Grand finale at the 2025 Al Ras Bluegrass & Old Time Music Festival – photo courtesy of the festival

This report on Barcelona’s big bluegrass event is a contribution from Oriol Serra, a journalist in the region.

Mollet del Vallès is an industrial town located just a few minutes north of Barcelona. Legend has it that its name comes from a mythological fish that lived in the area hundreds of years ago, when the current land was a huge, deep lake. For the last quarter of a century, Mollet has been home to Al Ras Bluegrass & Old-Time Music Festival, an annual event that every first Saturday of November turns the town into a meeting point for both musicians and fans of the Appalachian sound.

This year’s lineup featured performances by veteran Slovak dobro maestro Henrich Novák and the up-and-coming Italian quartet Blue Weed, alongside local acts like Herba Foska or the children’s combo Al Ras Bluegrass Kids. The purest essence of the festival, though, was once again to be found in the spontaneous jam sessions that artists and audience members alike held inside and outside the Mercat Vell, an elegant mid-20th-century hall that had once been a marketplace.

The members of Herba Foska all cut their teeth at these jams, as well as those that Al Ras hosts twice a month at different spots in Barcelona, before the quintet (guitar, vocals, mandolin, fiddle, banjo and double bass) made its live debut last Saturday with a lively selection of traditional tunes. And so have the musicians that make up the Al Ras House Band, currently led by fiddler Jordi Marquillas, and singer and guitarist Josep Ponsà.

Since he started performing his own songs a few years ago under the moniker Joe Fields, Ponsà has become a big name in the Catalan country music scene, as a two-time winner of the Texas Sounds International Country Music Awards held in Marshall, TX. On the other hand, Marquillas is a seasoned veteran of countless projects that include Catalan folk pioneers Falsterbo. Just a year ago, he released his own debut album as Littlemarks. Together with the rest of the band, they played a mixture of originals and covers by the likes of Bill Monroe, Merle Haggard, or Alan Jackson, and truly rocked the house.

And so did Henrich Novák, whose show was one of the highlights of the bill. A key figure in the European bluegrass scene with more than four decades on the road – including a performance at the Grand Ole Opry and touring with legends such as Rose Maddox or Sue Thompson – Novák had the support of the Barcelona Bluegrass Band in Mollet. Not that this extraordinary dobroist needs any assistance when he goes onstage. He made that quite clear during an absolutely astonishing solo. But the band’s role must as well be emphasized when reviewing a concert that acquired some delicious transatlantic taste by quoting both Bill Monroe (Uncle Pen) and the great Spanish poet Federico García Lorca (Anda Jaleo).

If a band can be called the great revelation of this year’s Al Ras, no doubt it is Blue Weed. An exceptional quartet that was formed only three years ago in northern Italy by some very young and truly talented musicians: Francesco Mosna (dobro), Matteo Camera (guitar), Icaro Gatti (double bass) and Marco Ferretti (banjo) – the latter a member of the essential Red Wine along with his father, the legendary Silvio Ferretti. They came out at full throttle from the get-go with wild but heartfelt renditions of standards like Cattle in the Cane, White House Blues, and My Walking Shoes.

The festival ended in a jam session that gathered onstage all the musicians on the bill, and part of the audience, to perform a few good tunes and release some even better vibes. Luckily, the Mercat Vell stage is large enough to fit the 20-plus musicians that performed songs like I Don’t Wanna Write Another Sad Song, an original by Josep Ponsà. Later on, as a grand finale, they delivered a beautiful rendition of Will the Circle Be Unbroken, the timeless spiritual recorded almost a century ago by the Carter Family, and since then by the likes of Willie Nelson and The Nitty Gritty Dirt Band.

Another song that was played during the final jam session was Mr. Glubo, the opening track from the classic Paris Banjo Session album that was released half a century ago this year, and has since then become one of the cornerstones of European bluegrass. One original copy of that record was given away during the raffle that, as every year, takes place between shows.

One of the funniest moments of the night, it was also one of the most emotional since it brought all of the festival’s organizers together onstage. These guys – Lluís Gómez, Jorge Rodríguez, Ignasi Cardús, Xavier Cardús, Joan Manel Hernàndez, Michael Luchtan – have been building something very unique for the past two decades and a half. And that something is built to last.

