The second annual Earl Scruggs Music Festival is right around the corner on Labor Day weekend, and I had the opportunity to chat this week with festival producer Claire Armbruster to get a preview of what they have planned for all of us this year.
Music! There are big-name bluegrass artists performing, of course. Emmylou Harris takes the stage Sunday evening as the festival anchor, while progressive pickers The Infamous Stringdusters and Greensky Bluegrass perform on Friday and Saturday nights. There are plenty of other well-known festival acts in the lineup as well: Del McCoury, Tony Trischka, Michael Cleveland, and Jerry Douglas represent the old guard, while Jon Stickley, Della Mae, Sister Sadie, along with Henhouse Prowlers and Armchair Boogie, will showcase the younger, more ragged edges of the genre.
What is unique about this festival, however, is that there will also be a focus on 'Teen Grass'. Claire and the ESMF team are very excited to present up-and-coming bands filled with younger pickers, each with a Foggy Mountain stage showcase. The Wilder Flower, Pacjam Ramblers, New Found Gap, and the Biscuit Eaters all harken back to the carefree days when Earl himself picked away his childhood nearby in these same mountain hollers. The East Tennessee State University Bluegrass band will show off the chops they have developed.
In addition, there are over 100 youth attendees of a weekend instructional Jam camp, including time learning with both Jerry Douglas and Jon Weisburger. Some of these campers will get a chance to perform on Friday morning as part of the 'Fine Tuned' project. These bands and students represent the future of bluegrass, and I suspect they will be headlining acts themselves on these same stages in years to come.
The International Bluegrass Music Association is hosting jams all weekend long in a big gazebo on-site, so be sure to bring your instruments along if you're a player. A wide array of workshops hosted by Earl’s biographer Thomas Goldsmith will also be presented throughout the weekend, with a focus on both musical instruction and conversations among the bluegrass legends who will be performing. Whether it's reminiscing about Earl himself with JT Scruggs and a few of Earl’s picking partners, or an engaging conversation about the future of grass with the McCoury boys and Deanie Richardson from Sister Sadie, the festival aims to both educate and entertain.
I asked Claire which act she was most excited to watch perform:
“While I'm bad at picking favorites, I'm excited about the Earl Scruggs Revue set led by Tony Trischka's band and guests on each song from 1977's 'Live! From Austin City Limits.' Last year, Fireside Collective did 'Live From Kansas State.' It's a really fun set. And also Emmylou. So glad she's coming!”
I know which set I won’t miss! I hope to see you along with me down front all weekend, reliving some Earl magic!
Tickets, both weekend passes and daily stubs, are still available, including some VIP options.
When - September 1-3
Where - Tryon International Equestrian Center, Mill Creek, NC
Know - Clear bag policy in effect
Kids - Under 12 free, Kids' area/activities onsite
Accessibility - Full ADA access with ramps
Stay - Some onsite camping is still available, local Airbnbs, or hotels in nearby Shelby
Do! - The Earl Scruggs Center - Shelby NC (about 30 minutes east)
More - earlscruggsmusicfest.com
Earl Scruggs rests in a vast suburban cemetery just outside Nashville, Tennessee, beside his devoted wife and manager, among countless other memorials to the departed. A short distance away, the Country Music Hall of Fame displays his banjo alongside the instruments of his bluegrass peers, Bill Monroe and Lester Flatt. While Scruggs might not have single-handedly birthed bluegrass, he undeniably propelled it to prominence with his groundbreaking three-finger playing style, relentless touring, and fusion of bluegrass with rock and pop.
Receiving accolades and being recognized for one's contributions is valuable. However, these tributes, though significant, remain static and unchanging. This is why the Earl Scruggs Music Festival stands as Earl's true legacy. It's alive! The festival celebrates bluegrass not merely as a relic of the past but as a dynamic genre of the present, while also envisioning its future potential. Earl's influence always pushed bluegrass forward, seeking innovation. The Earl Scruggs Music Festival bridges the wisdom of seasoned bluegrass veterans with the fervor of the youngest and brightest talents, encapsulating the enduring spirit of the genre that Earl so passionately championed.
As audience members, we don't merely witness the performance; we actively engage in it. Our applause and enthusiasm serve as a feedback loop, energizing and validating the artists. Together, we transcend our individual roles, crafting an experience greater than the sum of its parts. Multiply that shared experience over an entire weekend, and you have the makings of the Earl Scruggs Music Festival—a truly exceptional event.
Now in its second year, the festival emanates from the Earl Scruggs Music Center located in the charming town of Shelby, North Carolina. Shelby is a picturesque example of small-town America, boasting a central square surrounded by lively shops brimming with art and character. Here, a nod of acknowledgment is common from passersby, and hourly bell chimes mark the passage of time. The Shelby Cafe, a local staple since 1922, continues to dish out favorites like grits and livermush. The center itself stands as a testament not only to Earl but also to the community that shaped him—a community that thrives to this day. Spearheaded by visionaries like JT Scruggs (Earl's nephew), the center and festival were birthed to celebrate Earl's legacy. Though Earl did not witness their realization, it's hard not to imagine him looking down with a proud smile, recognizing the genuine legacy fostered in the very place where his journey began.
The festival site, as Travis Book of the Stringdusters enthusiastically shared during the Thursday preview party, stands in contrast to the usual grassroots festival fields. The Tryon Intl Equestrian Center is far from your run-of-the-mill location. It's a lavish multi-million dollar venue boasting four dedicated restaurants, indoor restrooms, grandstands with luxury skyboxes, a carousel, and paved sidewalks. The hundreds of RV sites are not only paved and level but are also equipped with full utilities, including sewer systems. For those who prefer a leisurely experience, there's a shuttle service connecting the campgrounds and the venue, so walking is optional. This world-class facility also houses boutiques, spa services, a fitness center featuring pickleball courts, and a range of lodging choices. Oh, and let’s not forget the quirky outdoor bar crafted from a grain silo—it's simply delightful!
