The 5^th annual Abingdon Fiddlers Convention continued on Saturday, June 25, with youth individual and band competitions beginning at 11:00 a.m. Following the awards ceremony for the youth contestants, various adult competition categories began and continued through the afternoon and evening.

G. Nicholas Hancock was on hand to capture some of those activities and other scenes with his camera. 

The post Even more photos from the 2026 Abingdon Fiddlers Convention appeared first on Bluegrass Today.

Heard that one before?

Well, that’s the story of Summer Brooke Morgan, née McMahan, of Mountain Faith. She started out as a precocious teen singer and fiddler with her dad, brother, and cousin beside her when Mountain Faith launched from Sylva, NC in 2000. Her vocal talent quickly won her and the band renown, with record contracts and touring opportunities laid before them.

Their’s made for a perfect small town success story, as Summer, her brother Brayden, and her dad, Sam, all worked during the day at the family’s tire shop and convenience store in Sylva, and they cleaned up and headed out on the weekends to sing bluegrass and bluegrass gospel music.

Then in 2015, an audition for America’s Got Talent on NBC brought them national attention, as did several subsequent weeks on the show, where they played grassed-up arrangements of pop hits. Their obvious musical skills, together with the charm of their story, made them an instant hit, and even after being eliminated from the show, Summer and Mountain Faith found themselves on big stages that had never been open to them before.

There they were performing the national anthem at NFL games; Summer hired on as a sideline reporter with ESPN. Everything was moving fast.

Once COVID shut things down in 2020, the band dissolved and Summer began recording as a solo artist. Then in 2022, she and Chace Morgan were married, and a daughter, Winslie, came in 2025. Touring was off the table for a time.

But Summer is back, as is Mountain Faith, with a new single, one she wrote about the storytelling tradition in her family.

We’ll let her tell the tale.

“After coming off the road in 2020, I never fully felt ‘finished.’ Over the last five years I have found myself dreaming of performing again. I’ve missed it terribly, and am so thankful for the opportunities that have opened up so far!

The latest song I’ve released is called I Come From Storytellers. It’s so special to me. Every word is true.

I was sitting there one day thinking about all of the different storytellers throughout my family history. My grandpa told us stories every night by a lamp in the living room when we would stay with them way up in the mountains. All the women in my family wrote stories that had been passed down, and always wrote sentences on the back of pictures so no one would ever forget where the picture was from/what was going on that day. I had great aunts that also wrote stories on behalf of others and some that even wrote music!

That must be where my storytelling came from, I just tell them in a different way! That’s what that song talks about.

I have more new music to come, and I’ll still be traveling with the Mountain Faith guys!”

It’s a lovely song, full of family reminiscences, so if you’ve enjoyed Summer’s music in the past, this one will grab you as well.

Check it out.

I Come From Storytellers is available now from popular download and streaming services online. Radio programmers may contact Summer via Facebook for an airplay copy.

The post I Come From Storytellers from Summer Brooke appeared first on Bluegrass Today.

The opening track Good Ol USA, was co-written by Kody along with Larry Chunn. With its catchy melody and bouncy rhythm, this song is symbolic of one’s patriotism. It also serves as the introduction for the current lineup of the Kody Norris Show, which consists of Kody on guitar, Mary Rachel Nalley-Norris on fiddle and mandolin, Charlie Lowman on bass, and Hayden “Jim” Hensley on banjo. Jason Barie also guests on this project providing twin fiddling to Mary Rachel.

The title song Spirit of America was penned by the late Aubrey Holt. From its narrative revolving around the working class people of this country, this is an excellent example of Holt’s ability to tell a story through song.

Pretty much all of the Kody Norris Show’s releases carry great examples of Kody as an interpreter of favorites within the traditional bluegrass canon. A Purple Heart by Curly Seckler is a perfect case in point. Norris delivers the song with strong conviction, making it one of the high points of this recording.

Declaration of Independence is a stout instrumental written by Mary Rachel. With incredible fiddle work from her and Michael Cleveland as well as driving banjo from Ron Stewart, this is a really captivating tune.

The last two tracks, Battle of New Orleans and Do Unto Others, are both fun in different ways. The former by Jimmie Driftwood was a massive country hit for Johnny Horton in 1959 and is performed here with great gusto. As with several other selections on this project, Gregg Lohman is featured on percussion. The latter by James Randolph is a fast paced number with a great message about how each one of us should treat our fellow man.

