“Sid Kingsley is a modest man. He doesn’t think of himself as any more than simply a journeyman musician. After a few false starts, he came to the realization that making music was all he ever wanted to do, and while he doesn’t trumpet his skill and ability, it’s obvious at the outset that the man is easily one of the most talented artists making his bow in recent memory. He’s content to write and record his songs. But the profound talent at work here is evident upon hearing the opening title track of Good Way Home — talent that boasts a wellspring of honesty and conviction, fresh and formative with a wisdom and authenticity that’s as old as the ages.
That can clearly be heard in the songs — the driving and dynamic “Lady in the Wall,” the instantly affecting “These Are the Reasons,” the reflective and resonating take on American traditional “Moonshiner,” and the surprisingly sprightly “Rat on a Wheel,” among many. Kingsley clearly has a gift, one that binds melody, a message and a purpose for being. If we were seeking an heir apparent to Townes Van Zandt, Van Morrison and John Prine, Kingsley would be on the short list. Little wonder that a raging version of Prine’s “Sam Stone” and a surprisingly funky take on the timeless traditional classic “Wild Mountain Thyme” are also in his set list.
If all this sounds like the usual hyperbole accorded many newcomers, then all it takes is a listen to the aforementioned Good Way Home to demonstrate otherwise. And Kingsley’s background suggests he’s not prone to exaggerating. Raised in the tiny town (pop. 111) of Branchville, Virginia on the North Carolina border, he spent his younger years immersed in the historical environs of the Old South, in the land of cotton growers, peanut farmers, and indigenous American Indians — and the place that birthed Nat Turner’s slave insurrection in 1831. Kingsley’s father took him to visit those houses where the violence took place when he was a kid.
“One house in particular still has blood stains on the floor,” Kingsley recalled. “There are plenty of ghosts stories still being shared there.”
Kingsley grew up surrounded with music, watching his grandmother play piano and organ, or listening to his father play drums. Kingsley loved it all — classical, jazz, r&b, pop and country — but especially jazz. Drawn to the Glenn Miller Orchestra, he was inspired to pick up saxophone, and by the time he was in fifth grade it had become so much of an obsession, he began begging his parents to buy him one.
“The town I grew up in had very few people and even less children, so I really had no one to hang out with most of my childhood. My friends were the musicians that played on the records in my father’s collection. He would bring me a new jazz record nearly every day. I discovered artists like Joshua Redman and fell in the love with the sound.”
Despite being a soloist in his high school jazz band, he was still shy about his playing: “It was my little secret, something I knew about myself that most others didn’t.” He was a serious jazz snob, and intensely insecure about his own growing talent. Despite incessant practice that left his lips bleeding, he avoided auditions and shied from the spotlight.
After high school, Kingsley decided to join the Coast Guard, following the same military path as many members of his family. Even there, his love for music didn’t fade from view: one commanding officer insisted he share his talents with his fellow recruits. “I wasn’t in a position to say no, being that I was in boot camp and all,” he says.
Shortly thereafter, the same CO arranged for him to represent his unit performing “The Star Spangled Banner” at the nearby Cape May Jazz Festival. When jazz great Jimmy Heath heard him playing backstage, he was stunned, and quickly assured him that he had what it took to succeed as a musician.
College came next, but after starting in one school and transferring to another, he came to realize that an educational experience wasn’t for him. “I enrolled in a music program, but decided I didn’t want to do it,” he admits. “Music school took away all the joy from music. There were just too many rules.”
He meandered for a few years, during which time his music threatened to become just a hobby. He abandoned the saxophone, and began dabbling in piano. He indulged a sudden desire to hitchhike for months to the west coast. Finally, he moved to Richmond, Virginia and found the stability he was seeking. He began playing in other people’s bands, and realized he had the resolve he lacked for so long. The result is Good Way Home, an album that brings those hard-learned experiences full circle.
“To record this album meant finally getting all of my ideas and songs in a concrete form, and it was amazing having someone believe in what I was singing to want to even lay it down,” Kingsley says. “I hope the people that hear the record can feel the love and care that went into its making. Music for me is a really personal thing, and finally having the courage to share it with other people really means a lot.”
LEE ZIMMERMAN (POPMATTERS, NO DEPRESSION)

Lurking in the Blue Ridge Mountains is an eclectic herd of friends that go by Los Chupacabras. Inspired by the mythical creature, this ensemble of talented players sprung from the misty hollows steeped in mystery and mayhem. One lone chupacabra is to be feared but together, they synchronize a whole new beast of rhythm. If you’re lucky, you may be able to spot them late in the night, holding down a blend of reverb-soaked surf, psychedelic, exotica, and cinematic music.

Quickly blazing a name for themselves with their progressive approach to American folk music, Fireside Collective delights listeners with memorable melodies and contemporary songwriting. Formed in the mountain city of Asheville North Carolina, the band plays original songs on stringed instruments, intended for a modern audience. Following the release of their debut album “Shadows and Dreams”, the band hit the road seeking to engage audiences with their energetic live show built on instrumental proficiency, colorful harmonies, and innovative musical arrangements.

