyway.

Think Twice About the Count-In

The same warning applies to leaving a studio count-in at the beginning of the recording.

There absolutely are songs where a count-in works. Sometimes it is clearly part of the energy and character of the performance. But there are also plenty of recordings where somebody simply decided that hearing “one, two, three, four” before the first note sounded cool.

Before leaving it on a radio single, ask whether it actually contributes something meaningful to the record.

Remember that a DJ isn’t experiencing your track in quite the same way a fan is. They need to cue it, schedule it, and place it alongside other professionally produced recordings. Anything sitting in front of the actual music should have a very good reason for being there.

Make Sure the Song Is Actually Mastered

You would be surprised how many tracks are submitted to radio that simply don’t appear to have been properly mastered. Some arrive with waveforms substantially lower than the other music in a station’s system. Others sound noticeably quieter when played beside commercially released recordings.

Technically, somebody at the station may be able to compensate for that. The question is why would you expect them to?

If you’re investing the money to record and release music professionally, mastering shouldn’t be the step where you decide “good enough” is good enough. Your finished track needs to hold up when it’s sitting between records from established national acts, not just when you play it by itself in your car.

One of the simplest things you can do before beginning a radio campaign is download the exact file you’re planning to send, and compare it with several professionally released tracks. Don’t compare the session inside your recording software. Listen to the actual finished file.

If yours suddenly sounds tiny next to everything else, find out why before you start emailing DJs.

Trim the Dead Space

Another surprisingly common problem is unnecessary silence at the beginning or end of the file. A few seconds might not seem like much. The DJ can trim it, right? Sure. They probably can.

They can open your file in editing software, remove the extra space, save another version and then put that version into their system. But now consider that the same DJ may be dealing with dozens of new releases. Another artist sent a properly mastered file that starts and ends exactly where it should and can be dropped straight into the system.

Which one is easier to deal with?

Independent artists sometimes look at problems like this individually and think, “That would only take somebody a minute to fix.” But that’s really not the point. If you are asking someone to consider your music for national radio airplay, they shouldn’t have to finish preparing the file for you.

Don’t Make the DJ Your Production Assistant

The radio programmer’s job is to decide whether they want to play your music. Their job is not to master it, edit it, trim it, clean it up, or undo production decisions that make it difficult to broadcast.

The easier your song is to put on the air, the fewer reasons you’re giving somebody to skip it.

And remember, radio people aren’t sitting around desperately hoping another song lands in their inbox. There is always more music. If one track requires extra work and another equally good track is ready to go, you’ve created an obstacle that never needed to exist.

Make It Easy for People to Help You

This principle goes far beyond radio.

If you want a journalist to cover your new album, send a professional photo, accurate credits, a useful bio and working links. Don’t make them email three times because you forgot to include the information they need.

If you want a festival promoter to consider your band, make sure your live video is easy to find. If you’re pitching your music to someone in the industry, don’t bury the listening link somewhere in a seven-paragraph email.

And if you want a DJ to play your single, send them a clean, properly mastered recording that is ready for their system.

Independent artists spend an enormous amount of time worrying about how to look professional. We buy expensive photos, redesign websites, obsess over graphics, and try to make our social media accounts look like somebody with a major label is secretly running them.

A lot of actual professionalism is considerably less glamorous, it’s doing the job correctly before you hand it to the next person.

Don’t Be Cute. Be Professional.

None of this means your music has to be boring. Take chances with the songwriting. Make interesting records. Try unusual arrangements. Put your personality all over the thing.

But don’t confuse creating interesting music with adding unnecessary stuff to the file because you think it makes you look clever.

Before you send your next single to radio, listen to the actual finished file from beginning to end. Make sure the music starts where it should, the ending is clean, the level is appropriate and there isn’t anything sitting in front of the song that is more likely to annoy a programmer than impress one.

None of that guarantees airplay. You still have to record something DJs actually want to play, and musical taste will always be outside your control. However, there are already enough obstacles standing between an independent artist and national radio airplay. There’s no reason to manufacture a few more yourself.

To read more articles like this, visit Ashley Lewis online for extended features, the Artist Toolbox, and more tales from the Bluegrass Side.

The post DIY Bluegrass: Want radio airplay? Don’t make the DJ fix your song first appeared first on Bluegrass Today.

This article is a contribution from Nancy Cardwell, former Executive Director of both the International Bluegrass Music Association and the IBMA Foundation. She writes for many other publications and performs as an artist as well.