This top-tier venue is further enhanced by a festival team comprising industry veterans from events like Grey Fox and Merlefest, coupled with the generous support of outstanding sponsors. The Earl Scruggs Music Festival leaves no stone unturned. Clear signage, a dedicated children's zone, an IBMA-led jamming area, helpful volunteers, diverse food trucks, and a vibrant vendor mall collectively offer a holistic festival experience. The central area features a massive movable stage, while a second stage is nestled next to a diner, complete with a spacious patio—imagine enjoying a meal, served by friendly staff, with live music just a few steps away. It's hardly surprising that ESMF saw its attendance double after its inaugural year, with aspirations to continue this growth trend.
Resophonic guitar virtuoso Jerry Douglas has been chosen to co-host the festival alongside JT and to curate the list of performing artists each year. He's already committed to these roles for the upcoming festival slated for August 29th to September 2nd, 2024. In keeping with the festival's unique flavor, there's minimal artist overlap from year to year. From the 2022 inaugural event, only a select few returned: The Jon Stickley Trio, Rissi Palmer, Jerry Douglas himself, the Earls of Leicester, and local Country/Gospel duo, Darin and Brooke Aldridge.
Friday's musical line-up kicked off with a plethora of emerging bands on the secondary stage: Wilder Flower, the Tenn College Bluegrass band, and Pretty Little Goat set the tone. The day proceeded with traditional bluegrass tunes from Sister Sadie and the Earls of Leicester paying homage to classic grass sounds. Del McCoury, the perennial IBMA 'Best Hair' award-winner, led his ensemble of bluegrass artists, presenting hits that included a fiery rendition of '52 Vincent. In a shift of mood, the evening culminated with the progressive bluegrass sensations, The Infamous Stringdusters. Their diverse set ranged from covers like Pink Floyd’s 'Fearless' to a special appearance by Jerry Douglas, celebrating Earl's signature pieces. Notably, many bands over the weekend honored Earl, as it was, after all, a celebration of his legacy. It left one pondering if bands, typically with a more contemporary edge, leaned towards a traditional style for this festival. The day's finale was marked by Wisco jam grassers, Armchair Boogie, on the secondary stage, setting the ambiance for an evening of spirited jam sessions.
Saturday was a heartfelt celebration of the Scruggs legacy. The day began with banjo virtuoso Tony Trischka delivering an Earl-inspired musical autobiography. Starting with the tune 'Reuben', which Earl used to hone his three-finger rolls, Trischka was later joined by Michael Cleveland and other musical comrades. Together, they traversed notable moments from Earl's career, from his audition piece for Bill Monroe to classics from the Flatt and Scruggs repertoire. "North Carolina Breakdown" was particularly well-received by the audience. Later, on the second stage, Trischka, accompanied by a talented ensemble, meticulously recreated the "Live! From Austin City Limits ~ Earl Scruggs Revue" album, track by track. An attendee aptly remarked, 'that's some quality banjo; I reckon Earl would've enjoyed that.' And it was truly exceptional.
The Jon Stickley Trio took center stage soon after. If you've never experienced this ensemble, you're missing out. They constantly redefine musical expectations. In a departure from the festival's predominant traditional bluegrass, the Trio presented an hour of intricate instrumental symphonies, proving to be a personal highlight for many, including myself. Their evident joy was palpable and well-deserved. Later in the day, Jerry Douglas captivated with a solo set, which was followed by Della Mae's robust vocals and instrumentals. Their performances set the stage for the evening's headliner, Greensky Bluegrass.
As a tribute to the recently departed Jimmy Buffett, Greensky offered a touching rendition of "Come Monday", with the entire audience harmoniously joining in on the chorus. The momentum continued as Mr. Flamekeeper Cleveland stepped in for a rendition of the hit “Kerosene.” The evening was further elevated as Ders and Douglas showcased their prowess with covers of Cris Jacobs’ 'Bonedigger' and phoff’s 'Fixin to Ruin.' Wrapping up the evening's formalities, Della Mae returned to the secondary stage, leaving the audience spellbound with their performance.
On the festival's final day, the sky was vividly clear, dominated by a relentless sun that seemed determined to sear everything beneath. The photo pit quickly emptied during each set, as performers sought the stage's rare shaded spots. The grandstands became the prime viewing area, and I mused over the luxury they brought to festivals: unobstructed views, proximate amenities, and the convenience of fixed seating. Enlarged video screens captured the onstage details, and the production team showcased the performances expertly throughout the weekend. Rissi Palmer was a refreshing highlight, blending authentic country with R&B, supported by a stellar band. Michael Cleveland, having accompanied various acts all weekend, finally shone with his band Flamekeeper, showcasing his signature tunes. The Jerry Douglas band delivered an unforgettable set, with “Deacon’s Waltz”, written by fiddler Christian Sedelmyer, evoking profound emotions and personal memories.
Emmylou Harris capped off the weekend with a golden hour performance, her iconic vocal harmonies accompanied by a versatile band. Their rendition of the acapella “Calling My Children Home” attested to their collective musical prowess beyond just playing instruments.
One of the distinct features of ESMF, setting it apart from other festivals, was its array of six interactive sessions, encompassing workshops, panel discussions, and firsthand accounts. Spread over three days, these sessions provided attendees with intimate insights. A poignant moment came when the McCoury brothers reminisced about their grassroots upbringing, noting their father Del's early tryst with the banjo. Rob humorously opined on Irish Music, saying, “If you drink enough, eventually everyone sounds Irish.”