Well what do you call it?

“Bluegrass, Newgrass, perhaps Progressive folk…” These are some descriptions mandolinist and songwriter Jesse Iaquinto chooses to identify with. “Depending on where you come from and your experience with folk music, you may think we’re very traditional, or on the other hand, consider us a progressive act. We appreciate both ends of the spectrum and may lie on a different end on any given night.” While roots music lies at the core of the Collective’s songs, a willingness to explore the boundaries and present relevant new material remains fundamental.

The band burst onto the scene in early 2014 following the release of “Shadows and Dreams.” The album weaves bluegrass, funk, rock, and blues influences into a refreshing representation of modern folk music. From the opening track “Poor Soul” with it’s energetic bluegrass overtones to the closer “Shine the Way Home”, the album takes listeners on a journey through simple love songs to complex themes such as metaphysics and coexistence. The album, recorded in Asheville at Sound Temple Studios, features guest musicians from Asheville’s rich acoustic music scene alongside members of the Fireside Collective.

2017 has been a momentous year for the band as they released their second studio album, “Life Between the Lines.” The album helped garner a nomination for an IBMA momentum award for best band. The band has been touring heavily to support the release of their new album with over 120 shows by the end of the summer. Fireside plans to continue touring throughout 2017 and hopes to release another album in the not so distant future.  If you revel in the sounds of acoustic instrumentation, enjoy the excitement of energetic live performances, and delight in the creation of original songs, then follow the Fireside Collective as they journey on in their musical endeavors.

With their roots submerged in the thick buttery mud of traditional bluegrass, The Lil Smokies have sonically blossomed into a leading player in the progressive acoustic sphere, creating a new and wholly unique, melody driven sound of their own. The quintet, from Missoula, MT, has been hard at work, writing, touring and playing to an ever-growing fan base for the past 6 years. The fruits of their labor recently culminating with wins at the 2016 International Bluegrass Music Association (IBMA) Momentum Award for Best Band and at the 2015 Telluride Bluegrass festival band competition.  In 2013 the band also won The Northwest String Summit Band Competition. With a unique blend of traditional bluegrass, newgrass, innumerable unique originals, sheer raw energy, and exquisite musicianship, The Lil’ Smokies weave seamlessly through genres, leaving behind melodies you’ll be singing to yourself for days and a jaw you’ll have to pick up off the floor.

The Lil Smokies have no problem captivating large audiences. Sharing the stage with heavyweights like Steve Martin and the Steep Canyon Rangers, The Nitty Gritty Dirt Band, Keller Williams, Greensky Bluegrass, The Emmit-Nershi Band, Yonder Mountain String Band, The Travellin’ McCourys, Sam Bush Band, Fruition, Infamous Stringdusters, Bradford Lee Folk and The Bluegrass Playboys, and dozens of others. The Lil’ Smokies have become festival favorites coast to coast with highlights including Delfest (MD), Pagosa Folk N’ Bluegrass (CO), ROMP Fest (KY), Hangtown Halloween (CA), Telluride Bluegrass Festival (CO), The Summer Music Festival at Roseberry (ID), Northwest String Summit (OR), Targhee Bluegrass Festival (WY), River City Roots (MT) and more! This five-piece bluegrass ensemble features Andy Dunnigan (dobro), Scott Parker (upright bass), Matt Cornette (banjo), Jake Simpson (fiddle) and Matt Rieger (guitar).

This band has an ever-changing group of musicians. We have the honor of orchestrating a jam of musicians consisting of old and new friends, made up from a large swath of the musical fabric of the region and beyond. The core group of The Jam are Bradley Carr, lead guitar (Red Weather, Tribe of Clouds) and Timbo Sims, keyboards (Red Weather, Rollin Green, The Buck and Grizz Show), drummers Kris Hodges (FloydFest, Sol Searchers, Los Chupacabras) and Matt Leonard (Relachatian, GroovaScape, GOTE), Scott Sutton on bass (GroovaScape, Dirty Rumors), Jerry Wood on fiddle (Blue Mule) and John McBroom, on guitars and lead vocals from the likes of (Red Weather, Blue Mule and most recently, GOTE). Trying to honor the musical spirit of Jerry Garcia, The Jam looks for the edge and stays there. Jamming is the intent and they are always looking for good spots to let the music play the band, to steal a line from Mr. Garcia. With this line-up, the only possible issue may be finding enough toast for all the Jam!

“This is a band that possesses a soulful magic and heart you don’t find in many young bands. This is real art.” – Danny Harlen Mote, Lucky Trend Music

Twin brothers Eric and Kyle Travers have been making music and stunning audiences since they first began performing together at 13 years old.

In 2012 the twin brothers formed their latest project, Travers Brothership, an Alternative, Soul, and Funk ensemble based out of Asheville, NC.