Twenty-two year old Riley Gilbreath from Crowley, Texas, played the Grand Old Opry in Nashville, Tennessee for the first time on Tuesday, August 25, subbing on guitar with Rhonda Vincent & the Rage. Vincent had been aware of the young guitar and banjo player who fronts his own band, Riley Gilbreath and Lone Star Blue, for several years through his association with the Dallas-based Bluegrass Heritage Foundation’s Play it Forward!® instrument lending program, which Vincent has helped to support in memory of her father, Johnny Vincent. 

“It was such a joy having Riley join us for his debut on the Grand Ole Opry,” Rhonda Vincent said. “He had rehearsed the songs we were going to do, and then when the news of Dolly’s passing was released, the Opry made an immediate pivot to honor Dolly. Riley only had a few hours to learn three new songs for his debut performance. He rose to the challenge and even opened the show in tribute to Dolly Parton. The song ended up on CNN and many other news outlets. The evening became a night to remember for multiple reasons, and hopefully one he will cherish for years to come.” 

Riley was surprised to get the call from Rhonda a week before the August 25 appearance. “I’ve seen her many times over the years,” Riley said. “I went to her family’s Sally Mountain Bluegrass Festival in Missouri at age 14, and Dale Brawner’s band, Cedar Junction got up on an open mic. I played a tune on the banjo with Rhonda—it’s still on YouTube! Last year my band played at a festival in Glen Rose, Texas before her set, but I never really got the chance to sit down and talk with her.”

Gilbreath returned the call after he got off work at his part-time job at Cavender’s Western Wear. Although he was not able to fill in for Zack Arnold on guitar on Friday night, August 21, due to a previous commitment, the following Tuesday, the 25th, was open. Riley said he got busy working up Kentucky Borderline, Rocky Top, Driving Nails in my Coffin, I’ll Take the Blame, which Rhonda recorded with Ralph Stanley, and a couple of songs from her new album—one, a duet with Sierra Ferrell. He was excited, but not nervous. 

Riley met his parents (Danny and Jana Gilbreath) and some friends from Oklahoma for lunch in Nashville on Tuesday. Then Michael Durbin, a good friend who had driven up from Texas with Riley, texted him to let him know about Dolly’s passing. Shortly after that he received a group band text from Vincent letting them know their song list had changed.

“I just got a cup of water and was ready to order, and then I said, ‘I am so sorry. I’m going to have to go back and work on some new songs. Time is getting closer, and I really want to be sure that I’m prepared,” he said. “So I had around 30-40 minutes to work up Jolene and 9 to 5 before getting ready to head to the Opry. We rehearsed, and then they asked Rhonda to do Coat of Many Colors, so we ran over that, too, and I sang the harmony. We opened the show with that song, and it was just a beautiful thing. I was honored to be a part of something like that, especially on my first time playing at the Opry. Maybe 45 minutes later we got back up and did 9 to 5 and Jolene. It went by super-fast, but I had a great time.”

Riley continued: “My parents and a bunch of folks drove eight to ten hours to watch me, and friends from Nashville came to watch—which I really appreciated. Russ Carson (Ricky Skaggs & Kentucky Thunder), who was playing banjo, was so kind and almost like a big brother to me that whole night. He made me feel right at home, like I belonged there. He even took photos of me in the circle (of original floor boards from the Ryman at the Opry House, center stage). Rhonda, Mickey [Harris], and Adam [Haynes] were all very kind and hospitable. All I can say about Rhonda Vincent is that she is one of the classiest and kindest women you will ever meet—a lot like Dolly.”

Riley was 12 years old when he got his first banjo through the Play it Forward!® program in 2016. “I heard Dad playing something on the radio that had a banjo in it and I liked the sound of it,” he recalled. “I thought, ‘What is that? I’d like to learn how to play that.’ Then Dad went online and found the Bluegrass Heritage Foundation and the Play it Forward!® program, and Alan Tompkins referred me to Jim Penson, who taught me for a year and a half. He had been the banjo player with the Front Porch Boys with Robert Earl Keen and Lyle Lovett.”

Riley was invited to sit in with a local band, Cedar Junction, and became their banjo player. When band leader Dale Brawner passed away, Riley and his dad both played guitar with the Pocket Change bluegrass band. “That’s about all we made,” Riley joked. In 2021, at 17, he decided to start his own band.  

Riley is a two-time recipient of the Johnny Lee Vincent Fund administered through the Bluegrass Heritage Foundation. He took bluegrass college classes online at age 15, and he received a scholarship to Camp Bluegrass in Levelland, Texas in 2017 with funds donated in memory of Rhonda and Darrin Vincent’s father. 

At the Kentucky School of Bluegrass & Traditional Music, directed by Dean Osborne in Hyden, Kentucky (a part of the Hazard Community and Technical College and the University of Kentucky), Riley studied audio recording technology and bluegrass music history. Osborne said, “We are enjoying watching Riley grow and take his place as a pro. We are proud that the future of bluegrass is in good hands.”

