“She would teach all the children how to do the hoedown as she called it,” says Bobby. “She would get them in a circle and show them how to do it and then have one at a time jump in the circle and showcase their moves. It’s been a family staple now for years at every holiday gathering!”

With a catchy chorus, toe-tapping beat, and nice mandolin and dobro solos, the song is likely to fit in well at radio, as well as with live audiences who can join in with a “hoedown” of their own. Teddi takes the lead on the verses, while Bobby joins in with a soulful country twang on the chorus. 

Hillbilly Hoedown will be part of Bobby and Teddi’s upcoming twelve-track album from Pinecastle, alongside several other recent singles. It’s now available for radio programmers at Airplay Direct, as well as for streaming and download on a number of popular online platforms.

The post Hillbilly Hoedown from Bobby & Teddi Cyrus appeared first on Bluegrass Today.

He first appeared in bluegrass music playing bass with his father, starting in 1964, switching to guitar in 1969. As the guitar spot with the Blue Grass Boys was typically reserved for a vocalist, James begun to sing lead on a number of songs on the show, especially duets with Bill.

His most visible release with his dad was a co-bill on the album, Father & Son on Columbia Records in 1973. James left his father’s group not long after and started his own, The Midnight Ramblers. With this band he recorded three albums for the Atteiram label in Georgia.

James used to say that he never had wanted to be a performer like his dad, hoping instead to play baseball professionally. He had been a star prospect, pitching in high school, but was drafted into the Blue Grass Boys instead on a trip with his dad one summer, and sent out to play with no experience whatsoever.

Sandy Rothman shared this story about James being brought into the band.

“I first met James in June of 1964, when Bill asked me to fill in with the Blue Grass Boys on lead vocals and guitar, and banjo on some shows (sometimes both, as Bill didn’t have a steady banjo picker after Bill Keith’s departure). I was 18 and James was 23.

Although he’d been raised around the music all his life—after all, the 1946-7 band would practice in his living room when he was 5-6, as he describes in an interview with Ronnie Reno—he hadn’t learned to play anything until after Bessie Lee Mauldin left the band and he began learning the bass. He said I showed him his first guitar chords as we traveled around the South that summer. His older sister Melissa was with us on some of the tours.

James worked hard at it and developed into a fine bass and guitar player, and of course he had his natural Monroe singing voice. Many of his excellent recordings—I Haven’t Seen Mary in Years, Tall Pines, Sweet Mary and the Miles in Between, and many others—are bluegrass classics.

I’ve stayed in touch with James all these years, exchanging Christmas cards and visiting in person and by phone. His loss is a shock, as I spoke with him relatively recently during his recovery from hip replacement surgery. Unfortunately he wasn’t able to enjoy the benefits of the operation for very long. A sad farewell to an old friend.”

At some point, he began to focus more on the business side of bluegrass, being actively involved in the Bill Monroe Bluegrass Festival in Bean Blossom, IN, and is said to have launched a bluegrass magazine, Bluegrass Star, eventually purchased by Bluegrass Unlimited.

There was also a restaurant outside of Nashville called the Monroe Manor and Steakhouse Lounge, established in 1981 as a performance venue for his dad’s band. Located in a restored manor house, it served food and featured live music, primarily country and bluegrass, with seating both inside and in an adjacent orchard for larger shows.

When his father died in 1996, James took over the running of Bill’s estate, and the administration of his large musical catalog. He sold the Bill Monroe Music Park in Bean Blossom to fellow former Blue Grass Boy Dwight Dillman in 1998, who managed it until it was sold to the Voils family in 2018, who run it to this day.

We have no information about arrangements at this time, but will share should they become available publicly.

R.I.P., James Monroe.

The post James Monroe passes appeared first on Bluegrass Today.

It’s Looking Past You, written by Pat Flynn, and released by the Revival in 1987. Memorable for the wicked Béla Fleck banjo intro on the original, Frank says it left a permanent imprint on his musical soul.

“That hook is so damn catchy it never left me. I’ve been wanting to cut this one for years and we finally did. Man, it felt right.”

Dirty Kitchen went old school in the studio, tracking live in a single room to analog tape. We hear Solivan on lead vocals and mandolin, Mike Munford on banjo, Jack Dunlap on guitar and low harmonies, and Cody Brown on upright bass. The tenor vocal was sung by former bandmate Jeremy Middleton, who returned to the studio to add his part.

They bring all the energy this song requires, and it’s like a return to the ’80s hearing it again. Well done, boys!

Looking Past You is available now from popular download and streaming services online, and to radio programmers via Get It Played.

The post Looking Past You from Frank Solivan & Dirty Kitchen appeared first on Bluegrass Today.

The Charlotte Bluegrass Festival has been called “Char-Lotsa-Rain,” but this year is promising sunny and dry. Thursday was that. Sunny, breezy, and comfortable.

MC Terri Grannis welcomed everyone and brought the first band to the stage.

The first band up coined the name “TBA – To Be Announced.” Promoter Wes Pettinger pulled this band together from a group of Wes’ local friends.