Deanie Richardson of Sister Sadie touched upon the inclusivity in bluegrass, remarking, “If you're a badass, you're a badass... gender doesn't come into it.” A recurring theme was Earl's profound influence on them all, each sharing their favorite anecdotes or tunes associated with him. Tony T. led a session delving into Earl's pioneering banjo style, while Pete Wernick discussed jamming nuances. The session that truly stood out was a heartfelt remembrance of Earl, with JT Scruggs, Dean Jenks, and Jerry D. They fondly remembered the jamming sessions with Earl and shared tender memories of his wife, Louise. This hour-long session was an immersive journey that many wished could last longer. Beyond entertainment, it served as a form of living history, bridging the gap between the impersonal nature of books and documentaries. Experiencing their collective memories and shared laughter was uniquely precious. During one such session, Jerry Douglas revealed plans to refocus January 6th on celebrating Earl Scruggs' birthday. He announced a commemorative concert with the Earls of Leicester at the Ryman. Tickets will be available soon.
Jerry Douglas stands as one of the foremost figures in contemporary bluegrass. Echoing aspects of Earl's trajectory, Douglas has redefined the boundaries of dobro playing. Like Earl, he doesn't confine himself solely to bluegrass— for him, music transcends labels. Boasting an impressive discography with around 2,000 recordings, Douglas is not only a virtuoso musician but also a producer, songwriter, and collaborator with legends like Clapton. He's even spearheaded a jazz ensemble, and the rich tapestry of these varied experiences resonates in his performances. During Saturday's festival, Douglas showcased a solo act that was nothing short of a masterclass in dobro artistry. Prior to this, I had only witnessed him in ensemble settings, where his selflessness as a musician shone through, always striving for the collective sound. But solo, Douglas was spellbinding, unfurling layers of bluegrass brilliance, a testament to his unparalleled prowess on the resophonic guitar. While he may not be the top ticket seller or possess the most captivating voice, and despite some of his onstage jokes missing the mark, Douglas's legacy is unparalleled. His contributions to bluegrass, his dedication to Earl's legacy, and his sheer love for the craft make him an artist of incomparable stature. Everyone should experience this festival, to not only celebrate Earl and Jerry, but also the sheer joy of music, and to laud artists like Daniel Kimbro, Stephen Mougin, and Lyndsay Pruett, among others who Jerry will gather to showcase the contemporary spirit of bluegrass in Cleveland County, NC. And if there's a chance to see Jerry solo – don't miss it!
This week, we had the opportunity to sit down with Johnny Buck, the executive director and co-founder of Rooster Walk, to discuss the upcoming Rooster Walk 14. The festival began in 2009 as a tribute to late high school friends Edwin Penn ('the rooster') and Walker Shank. From its inception, the festival has focused on supporting a charity that grants college scholarships to deserving seniors at Martinsville High School and provides instruments and funding to enhance local school band programs. Rooster Walk Inc., a 501(c)(3) non-profit, has raised over $350,000 for these causes.
Rooster Walk is all about music and fun, and this year's lineup is as rich and diverse as ever. The festival features Emmylou Harris, Cory Wong, BIG Something, Daniel Donato, TAUK+Moore, North Mississippi Allstars, The Seldom Scene, Arkansauce, and local favorites like Yarn, Caitlin Krisko & Broadcast, and Isaac Hadden. In total, there will be over 60 sets of music across four days, with many bands playing multiple sets, minimizing scheduling conflicts. However, I did encounter one challenging moment in the schedule: on Saturday, I’ll somehow have to be at both Yarn and Jim Lauderdale's sets at the same time.
Johnny shared some of the acts he's particularly excited about this year:
- Emmylou Harris: "Looking back to our first festival, which drew about 350 people, it's amazing to think we're now hosting Emmylou Harris. I'm really looking forward to sharing her talent with our attendees."
- Daniel Donato: "A returning performer, Daniel will play on both Friday and Saturday nights. His midnight set on Saturday, 'Daniel Donato’s Cosmic Jamboree,' promises a high-energy mix of musical collaborations."
Rooster Walk has a history of facilitating unique musical collaborations that become legendary within its community, such as Billy Strings playing with Marcus King. This year, the festival will feature 'The Broke Mountain Bluegrass Band' for their first set east of the Mississippi in over two decades, reuniting a group that formed the nucleus of today’s jamgrass scene.
The "Rooster Walk House Band" will also be performing, featuring an array of artists who will contribute to impromptu sets throughout the festival. The themed sets include a tribute to Jerry Garcia on Thursday, a 'Jimmy Jam' on Friday (with nods to Hendrix, Buffett, Page, Cliff... Hoffa???), and a funk-infused session on Saturday.
Join me at Rooster Walk in two weeks—don't forget your sunscreen, chairs, and family for a fantastic start to the summer festival season.
Tickets are still available, including Full Strut VIP packages.
When: May 23-26, 2024 (Memorial Day weekend, free to drive home)
Where: Pop's Farm, Martinsville, VA — 150+ acres, roughly an hour’s drive from Roanoke, VA, Greensboro, and Winston-Salem, NC.
Important Info: No alcohol, weapons, glass, or ground fires allowed.
Kids: Free for those under 12; kids' area and activities available.
ADA Accessibility: Limited—rough terrain and steep grades may pose challenges for those using mobility aids.
Accommodations: Onsite camping and glamping available; 40+ hotels in Martinsville or Danville, 300+ local Airbnbs.
Special: Saturday is Rooster Day—wear your rooster-themed hats, shirts, and costumes for 'Rooster Mardi Gras'!
More Info: roosterwalk.com, popsfarmva.com
Just outside Martinsville, tucked away down amongst a hollow of southern Virginia, you will find Pop’s Farm, the home of Rooster Walk. The Rooster Walk Musical Festival started in 2009 as an annual party to honor high school friends and to raise money in their names for charity. It has since become one of the finest regional music festivals in the nation, with a dedicated fan base eager to ‘get their strut on’ every Memorial Day weekend.