At camps Riley has studied advanced banjo with Alan Munde, Bill Evans, Tony Trischka, and Ned Luberecki. After starting with the Play it Forward!® banjo, he saved up to buy a Recording King. Riley currently plays a Huber Workhorse banjo that was presented to him jointly by luthier Steve Huber, the Bluegrass Heritage Foundation, and his parents. His guitar—the one he played on the Opry stage—is a 1952 D-18 Martin.

Riley won both the Oklahoma International Bluegrass Festival Banjo Championship and the Texas Banjo Championship in 2019. He plays guitar and sings lead in his own band, but he likes to jam with the banjo, and he can also play mandolin and acoustic bass. Gilbreath’s favorite banjo player is Mike Lilly. “He did that Reno style, which I love, and it fits the style of bluegrass my band does,” he said. “I do a lot of Harley Allen songs. He’s my singing hero, and the Allen Brothers are my favorite bluegrass group of all time. I have almost all of their records.”

A young man of faith, Riley said, “God has really blessed me a lot in my life and during this year. It’s more than I deserve—definitely this week! When we were driving to Nashville last week I was weeping with thankfulness about all the things God has been doing in my life,” he shared. “Then I heard a gentle voice in my head that had authority, saying, ‘This Tuesday at the Opry will be bigger than you think. What you know about it is the tip of the iceberg.’ Then all that happened on Tuesday. I was just…Wow! And of course, He was right about all that he had told me. God has been there every step of the way in my life,” he continued. “I’ve had to do my own hard work, but I couldn’t have done any of without God or my parents, obviously. They raised me that way, to know to go to God with anything, and He makes it to where I don’t have to worry. It’s already set in stone. He’s got a plan for everything.”

“This is the first time a student from the Play it Forward!® program has been invited to play at the Grand Ole Opry,” said Bluegrass Heritage founder Alan Tompkins. “We couldn’t be prouder of him, but Riley is the one who has done all the work to learn to play and sing, as well as lead a very popular Texas bluegrass band. We kid him that he’s an overnight sensation, after only 10 straight years of non-stop hard work and practice! He was in the line-up at our Farmers Branch Bluegrass Festival in Farmers Branch, Texas, a few weeks ago, and the crowd loved him, as always.”

Congratulations to Riley Gilbreath on his Opry debut. Riley and his band, Lone Star Blue, are definitely rising artists in the bluegrass world, with impressive vocal harmony and instrumental chops. Be on the lookout for them at a festival near you!

The post Riley Gilbreath Opry debut with Rhonda Vincent   appeared first on Bluegrass Today.

Stanley shared..

“I’m very proud and excited to announce that John Fogleman, from North Carolina, is the newest member of my band, Constant Sorrow.

John is not only a wonderful man, but also a fine musician with a deep love for the music. I’m truly honored to have him join us, and I’m looking forward to sharing this next chapter of Constant Sorrow with John on bass. It’s hard to beat musicians from the great state of North Carolina.”

Fogleman reflected in turn…

“I met Nathan Stanley in 2016, when Dewey Brown asked me to join them for a show to play bass, that turned out to be a movie. It was called Believe, a Christmas movie, that was filmed on top of Grundy Mountain, Virginia, and in Bristol. 

Dewey was Dr. Ralph Stanley’s fiddle player for the Clinch Mountain Boys, and after Ralph’s passing, he helped Nathan Stanley, grandson of Dr. Ralph continue his music. I played a couple more shows after the movie.

Just recently, I was asked to fill-in on bass, since his last bass player, Becky Webb, acquired a bass job at Dollywood. After the first returning show in New York in mid August 2026, Stanley asked me to join full-time as bassist. I gladly accepted, and am getting ready to go on an out west tour, including Canada.

I’m very excited! I grew up on Stanley music, and will strive to provide a solid foundation for Nathan Stanley’s band, Constant Sorrow, as a tribute Dr. Ralph Stanley’s traditional bluegrass music!”

Look for Nathan Stanley & Constant Sorrow on tour, starting in Texas with stops in New Mexico, Colorado, and then the west coast.

The post John Fogleman to Nathan Stanley & Constant Sorrow appeared first on Bluegrass Today.

Many thanks to photographer Steve J. Baran for sharing these images from a Greensky Bluegrass show at 20 Monroe Live, a concert venue in downtown Grand Rapids, MI on August 27. It was held the night before the Ionia Freak Fair, the hometown festival put on by Billy Strings this past weekend.

Steve also shot at the Freak Fair, and will send us photos from there as well.

The post Billy Strings with Greensky Bluegrass at 20 Monroe Live appeared first on Bluegrass Today.