In a time where the USA is filled with division, strife, and uncertainty, The Kody Norris Show has brought forward a vibrant collection of music that gives us all a reason to celebrate.

The post Spirit of America – The Kody Norris Show appeared first on Bluegrass Today.

A few years ago, I suggested the playing of Mad Libs, specifically Mad Libs with a bluegrass theme. If you’re not familiar with Mad Libs, it’s a word game that has been around for decades. You buy booklets which contain various stories or short essays, for which you supply words to fill in the blanks that are left in each story. One person writes them in, while the others provide the words, not having any idea what the context of those words might be.

For example, if you presented the Gettysburg Address opening with the following words left blank, you might get this:  (number) score and (number) years ago, our forefathers (verb, past tense) forth, on this (noun), a new (noun), (verb, past tense) in liberty, and dedicated to the proposition that all (plural noun) are created (adjective).

After your friends or family members supply the new words, you might end up with the following:

68 score and 9 years ago, our forefathers jumped forth, on this buzz saw, a new grapefruit, dredged in liberty, and dedicated to the proposition that all sausages are created sticky.

Mad Libs sells booklets of these with various themes, so you have “Movie Mad Libs,” “Halloween Mad Libs,” “Beach Mad Libs,” etc. To my knowledge, they’ve never had a “Bluegrass Mad Libs” so I’ve decided to do it for them. The last time we did this, we used a harmless recap of the IBMA World of Bluegrass. I made it a reader contest, and posted the winning entry. The result was pretty hilarious.

I’ve decided to do it again, this time using a committee approach, taking words submitted through my Facebook page. I’ve attempted a rewrite of one of our beloved classic songs, one first recorded by the Carter Family, Bury Me Beneath the Willow (or Weeping Willow Tree). None of the contributors had any idea what their words would be used for, and I chose them from among the entries randomly, as if we were all driving down the road together, about to argue about where to stop for food.

For the uninitiated, here are the original lyrics. It’s a classic country guilt trip song at its finest. It’s likely to end up something quite different by the time we’re through:

My heart is sad and I am lonely
For the only one I love
When shall I see her, oh no never
Till we meet in heaven above

Oh bury me beneath the willow
Under the weeping willow tree
So she will know where I am sleeping
Then perhaps she’ll weep for me

She told me that she dearly loved me
How could I believe it untrue
Until the angels softly whispered
She will prove untrue to you

Here’s the new version, thanks to some inspiring contributions from several people. I can’t promise this new version will still inspire as much guilt, or even rhyme:

My heart is smoggy and I am sooty
For the only one I burn
When shall I boil her, oh no never
Til we meet in Mt. Rushmore above

Oh bury me beneath the pommel horse
Under the groggy willow value meal
So she will know where I am rinsing
And perhaps she’ll cluck for me

She told me that she awkwardly shot me
How could I believe it tingly
Until the boyfriends sickly screeched
She will prove bass-ackwards to you

Oh bury me beneath the dogma
Under the bespectacled willow pig
So she will know where I am waddling
And perhaps she’ll bite for me

Try it this way the next time you perform it. It might be the ultimate test of whether the audience is paying attention to the lyrics or not.

The post From The Side of the Road… Mad Libs, bluegrass style appeared first on Bluegrass Today.

Now on July 15, he will stand on that legendary stage for the first time under his own name, making his official debut with his touring band, The Uptown Troubadours.

Daniel says that it’s all a bit overwhelming.

“It’s hard to put into words what this moment means to me. Thank you to everyone who has encouraged and believed in me—my family, friends, bandmates, radio programmers who play our music, and all of you. Thank you to Kent Blanton, Kevin Richardson and Derek Deakins- you guys are the best, and this is yours as well- I’m thankful the Lord has blessed us with this opportunity.

All these years later, the kid with a dream of playing the Grand Ole Opry will come full circle July 15th with some of my best friends and world class musicians surrounding me, and I hope to see you there!”

He promises to get photos from the big day, on stage and off, and we will share them after the fact.

The show begins at 7:00 p.m. (CDT), and tickets are available now online. Also appearing July 15 on the Opry will be Priscilla Block, comedian Dusty Slay, and The Last Revel, also making their Opry debut.

Best of luck and congratulations to Daniel and the Troubadours!

The post Daniel Grindstaff & The Uptown Troubadours to make Opry debut appeared first on Bluegrass Today.

We learned it in parking lots, passed songs around at festivals, sat in circles with strangers, bought CDs off card tables, and helped each other find the next gig, the next picker, the next radio contact, the next festival stage.

