When you think of the violin, or in country and roots music circles its kissing cousin the fiddle, what comes to mind? The Suzuki method, or Antonio Vivaldi perhaps? Maybe a song like “Ashokan Farewell” or “The Devil Went Down To Georgia”? But have you heard of Stuff Smith, Regina Carter, Papa John Creach, or Stéphane Grappelli? Charlotte artist Emanuel Wynter certainly has, and having grown up learning the Suzuki method, he would go on to take inspiration from violinists in a variety of genres to interpret his own love for blues, rock, soul and jazz. The result is a fresh take on the instrument in an electric and eclectic setting that also showcases his band’s lock-tight grooves and his own clear and confident vocals. I spoke with Emanuel Wynter in his hometown of Charlotte about how he plays violin in a variety of music settings, from his own style over to session work and a praise band, and how his early love of blues and rock music translates to the instrument, which is far more versatile and expressive than you might expect. We touch on the three boxes that he needs to check before taking on a gig, and what he wants to get across with his lyrics as well. From vintage tube amps, double stops and a love for astronomy, architecture, and spontaneity, our conversation covers a lot of ground, and along the way, we feature a number of songs from Emanuel Wynter’s live album From Orbit. Emanuel Wynter performs in Elkin, NC on October 11, 2025 (photo: Daniel Coston) Songs heard in this episode: “From Orbit” by Emanuel Wynter, from From Orbit“Stranger” by Emanuel Wynter, from From Orbit, excerpt“Barefoot Fiddler” by Johnny Gimble, from The Texas Fiddle Collection, excerpt“Bonaparte’s Retreat” by Fidllin’ Arthur Smith & His Dixieliners, from Fidllin’ Arthur Smith & His Dixieliners, excerpt“Pastel Skies” by Emanuel Wynter, from From OrbitThank you for stopping by, and we hope you can spread the word about this series and help us reach more music fans just like yourself. Please take a moment and give us a top rating on your podcast platform of choice, and where you can, a review. Doing either, and especially both, boosts the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. Thanks to Charlotte photographer, writer and music producer Daniel Coston for letting me use his photo of Emanuel Wynter from his band’s set in Elkin, NC at the Milltown Get Down in fall 2025. Daniel also shot the cover for the album From Orbit. This is Southern Songs and Stories, where our quest is to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

Many times the way and artist finds their way onto this podcast is from their publicist or someone else on their team reaching out to me, or vice versa. Sometimes I might bump into an artist at a show or festival and hit them up for an impromptu interview then and there, but that is rare. Rarer still is the scenario where I came in contact with western Kentucky artist Kelsey Waldon, which was through writer and editor Garret Woodward, who acted as go-between to ask about an interview. Kelsey was on tour in our region and hoped to get some coverage for the WNCW audience, and I immediately jumped on the opportunity. After speaking her on a video call from her hotel room in Chattanooga TN, I took the first part of her interview and aired that on my show on radio; the bulk of that conversation comes to light here in this episode. Kelsey Waldon (photo: ©Alysse Gafkjen 2025) There is a deep well of emotion and a complex tapestry of experience that Kelsey Waldon draws from in her singular style of country music. Rooted firmly in her native western Kentucky, she calls the Nashville area home now, and in our conversation we talk about how her rural upbringing in an unusual setting shaped her, her longtime friendship with fellow Kentuckian S.G. Goodman, her often overlooked college degree in songwriting, and we go into detail about some of her latest songs, sampling many from her latest album Every Ghost. Songs heard in this episode:“Ghost Of Myself” by Kesley Waldon, from Every Ghost“Ramblin’ Woman” by Kelsey Waldon, from Every Ghost, excerpt“Nursery Rhyme” by Kelsey Waldon, from Every Ghost, excerpt“A Robin Built A Nest On Daddy’s Grave” by Ralph Stanley, from While the Ages Roll On, excerpt“Hello Stranger” by Kelsey Waldon featuring S.G. Goodman, from There’s Always A Song, excerpt“Comanche” by Kelsey Waldon, from Every GhostThank you for stopping by, and we hope you can spread the word about this series and help us reach more music fans just like yourself. Please take a moment and give us a top rating on your podcast platform of choice, and where you can, a review. Doing either, and especially both, boosts the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. This is Southern Songs and Stories, where our quest is to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

