Formed in 1982, LRB has been at the forefront of contemporary bluegrass from the beginning, releasing a number of albums now considered essential listening for anyone seeking to understand recent developments in the music. The group is now led by banjo player Sammy Shelor, the longest-serving member of Lonesome River Band with 36 years under his belt.

In Kameron’s stead, LRB is bringing in Kyle Windbeck on bass.

Speaking jointly, the band shared high praise for their newest road mate.

“Kyle has played several dates with us over the past couple of years, and has always been professional and ready for the gig when he steps onstage. We are thrilled to have him stepping into this important role!

We are planning a new batch of songs to be released in 2027, as well as bringing older songs back into the lineup for the upcoming shows. 

As always, many thanks to the fans for supporting LRB for the past 44 years!!”

Windbeck has been playing a lot of music since graduating from Shenandoah University with a Bachelor of Arts in Recording & Audio Arts degree. He’s spent time with Sideline, and has been recording of late in partnership with Darren Beachley.

Kyle shared a few more groups he’s played with in sharing this news online.

“For the last few years I’ve been honored to play with many amazing groups in bluegrass Sideline, NewFound Road, Darin & Brooke Aldridge, and many more. Now I’ll be starting a new role with the one and only Lonesome River Band!

So excited to hit the road with these guys and makes some killer music.”

Here’s video of Kyle’s first show as a member of LRB.

In addition to Shelor, Lonesome River Band includes Mike Hartgrove on fiddle, Jesse Smathers on guitar, and Adam Miller on mandolin.

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Tianna Lefebvre sings lead throughout in a distinctive, country-inflected voice, at times recalling Valerie Smith. Bright, almost-pop, harmonies are provided by band members Mike Sanyshyn (who does an excellent job on fiddle and mandolin) and solid bassist Charlie Frie. The fourth core member, Eric Reed, handles guitar on three tracks, while guest musicians Justin Moses (banjo) and Michael Kilby (Dobro and guitar) provide great support across the album.

The album is largely filled with interesting new songs from contemporary songwriters, mostly with a sunny outlook and very little of the stereotypical bluegrass gloom and doom. Nothing But Sky is catchy and upbeat, propelled by Justin’s rolling banjo and Mike’s driving fiddle. Appalachia, a bit more mellow in tempo, seems to be part of a current trend in bluegrass to mention that region—and pronounce it correctly! Hearts Love in Color is the sole breakup song.

Prolific bluegrass songwriter Rick Lang and Backline’s Katelyn Mabry Ingardia contributed A Lovely Day, a pretty, cheerful number, while Flutter is a country love song written by Tianna with Suzanne J. Breton. Rolling Away, the most traditional-sounding bluegrass track on the album, has a tried-and-true river theme.

Barbed Wire Heart Tattoo is a striking song and quite unusual in subject matter—surely the first bluegrass song written from the perspective of a funeral home makeup artist. No, it is not about Evelyn Waugh’s The Loved One, but rather a powerful message about our inability to judge one another. Tianna sings in a lower register here and it is very effective.

The three cover songs on the album all come from the world of country music. Thank God for the Radio was a 1984 #1 Billboard country hit for the father-daughter duo The Kendalls. Wildflower is not the Tom Petty song covered a few times recently, but a sprightly paean to a simple life, co-written by Canadian country star Lisa Brokop and Douglas M. Johnson and recorded by Lisa in 2004. Another cheery number is Light in My Life, originally a 1993 release by Canadian country group The Johner Brothers.

Deep Blue Sky was recorded in Vancouver, BC, and produced by the band, with Gord Maxwell providing vocal production. Sheldon Zaharko and Andrew Downton provided excellent engineering, mixing, and mastering.

If you like your bluegrass on the contemporary side, and especially if you’re looking for positive songs, you’ll enjoy Jackson Hollow’s Deep Blue Sky.

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Bluegrass in the Bluegrass has been hosted for the past several years at the Clarion Hotel & Conference Center in Lexington – famous in the bluegrass community as the one-time home of the Red Slipper Lounge in the 1960s and ’70s when the hotel was a Holiday Inn. Those in the know, of course, remember that the Red Slipper Lounge was where J.D. Crowe & the Kentucky Mountain Boys (and later the New South) honed their craft playing multiple nights a week.

However, according to a post on the festival’s Facebook page, a change in hotel ownership to the Marriott brand has raised prices. The new venue will be the Holiday Inn Cincinnati Airport in Erlanger, which has welcomed the festival with open arms (yes, even those who plan to jam all night!).

SamJam Productions announced the festival lineup on Friday, as well as several promotions and events that will be featured. Junior Sisk, Dave Adkins, and Brad Kaylor & Mineral Bluff Revue are among the featured bands. The Holiday Inn is including free breakfast buffets as part of room prices for the event, and will also offer an evening buffet with a reasonably priced dinner for festival attendees. There will also be a watch party for the University of Kentucky vs. Arkansas basketball game scheduled for the Saturday night of the festival. 