But in 2026, one of the simplest ways we can support each other is something a lot of us still forget to do:

Subscribe to each other’s YouTube channels.

Not just like a video when it comes across Facebook. Not just watch a clip somebody else shared. Not just say, “I love what you’re doing,” and move on.

Actually go to the artist’s official YouTube channel, hit subscribe, watch their videos, leave a comment, and help them build something they own.

Because here is the part that should bother all of us: ads may already be running on our friends’ channels and our own, without us seeing a dime of the ad revenue.

You have probably seen this scenario many times. You click on a song, a performance clip, a festival video, or a simple acoustic version of a tune, and before you even hear the first note, here comes an ad.

Fine. That’s the world we live in. But if that ad is playing before an independent artist’s own video, shouldn’t the artist at least be in a position to receive the revenue share?

Why are we letting YouTube make money from our content while the actual artist sits outside the gate?

An artist can write the song, pay the band, drive to the show, buy the strings, record the music, edit the video, upload the clip, and build the audience. But if that channel has not reached YouTube’s monetization requirements, ads may still appear while the artist is not yet receiving a share of that revenue.

That should bother us! Not because every view is worth a fortune, because it’s not.

Most independent bluegrass artists are not going to monetize a YouTube channel and suddenly retire on mailbox money. This is not private jet money. This is probably not even “quit your job” money.

But it is something.

It can buy gas. It can help pay for strings. It can cover part of a recording bill. It can help justify filming more live videos. It can become one more small stream of income in a business where every stream matters.

And more importantly, it means the artist is building value on their own official platform instead of handing all of that value away.

That is why subscribers matter. That is why watch time matters.

That is why the bluegrass community needs to start taking YouTube more seriously.

The numbers matter

A lot of artists are posting on YouTube without realizing there are very specific thresholds they have to meet before they can start earning money directly through the YouTube Partner Program. Right now, YouTube has an earlier access level that allows eligible creators to apply for certain monetization features once they reach:

• 500 subscribers
• 3 valid public uploads in the last 90 days
• 3,000 valid public watch hours in the last 12 months

or

• 500 subscribers
• 3 valid public uploads in the last 90 days
• 3 million valid public Shorts views in the last 90 days

That is the first big hurdle.

But for the bigger goal — sharing in ad revenue and YouTube Premium revenue — the channel generally needs:

• 1,000 subscribers
• 4,000 valid public watch hours in the last 12 months

or

• 1,000 subscribers
• 10 million valid public Shorts views in the last 90 days

Those numbers are not impossible. But for a bluegrass artist, especially one working independently, they do not happen by accident.

They happen when real people make a real effort to follow, watch, and support the official channel.

How much money are we actually talking about?

Let’s be realistic.

A small or niche music channel may only earn a few dollars per thousand views once it is monetized. Some videos may earn less. Some may earn more. It depends on the audience, the country viewers are watching from, the length of the video, whether ads actually run, the time of year, and whether there are any copyright claims involved.

So, just as a rough way to think about it, if a long-form video earns somewhere in the neighborhood of $1 to $5 per 1,000 views, that would mean:

10,000 views might be $10 to $50.

100,000 views might be $100 to $500.

1 million views might be $1,000 to $5,000.

Again, those are not guaranteed numbers. They are just realistic, plain-English math. And for music, the money can get complicated quickly. If you are posting cover songs, traditional material, festival clips, or songs with publishing claims, revenue may be shared with rights holders. Sometimes the artist may not receive all of it. Sometimes they may not receive any of it on that particular video.

But even if the payout is modest, the principle matters.

If an ad is going to interrupt someone before they hear my song, I would much rather receive the revenue share than YouTube keep it all.

That is the point.

A monetized YouTube channel may not make an artist rich, but it puts the artist in the game. It means those views, those comments, those fans, and yes, those same annoying ads, finally have a better chance of benefiting the person who actually made the music.

So when I say we need to subscribe to each other’s channels, I do not mean it as a vanity metric.

I mean we need to help each other get through the gate.

Subscribers are only part of it

It is easy to say, “Everybody go subscribe,” and yes, that matters. A channel cannot get to 500 or 1,000 subscribers without people taking that step.

But subscribers alone are not enough.

YouTube also cares about watch time. That means people have to actually watch the videos. Not just click and leave. Not just subscribe and forget. Artists need real human viewing time on public videos.

For long-form videos, that watch time goal is 4,000 valid public hours in the last 12 months for full ad-revenue eligibility. That is a lot of hours for a niche artist, but it is not impossible if a community decides to show up.

