music

The 2022 return of the Beech Mountain Summer Concert Series comes after a pandemic-altered program in 2021. Last year, the resort staged pod concerts from Tedeschi Trucks, Umphrey’s McGee and Greensky Bluegrass. With COVID cases continuing to decline, organizers will revert to the traditional general admission format for this coming summer.

About Shakey Graves w. Bendigo Fletcher

The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 – the three years before Roll The Bones came out and changed his life.

There are stencils, lyrics, drawings, prototypes for concert posters, and even a zine. The latter, which Graves – aka Alejandro Rose-Garcia – wrote and illustrated, tells the tale of a once-courageous, now retired mouse who must journey to the moon to save his sweetheart. At the time, he envisioned the photocopied storybook as a potential vessel for releasing his music.

In this lode of unreleased ephemera, CD-Rs are the most bountiful element. There are dozens of burned discs with widely varying track lists, loosely resembling what would become the Austin native’s 2011 breakout debut Roll the Bones. For Rose-Garcia, who’s long loved the incongruous art form of sequencing strange mixtapes for friends, his own record was subject to change every time he burned a disc for somebody. Consistency didn’t matter, he asserts, because there was no demand or expectations.

In the shadows self-doubt that surrounds any artist’s first record, Rose-Garcia had a fantasy: he releases Roll the Bones, only 10 people hear it, it’s rediscovered a decade later by Numero Group, hailed as before-its-time, and finds an audience as a lost treasure. He still plays that scenario through his mind like an alternative reality.

Of course, that’s far from what actually materialized. Roll the Bones was released on the first day of 2011 without a lick of promotion advancing it. It was simply thrust into the world as a decapod of perplexingly memorable, narrative-wrapped songs with a mysterious cover and no information about the artist… only available on the relatively new platform of Bandcamp.

That year, an editor at Bandcamp made it a featured album for a month and from there it stayed in the website’s top selling folk albums evermore. The record has since seen well over 100,000 units sold – even while being available for free download. In the “Supported By” section of the Roll the Bones Bandcamp page, you can endlessly click “more” and squares of avatars will keep showing up until you grow tired and stop.

“If you discover something for yourself, it will always hold more water because it’s tied to memory and coincidence,” Rose-Garcia reasons as to why he never pushed Roll the Bones onto a wider marketplace. “It gives you a sense of ownership as a listener.”

On “Sugar in the Creek”—the groove-heavy opening track to Fits of Laughter—Bendigo Fletcher simultaneously explore those inner and outward tensions, presenting a sweetly rambling dream of escape from the chaos of the modern world. “That song partly has to do with my fantasy of living off the land and how magical that would be,” says Anderson. “I’m from the suburbs, and over the years I’ve made friends who have family farms and I’m really drawn to that way of life, even though I know it’s not all flowers.” One of the album’s most fantastically unhinged moments, “Evergreen” cycles through a series of spellbinding tonal schisms, cresting at a chorus lyric that speaks to the urgency of self-preservation (“I do believe I’m coming around again/When I don’t think of anybody other than myself”). “I wrote ‘Evergreen’ in the early stages of admitting to myself that medical school was a path that looked way more obscured than working to make records,” says Anderson. “I was also getting into self-care methods for the first time in my life, and realizing that you have to take time for yourself in order to be the best and truest version of yourself for everyone else—so in a way, that’s a form of service.” And on “Astro Pup,” Bendigo Fletcher deliver an epic heartbreak anthem spiked with heavenly harmonies and radiant banjo melodies, its lyrics illuminating the ingenuity of Anderson’s self-effacing wit (“I am dog hair all over your bed/I live in the house of the misbehaved”).

As Bendigo Fletcher’s first time working with an outside producer, Fits of Laughter draws much of its freewheeling energy from the deliberately unfussy nature of their recording sessions. “Going into working with Ken, we felt confident that we wanted to retain the jangly sweetness of the music we’ve made in the past,” says Anderson, who created Bendigo Fletcher’s 2015 debut EP Consensual Wisdom on his own and later filled out the band’s lineup in a process he describes as “a gradual adding of members who are all natural friends.” “There’s loose ends and missed beats that we didn’t intend to make happen, but those moments always feel really special when they’re resolved—it sounds like a band actually playing together,” he adds.