Bluegrass in the Bluegrass is scheduled for February 18-20, 2027. Tickets are offered at a reduced price through December 1. For more information, visit Spirit of the Bluegrass Music Fest on Facebook or call Sammy Karr at 812-699-0962.

The post Bluegrass in the Bluegrass gets a new home in 2027 appeared first on Bluegrass Today.

IBMA’s biggest and brightest night launched with a private reception for nominees, performers, industry leaders, and their families before the official awards ceremony. It felt more like a class reunion with hugs, handshakes, and smiles. There were numerous photo ops, plus catching up with old friends and making new ones. It was a who’s who in the bluegrass community. Several of those present shared their excitement, gratitude, and enthusiasm.

New to the awards was 20-year-old Jake Goforth, lead guitarist for Carson Peters & Iron Mountain, who were nominated for New Artist of the Year. Standing alongside his mother, Jennifer, Jake stressed, “This is my first time. I am feeling so excited to be here with everybody at IBMA. It is an honor to be with my heroes and a lot of friends, too.”

Another New Artist nominee, Kevin Richardson, lead singer and guitarist with Daniel Grindstaff & the Uptown Troubadours, was happy to be included. “It’s an awesome feeling. It’s hard to describe the moment right now, but I’m very blessed and very happy.”

Band mate Derek Deakins added, “It’s a tremendous honor. We’ve had a great year with Daniel. He’s such an innovator, and has really taken us places that I never thought we’d get to go in bluegrass music. I’m real proud of Daniel and the rest of the guys.”

Authentic Unlimited’s Colton Baker shared, “It’s an interesting feeling. It’s very nerve-racking to be in here in the room with all these legends. It’s going to be a heavy night with all the inductions (of ones who have passed). We’re playing tonight, doing the new single (City of Angels), and I’m proud for that.”

He shared the inspiration for his tune.

“A few years ago there was a young lady that I had grown up around, and she was getting ready to move to Los Angeles for the summer. We didn’t have a romantic relationship, but I thought there was a story in it. I just wrote it to write it. I never thought anybody would ever hear it, but we got looking for material. I started going through my old stuff and found it. The guys ended up loving it and now here we are!”

AU’s Eli Johnston joked…

“I take up a lot of space on the red carpet! But to be honest, it’s a true honor. We’re plum excited about it and I think it gets better every year. We’re always glad to be a part of it. All the awards mean a whole lot to us, but that Vocal Group of the Year is pretty good for us.”

Authentic Unlimited took home the honor again later at the awards show.

David Mathis of Gallagher Guitars was present for the first time on the red carpet event. He explained, “We are here because we received the Distinguished Achievement Award. Gallagher certainly has a place in the history of bluegrass music. It is wonderful to be here. Everyone is just so welcoming. It’s not lost on us just how important that is for us to be a part of this.”

Gena Britt of Sister Sadie and Banjo of the Year nominee shared, “It’s always an honor. I can’t believe that I get to be in the company of everybody that is in this music. It’s like family so this is like a big family reunion tonight. I love coming!”

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As a part of their 2027 Fishin’ with a Musician fundraiser, Can’d Aid is offering group fishing packages with bluegrass artists that include a variety of locations, lodging options, and musical opportunities.

Would you enjoy a daylong float in Tennessee with five of your friends, fly fishing with Sister Sadie and Della Mae? How about a two-person fishing visit and private jam session with Jerry Douglas and Daniel Kimbro? Or maybe a two-day redfish trip for four plus a jam with members of Mountain Grass Unit and Clay Street Unit?

Other packages combine fishing with artists like Darren Nicholson, Charles Humphrey III, Graham Sharp, Jason Carter, Mason Via, The Creekers, Fireside Collective, and others.

Some of these folks are expert fishermen in their own right, while other packages include experienced fishing guides as part of the trip.

The musicians are donating their time so that the largest chunk of monies raised at auction can go straight to helping youngsters improve their lives through music.

You can see the complete list of auctions at Propeller, and browse the various options available.

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Stephen, who has been described as the most popular non-bluegrass banjo player in the world, won his reputation live on stage, starting out as a younger man with a frenetic performance style. His one-man show, Banjo Dancing, launched in 1979 in Chicago, where it caught the attention of theater critics who praised Wade for merging his clawhammer banjo playing, clog dancing, physical presence, and storytelling skills into a coherent stage show.

Banjo Dancing gradually moved into larger and larger halls, and eventually moved to Washington, DC where it ran successfully for ten years at the Arena Stage, making it among the longest-running off-Broadway shows in the US.