Harbourtown always holds down a Thursday slot at Charlotte. They are fronted by the Marshall Bluegrass Festival promoter, Jeremie Cole. They present classic bluegrass with five of the members trading off the lead.

Full Cord is one of Michigan’s most well-known bands, led by Brian Oberlin. They present original music and are a favorite wherever they perform.

The David Mayfield Parade may be the highest energy band you will ever see. They set the audience on fire!

What does a nationally touring band do when they have an afternoon free before their evening show??? The Dan Tyminski Band breaks out the cornhole boards! Dan was the official scorekeeper. The band closed out the day with many of Dan’s popular songs on stage.

There are two more big days of music left. Del McCoury headlines Friday and Larry Sparks headlines Saturday. Head to the Eaton County Fairgrounds to see these legends.

The post Day 1 at Charlotte Bluegrass Festival 2026 appeared first on Bluegrass Today.

Though retired from touring, Doyle is still turning out quality bluegrass music, and even working a light schedule of shows with a reformed Quicksilver, made of primarily of former bandmates. Salley, who is producing the album, is likewise a student of early country and pre-bluegrass music.

The Delmore Brothers, Alton and Rabon, first performed together in 1926, and after joining the Grand Ole Opry in 1933, they recorded a string of extremely popular songs, right through to 1952 when Rabon died from lung cancer.

Billy Blue has put together 15 of the Delmores greatest songs, recorded anew by some of the brightest lights on today’s bluegrass and traditional country scene, to introduce these wonderful numbers to a new audience, only slightly reimagined for the current market. Many will be familiar, even to younger listeners, as these songs have been covered repeatedly since they were first released.

Included on the album, A Century of Strings, Stories & Songs: A Tribute to The Delmore Brothers, will be:

• Honey, I’m Ramblin’ Away – Junior Sisk & Don Rigsby 
• I’ve Got the Big River Blues – Marty Raybon & Jimmy Fortune 
• When It’s Time for the Whippoorwill to Sing – Doyle Lawson & Jerry Salley
• Gonna Lay Down My Old Guitar – Trey Hensley & Del McCoury
• Put Me on the Trail to Carolina – The Malpass Brothers
• Brown’s Ferry Blues – The SteelDrivers
• Will You Be Lonesome Too? – The Grascals (feat. Charlie McCoy)
• Field Hand Man – Wood Box Heroes
• Hillbilly Boogie – Alex Miller & Carson Peters
• The Fugitive’s Lament – Riders in the Sky
• Blue Railroad Train – Bradley Walker & Ricky Skaggs
• Life’s Too Short – The Gibson Brothers
• Blues Stay Away from Me – Chris Jones & The Night Drivers
• Bound For The Shore – Appalachian Road Show
• Sweet, Sweet Thing – Darin and Brooke Aldridge (feat. Charlie McCoy)

Lawson says that he jumped at the chance to be included in this tribute.

“I’ve been a Delmore Brothers fan for longer than I remember, and it’s an honor for me to sing When It’s Time for the Whippoorwill to Sing with Jerry. It’s a special song and it thrills me to know it’s the track that’ll be kicking off the release of this very special album.”

Salley added a bit more context to the genesis of this recording.

“When I was asked by the Athens State University Foundation to produce a tribute album to The Delmore Brothers, Doyle Lawson was the first artist I asked to sing on it. He is a lifelong Delmore Brothers fan, and I have always wanted to sing tenor to Doyle’s legendary voice. When It’s Time for the Whippoorwill to Sing was one that we have both always loved, so we chose that one for our song. It was such an honor to record this with him.”

Assisting in the studio were Jason Roller on guitar and fiddle, Justin Moses on mandolin and reso-guitar, Aaron McDaris on banjo, and Mark Burchfield on bass.

It’s a gem, just like the 1941 original. Check it out.

When It’s Time for the Whippoorwill To Sing is available now from popular download and streaming services online, and to radio programmers via Get It Played.

The post When It’s Time for the Whippoorwill To Sing from Doyle Lawson & Jerry Salley appeared first on Bluegrass Today.

The new podcast will be hosted by a pair of noted bluegrass personalities, Duane Hess, Kentucky player and promoter, and Tony Mabe, co-founder of Red Camel Collective, banjo players the both of them. They will interview a variety of persons significant in our world, with a number already committed to appear on the podcast.

Tony says that he is rarin’ to go with this new project.

“Bluegrass has always been about the people as much as the music. I’m looking forward to sitting down with the artists, the legends, and the folks behind the scenes to share stories that fans may have never heard before. We hope listeners will feel like they’re right there with us, talking music and celebrating this incredible community.”

Duane agrees, saying that he thinks they have found a good home with Radio Dogs.

“I’m really excited to be working with Rick Dollar and the amazing lineup of podcasts on The Radio Dogs Podcast Network. Although this is our first podcast, Tony and I are excited to bring what we believe is a fresh perspective and new insight into the music we all love.”

Dollar, who began as a radio host, and continues as one with his Rick Dollar Show, has since moved his broadcast into the podcasting realm. After taking his show into this popular online domain, he launched the Radio Dogs Podcast Network this spring to help other bluegrass programs enter the podcast world.