I have known about Rooster for years, but 2024 was my first opportunity to experience it for myself. The site is beautiful, the staff has their stuff down, and the community is warm and welcoming. Pop’s Farm sits on 150 acres of rolling fields and forests; Rooster uses about two-thirds of that space with five stages of music and various camping spaces throughout the property. There are numerous food and shopping booths, mostly congregated around the Pine-Lawn-Lake stage corridor.
Lawn Stage is the largest and central area of the fest, and its natural bowl area provides great sight lines with plenty of room for boogieing. If a band is playing on the Lawn Stage, the Pine and Lake stages are idle.
Pine Stage is closest to most camping areas and is tucked amongst a grove of tall, thin pines. It is the smallest of the main three and hosts the most eclectic blends of acts, including many newcomers. Pine Stage is fairly flat, with only a slight rise mostly towards the rear. Due to the trees, sight lines can be challenging in the rear. The shady beer tent at the rear of Pine has the coldest beer on site by a factor of at least two.
Lake Stage has a steeper bowl compared to Lawn Stage and overlooks a pretty little lake. It's a larger stage than Pine and is also the closest to the Kids' area.
The VIP area has its own brand new stage across the lake from Lake Stage and is restricted to those patrons who opted for the VIP strut experience. It hosts a full menu of musical delicacies, including some unique performances.
The Eye Level Stage is far removed from all the others and is right on the main road in the GA Car Camping area. It is very small and poorly attended as it's frankly a hike (uphill both ways, not kidding) if you're already in the main fest area. It is right next to one of the shower stations, however, which makes for some great in-line entertainment before one's daily cleanse. Showers everywhere are free.
Being a dedicated event space, Pop’s Farm has better-than-average roads, electricity, and water access. There are also three cabins in the VIP area for those festivarians who prefer not to camp. The fest allows arrival on Thursday morning at 9, with the first music starting Thursday at 3 or 4, and music concludes Sunday evening about midnight, leaving Memorial Day free to travel back home. Rooster Walk has plenty of room to grow larger and currently adds 10-15% more visitors annually. Everyone who comes to Rooster comes back and brings friends.
The community at Rooster Walk and fellow Virginia fests like Floyd, Galax, and Red Wing Roots is close-knit while also being welcoming. Tons of smiles and high-fives, and I didn’t witness a single altercation of any sort within camping or stage areas all weekend. The fest is largely volunteer-staffed, and I have never seen less security staff at a fest; they just are not needed. Folks are there to have a good time, and it's a very family-friendly atmosphere with everyone happy to do their own thing and let everyone else make their own choices. This is aided by the experienced Rooster Walk staff who weave amongst the crowd, ferrying supplies and people around. For 2024, Rooster purchased and operated a 60-foot-long people shuttle to help get people from the campgrounds to the fest area, which isn't a long walk but does involve some steep hill climbs. Designated shuttle stops throughout the property were regularly serviced by both the new big white worm-mobile and a golf cart battalion. After a rain downpour soaked some high-traffic areas during the fest, the staff spread hay to cover the mud and dry it up almost immediately and added more as needed throughout the weekend. Tidy Sanitation does a great job of not only emptying the various port-o-lets but of actually cleaning them as well, multiple times a day. I was also pleased to experience my first motion-activated toity lights at Rooster; let's hope more fests steal that idea.
The 2024 edition of Rooster Walk continued its proud tradition of offering unique music pairings that won’t be heard elsewhere. ‘Sticks N Thorns’ started the fest off on the VIP stage on Thursday. Jon Stickey (Guitar) of JS3 and Andy Thorn (Banjo) of ‘Leftover Salmon’ have been playing together since middle school in North Carolina. They ripped a rain-delayed set of traditional grass tunes mixed with Red Hot Chili Peppers and Dead Milkmen covers, which was a wonderful way to get things going. To my shock, Jon Stickley is a helluva singer; his own band, the ‘Jon Stickly Trio,’ is largely instrumental. You always know when a set is special by the number of other musicians that show up to watch, and there were quite a few bopping along while S/T debuted the all-new VIP stage.
Jon and Andy moved to Colorado eventually and, in 2003, formed ‘Broke Mountain Bluegrass Band’ with Anders Beck on dobro, Travis Book on bass, and Robin Davis on mandolin. They recorded one album together and won the Rockygrass band competition before splitting up and all joining other groups. Robin formed as a duo with his wife Jimi, Travis Book hightailed it east and founded the ‘Infamous Stringdusters,’ and Anders joined ‘Greensky Bluegrass.’ All of these highly talented gentlemen were together in a band that didn't last but was never forgotten. They reformed in 2019 for a reunion gig at Telluride Bluegrass Festival and have had a few joint gigs since for fun but have not played east of the Mississippi in over 20 years. Thursday night on the Lawn Stage, that streak was reset, and I got to check off a personal bucket list item. They gathered around a cluster of microphones, huddled stringed necks together, and flat-out shredded. Each of them traded leads and vocals, seemingly time-warping back to 2003 in Durango. I found it interesting that, like the Stringdusters, each wandered back and forth, up to and back from the mics, and generally focused on whomever was soloing at that moment. Greensky, JS3, and Leftover are largely stationary onstage, and it was great to see the way the players jammed together and moved around, each with a big ol' smile plastered on his face. The band played "Broke Mountain Breakdown," of course, as well as "Why Cry" and the title track from that record released in 2003, "Cabin in the Hills." Anders spoke to the crowd during the set: “When we started, I was the worst musician in this band, and now 20 years later, it's great to get up here and find out I am still the worst musician in this band!” But what a band, and what a great night! It's rare for me to watch a full set of music at a festival; there are more pictures to take and other bands to hear. I did not miss one second of Broke Mountain. I actually went and sat down in the back and just soaked in the experience, possibly the only one I will ever get from this great band that never made it. If you get the chance to see them, do it!