As a writer, his essays, reviews, and articles have appeared in multiple publications, and his 2019 book, The Beautiful Music All Around Us: Field Recordings and the American Experience, was well-received by critics.

Now Our Common Life, released last month by the University of Illinois Press, joins Wade’s catalog, presented as a cultural history of American folk music. The book exists as a series of interrelated biographies, essays, and case studies based on his original research, archival scholarship, and old-fashioned on-the-ground fieldwork.

Artists highlighted in the book include Doc Hopkins, who was Stephen’s mentor, Will Keys, Sid Harkreader, Kirk McGee, Ola Belle Reed, Jewel Fagan Haynes, Cordell and Olean Kemp, Bill Monroe, Helen Marie Rowe, Virgil and Mabel Anderson, Joe and Odell Thompson, John Jackson, Huddie Ledbetter, Uncle Dave Macon, Dorris Macon, Raeburn Flerlage, David “Honeyboy” Edwards, Jim Schwall, Archie Green, Lloyd Lewis, Thaddeus Willingham, Jack Conroy, and Fleming Brown. 

But it’s not just individuals who attract Wade’s attention. The history and “biographies” of songs are also traced, in what U of I Press calls “a love letter to American vernacular creativity—generous, curious, and alive to the ways music moves from enclaved communities to the wider society and back again.”

More than 60 quality photographs adorn the book’s 488 pages.

Our Common Life: Folksong from the Front Porch to the Concert Hall is available online in cloth, paper, and ebook editions.

The post Our Common Life from Stephen Wade appeared first on Bluegrass Today.

Roger Black spent Thursday cruising around the various showcase concerts and seminars being offered during World of Bluegrass 2026, and has shared this gallery of images.

The post Thursday photos from World of Bluegrass ’26 appeared first on Bluegrass Today.

The show, hosted by the mandolin-heavy team of Sam Bush and Sierra Hull, also featured performances by top acts like Sister Sadie, The Del McCoury Band, The Grascals, Michael Cleveland & Flamekeeper, Sierra Hull, a Sam Bush All-Star band, and Patty Loveless with Sister Sadie, Stuart Duncan, and Justin Moses, plus an all hands finale.

The show also honored the newest inductees into the Bluegrass Music Hall of Fame, Byron Berline, Barry Poss, The Nashville Bluegrass Band, and The Lost & Found.

And the winners are:

New Artist Of The Year – Mason Via

Guitar Player of the Year – Cody Kilby

Gospel Recording Of The Year – Some Day – Blue Highway (artist); Olive Stockton/Tim Stafford (writers); Blue Highway/Dan Boner (producers); Rounder Records (label)

Banjo Player of the Year – Kristin Scott Benson

Female Vocalist Of The Year – Jaelee Roberts

Collaborative Recording of the Year – Broken Angels – The Grascals and Dolly Parton (artists); Dolly Parton/Jamie Johnson (writers); Kent Wells (producer); Billy Blue Records (label)

Bass Player of the Year – Mike Bub

Instrumental Recordings of the Year – Big Daddy Rabbit – Michael Cleveland & Flamekeeper (Feat. Nathan Livers) (artist); Nathan Livers (writer); Michael Cleveland (producer); Yeah Man Records (label)

Vocal Group of the Year – Authentic Unlimited

Mandolin Player of the Year – Sierra Hull

Instrumental Group of the Year – East Nash Grass

Male Vocalist of the Year – Greg Blake

Resophonic Guitar Player of the Year – Justin Moses

Music Video of the Year – The Devil Went Down to Deep Gap – Bryan Sutton with Billy Strings (artists); John Thomas Crain, Charles Edward Daniels, William Joel DiGregorio, Fred Laroy Edwards, Charles Fred Hayward, James W Marshall (writers); Bryan Sutton (producer); Pat Bradley, SpringShoe Animation (animator)

Fiddle Player of the Year – Andy Leftwich

Song of the Year – Can’t Outrun the Blues  – Trey Hensley (artist); Trey Hensley/Bobby Starnes (writers); Pinecastle Records; (label), Brent Maher (producer)

Album of the Year – All God’s Children  – East Nash Grass (artist); Jake Stargel/East Nash Grass (producers); Mountain Fever Records (label)

Entertainer of the Year – Billy Strings

Congratulations one and all!

The post 2026 IBMA Bluegrass Music Award winners appeared first on Bluegrass Today.

The second night of the IBMA World of Bluegrass band showcases (known as the Bluegrass Ramble) was just as inspiring and exciting as the first. It’s a bit like bluegrass speed dating, as you move from room to room, sampling what each has to offer.

What started as unofficial gatherings in hotel suites has now evolved into makeovers of meeting rooms into temporary nightclubs. The Hopeless Holler Trading Co. transformed their showcase room with piles of glow sticks and dancing colored lights (which were only slightly seizure-inducing).