Watching a three-minute music video helps a little. Watching a 30-minute concert video helps more. Sharing it with someone who will actually enjoy it helps even more.

And this is important: Shorts can be useful for discovery, but Shorts watch time from the Shorts feed does not count toward the 4,000 public watch hours requirement. Shorts have their own separate path, and that path requires a much larger number: 10 million valid Shorts views in 90 days.

For most bluegrass artists, that means long-form content still matters.

Performance videos matter, interviews matter, behind-the-scenes clips matter, lessons matter, acoustic versions matter, festival footage matters.

The video does not have to be fancy. It just has to be something real fans want to watch.

We cannot build bluegrass on rented attention alone

Facebook is useful. Instagram is useful. TikTok may be useful for some artists. Spotify is part of the picture. Radio is still incredibly important in bluegrass.

But YouTube is different because it is both a search engine and a video library.

A good YouTube channel can keep working for an artist long after the first post. A performance video from two years ago can still bring in new fans. A mandolin lesson can still be discovered by a beginner. A gospel song can still find the person who needs to hear it. A festival clip can still introduce someone to a band they have never seen live.

That is powerful, but only if the content is living on the artist’s own channel.

If fans are constantly watching bluegrass content on random pages instead of official artist channels, the artists lose more than money. They lose subscribers. They lose data. They lose the chance to communicate directly with their audience. They lose the ability to build momentum that carries from one release to the next.

A view is not just a view anymore. It is a signal.

It tells the platform what people care about. It tells YouTube whether to recommend more of that artist’s content. It helps build a channel that can eventually qualify for revenue, community features, and more visibility.

So when we watch an official artist video, subscribe, comment, and share it, we are not just being nice; we are helping build infrastructure for independent bluegrass.

This is not about fake engagement

Let me be clear: I am not talking about spammy “sub-for-sub” schemes or artificial engagement. That is not the goal, and it is not a good long-term strategy.

I am talking about genuine community support.

If you like an artist, subscribe.

If you watch a video and enjoy it, hit like.

If a song moves you, leave a real comment.

If a band posts a live performance, let it play while you are drinking coffee or folding laundry.

If you have a bluegrass playlist, include official artist videos.

If you run a festival, radio show, publication, jam group, fan page, or music association, link to the artist’s official YouTube channel whenever possible.

That is the kind of support that helps.

Not fake numbers or empty follows. Real bluegrass people supporting real bluegrass artists.

Artists need to take YouTube seriously, too

Of course, this is not only on the fans. Artists have to give people something to subscribe to.

If your YouTube channel is empty, outdated, or full of random uploads with no titles, no descriptions, and no plan, it is going to be harder for people to help you.

At minimum, every artist should have:

1. An official YouTube channel under their artist or band name.
2. A clear profile photo and banner.
3. Links to their website, tour dates, and music.
4. Official music videos or lyric videos.
5. Live performance clips.
6. A few personal or behind-the-scenes videos.
7. Playlists organized by album, live videos, interviews, or tutorials.
8. Calls to action asking fans to subscribe.

You do not need a giant production budget. You do not need to become a full-time YouTuber overnight. But you do need to treat your channel like part of your music business. Because it is.

If you already have videos sitting on your phone, start there. Post a live song from a show. Share a short story behind a song. Upload a rehearsal clip. Film a simple acoustic version. Record a one-minute thank-you to fans. Give people a reason to come back.

The goal is not perfection. The goal is consistency.

A simple challenge for the bluegrass community

Here is what I would love to see happen:

Every bluegrass artist, fan, DJ, promoter, picker, teacher, festival, and publication should make a point to subscribe to the official YouTube channels of the artists they care about.

Start with five.

Find five independent bluegrass artists you actually like. Subscribe to their channels. Watch one video from each. Leave a real comment. Share one of the videos somewhere useful.

Then do it again next week.

If you are an artist, make it easy. Post your YouTube link. Put it in your email signature. Add it to your website. Mention it from the stage. Tell your fans exactly why it matters.

Not in a desperate way. In an honest way.

“Following my YouTube channel helps me reach the subscriber and watch-time goals needed to monetize my own videos.”

That is not begging. That is educating your audience.

Most fans would be happy to help if they understood what actually helps.

Bluegrass has always survived because we show up

We show up at the jam, we show up at the festival, we show up at the merch table, we call the radio station and request the song, we buy the music, we tell a friend.

Now we also need to show up on YouTube.