The Banjo Brothers podcast is set to premiere in February of 2027, with weekly episodes releasing in April. It will be available through all the many major streaming platforms, with a video edition offered on YouTube. Pre-production is in process now, and they want to build up some shows in advance of its debut, to account for the busy summer touring season to follow.

In addition to bluegrass artists and songwriters, guests will be chosen from among the many promoters, festival organizers, radio broadcasters, producers, venue owners, managers, and instrument builders who are equally important to the bluegrass music industry.

We’ll have more information about the Banjo Brothers podcast before they launch next year. This sounds like one we will look forward to hearing.

The post Banjo Brothers podcast coming to Radio Dogs Podcast Network appeared first on Bluegrass Today.

She recorded the song playing mandolin and singing lead, supported by some of her favorite players, and she explained a bit about why she decided to cut it.

“This song has become something deeply personal to me over the years. It’s the song my little one asks me to sing every night before bed — the one that soothes her soul, makes her smile, and the one she dances with me to in the kitchen.

I had the privilege of creating this recording with the incredible, one and only, Jimmy Mattingly, whose production skills and signature fiddle playing gave the track such sparkling life and heart. This also features the magical resonator guitar work of Andy Hall and artistic guitar playing of Kent Wells.”

In the video, Lewis reimagines the song from its original focus on romantic love, to one that examines the deep bond between a mother and her child. It’s filled with images of Ashley and her two children, frolicking merrily in a field, which cements the new interpretation of the lyrics, written by Steve Dorff and Eric Kaz.

Have a look and listen.

I Cross My Heart is available now from popular download and streaming services online, and to radio programmers via Get It Played.

If you follow Ashley and her DIY Bluegrass columns here at Bluegrass Today, you know how much importance she places on saves at Spotify, so help a girl out and save it there!

The post I Cross My Heart video from Ashley Lewis appeared first on Bluegrass Today.

Anthony was one of the first banjo pickers to warm to the ToneSlabs thumbpicks, which are made in cooperation with Prucha Bluegrass Instruments in the Czech Republic. Essentially, Prucha takes the Torlon pick material manufactured by ToneSlabs, and mates it with a metal band to form a comfortable thumbpick, shapable to your own thumb size.

For Howell, it was a chance meeting, and a discussion with the ToneSlabs principals that led to the introduction of this new pick shape.

“I played at the Station Inn with Seth Mulder & Midnight Run back in January. David Welch, Frank Solivan, and Jarda Prucha came to the show with some brand new thumb pick prototypes. I used the Crowe Claw pick for a good while. After trying both the Crowe and the Stubbs, I decided neither of them were my style. Both great picks, but they just weren’t quite right for me.

I really like the shape of the old National and Golden Gate thumb picks. I had a talk with David about it and he said, ‘Let’s just make you a custom pick!” So, five months later, we have the signature pick!

I also am a big fan of Chet Atkins and I finger pick guitar, so I wanted to design a pick that was perfect for banjo and finger picking guitar. I think the guys at ToneSlabs absolutely nailed it! I can not be happier to be working with these guys.

I will also have picks for sale while I’m out on the road. If you want to get them from me, come see us and I’ll probably have some for sale.”

You can check his schedule with Midnight Run online to see where you might hook up with Anthony, or contact him on Facebook to find out how to get your hands on one of these new ToneSlabs picks.

At this time, no information about them is up on the ToneSlabs web site, but they will be there soon.

The post ToneSlabs introduces Anthony Howell thumbpick appeared first on Bluegrass Today.

The 5^th annual Abingdon Fiddlers Convention began with a pre-convention barbecue dinner and jam session on Thursday evening at The Martha Washington Inn & Spa in downtown Abingdon. Friday evening saw the bluegrass and old-time gospel band competitions being held, as well as the new vocal duet competition.

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

The post More Photos from the 2026 Abingdon Fiddlers Convention appeared first on Bluegrass Today.

The Charlotte Bluegrass Festival is celebrating its 54^th year. Things kicked off Wednesday evening with a performance by the Charlotte Bluegrass Band. The performance was in downtown Charlotte at the Windwalker Underground Gallery. In Michigan we pronounce it Char-lot! (like car lot). The Windwalker hosts open mic nights on Friday evenings.

Festival publicist and festival MC, Terri Grannis, introduced the band, which consisted of promoter Wes Pettinger on banjo, Crystal Hoffman on bass, Gavin Conley on mandolin, with John Coffey and Ron McKeever on guitars. Terri asked if the band had a name while introducing them and Wes coined the name. Thus, the Charlotte Bluegrass Band was born. Wes mentioned that a young fella named Billy Strings will be hanging around this weekend.

The stage show starts on Thursday, featuring Harbourtown, Full Cord, the David Mayfield Parade, and Dan Tyminski.

Friday brings Del McCoury along with the Travelin’ McCourys.

Saturday brings the legendary Larry Sparks to the stage.

Join us at the Eaton County Fairgrounds in Charlotte, Michigan for a big weekend of bluegrass music!

The post Charlotte 54 is underway in Michigan appeared first on Bluegrass Today.