There I caught the very impressive South Carolina band, Backline, whose tight arrangements and great harmonies sounded just as good live as their studio efforts. Katelyn Ingardia displayed the same combination of grace and strength in her lead vocals as you hear on their radio singles, but what I had not appreciated earlier was her solid rhythm guitar playing, especially on some of the lightning-fast numbers — she can bring it!

Alex Hampton sounded great on Dobro, and sang ethereal harmonies on their striking song, Dark Rolling Deep. David Heavner also sang nice harmony parts and took some sweet breaks on mandolin. Bassist Chris Williamson had wonderfully rich tone as he kept the low-end anchored. Backline packed a ton of music into their short set, blending original material with a few classic standards, managing to “mash” with true sophistication.

They were followed by Red Camel Collective, for a one-two punch of powerful female singing. The band came out rocking, and again, with the same full and polished sound as their recordings. Heather Berry Mabe’s powerful vocals are crystal clear, and the large crowd was very appreciative. 

Sadly, I only got to hear a couple of their songs before heading downstairs to catch the tail end of the set by Véranda, a group from Quebec. They had a nice blend of traditional bluegrass and French-Canadian styles, and even threw in some harmonized yodeling. They put on a high-energy show that inspired some spirited dancing in the audience.

Next up was the Lonesome Ace Stringband, one of my favorites of the weekend. Chris Coole started the first song with moody and haunting clawhammer banjo that gave way to John Showman’s ripping fiddle — he really knows how to dig in. Noah Harrington provided just the right foundation with inventive bass work and a tremendous groove. The band showed great range with music that sometimes flowed like a peaceful stream, and other times pounded like a raging river. They have a very compelling, unique sound, and I encourage you to check them out.

I ended my evening in the Colorado Bluegrass Music Society’s room, where the host was quite welcoming, even passing out little sprigs of plastic flowers for folks to clip on their hats or lapels. Apparently, it’s a Colorado thing. Michael Prewitt & Crunchgrass Supreme were already in full swing and the room was packed. Michael has a gentle voice, a bit like Willie Nelson if he sang in time, and he possesses a wonderfully off-beat sense of humor. The band was clearly having a great time, shouting for each other’s solos and just generally taking joy in the music.

Fiddler Laura Orshaw was as animated as banjo player Henry Strid was stoic, with Michael flatpicking beautiful and melodic breaks, and bassist Max Etling providing solid rhythm and good harmony singing. The musicians paid close attention to each other, which made for some great dynamics as they ran through a set of music that sounded well-rehearsed but not overly polished. The songs and the jokes were natural and unforced, and a good time was had by all.

Over-stimulated and quite saturated with great music, I headed back to my hotel, but things were still raging. Circles of jammers were forming everywhere, tons of people were schmoozing away, and showcases were still going on long after midnight. I saw as many bands as I could, but it was still just a fraction of the performances available. If you have FOMO (fear of missing out), the Bluegrass Ramble is really going to trigger it. You just have to realize you can’t take it all in, and be grateful for what you are able to experience. And come back next year for more!

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One could argue that few instruments carry as much weight in bluegrass as the guitar, and few competitions put guitarists’ skills on such display as the Picking for the Prize contest presented by Martin Guitar at the 2026 IBMA World of Bluegrass business conference in Chattanooga, TN. Held at the Mackenzie Stage Thursday morning, this contest showcased five flatpickers that were previously selected from approximately 50 video submissions. 

Hosted by Luke Black of Mountain Grass Unit, the competition highlighted emerging flatpicking talent. To ensure the judging remained unbiased, each contestant was called to the stage by their assigned number. Their performances were evaluated by the judges according to the individuality of their arrangement, execution, and the overall impression. 

The winner of the competition would be awarded an automatic bid to the 2027 Walnut Valley Festival flatpicking contest, a Molly Tuttle Martin D-18 guitar presented by Elderly Instruments and one-year subscription and sponsorship from Tone Slab. All contestants would receive a merch pack from Martin Guitar, a capo from Paige Capo, ToneSlabs guitar picks and an IBMA World of Bluegrass Prize Pack.

The five finalists were Teak Porter, Jed Clark, Libby Lindblom, Kit Bulla, and Soraya Sullivan.

After much consideration, contestant Jed Clark was named the 2026 winner, followed by Kit Bulla in second place. After accepting the guitar, Jed Clark said, “I don’t have much to say. Christ is King. Thank you, IBMA. Thank you, Luke. Thank you, Elderly Instruments and Martin Guitar. Thanks, Amy. Thank you all very much. I’m shocked, honestly.”

Final results from the 2026 Picking for the Prize competition:

1. Jed Clark
2. Kit Bulla
3. Teak Porter
4. Libby Lindblom
5. Soraya Sullivan

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