In expounding on the observational quality of his songwriting, Anderson points to some invaluable insight gleaned from Dr. Tim Lake, a renowned musician and composer with whom he studied banjo back in college.

“Tim’s a great symbol of Kentucky to me—someone who tells it like is, but is also a very true-hearted and generous person,” says Anderson. “He really drove home the idea that in order to be a thoughtful musician and songwriter, especially if you want to play folk music, you have to be a student of history and the world around you.” Naming John Prine among his formative influences, Anderson has since fully devoted himself to that approach. “Songs seem to spark from those moments of responding to the mundane and sometimes bewildering aspect of the human experience,” he says. “In the past few years I’ve taken to manual-labor jobs so that I can do that while I’m stacking apples or whatever else. If a lyric ever comes into my head and makes me laugh or makes me tear up, I know I need to build it into something that’s going to be fun to sing over and over again.”

Through the lifespan of Bendigo Fletcher, Anderson has found that those spontaneously composed lyrics tend to resonate most powerfully with the audience. And in sharing “Fits of Laughter” with the world, the band hopes to guide listeners toward a deeper trust in their own intuition and instinct.

“There’s always going to be other people’s opinions and judgments and ideas on how to live, and more often than not, those ideas come from a place of love” says Anderson. “But ultimately every person knows what truth feels like, as opposed to artifice or putting up walls to get through something you feel you’re expected to do. I suppose these songs are sort of my offering to others, to encourage them to look for that feeling in their own lives, and then follow through on it.”

About The Head And The Heart w/ Illiterate Light

Initially self-released in 2011, The Head And The Heart’s self-titled breakout debut produced instant classics including “Rivers and Roads,” “Down In The Valley” and “Lost In My Mind” (#1 at AAA) and is now Certified Gold. Their next two albums, 2013’s Let’s Be Still and 2016’s Signs of Light, settled into Billboard’s Top 10 albums chart, with Signs of Light securing the #1 position on Rock Album Charts.

“Honeybee” became a fan favorite and breakout track from the band’s fourth full-length album, Living Mirage, released on Warner Records/Reprise Records to critical praise in 2019. The track has seen 100 million streams globally with weekly streams more than 1 million in the U.S.

The band’s high energy live show has sold out six previous Red Rocks and established their status as a touring powerhouse, having landed prime time mainstage slots at Coachella, Lollapalooza and Austin City Limits.

They have appeared in Cameron Crowe’s Roadies, with music featured in countless other commercials, films and TV, among them Corona, Silver Linings Playbook and more. In total, the band has performed 15 times on national television including appearances on Ellen, The Tonight Show Starring Jimmy Fallon, The Late Show With Stephen Colbert, Austin City Limits with more to come in the coming months.

Illiterate Light has been stretching boundaries and upending expectations with a captivating blend of soaring indie rock, swirling psychedelia, and atmospheric folk that calls to mind everything from Neil Young and My Morning Jacket to Fleet Foxes and Band of Horses. Recorded with producers Adrian Olsen (Foxygen, Natalie Prass) and Vance Powell (Jack White, Kings Of Leon, Chris Stapleton), the record is blissful and ecstatic, with a mix of raw electric guitars, propulsive drums, and shimmering harmonies that showcases the band’s remarkable live setup—Gorman plays guitar with his hands and synth bass with his feet, while his musical partner, Jake Cochran, plays a standup drum kit, which captures the scintillating energy that’s fueled their journey.

Gorman and Cochran first met while attending college in Harrisonburg, Va., where they discovered a shared passion for sustainable living and community building. After graduation, they took over a local organic farm, spending their days tending crops and working farmer’s markets and their nights performing anywhere they could land (or make) a gig. Dubbing themselves the Petrol Free Jubilee Carnival Tour, the pair would often tour the region on their bikes, sometimes joined by as many as two dozen other cyclists and artists, performing at coffee houses, street corners, rock clubs, and off-the-grid communities. Hailed as “a perfect addition to your summertime playlist” by NPR, the band honed in on their distinctive sound and identity over years of relentless touring, earning dates along the way with the likes of Shakey Graves, Rayland Baxter, Mt. Joy, Rainbow Kitten Surprise, and The Head and The Heart in addition to high-profile festival slots at Bonnaroo, Lollapalooza, Newport Folk, and more.