It is safe to say The Brothership stands out amongst most acts climbing the charts in the U.S. today. Why do they stand out so boldly amongst the others? They care to make each concert a unique and unforgettable experience. Utilizing the band’s unmatched live energy and superior songwriting, they create a live atmosphere that transforms an audience into a community. A Travers Brothership concert is best described as a wild block party, and this is a party you don’t wanna miss.
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Following the success of the “I Don’t Mind EP” the band began touring nationally in 2013 and has since performed 400+ concerts across the United States. The band has shared the stage with many accomplished acts such as: Charles Bradley, Taj Mahal, String Cheese Incident, Blues Traveler, The Marcus King Band, Robert Randolph, Leftover Salmon, Trombone Shorty, Rebirth Brass Band, Dr. John, and many more.
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Over the course of two national tours the band began work with Grammy award winning producer, Juan “Pericles” Covaz, and Grammy nominated engineer, Matt Williams. Following recording sessions at Full Sail University in Winter Park, FL and The Eagle Room in Asheville, NC the band’s first album “A Way To Survive” was complete.

“A Way To Survive” was released in 2016 to critical acclaim and outstanding reviews. The album has won numerous awards including “Best Studio Album of 2016” at Homegrown Music Network, and has received airplay on radio stations throughout the U.S. and beyond.
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Following the success of their first record, the band was voted “Best Alternative Band of 2016” by the readers of Asheville’s Mountain Xpress, confirming the bands status as a staple of the Southeast music scene.
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Travers Brothership is currently touring the U.S. in support of “A Way To Survive” and writing songs for their highly anticipated sophomore release.

“There are hundreds of great bands aiming for the major leagues, but few of them bring such a complete package as Travers Brothership. In this horse race, I’ve found where I’m putting my money.” – Brian Swenk, Homegrown Music Network

South Hill Banks has carved a niche for themselves in the Virginia music scene with their genre-bending jam/progressive bluegrass sound. They formed as a bluegrass power trio with Lance Thomas on Acoustic Guitar, Ryan Horrocks on Banjo, and Eric Horrocks on Mandolin in August 2015.  During their journey, Dan Fiasconaro on Electric Guitar and Matt Eversole on Bass joined the band to create the now 5-piece.

Since the release of their debut album, Riverside Dr. in August 2016, South Hill Banks have taken central Virginia by storm, headlining a multitude of small- and medium-sized venues and working aside national touring groups with a devoted and ever-growing fan base following every step of the way.

The Company Stores have been hard at work over the last four years as a band. Since their start as a full band in May 2013 they have released two albums, have been on the iconic Mountain Stage Radio Show, countless festivals including Deep Roots Mountain Revival, Camp Barefoot, and Blue Plum Festival, and have toured all over the east coast. Their latest album “Little Lights”, released in April 2017, has received countless positive reviews proclaiming it as one of the best regional releases of the year.

Mother Church Pew writes, “Little Lights features the sultry sassitude of frontwoman Casey Litz against a fiery backdrop of musicality that begs for a festival-sized stage and a whole lot of sunshine. It’s punchy, it’s poignant, and it’s perfect.” The album was recorded at Echo Mountain Recording Studio in Asheville, NC with Grammy Award winning record producer Julian Dryer.

From the first track’s, “Strip It Away”,  subtle fade in to the shining epic ending of the final title track “Little Lights”, the album is a roller coaster ride of musical genres, moods, and emotions. Fiddler and trumpeter Joe Cevallos jokingly explains “We used the Forrest Gump method in our music. Our album is like a box of chocolates.” Guitarist and song writer, Matthew Marks, goes on to say “I think I identify certain moods with certain genres. If I’m super confident, then something funky like ‘So Good’ comes out. If I’m feeling sad or angry, then heavy blues rock comes out in songs like ‘Love Me Again’. ”

“Little Lights” is definitely an eclectic piece of art. Songs range from the funky first single “So Good” and dark blues rock feel of “Love Me Again”, to the driving electric folk rock songs of “Fall From Heaven” and “Shenandoah Fall”. The album also boasts the song “Nightingale”, which was inspired by the early 20th century composition “The Lark Ascending” by Ralph Vaughan Williams. The album’s final track, “Little Lights”, based on the suicide of Marks’ lifelong friend, gives a hopeful and inspiring finish to the album. Online music magazine Dope Cause We Said says ” Little Lights is an album that takes the listener on a contemplative, modern American journey.”
The name “The Company Stores” is a throwback to the old coal mines of West Virginia. It refers to system set up by coal companies during the late 19th and early 20th centuries, where they paid the miners in “scrip” or “coal money” that was only good at the “company store”. This form of indentured servitude kept miners and their families in bondage to the coal companies, and was a classic case of the rich and powerful exploiting the poor. This name not only shows the bands heritage, but also the gritty, yet hopeful feel of their music and the meaning behind many of their songs about the struggles of the common man. When talking about the band name, vocalist Casey Litz added, “In a coal town, the Company Store had a little bit of everything. I think that sums the band up pretty well.”