Friday started with four hours of morning rain, which was wonderful for resting up for a full day of tunes. Mighty Joshua got the day started with some tasty reggae jams I could hear all the way from my camp, and I got down there in time for a morning dance yoga session to limber up. Mountain Grass Unit started out the Lawn Stage offerings with some sweet Virginia grass picking, and then Travis Book and Friends formed up on Lake Stage. Rooster Walk has a large number of ‘Artists at Large,’ and they join together to do a house band jam each day. Travis was an artist at large on Friday only, and both his set and the Jimmy Jam had similar feels, both anchored by Jeff Sipe on drums (Keller, Col Bruce, Warren Hayes, TAB, Leftover Salmon) and the legendary Ron Holloway (Dizzy Gilespie, Warren Hayes, Tedeschi/Trucks, Allman Brothers, Gov't Mule) on tenor sax, along with Josh Shilling on all things keys and vocals. Watching these complete professionals explore different songs and genres together all weekend really made RW14 special. They covered everything from gospel to the Dead and Hendrix to a crazy funk session on Saturday that didn’t miss a beat when the kids' parade led by ‘Sol Driven Train’ choo-choo’ed through their set, and they jointly busted out some sweet New Orleans Dixie jazz.
Isaac Hadden is going to be a force in music, much the way that Marcus King and Billy Strings have become. I saw him at Floyd in 2021, and he was great then but still clearly developing who he wanted to be. Now at 21, he is a musical explosion every set, and he played twice over the weekend. His band defies all genres, easily slipping from super tight vocal songs into long jams that then slide into space jazz before somehow ending back with the vocals they started with. It's enthralling, and I advise you to catch them at any fest you can, as they will be on bigger and bigger stages as the years roll by.
TaukMoore closed out the night on Lake Stage. I am a long-time TAUK fan and was pleased to see them start the set with a handful of songs themselves before Kanika Moore joined them onstage to deliver an incredible set. Her vocal style is the perfect counterpoint to the band’s incessant groove, and the crowd was both younger and far more party-ready at this set than at any other of the weekend.
Ozark prog-grassers ‘Arkansauce’ got Saturday started, and then the ‘Seldom Scene’ kept the progressive vibe going before teeing up Virginia faves ‘Yarn’ for a Pine Stage set that was ‘fervent.’ Yarn has a die-hard fan base, and some come from as far as Colorado to see their band rip it up. They also perform a theme set every year on Sunday evening, this year being the music of Dire Straits.
Emmylou Harris filled the Lawn Stage area pretty much the only time Saturday evening. Seemingly timeless, her voice and songs thrilled the crowd for an extended feel-good set that was smooth and gentle, the complete opposite of the heavy blues sounds of ‘North Mississippi Allstars,’ who finished out the night for the Lake Stage. Luther and Cody have been thumping along at these festivals seemingly since they were in nappies and, as always, churned the crowd into a frenzy.
Other notable acts of the weekend included Daniel Donato's Cosmic Country, who debuted here on the Pine Stage, moved up to both Lake and Lawn sets this year, and are getting a huge buzz in the scene currently. And my ‘find’ of the weekend; ‘Holler Choir’ out of Asheville has definitely got something special going on. An amazing interplay of harmonies and musicianship that seamlessly weaves into itself in a complex fashion. Helena Rose on banjo vied with Andy Thorn for Best Pluck of the weekend… catch 'em.
Rooster Walk is doing all the things they need to do to become a world-class music festival, and I can foresee attendance of 10,000 in their future. Go see one now while there is extra room to dance. Rooster Walk has also expanded their musical calendar and will host ‘The Infamous Weekend’ on Sept. 19th, also at Pop’s Farm. Anchored by the Infamous Stringdusters and featuring the Jon Stickley Trio, The Last Revel, and Lil Smokies. Tickets are available for both the Infamous Weekend and next year's Rooster Walk at roosterwalk.com
Nelson Ledges Quarry Park (NLQP) was an operational rock quarry for nearly 20 years until the late 1950s when mining operations accidentally tapped into an underground freshwater spring. Much like a dinghy with a hole, NLQP quickly filled with water, making it impossible for the miners to continue their work. Operations were shuttered, and local phreaks of all sorts became the only visitors to the 250-acre hidden lake near Garrettsville, Ohio. In the early 1970s, it became a commercial campground, and in 1995, ownership passed to Evan Kelley, a former campground manager. Evan made several improvements to the campground and eventually began hosting music festivals several times a year. There are five festivals scheduled for 2024. A barefoot Deadhead at heart, Evan infuses each festival and the park itself with that unique current of sweet musical bohemia that Garcia and company sowed into our world.
I had known about NLQP for years and had been tempted to check out "Grassfire," the mid-summer festival devoted to all things pickin' that Evan hosts annually. Not exactly a bluegrass fest per se, but an all-inclusive celebration of all things strummable—some tradgrass, some jamgrass, some psychgrass, and a whole heap of Ohio Americana, all staged right on the sandy shores of the ol' quarry, surrounded by a beautiful forest filled with 400+ campsites. This year's lineup pushed me over the edge, and I set aside some of my precious festival time to head down to Cuyahoga country to see what NLQP and Grassfire are all about.
The Site
NLQP has two stages roughly 100 feet apart, continuously scheduling live music from about noon until midnight-ish. Headliners perform on the main stage, a well-built, semi-enclosed older stage with great sound, elevated about 4 feet above the sand-covered dance area in front. The viewing area is wide and shallow, backing into the area of the second stage, which is a paved, covered pavilion built more recently. It’s smaller but not small, narrower but deeper. You can sit in this pavilion and see both stages just by turning your chair as needed—a great way to spend the day, and many fest-goers do just that. Or you can grab space at any of the ample selection of picnic tables or cable spool chairs that dot the area. Second-stage acts often play split sets, with 45 minutes between one set of headliners and then 45 more between the next. The sound and stage crews are very efficient; the only deviation from scheduled set times I saw all weekend was due to a minor rain delay, which resulted in the whole day being reset just 15 minutes later. It’s cool to hear one band end and then hear the next one start up at the alternate stage 2 minutes later. Both areas are no more than 250 feet from the water’s edge, and it’s quite the experience to soak in the water while listening to bands wailing on stage. You can’t quite see them, but for some bands, visuals aren’t required.