Because independent artists cannot build sustainable careers on applause alone. They need platforms that work for them. They need official channels with real audiences. They need subscribers, watch time, and consistent support from the people who already claim to love this music.

So the next time you watch a bluegrass video, take five extra seconds.

Is it the artist’s official channel?

Are you subscribed?

Did you leave a comment?

Did you share the actual artist link?

Those little actions add up.

And if enough of us do them, we can help more bluegrass artists monetize their own work, grow their own audience, and keep more of the value where it belongs — with the people making the music. 

PS. And if anyone feels moved to help one more bluegrass artist crawl toward the YouTube monetization gate, my channel is www.youtube.com/@AshleyLewisOfficial

Drop me a comment so I can come find your channel too.

The post DIY Bluegrass: Why we need to follow each other on YouTube appeared first on Bluegrass Today.

As much a humorist as a musician, Thomas has thrilled audiences all over the world with both skills, not to mention his humble approach to entertaining. His skills also include those of an educator, teaching math and English for three decades, and as a trainer of fine Arabian horses. All of these aspects of his life would find their way into the anecdotes Ron weaves into all his live sets.

The choice to end it all at Grey Fox isn’t a coincidence. Thomason has been on the bill for most all of them since the festival launched in 1985, known at that time as Winterhawk.

Mary Tyler Daub, founder of Grey Fox, says that he is as much a part of the festival as its name.

“Very few people become part of a festival’s identity. Ron Thomason is one of them. For decades, his music, wit, and friendship have helped define Grey Fox. I’m so grateful to have shared this journey together, and I hope everyone joins us in celebrating this remarkable man.”

With all this in mind, the festival will be offering some special Ron-related events during Grey Fox 2026, July 15-19.

• Thursday: Dry Branch Fire Squad welcome set
• Friday: “Life on the Road with Ron Thomason” — stories, memories, and conversation with Ron, his bandmates, and special guests, hosted by Brad Kolodner
• Saturday: Hambone Workshop and Dry Branch Fire Squad performance
• Sunday: Dry Branch Fire Squad gospel set and farewell

Also appearing will be top acts like Rhiannon Giddens & The Old-Time Revue, the Del McCoury Band, The Infamous Stringdusters, The SteelDrivers, the Darrell Scott String Band featuring Rob Ickes, Della Mae, The Brothers Comatose, Amy Helm, and East Nash Grass.

Full details and ticket information can be found online.

The post Ron Thomason retires – Grey Fox to be final shows appeared first on Bluegrass Today.

Here’s another gallery of photographs taken by Laura Ridge during the 2026, and seemingly final, running of the Willow Oak Bluegrass Festival in Burlington, NC.

The post More photos from the 2026 Willow Oak Bluegrass Festival appeared first on Bluegrass Today.

It is with a heavy heart that I bear the news that Bill Stokes, of Showcase Musical Products, passed away in his sleep Wednesday, 6/24. I have been in close contact with “The Lovely Miss Becky,” his bride, and have been asked, by her, to post this memoriam and my personal feelings about my friend. 

Bill was a an innovator, entrepreneur, promoter of our beloved music and , perhaps most importantly, a dreamer. Never satisfied with the status-quo, Bill was always looking to ‘raise the bar’ for bluegrass banjoists. Among his many , and various, accomplishments was keeping the McKinney capo alive, his now coveted Showcase 41s finger picks, his (arguably the best) banjo straps, pick strops, etc. 

Perhaps his greatest innovation, for banjo enthusiasts, was the pursuit of better tone in the form of the utilization of “Old Wood” in banjo parts and accessories. His work on sourcing sunken wood from Lake Superior was game changing. Don’t believe me? Ask Scott Zimmerman, aka Desert Rose. His work with Tony Pass completely changed Stelling Banjos (old sunken wood block rims.)

My point is that nearly anyone who is making, or has made a factory floor rim, an old maple gym wood bridge, etc., owes a debt of gratitude to Bill. 

Lastly, I want to try to convey what Bill was to all in his orbit. He was an endearing, engaging, entertaining, encouraging, and passionately enthusiastic human being. He never missed an opportunity to leave you with a smile on your face and, most importantly, he never failed to mention his true passion in life , his bride, “The Lovely Miss Becky.” 

As for me, he was a true friEND and I will miss our conversations together greatly. My daddy once taught me that there was magic in spelling it that way. I’ll leave it for y’all to figure out. I loved him.