About Watchhouse w/ Steeldrivers

By the time 2019 came to its fitful end, Andrew Marlin knew he was tired of touring. He was grateful, of course, for the ascendancy of Mandolin Orange, the duo he’d cofounded in North Carolina with fiddler Emily Frantz exactly a decade earlier. With time, they had become new flag bearers of the contemporary folk world, sweetly singing soft songs about the hardest parts of our lives, both as people and as a people. Their rise—particularly crowds that grew first to fill small dives, then the Ryman, then amphitheaters the size of Red Rocks—humbled Emily and Andrew, who became parents to Ruby late in 2018. They’d made a life of this.

Still, every night, Andrew especially was paid to relive a lifetime of grievances and griefs onstage. After 2019’s Tides of a Teardrop, a tender accounting of his mother’s early death, the process became evermore arduous, even exhausting. What’s more, those tunes—and the band’s entire catalog, really—conflicted with the name Mandolin Orange, an early-20s holdover that never quite comported with the music they made. Nightly soundchecks, at least, provided temporary relief, as the band worked through a batch of guarded but hopeful songs written just after Ruby’s birth. They offered a new way to think about an established act.

Those tunes are now Watchhouse, which would have been Mandolin Orange’s sixth album but is instead their first also under the name Watchhouse, a moniker inspired by Marlin’s place of childhood solace. The name, like the new record itself, represents their reinvention as a band at the regenerative edges of subtly experimental folk-rock. Challenging as they are charming, and an inspired search for personal and political goodness, these nine songs offer welcome lessons about what any of us might become when the night begins to break.

“We’re different people than when we started this band,” Marlin says, reflecting on all these shifts. “We’re setting new intentions, taking control of this thing again.”

Nashville, Tenn., is a nexus – a point where tradition and innovation intersect, where commerce collides with art.It may be the only town around where salaried songwriters and full-time session musicians are as common as accountants and schoolteachers. Music is the product, and the factories line the street, from the swank Music Row mini-high-rises to the low-slung Sylvan Park bungalows. And only Nashville could give birth to a band like the SteelDrivers: a group of seasoned veterans –each distinguished in his or her own right, each valued in the town’s commercial community – who are seizing an opportunity to follow their hearts to their souls’ reward. In doing so, they are braiding their bluegrass roots with new threads of their own design, bringing together country, soul, and other contemporary influences to create an unapologetic hybrid that is old as the hills but fresh as the morning dew. This is new music with the old feeling. SteelDrivers fan Vince Gill describes the band’s fusion as simply “an incredible combination.”

Since the release of The SteelDrivers (2008) and Reckless (2010), The SteelDrivers have been nominated for three Grammys, four IBMA awards and the Americana Music Association’s New Artist of the Year. They were presented the International Bluegrass Music Association’s award for Emerging Artist of the Year in 2009. That same year the band spent a week in Georgia as part of the cast in the movie “Get Low”. The movie, that starred Robert Duvall, Sissy Spacek and Bill Murray, featured a soundtrack that included four tunes by The ‘Drivers. In 2011 the English pop star Adele began performing the SteelDriver song “If It Hadn’t Been For Love” in her live performances. Her opinion of The SteelDrivers is: “They’re a blues, country, bluegrass, swagger band and they are brilliant.” They have been invited to perform on numerous radio and TV shows ranging from The Grand Ole Opry to NPR’s Mountain Stage to the Conan O’Brien show.

Located in the High Country, Beech Mountain Resort is one of the premier outdoor destinations of the Blue Ridge Mountains. In the summertime, the resort offers numerous outdoor pursuits including mountain biking, fishing, scenic lift rides, disc golf, and more.