I’ve attended quite a few music festivals over the years with access to open, swimmable water, but apart from ‘Strings N Sol,’ none of them allow festivarians to even dip their toes. A nice morning swim to rinse away all of last night’s funk is great, and for parents with kids, it’s like nirvana—you can hear the tunes while kids build sandcastles, swim, or float the day away. Kayaks and SUP boards joined the piles of beach floaties surfside and could often be seen exploring the pit lake.
Facilities
Port-o-potties were the go-to, have-to-go spots, but they were cleaned often during Grassfire, and I never stepped into one that was overly revolting. We had a lot of rain during the fest, which led to some muddy floors but nothing gross, including odors. I understand there are two showers at NLQP up near the main entrance, though I cannot report on them—I opted for a dip in the lake instead. My campsite was about a five-minute walk to the main area, literally over a stream in a little meadow. It was well marked and easy to find. The whole place has easy-to-see campsite markers. Trash cans and recycle bins dot the entire park and are emptied regularly. The 5 MPH speed limit is strictly enforced, and even though people and cars share most of the roads, I didn’t observe anything overly unsafe while walking around. Drinking water is probably the one area that could be improved. There is only one spot on the property, which is not near the main area, to fill water—a situation that is not ideal for a festival.
Vendors
There were more vendors than one might expect at a festival of this size. Lots of hippie wears, glass items, trinkets, glow sparkly stuff, a merch spot—typical offerings, shopping-wise. I bought a poster. The food, however, is anything but typical; it’s great. There’s a coffee shack, and pizza—I didn’t have the pizza, but the line was long, and the crowd seemed happy with their slices. On the other end, there’s a place dishing comfort plates à la walking tacos and anything you can imagine over tater tots, which was yummy! But the standout was Althea’s, which served amazing cooked-to-order sandwiches and hot dogs. The staff didn’t let on that they had been standing in a hot AF kitchen tent all day cooking up food for 2,000 phreaks—great attitudes, great timely food, and a covered place to enjoy your dinner, too. Every festival food vendor in the USA should strive for this kind of attitude and customer service. Top notch.
What you won’t find at NLQP is a beer line—nor a beer, cocktail, or even a spritzer. It’s 100% BYOB. Coolers full of suds followed festy freaks around like loyal dogs, and some of these fans clearly have their quarry game down! Built-in seats, umbrellas, and wagons full of beach chairs, towels, and sand toys were everywhere. Ice is available at the front, and a trailer with both ice and firewood snakes through the campsites daily. Fires are allowed in fire pits as long as it isn’t overly dry, which it definitely wasn’t this year.
Music
The Thursday night pre-party featured Ohio trashgrass masters The Rumpke Mtn Boys along with the Fireside Collective from Asheville. I wasn’t onsite yet but was informed that both sets were fiery and fluid.
Friday brought the most traditional set of the weekend with Becky Buller and her band laying down some delicious Appalachian harmonies amidst fierce fiddling. The Steel Wheels from Virginia did a split set of their Americana style. I hadn’t seen this most recent, more drum-oriented version of The Wheels yet, and I found that the percussion didn’t really alter their offerings much—great vocals, Trent’s amazing songs, and Jay’s incredible musicianship. Eric was more of a force on fiddle than in years past, and the a cappella shaky jangly stick did not make an appearance. The Travelin’ McCourys were really the reason I came. In my opinion, they are the best band in bluegrass, the best musicians anyway, and they did not disappoint. They played great covers, including “Whole of the Moon,” the Waterboys classic they’ve been doing of late, the beer song by Rob, some tight picking by Cody Kilby, who is seriously underrated as a guitarist, and the great voices of Alan Bartram and Jason Carter.
They were back an hour later, suited up and respectable, with the man himself, Del. Del Yeah! Definitely the best-received set of the weekend. Del has been to the quarry before, and the crowd loves him—he talked to the crowd, took requests, and laughed longer and harder on stage than I’ve seen him do in a while. Jean was even there selling Del-ware. He had a blast, the crowd had a blast watching him, and the night was over far too soon.
Saturday morning found Cleveland bluegrassers the Sugar Mules putting in an unexpectedly good set, considering where they were billed. I really enjoyed their performance while immersed in the quarry water. I’m looking forward to seeing more from them. The David Mayfield Parade had the challenge of the day as it rained hard during three-quarters of their set. They just went with it, soaking wet and choosing to abandon the relative cover of the stage to leap right out and join the crowd that stayed to listen to their songs. Awash in Mother Nature, everyone amped up a level and then another as they just kept going. I’m not sure it was even safe at some points to still be playing electric instruments, but they did it anyway—gotta love the effort. And the crowd clearly did, swarming over to buy merch and cheer them on after they finally yielded the stage. Desert Hollow from Maui (yes, the island) did split sets after. Not sure they have found their sound yet. It wasn’t bad, exactly, but they never seemed to find another gear, and her speaking voice had ten times more body and volume than when she sang, which was wispy and airy, I think intentionally.
Donna the Buffalo, an Ohio institution loved perhaps even more than OSU football, did an amazing mid-afternoon set filled with their special smooth jams—such a perfect afternoon band, so full of energy and soul.
Peter Rowan did a set of his usual Southern California hippy-dyed grassisms during the dinner hour. Nothing particularly unique or interesting about a Rowan show these days, but he’s always uniquely himself and certainly set the contrast for Leftover Salmon, who brought 100% of their psychedelic Cajun insanity to the stage after a Brown Chicken Brown Cow second-stage romp.
Uncle Vince and crew are regulars at the NLQP site, and like the full-time party warriors they are, they met the crowd on their own terms and delivered a scorching set before running down the road to play yet another show that same night. The set was notable for the inclusion of Greensky Bluegrass member Anders Beck performing a banjo duet with his former Broke Mountain Bluegrass brother Andy Thorn. Anders is typically a dobro player, and it was surprising to note that he is damn fluid on a banjo as well.
Greensky Bluegrass was the Saturday headliner this year, and the Kalamazoo crew was in an odd mood, starting things off with “Bring Out Your Dead,” and when they do that, you know they just want to get weird. Probably a day watching Der’s cliff dive skews the setlist choices? They shredded through a run of favorites old and new, with the crowd loudly greeting each track with shouts of “We love you!” and “Welcome to Bedrock!” “Reverend” was particularly poignant for me—three feet from Bont, alone in the dark stage wings, with Phoff knowing I was there somewhere but unable to see me. Truly love this band. The boys finished with “Radio Blues,” “Old Barns,” and “Worried About the Weather,” before an “Atlantic City” encore. As a side note, the new track “One More Day” has only been played live three times now, and I’ve been at each outing—that quirky stat cannot last.
But... It Could Be Better
Grassfire and NLQP are great Ohio fan-fave festivals and may just continue in that same vein for years to come. Grassfire has room to grow and expand, however. They are gaining some notoriety regionally and are drawing from Michigan and Pennsylvania now in limited numbers. Attendance was below expectations this year, and the fest slashed Saturday tickets to $65 to entice show-goers. The issues largely revolve around organization. The fest is poorly promoted—it’s hard to find information on the fest or purchase tickets, and even the sign out front was poster board done up in markers like a backyard grad party. The private campsite, which is open year-round, clearly has some full-time residents that detract from the inviting festival culture being projected. Security was virtually nonexistent, with only stage bouncers ever in evidence, and only for a few sets. I personally witnessed hard drug use 25 feet from the main stage, surrounded by families with kids. It was hard to find out the daily schedule in advance, and onsite, only one small sandwich board smeared by rain had that info. I expect more from a staff that puts on multiple fests a year. It should be a well-run clock by now, and it’s not. Nearly every attendee I chatted with had some sort of complaint. I didn’t personally have this issue, but several were unhappy with the way they were talked to by staff or vendors. The BYOB status left some fans dry and others far too wet. I did arrive during a rainstorm, and though I was on staff credentials, no one asked if I even had any weapons, let alone searched my car for anything dangerous. I understand that there’s a line festivals need to draw somewhere between an overbearing police state and a college frat party free-for-all. NLQP doesn’t seem to have decided where they want that line yet, and it’s going to keep some music fans away until they know what to expect and that the experience is consistently delivered. Word of mouth is what makes this community want to attend a fest, and the NLQP word of mouth is decidedly mixed.
Next Up
Nelson Ledges Quarry Park hosts the Lazy Days festival on August 16, Summerdance featuring three nights of Lotus over Labor Day Weekend, and an October Funk fest with details pending. All info is available at NLQP.com.
Northern Natural Cidery in Kaleva, Michigan, welcomed an early‑season visit from Michigan’s own Dave Bruzza, best known for performing with the jam‑grass legends Greensky Bluegrass. Over the past few years, Dave has played three to five solo shows annually—mostly in the Midwest—and this spring’s run included Chicago’s new “Garcias” venue, Ann Arbor’s folkie listening room The Ark, and Holland’s Park Theatre before he pointed his wheels north to Kaleva. With a population of just 500 and situated northeast of Manistee near the Lake Michigan coast, Kaleva is about as remote a concert destination as one could imagine—but it’s well worth the drive. The cidery boasts a beautiful outdoor stage, a bar offering in‑house ciders, beers, and wines, a food truck serving pizza and burgers, plus disc golf and hiking trails on the grounds.
Seth Bernard, owner of Earthworks Music and proprietor of the Earthworks Harvest, booked this as Northern Natural’s first ticketed show of the year, reaching out to Dave to close out his Midwest tour. Opening the evening was Kellen Asebroek, who delivered a 45‑minute solo set of songs he had written for his band Fruition. Known primarily for festival appearances alongside Greensky, Kellen is rarely seen solo, making his stripped‑down acoustic rendition of crowd favorite “The Meaning” particularly poignant—many in the audience were moved to tears, and his performance set the perfect tone for the night.
When Dave took the stage, he began alone—on electric guitar rather than the acoustic he plays with Greensky—and ran through band workhorses like “Like Reflections,” “200 Miles from Montana,” “Cold Feet,” and “Wings for Wheels.” He then invited drummer Michael Shimmin and bassist Brennan Andes—dubbed “the Neutralizers” for this tour—to join him. During his solo numbers, Dave shared the stories behind each song and their personal significance. With the full band assembled, he shifted seamlessly from singer‑songwriter to rocker, mixing originals such as “Struttin’ Up” with Greensky classics like “Worried about the Weather,” driven by Shimmin’s impeccable martial‑style beat.
The set reached a fever pitch with “Heart of Santa Cruz,” an instrumental surf‑rock tune Dave penned during the pandemic, prompting fans to shed jackets and rush the stage. As twilight deepened and the stage lights illuminated newly budding trees, it felt like pure magic—everywhere else in the world faded away, leaving only the music and this small group of revelers deep in the forest. The excitement only grew when Kellen and Seth Bernard joined onstage, transforming the performance into full‑blown electric rock. Seth’s exuberant stage presence—strutting and gesturing wildly—contrasted perfectly with Dave’s still, eyes‑closed focus as his fingers danced across a Fender Jaguar fret for fret, guitar and player united in singular purpose.
After barreling through classics including the Little Milton song & often Garcia cover “That’s What Love Will Make You Do,” the band briefly exited, then returned for a final explosive run of Dave’s jam‑grass staple “Kerosene,” now electrified by dual guitars. Though short and intense—just under five minutes—the performance left the crowd hungry for more. As the band slipped backstage and the night stretched on, everyone carried with them the memory of dancing under the stars to music both familiar and new, in a place that somehow felt like home. Heaven indeed—and a perfect preview of the summer nights yet to come.
