The love that we need: WNC welcomes Hayes Carll

Sitting in the back of his tour van in a Texas parking lot on a recent cold prairie night, Hayes Carll takes a sip of Jameson from a small plastic cup, leans back into the bench seat and kicks up his boots.

He’ll be the first to tell you the world today is an odd — and sometimes confusing — place, and he’ll also be sure to remind you that the sky ain’t falling. Sure, there’s an increasing divide between who we are and where we’re going as a society. But, real compassion and understanding comes from seeing the other side as a piece of some large pie of humanity, rather than a segment of the population that needs to be alienated, or worse — eliminated.

This must be the place: Ode to Butch Trucks, Texas sunsets

Popping the tailgate down in my truck, I jumped up, my eyes gazing straight ahead.

A song for young love: The Lettermen roll into Franklin

It was a 1963 station wagon with six musicians and their equipment.

When Tony Butala reminisces about the beginning of The Lettermen, a legendary vocal trio, he remembers crisscrossing America, playing upwards of 200 shows a year in the early 1960s. Starting the ensemble in 1957, Butala created one of the most successful acts of an era where vocal style and intricate songwriting reigned supreme.

Winds of Change: The Infamous Stringdusters hit WNC

They are the bridge.

In the bluegrass world these days, it seems there are two camps of thought and performance — neo-traditional and progressive. On one side, you have the “old school” of Larry Sparks, Doyle Lawson and those who truly adhere to the likes of Bill Monroe and Flatt & Scruggs. On the other, are those who stretch out a little bit, where the lines between bluegrass, Americana and soul are blurred, acts likes The Steep Canyon Rangers, Greensky Bluegrass and Yonder Mountain String Band.

One more for the good times: The Dirty Soul Revival to rock Sylva

It ain’t dead.

Rock-n-roll. In an era when sugar-coated pop stars and polished country acts are atop the charts, one wonders if there is any shred of real rock swagger and attitude anymore. Where is that sound and tone that pushes sonic barriers and actually challenges you to think outside the box with lyrical content that isn’t about riverbanks and moonshine, but rather focuses on the raw elements of the human condition?

‘All of the freaks have gone to bed…’: A conversation with Ron Gallo

It’s about time.

It’s about time someone kicked us all in the ass when it comes to the power and swagger (and social responsibility) of rock music. It’s been awhile since I came across a melodic entity that truly made me immediately blurt out, “Who in the hell in this? And why am I just hearing about this right now?”

This must be the place: Christmas Jam, now more than ever

“You don’t know me but I’m your brother/I was raised here in this living hell/You don’t know my kind in your world/Fairly soon the time will tell/You, telling me the things you’re gonna do for me/I ain’t blind and I don’t like what I think I see/Takin’ it to the streets…”

When I sing: An interview with Bear Rinehart

Heralding from just down the mountain in Greenville, South Carolina, Bear Rinehart is the front man for the rock group NEEDTOBREATHE. He has that rare quality of voice that allows him to stand out from other singers in his genre. Not only does Rinehart have the chops, he’s also a talented songwriter and musician.

Straight from the Source: A conversation with Marty Stuart

It’s about staying true to yourself.

When you converse with country/bluegrass legend Marty Stuart, you’re speaking to the source. From being a teenager, touring and performing side-by-side with Lester Flatt in the 1970s, to finding country radio success in the 1980s and 1990s, to his enduring work with Doc Watson and Johnny Cash, Stuart has risen into the upper echelon of Nashville icons.

SEE ALSO: Marty Stuart, Balsam Range at Lake JBalsam Range at Lake J

Lines in the Sand: Balsam Range looks ahead

The eternal struggle of bluegrass is being able to balance evolution with tradition.

How does one adhere to the pickin’ and grinnin’ ways of the old days, but also be able to stretch the boundaries into new and innovative realms? That dilemma currently lies at the feet on the bluegrass world. And yet, as that question remains, so does the internal drive by all of the genre’s musicians to ensure the preservation and perpetuation of this melodic force at the foundation of this country.

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