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What began as a harmless case of missing snacks has now escalated into what experts are calling “the most Appalachian feud since the Hatfields and McCoys switched to decaf.”

The self-proclaimed “music phenomenon” known as The Cleverlys, along with Darren Nicholson of The Darren Nicholson Band and Caleb Smith of Balsam Range, are once again at odds — just in time for their shared appearance at the Balsam Range Art of Music Festival, December 5–6, in picturesque Lake Junaluska, North Carolina.

It all started years ago when Dr. Digger Cleverly, patriarch of the parody-bluegrass dynasty, accused Darren Nicholson (then a member of Balsam Range) of “living in the band van and stealing all the good snacks.” The alleged loot? Cheetos, Kit-Kats, corn (source unverified), and — the ultimate betrayal — double-dipping the Nutella in peanut butter.

Things took a darker (and smellier) turn when Digger reportedly mailed a Whitman’s Sampler box filled with animal feces to the Balsam Range camp. Sources close to both bands say the “gift really stunk up relations for a while.”

 

 

 

 

 

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A short-lived truce was brokered by Sammy Shelor of Lonesome River Band, but peace went down the drain — literally — when a plunger was presented on stage at a later festival appearance.

Now, with all groups slated to share the same stage once more this December, tensions are high and the banjos are tuned for battle. Digger recently reignited the feud by referring to Darren as a “rabid hepatitis monkey with COVID.” Darren, visibly offended, fired back by mocking Digger’s hair — an act widely regarded as “below the belt but historically justified.”

 

 

 

 

 

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Meanwhile, Caleb Smith has been accused of mailing Digger “an ugly stage dress to match his hair,” while Digger has begun circulating rumors that Darren underwent plastic surgery — including a Brazilian Butt Lift. Nicholson responded with shocking allegations involving the good doctor and some innocent sheep…. Things are getting quite heated.

 

 

 

 

 

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When reached for comment, Digger said, “I only speak the truth — even when I have to make it up.” Darren replied, “I ain’t saying it’s true… but if I did have one, it’d be the best-looking butt in bluegrass.”

Festival organizers urge fans to “come for the music, stay for the drama,” while reminding attendees that security will confiscate all plungers, Nutella jars, and suspicious candy boxes at the gate.

The Balsam Range Art of Music Festival runs December 5–6, 2025, at Lake Junaluska, NC. Witness the bluegrass showdown of the decade — live, loud, and possibly messy.

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Mair Meyer as Poison Ivy with Molly Tuttle at Hulaween 2025 – photo © Corey Johnson-Erday

Many thanks to Corey Johnson-Erday with Tune Ridge Media for sharing this gallery of images he took during Hulaween 2025 at Spirit of the Suwannee Music Park in Live Oak, FL.

Hulaween is a giant Halloween party featuring music from all sorts of jam bands and alt-culture entertainers, always including bluegrass and bluegrass adjacent acts on the bill. Performing this year, and pictured below, were Sierra Hull, Molly Tuttle, and The Infamous Stringdusters.

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Headin’ Home at the 2025 Headin’ Home Fest – photo © Libby Lindblom

The 4th annual Headin’ Home Fest took place October 22-26, 2025 at Stagger Lee Music Park in Hazlehurst, Georgia. The weekend days were filled with great food and bands, friendship and community, raffles and jam classes, plenty of campground picking, and lovely south Georgia fall weather.

Host band Headin’ Home celebrated the release of their brand new album, Rhythm of the Tires, on Friday the 24th. They revealed the new album along with new merch on their table, and celebrated with a large cake after the evening stage shows. They also invited park owners Stagger and Lori Lee to join them for several songs during their set.

Friday’s lineup also featured Remedy Tree from Florida, Nick Dumas & Branchline from Wisconsin, and two great groups from North Carolina, The Gospel Plowboys, and husband-and-wife duo Colin & Kathleen Ray. Tight bluegrass, heartfelt gospel, and rich family harmonies accented the day. Nick Dumas & Branchline found a new fill-in bass player in Job Waddington, as Nick’s bass player’s flight from Seattle had gotten unexpectedly cancelled.

Saturday kicked off with another entertaining set from Remedy Tree. The Brothers Five followed, enthralling the crowd with their sibling cohesiveness and polished show for a band aged 11 to 19. The youngest brother, Leo Lindblom, sold quite a stack of copies of his new solo album, Just Leo. Two SPBGMA Band Championship winning bands then brought their hard-driving sounds to the stage: Retro 78 from the Carolinas, and The Waddington Brothers from North Dakota. One fan accurately noted The Waddington Brothers as “the surprise of the festival,” as their stirring harmonies and western and cowboy numbers were immensely well received.

During host band Headin’ Home’s final Saturday set, MC Justin Mason joined them for a rousing gospel number, Traveling the Highway Home. Justin did a phenomenal job as the festival’s MC. He kept each show on time, livened up the crowd with his enthusiasm, and introduced each band with well-researched knowledge, interesting fun facts, and a professional, friendly air.  

The Little Roy & Lizzy Show then closed out Saturday night with a 90-minute show, packed with loads of energy and excitement. 83-year-old Little Roy Lewis continues to be the best entertainer in the business!

Luke and Lucy Lindblom provided first-rate sound each day at Headin’ Home Fest. The younger Lindblom boys (of The Brothers Five) sold tickets for the festival’s nightly 50/50 raffle, as well as the guitar raffle sponsored by Banjo Ben Clark and the banjo raffle sponsored by Gold Tone. On Saturday night when the winning tickets were drawn from a large pot, the same gentlemen won both the guitar and banjo! A happy lady from the audience also won the festival’s giant guess-the-candy-corn jar by guessing the closest number.

Sunday morning, a large group of pickers and singers gathered for a closing gospel jam with Headin’ Home.

The 4th annual Headin’ Home Fest was marked by plenty of exciting moments, excellent music, and wholesome, uplifting family fellowship. Headin’ Home has announced that they’ll be holding two festivals next year! Join the celebration in Hazlehurst, GA at Stagger Lee Music Park, April 8-12 and October 14-18, 2026. Head over to the web site for more info on next year’s festivals!

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Carson Peters & Iron Mountain at the 2025 Headin’ Home Fest – photo © Libby Lindblom

The 4th annual Headin’ Home Fest took place last week, October 22-26, 2025, at Stagger Lee Music Park in Hazlehurst, Georgia. Headin’ Home Fest is hosted by the family band, Headin’ Home, and is quickly establishing itself as one of the most exciting, inviting, and rapidly growing festivals in the southeast. This was the festival’s first year at their new location in Hazlehurst, a facility which proved to be beyond ideal. With a covered pavilion, over 100 campsites, a kitchen shelter, a jamming shelter, onsite band lodging spaces, Wi-Fi, and laundry, this lovely property owned by Stagger and Lori Lee made the perfect new home for Headin’ Home Fest.

The weather was beautiful all week, and attendance was the best the festival has seen yet, showing the steady growth this event has made each year. Justin Mason did a top-notch job as MC. Sound was provided by Luke and Lucy Lindblom, one of the best sound companies in the business.

The festival kicked off Wednesday with a well attended potluck dinner and open stage. Campground jamming then went on late into the hours of the night.

Thursday, the first full day of music, featured Carson Peters & Iron Mountain, Willie Wells & The Blue Ridge Mountain Grass, The Brothers Five, Lydia Hamby & Company, and host band Headin’ Home. The enthusiastic audience greatly enjoyed each of these high-energy bands and the special music they brought to the stage.

Many special little touches went into the festival to contribute to its warm, wholesome, and enjoyable family atmosphere. With a variety of food trucks and craft vendors, a slow jam class led by Patrick Russell, a guitar raffle sponsored by Banjo Ben Clark, a banjo raffle sponsored by Gold Tone, detailed program booklets, and an all-day golf cart shuttle between the stage and campground, every touch was provided to bring fans a delightful experience.

Headin’ Home has announced that they’ll be holding a spring festival in 2026! In both April and October of next year, this hard-working family band will be hosting bluegrass festivals at Stagger Lee Music Park in Hazlehurst, Georgia. Dates are April 8-12 and October 14-18, 2026. You won’t want to miss either of these weekends! Check out our web site for more information.

Enjoy this first batch of pictures from Wednesday and Thursday at the festival!

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Russell Moore & IIIrd Tyme Out at Talladega – photo © Tracy Curvin

A little over three years ago, the Curvin sisters, Tracy and Dana, approached family friend Edgar Loudermilk about hosting a festival as a memorial to their deceased father, Paul Curvin. Paul who was well known in Alabama music circles as a fingerstyle guitarist, had also recorded on one of Loudermilk’s projects a few years earlier. This past weekend, Edgar and the Curvin sisters wrapped up their 3rd annual Talladega Bluegrass & Fingerstyle Guitar Festival.

It’s said that the “third time’s the charm,” and this one hit all the marks. Record-breaking sponsor donations, stellar talent, and perfect weather. The icing on the cake this year was the return to the stage of Russell Moore & IIIrd Tyme Out. If that wasn’t enough, Russell invited former IIIrd Tyme Out bandmates Justen Haynes (fiddle) and Edgar Loudermilk (bass) to join them for a guest appearance at Talladega.

The Talladega Bluegrass & Fingerstyle Guitar Festival was also proud to include acclaimed fingerstyle guitarist Jonathan Brown. Brown has been recognized for his musicianship on the television show, Nashville. Brown entertained the crowd with what the Curvin sisters call “all of Daddy’s favorite songs.” Jonathan has definitely found a following with the Curvin family, whose love of fingerstyle guitar playing runs deep in Alabama.

Also wowing the crowd this weekend, were fan favorites Shannon Slaughter, Fast Track, Backline, Caroline Owens & New Co., Edgar Loudermilk Band, Bent Creek, Alan Wilson, Beyond Blessed, and Chandler Ayers.

Edgar and the Curvin sisters are busy making plans for next year’s event. Stay tuned!

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Lonesome River Band at the 2025 Bluegrass Island Festival – photo © David Kuehner

Many thanks to photographer David Kuehner for sharing these images he captured at the recent Bluegrass Island Music Festival, held October 16-18 on North Carolina’s Outer Banks.

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Jason Carter at the 2025 Raleigh Wide Open Music Festival – photo © Todd Gunsher

This story on the continuation of the free weekend bluegrass festival in Raleigh, NC after IBMA moved to Chattanooga is a contribution from Greg Behr.

For more than a decade now, bluegrass has been part of the rhythm of Raleigh. It hums through downtown streets each fall, drawing people with banjos, fiddles, and voices that feel older than the city itself. When the International Bluegrass Music Association ended its long partnership with Raleigh, there was a moment of silence that felt heavier than most pauses. It was not just a festival that disappeared. It was a sense of place and belonging that had been tuned into the heart of the city.

That is why it mattered so much that Raleigh Wide Open returned this year October 3-4, and that PineCone, along with a handful of passionate partners, made sure it did. The festival became a renewal of something more than music. It became a renewal of connection.

The people who gather for bluegrass in Raleigh are a mix of long-time fans, curious newcomers, and families who simply want to be part of something that feels real. I have come to think of them as what I call Adopted Audiences. They are the ones who may not have grown up with a mandolin or a fiddle on the porch, but they find themselves drawn to it all the same. They adopt the tradition because it welcomes them in. That is one of bluegrass’s greatest powers. It is both deeply rooted and endlessly generous.

Each fall, when the stages rise and the sound checks begin, the event transforms Fayetteville Street into a living classroom and front porch combined. The crowd learns what it means to keep a tradition alive by sharing it. The players show that bluegrass is not something that lives behind glass but something that breathes and evolves.

In my work on events like Raleigh Wide Open, I often think about what I call Groundwork Gatherings. These are moments when people come together not only to be entertained but to strengthen the soil beneath their community. They are the kinds of gatherings that make a place feel more grounded and more connected. A bluegrass festival does that in a way few events can. It teaches collaboration, humility, and joy. It gives a city a way to sing its own song while honoring those who came before.

This year, that feeling could be found in every corner of the festival grounds. On one stage, young pickers played alongside veterans who had spent decades on the road. In another space, gospel harmonies lifted over the downtown skyline. Families sat on blankets, children danced in the street, and strangers struck up conversations that might last beyond the weekend. That is what bluegrass does. It narrows the distance between people.

Raleigh has grown quickly, sometimes faster than its sense of identity can keep up. Skyscrapers rise where warehouses once stood. New residents arrive daily, bringing energy but also uncertainty about what kind of city they have chosen. Events like Raleigh Wide Open offer a compass. They remind us that a city is not defined only by its skyline but by its shared songs.

The continuation of this festival ensures that the tradition of bluegrass in Raleigh is not just preserved but lived. It proves that cultural heritage is not something static. It is something tended to like a garden, something that thrives when people show up, listen, and care.

When the last band finishes and the lights dim, what lingers is not only the music but the memory of togetherness. It is the reminder that the city’s story is still being written and that bluegrass remains one of its clearest voices. Raleigh Wide Open is more than a festival. It is a statement of gratitude and a promise to keep the strings alive.

Greg Behr has supported Raleigh’s festivals on business affairs for two decades, serving as the longest continuously involved team member through every version of the Raleigh Wide Open concept. From Eddie Money to Bomba Estéreo, to NHL All-Star Weekend, and Steve Martin and bluegrass greats, he has witnessed the event evolve and return, always carrying the same spirit of community and connection.

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Group photo from the 2025 Roberto Dalla Vecchia Bluegrass Camp in Italy

This report on the 2025 Roberto Dalla Vecchia Bluegrass Camp is a contribution from John Williams, a recently-retired Doctor of Clinical Chemistry, and former pathology manager at Sligo University Hospital in Ireland. He discovered Roberto online and attended his camp in Italy this summer. John is spending his retirement doing what he loves best, playing bluegrass music.

Each year, guitarist, composer, and teacher Roberto Dalla Vecchia hosts a unique bluegrass camp in the beautiful Dolomite mountains of northern Italy. Players from all over Europe and beyond gather in the village of Falcade for a week of music, friendship, and learning. The format combines small classes, concerts, song circles, and plenty of jamming, all set against one of the most stunning backdrops imaginable.

Late August, Sally and I travelled from Ireland to the mountain town of Falcade for what was my fourth time attending Roberto Dalla Vecchia’s Bluegrass Camp. Sally does not play an instrument, but has always been very encouraging for me to follow my passion, and she has started to learn Italian.  Our journey took us through Dublin, Venice, and Treviso, and before long, Roberto himself met us at the bus stop in Falcade, just before lunch. His warm welcome set the tone for what would prove to be another unforgettable week.

From the moment we arrived, we were surrounded by old friends and some new faces. Among them were Steve and Donna Kaufman, whose presence immediately made the camp feel both welcoming and inspiring. Steve’s reputation as a master flatpicker is well known, but it was his approachable and relaxed manner that stood out, putting everyone at ease.

The participants were divided into two groups: Wildwood and Flower. The Flowers were slightly more advanced, though both groups benefited from the same careful planning and attention to detail. Roberto outlined the schedule after lunch on the first day: classes began each morning at 9:30 a.m. and continued until late afternoon, finishing with a slow jam from 5:30 to 6:30 p.m.

Instruction was both structured and creative, blending practical drills with musical exploration and expression. We covered elements of music theory, developed both left- and right-hand techniques, and worked on etudes and new tunes. The small group format allowed plenty of personal feedback and hands-on guidance from both Roberto and Steve, a real gift for any aspiring bluegrass player.  I have, for years, enjoyed Roberto’s teaching methods, and Steve’s modus operandi fits perfectly with this.  

The evenings had their own rhythm, bringing their own highlights. On Wednesday night, after dinner, we gathered for a song circle, an informal but deeply rewarding opportunity to share songs, take breaks when invited, and build confidence in a supportive setting. Personally, I found this one of the most enjoyable aspects of the week, as it allowed for a natural exchange of music among peers, with no pressure or embarrassment when you mess up, and we all can make a mess of pieces we know well when asked to perform.  

Thursday evening featured a concert by Roberto and Steve, a true masterclass in how bluegrass music can and should be played. Their energy, precision, and joy in performing were infectious, and left me even more determined to take my playing up a notch.

Friday and Saturday nights offered open mic sessions, always a camp favorite. While I enjoyed these, the song circles remain my personal preference, since they allow more frequent opportunities to practice and polish skills in real time. Let me not forget the raffle on Friday night: Each year, Roberto picks a charity, and the proceeds from the raffle go there. This year, the charity was the Napenda Kuishi Rehabilitation Programme in Kenya. I have won strings, etc., in the past, but this year I won a Blue Chip pick. Delighted with myself!

Saturday afternoon was set aside for relaxation. Some participants joined a guided walk in the surrounding mountains, but Sally and I chose to explore the village instead, where we enjoyed local hospitality and managed to avoid the afternoon downpours.

Beyond the formal schedule, the real treasure of the camp lies in its sense of community. Reconnecting with old friends who share the same love of bluegrass, and making new ones, is always a highlight. An impromptu chance to play alongside Steve Kaufman was, for me, another unforgettable moment. And Roberto, who visited Ireland earlier this year with his wife (Marina) and friends, has become someone I am glad to now call a good friend.

The setting could not be more inspiring. The hotel Arnica, perched on a hillside in the breathtaking Dolomite mountains, offered not only spectacular views but also exceptional hospitality. The staff were warm and attentive, and the food was consistently excellent, a showcase of Italian cuisine with a fresh variation each day.

A Lasting Impression: When I reflect on the week, the standout memories are many: the friendships, the small-group learning, the encouragement from two world-class musicians, and the sheer joy of playing music in such a beautiful environment. Each year, the camp renews my enthusiasm for bluegrass and leaves me eager to keep practising, improving, and sharing this music with others.

On the way home, Sally and I visited Verona, where we thoroughly enjoyed the opera Carmen in the magnificent Roman arena.  Verona was celebrating its annual opera festival.  

All in all, the 2025 Roberto Dalla Vecchia Bluegrass Camp was an excellent experience — one I can wholeheartedly recommend to anyone with a passion for bluegrass and a desire to grow both musically and personally.

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Andy Falco with The Infamous Dtringdusters – photo © J. Mimna

This interview with Andy Falco of The Infamous Stringdusters is a contribution from Corey Johnson-Erday, who will be photographing them and others at the Hulaween festival at the end of this month in Florida.

Hulaween has been known as a playground for music within the jamband, electronic, and other boundary pushing genres. Luckily for their 12th year, the Hula team has booked two powerhouse bluegrass acts; Molly Tuttle, and The Infamous Stringdusters supported by Sierra Hull. I was able to catch up with Andy Falco, the guitarist of The Infamous Stringdusters, and ask about their upcoming performance at Hulaween, as well as speak on their 20th anniversary album release, 20/20.

The album challenged the group in its own unique way; the goal from the beginning was to create 20 tracks for 20 years of being together as a band. They weren’t sure if they could do it at first, but they pursued the idea. Due to this big goal, the group decided not to create a deadline for the album, which really gave them time to pick and choose the best tracks to include from the 40-50 potential tracks they culled down from.

“We wanted to slow down, take our time with the writing, and get the best songs possible,” Falco said. “It’s been quite a journey over the last 20 years, and I’m proud we made it to 20 tracks for 20 years. I hope people enjoy listening to it as much as we enjoyed making it.”

The album is set to release January 23, 2026, and many in the Jamily are beyond excited to give it a listen. 

Attendees at Hulaween will surely be listening with a keen ear for new songs, and better yet, the songs will be supported by mandolinist Sierra Hull. Andy’s eyes lit up when asked about playing with her.

“She’s one of the greatest people you’ll ever meet. She’s just such a wonderful human being, a joy to be around, and a joy to play music with.” Every time that they get the opportunity to play with her, it’s a no-brainer, and to bring all of that chemistry to the Spirit Lake stage will only amplify the magic. “It’s going to be special with Sierra. We’re looking forward to having a great time; bring your dancing shoes.”

Hulaween will take place at Spirit of the Suwannee Music Park in Live Oak, FL October 30 through November 2. For bluegrass fans, The Stringdusters and Sierra will be on Spirit Lake stage at 7:00 p.m. on Thursday, and Molly Tuttle will be on The Meadow (Main stage) at 2:00 p.m. on Sunday.

Pre-orders for 20/20 are enabled now online.

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