Bill Stokes was born July 30, 1941, in San Antonio, Texas, and passed away peacefully in his sleep the morning of June 24, 2026. He was 84 years of age. This would have fulfilled one of his favorite quotes by Woody Allen, “I’m not afraid of death; I just don’t want to be there when it happens.”

Bill was a man of humor with a passion for life, remarkable creativity, determination, and craftsmanship. His life reflected both artistic talent and an entrepreneurial spirit.

His athleticism was concentrated in his love for short-distance running and boxing. He broke the one-mile record for his elementary school and boxed in the most prestigious network of amateur boxing tournaments in the United States, the Golden Gloves.

He graduated from Paschal High School in Fort Worth in 1959 and attended Arlington State (now University of Texas at Arlington). He then earned a degree in Advertising Art from Texas Tech University (Go Raiders!), where he was classmates with musical legend John (Deutschendorf) Denver and renowned Texas artist, John Hanna of John Hanna Art.

After college, he built a successful career in banking but eventually resigned as a vice-president to pursue one of his passions: developing a cartoon strip called Wee Knees. The strip featured twin sisters, whose characters were based on nieces Kem and Amy, with one of them having the desire to play the five-string banjo in the school’s marching band. The strip was accepted for syndication, but there was a six-month wait. He was at the end of his savings, so he needed to go to work. However, Bill’s creative drive never faded.

He worked in residential real estate sales and then as a general contractor, building custom homes.

Bill was also an avid bluegrass musician who loved playing the banjo. In time, he combined his love of music with his gift for skilled handwork by creating Showcase Musical Products, a business in which he crafted high-end products for musical instruments. His legendary Showcase 41s finger picks, Showcase capos, and latigo leather straps were used and sought after by professional musicians as well as amateur pickers. In 2000, he continued his passion for providing the best sound he could out of a banjo by creating the Timeless Timber series of banjos. These banjos were made from old-growth timber salvaged from the depths of Lake Superior. Some of the growth rings indicated that the trees were three to four hundred years old. 

He became widely respected in the bluegrass community for his excellent craftsmanship and dedication to quality, not to mention his love of discussing all things banjo.

Bill was also a well-respected MC for many bluegrass festivals in Texas and Oklahoma. He loved drawing the crowd into the performance of the bands and musicians by highlighting each member and their talents.

Anyone who spent time with Bill knew that he loved to tell a great joke. It didn’t matter how many times he told the joke; he still found it extremely humorous! His laugh was contagious.

After retiring from work due to health constraints, he dabbled in painting again, which he hadn’t done since his 20s. He created a wonderful likeness of one of his favorite musical artists, Ray Charles. He was also in the process of painting an old steam locomotive.

Bill was preceded in death by his mother, Mary Virginia Cummings Stokes, and father, William M. Stokes Jr.

Bill is survived by his “bride,” Becky. They celebrated their 45th anniversary on June 15th. Laughter, encouragement of each other, as well as respect for each other as individuals led to their lasting union.

Bill is also survived by his stepson, Bryan Howington; his grandchildren, Carson and Loretta; his sister, Sherry Mullin, and her husband, Patrick; his nieces, Kelli and Shana; his brother, Ed Stokes, and his wife, Donna; his nephew, Hodge; his nieces, Kem and Amy; as well as many friends.

Bill had a full life, and he felt that he had achieved all his dreams and goals. He was content with what he had accomplished and encouraged others to follow their passions.

His life has been marked by talent, perseverance, and a passion for both art and music. He has left a lasting impression on all who have known him and will be lovingly missed.

Visit Chamberlandfunerals.com to leave condolences.

R.I.P., Bill Stokes.

The post Bill Stokes passes appeared first on Bluegrass Today.

One Sunday Morning comes from banjo player Daniel Oxedine, composed based on the day he found the Lord. The event in question happened when he was 19 years of age, but the song didn’t emerge until some years later.

Let’s have Daniel explain…

“I was changing my guitar strings one night and the words to the song just started coming, so I grabbed a blank cassette tape and recorded the words as they came.”

The result is a charming 3/4 time bluegrass gospel number, driven by twin fiddles provided by Tim Crouch.

Oxedine sings lead and picks the banjo, supported by bandmates Damon Seal on guitar, David Combs on mandolin, and Randall Woods on bass. Damon and Randall add vocal harmony.

It’s a dandy. Have a listen.

One Sunday Morning is available now from popular download and streaming services online, and to radio programmers via AirPlay Direct and Get It Played.

The post One Sunday Morning from Free Rein appeared first on Bluegrass Today.