Did you know that almost three thousand years ago, before there were athletic competitions at the first Olympics, there were music competitions at Delphi in Greece, with contestants singing hymns to Apollo? Or that, in the late 19th century in America, John Philip Sousa protégé Bohumir Kryl's Bohemian Band was frequently seen on the Chautauqua circuit, and featured four husky timpanists in leather aprons hammering on anvils shooting sparks across the darkened stage? These early festivals set the stage for music festivals today, which are doing quite well overall, having recovered from the COVID-19 pandemic, and surpassing the level of success before the worldwide shutdown on the whole. In this episode, we trace the origins of music festivals like the Pythian Games to modern day festivals like the Monterey International Pop Music Festival, where Jimi Hendrix famously lit his guitar on fire, and small roots music festivals like the Albino Skunk Music Festival. We welcome music artists Shelby Means, Joel Timmons, Liam Purcell, Mac Leaphart and Ian George, as well as Albino Skunk staffers Peter Eisenbrown, Kristen Grissom and Thieme Hall, who give us their insights into festival culture, their best and worst moments on stage and at festivals, as well as the first music festivals they attended. Site of the Pythian Games in Greece (photo: greeka.com) Cover art for The Jimi Hendrix Experience Live at Monterey Songs heard in this episode:“Wild Thing” by The Jimi Hendrix Experience, from Live at Monterey“Calamity Jane” by Shelby Means Trio, performed live at the Albino Skunk Music Festival 10/03/25“Soldier’s Heart” by Liam Purcell & Cane Mill Road, performed live at The Albino Skunk Music Festival 10/03/25, excerptPeter Eisenbrown introduction of Fellow Pynins into Fellow Pynins performance at The Albino Skunk Music Festival, 10/03/25, excerptThank you for listening, and we hope you can spread awareness of this endeavor and help us reach more music fans just like yourself. Please take a moment and give us a top rating on your podcast platform of choice, and where you can, a review. It makes a big impact on the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. This is Southern Songs and Stories, where our quest is to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

It is interesting to compare and contrast the genres of rock and roll with old time and string band music. In some ways, string bands can be more raw and intense than rock bands. No bridges. Odd tunings. Dancing to exhaustion. Music made for intimate social gatherings versus music made for the wide world. The stereotypes of old time musicians being country bumpkins have not been entirely erased, however our guests in this episode are making music that reveals how deep and refreshing that wellspring of what was the first original music export of America can be in a new context. Taking the intricacy and edge of old time, string band music and marrying that with the punch and strut of indie rock, we arrive at a hybrid, a musical animal that sings a song seldom heard in the roots music world. As Justin Osborne pointed out, “It's just been so fun and really educational for me too, because I think coming from the indie rock world, I underestimated what it was going to require of me to be able to hang. And I just, it's one of those things you don't realize how much you don't know. But it's been really enjoyable lessons in humility for me and really fun to learn, and to continue to realize how much I don't know.” Justin, of the Austin-based indie rock band SUSTO may never sound the same again after teaming up with Appalachian acoustic troubadours Clint Robinson and Jackson Grimm of Holler Choir, and they are soon to return with Volume 2 from their project SUSTO Stringband. In this episode, we get to hear from Justin, Jackson and Clint about their rock and string band amalgamation, the importance of strong songwriting, the joys of live performance, the advantages of playing festival shows and more, with music from both SUSTO Stringband and Holler Choir along the way. SUSTO Stringband Songs heard in this episode:“Rooster” by SUSTO Stringband, from SUSTO Stringband Volume 1“Friends, Lovers, Ex-lovers: Whatever” by SUSTO Stringband, performed live at The Albino Skunk Music Festival 10/02/25, excerpt“Tell My Blues” by SUSTO Stringband, performed live at The Albino Skunk Music Festival 10/02/25, excerpt“Hamlet Blues” by Holler Choir, performed live at The Albino Skunk Music Festival 10/02/25Thank you for listening, and we hope you can spread awareness of this endeavor and help us reach more music fans just like yourself. Please take a moment and give us a top rating on your podcast platform of choice, and where you can, a review. It makes a big impact on the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. This is Southern Songs and Stories, where our quest is to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

Chalk this one up to making myself do something when I was not sure I had it in me. Have you accomplished something even though you were not feeling it that day? I bet you have. And I bet that you, too, benefited from having willed yourself into action. This episode is one of those examples for me. After a full day of interviewing artists and staff at the fall 2025 Albino Skunk Music Festival, I was ready for bed, but I gathered up just enough resolve to wait past midnight to interview The Ruen Brothers. It was the first interview I have conducted that late — the time stamp on the audio file of our conversation reads 1:37AM — but it was well worth it. I hope you agree upon hearing this episode. The Ruen Brothers perform at The Albino Skunk Music Festival 11/03/25Photo: Flash Thompson Songs heard in this episode:“Cabin on the Hill” by The Ruen Brothers, performed live at The Albino Skunk Music Festival 10/03/25“Desert Showers” by The Ruen Brothers, from Awooo, excerpt“Bonfire” by The Ruen Brothers, from Awooo, excerpt“Unknown” by The Ruen Brothers, performed live at The Albino Skunk Music Festival 10/03/25, excerpt“Secret Agent Man” by The Ruen Brothers, performed live at The Albino Skunk Music Festival 10/03/25Thank you for listening, and we hope you can spread awareness of this endeavor and help us grow. Please take a moment and give us a top rating on your podcast platform of choice, and where you can, a review. It makes a big impact on the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. This is Southern Songs and Stories, where our quest is to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick