When you find yourself in conversation with JJ Grey, you walk away from the interaction with a kick in your step. This isn’t someone who is blowing smoke. Rather, the beloved singer (of JJ Grey & Mofro) casts a real, honest sense of truth about our world. For someone who grew up in the rough-n-tumble backwoods and urban areas of North Florida, Grey doesn’t carry himself with the darkness and self-doubt one might think he’d feed into.

Hopping out of my truck, the intense sunshine and humidity of rural central Tennessee in early June slapped me right in the face. It was last Wednesday, and there I was, pushing my way through numerous gates and security guards, hundreds of volunteers and tens of thousands of concertgoers, all part of this past weekend’s installment of Bonnaroo — a music and arts festival as iconic as it is chaotic.

The second annual Cold Mountain Music Festival will return June 8-9 to the Lake Logan Conference Center. 

The festival will feature top-notch musical talent. Friday’s schedule will be The Kenny George Band (4:30 p.m.), The Broadcast (5:45 p.m.), Jon Stickley Trio (7 p.m.) and Mandolin Orange (8:45 p.m.). Saturday’s schedule will be The Broadcast (1 p.m.), Dangermuffin (2:15 p.m.), Tyler Ramsey (3:45 p.m.), The Steel Wheels (5 p.m.), River Whyless (7 p.m.) and Shovels & Rope (9 p.m.). The event will raise funds and awareness for Lake Logan and Camp Henry.

Tempers flared at the Franklin Town Council meeting Monday night as board members tried to find a solution to a public bathroom dilemma for its summer Pickin’ on the Square series. 

There’s a reason Shovels & Rope has evolved into one of the “must see” live acts in the music scene over the last decade. Sure, the Charleston, South Carolina, band is comprised of two incredibly talented songwriters and performers (Cary Ann Hearst and Michael Trent). And yes, the energy they radiate onstage is insanely contagious to anyone within earshot. 

When you dig into the music of The Jon Stickley Trio, you find yourself meandering farther down the rabbit hole, with seemingly no end in sight. It’s a whirlwind of tone, bolting across the musical spectrum in a never-ending game of melodic duck-duck-goose.

Hot off the heels of winning the Grammy for “Best Bluegrass Album” this past winter, Rhonda Vincent & The Rage stand atop the genre as a marquee act, one whose determination is deeply rooted in keeping the traditions of the “high, lonesome sound” alive and flourishing. 

At the center of this whirlwind of string instruments is Vincent, an eight-time International Bluegrass Music Association (IBMA) “Female Vocalist of the Year.” The singer/mandolinist remains a vital, vibrant bridge between the originators and pioneers of the music created by Bill Monroe and where we stand today in the modern era — a crossroads of the neo-traditional and progressive bluegrass camps, come hell or high water. 

When two-thirds of your full name encompasses two-thirds of arguably America’s greatest songwriters, it’s pretty apparent you’ll follow suit — in life, and in art. 

Right around the point of the song “Beginnings” when Chicago singer/keyboardist Robert Lamm belted out the lyrics, “Time passes much too quickly/When we're together laughing/I wish I could sing it to you,” I could see and feel the goosebumps rising on my arms. 

It’s one thing to play bluegrass, mountain and old-time music. It’s another thing to dig deep into the rich, intricate heritage and history behind the sounds of Southern Appalachia — tones that have echoed from these high peaks since pioneers and settlers first arrived here centuries ago.