Ohio is flat. I know this. It isn’t Kansas-flat or Nebraska-flat, but flat all the same. Detroit, where I live, is only an hour from Toledo—the city Ohio wrested from us during the Michigan-Ohio War of 1836. I’ve driven through the Buckeye State many times and vacationed in most of its major “C” cities (plus the “T,” “D,” “BG,” and “M”). All of them are pretty level. Legend Valley, however—tucked near that middle “C” city—is shockingly hilly. I probably should have gleaned that from the word valley in its name, but hindsight is 20/20.
This past weekend I spent what felt like 18 bajillion calories trudging up and down (and up again) the slopes of Legend Valley while attending the 12th Dark Star Jubilee. Since 2012, Dark Star Orchestra (DSO)—arguably the world’s most successful Grateful Dead tribute—has hosted this gathering, offering three nights of epic Dead music in a way many fans feel stays truer to the original band’s spirit than the more commercial Dead & Co. Formed in 1997, DSO is closing in on 30 years together and has already played more shows than the Grateful Dead themselves—a testament to how deeply the family has embraced them. (No Sphere dates are on their calendar, in case you’re wondering.)
Jubilee weekend opened Friday afternoon to less-than-auspicious weather: a breezy 54 °F with scattered raindrops. One of Legend Valley’s quirks is that fans are encouraged to pitch tents right inside the amphitheater bowl, literally within sight of the only stage. It requires careful planning—and many sherpa-style treks down the switchback—yet once established, most folks just hang in their own space. That inertia was palpable during the chill-damp opener by New Gypsy Cowboys: a solid set that never quite warmed up the restless crowd.
New York’s subway-born horns-and-drums trio Too Many Zooz changed all that. One baritone sax, a marching-band bass-drum/percussion rig, a trumpet/cornet with occasional Casio-style keys—three guys, an impossible amount of sound, and no lyrics to clutter the groove. FUN, all caps. Next, jubilee regulars Melvin Seals & JGB (with trumpet dynamo Jennifer Hartswick in tow) kept spirits soaring and set the stage for the four-hour main course: a heaping, home-cooked helping of DSO that left most of us deliciously stuffed—and almost too tired for the nightcap.
Almost. At 1 a.m., with the temperature hovering around 42 °F, Hot Buttered Rum (featuring fiddler Allie Kral) came out swinging—literally, fast—to keep warm. Their grungy rendition of Bowie’s “Let’s Dance” ignited the valley, and a rollicking set of favorites—“Mama Tried” (Allie on vocals), “Sugaree,” plus spirited originals—culminated in a sing-along cover of Eddie Rabbitt’s “Drivin’ My Life Away.” Suddenly it was nearly 3 a.m. and Central Ohio felt like WinterWonderGrass.
Saturday burst bright and beautiful. License plates in the lot spanned New York to California; attendance looked about three-quarters of capacity—just right. Morning yoga and tie-dye classes eased everyone awake, followed by Dino Presents Iconic A, a local super-group spinning classic-rock standards while the family fueled up. Pro tip: the Yura Bowl food truck served a stellar teriyaki-ginger-shrimp bowl—real food at fest-friendly prices.
Wisconsin sent us Armchair Boogie, and the cheese-curd cowboys obliged with banjo-driven fire. Mid-afternoon, the curiously named Organ Fairchild—yes, a nod to ’80s screen legend Morgan—appeared. Three seasoned players, zero vocals, immaculate gear, and ferocious jams: organ, drums, and a guitarist who shredded daylight into the crowd. A delightful surprise.
Next came jam-grass stalwarts Leftover Salmon, celebrating founding member Drew Emmitt’s 63rd birthday. Cake appeared; jokes about “special ingredients” flew. Bassist Greg Garrison (criminally under-praised) teamed with drummer Alwyn Robinson to anchor a blistering set, while Drew’s Strat, Andy Thorn’s Banjocaster, and Vince Herman’s washboard sparked a wildly dance-happy audience.
What follows polyethnic Cajun slamgrass? moe., amps cranked to 11. Their full-electric onslaught erased everything before it like bare skin on sandpaper. I hadn’t caught moe. in years; reconnecting with their brand of jam was electric. DSO then delivered another four-hour paean to Grateful bliss, coaxing the crowd into a trippy-chill reverie. Asheville’s secret weapon Toubab Krewe closed the night with their singular fusion of West African grooves and modern rock—again, no vocals. They rocketed out of the gate but tapered off as fatigue (and perhaps confusion) set in; still, their 21-string kora left plenty of campsite chatter.
Sunday Funday arrived—no work Monday! Agile stilt-walkers led a kids’ parade while morning yoga stretched weary limbs. Early-afternoon acts struggled to spark the crowd; two long nights and 24-plus hours of music were taking their toll. Eventually Daniel Donato’s Cosmic Country roused everyone, segueing perfectly into The Warren Haynes Band. The Allman Brothers alum’s blues-soaked guitar fireworks had fans begging for more, priming them for DSO’s final marathon.
Across the weekend, DSO played more than 12 hours, with members even sitting in during guitarist Jeff Mattson’s afternoon set. Sunday’s closer—featuring guest turns from Daniel Donato and Warren Haynes—was every bit as potent as the previous two nights. DSO are truly the jam scene’s Iron Men.
Dark Star Jubilee belongs on every jam-grass fan’s bucket list. The staff is top-notch, and the venue’s permanent stage, stellar sound, and vibrant lights make for a fantastic experience. The lineup stays eclectic yet centered on improvisation, cell service is steady thanks to proximity to Columbus, and—porta-potty logistics aside—this fest is about as close to perfect as it gets.
