Looking Back At Bear Shadow Music Festival [Recap/Photos/Videos]
Weeks have passed since Bear Shadow Music Festival made its triumphant return to Highlands, NC, but the good vibes remain. After a nearly a year-long hiatus, Bear Shadow Music Festival reemerged on the Highlands/Cashiers Plateau in the mountains of western North Carolina for a family affair fueled by music, community and a higher purpose. Held May 29 – June 1 on the verdant grounds of Ferngrove outside Highlands, the three-day festival hosted a diverse lineup of established and rising stars including Charlie Crockett, The Infamous Stringdusters and Mavis Staples; dynamic New Orleans ambassadors Trombone Shorty & Orleans Avenue, powerhouse singer/songwriter Margo Price, Crescent City bluesman Marc Broussard and more.
A success by any measure, the fifth incarnation of the festival earned accolades for its creative programming which featured a full evening of New Orleans-influenced funk, blues and soul and a day of crowd-pleasing Americana and country music with compelling undercards that matched the energy of the headliners. Up and comers J & The Causeways, Kashus Culpepper and Pony Bradshaw rounded out the lineup on The Main Stage. Regional artists including DJ Tennis Legend, Grateful Dead tribute band Clouds of Delusion, singer/songwriter Darby Wilcox, and dynamic southern Americana artists Vilai Harrington & The Hamptones kept music flowing continuously in between the Main Stage sets performing on the smaller tented Stage4Hope stage where attendees could grab cold brews and other libations. The second stage, named for Bear Shadow’s charitable partners, was a new, winning addition to the festival.
While the main performances fell on Saturday and Sunday, Bear Shadow kicked off on Friday night with Grammy-winning Bluegrass kings The Infamous Stringdusters and rising country star Colton Bowlin for a special and exclusive fundraiser for Stage4Hope. Stage4Hope is an Atlanta-based, non profit focused on filling the gaps cancer patients face including mental health support and logistical challenges associated with accessing care. Founded by cancer survivor and accomplished entrepreneur Stacy Carter, Stage4Hope is building a retreat center at Ferngrove that will host educational seminars and meetings as well as accommodations for cancer patients and their families seeking respite from the stress of treatment and recovery. Carter, who owns the 85-acre Ferngrove property, also calls the mountainous refuge home where she has recently moved into her new house.
Colton Bowlin opened Thursday’s festivities with a solo performance steeped in the authentic, traditional sounds of his native Kentucky. Armed with just an acoustic guitar and tender vocals, Bowlin serenaded the capacity crowd gathered underneath The Stage4Hope tent with songs drawn from his budding catalog chronicling his own experiences, including tunes from his latest highly acclaimed album “Grandpa’s Mill” released earlier this year. A skilled storyteller, Bowlin’s music transports listeners to a simpler, grittier place where the hollers are filled with the sounds of rushing water and the air is heavy with the smell of Appalachia’s wooded hillsides. Attendees who quieted themselves long enough to listen to Bowlin’s heartfelt melodies were rewarded with a young songwriter unabashedly pouring his heart out onstage.
Bowlin primed attendees for the hyperactive vitality of Jamgrass titans, The Infamous Stringdusters who took the stage for a rousing set of their signature blend of indie-folk, country, Americana and bluegrass with just a touch of rock and roll sensibility thrown in just to keep the audience on their toes. Made up of Travis Book (upright bass and vocals), Andy Falco (guitars and vocals), Jeremy Garrett (fiddle and vocals), Andy Hall (dobro and vocals) and Chris Pandolfi (banjo)`tore through a songbook spanning two decades including 2017’s “Sirens” and choice selections such as “The Voyageur,” “Hit the Nail on the Head,” and “Dancing on the Moon” off their latest mammoth 20-track album 20/20 celebrating 20 years together.
It was clear the quintet was in a take-no-prisoners, celebratory kind of mood as they dared the crowd to match their quirky, effervescent energy even pulling out a wild version of “2001: A Space Odyssey.” Garrett and Pandolfi were relentless on fiddle and banjo respectively while Hall presided over the ensemble with his bright, earthy dobro. Falco’s rich guitar along with Book’s thick, pillowy bass laid the foundation for the band’s signature multi-part harmonies prompting wholehearted ovations from the crowd.
Friday’s skies threatened rain but nothing could dampen the spirits of fans who came ready to soak in the sounds of New Orleans along with a legendary R&B singer Mavis Staples. But first Greenville’s DJ Tennis Legend greeted early afternoon arrivals under the Stage4Hope Tent with downtempo, chill electronic beats to ease them into the day.
On the Main Stage, New Orleans soul/rock denizens J & The Causeways set the tone right off the bat opening with a high-octane performance soaked in the sonic renderings of their hometown. Led by magnetic frontman and keyboardist Jordan Anderson, the sextet is also represented by Evan Hall on guitar, Scott Graves on drums, Evan Paydon on bass, Ari Kohn on saxophone and flute and Harry Morter, Jr. on trumpet.
Proving that their music is best served live, the band’s joyous romp though a blend of old-school R&B, funk and rock tunes had onlookers on their feet. From the get go, Anderson’s soaring gravely vocals crowned intricate horn melodies woven into the deep pulsating grooves crafted by the rhythm section for a set that included original songs such as “High Water Symphonies,” Motions,” and “Half A Man.” Understanding the assignment, J & The Causeways sent the crowd into a frenzy with Elton John’s “Saturday Night’s Alright for Fighting” for the closer.
As soon as J & The Causeways sounded the last notes on The Main Stage to raucous applause, DJ Tennis Legend was back at it on The Stage4Hope Stage before the crowd’s attention turned to New Orleans bluesman Marc Broussard. Backed by a knockout band of players (drummer Terry Scott Jr., bassist Devin Karrigan, keyboardist Dan Souvigny & guitartist Bobby Schneck), Broussard delivered a dynamite selection of originals and beloved covers.
Opening with and explosive rendition of his breakout hit “Home,” Broussard segued effortlessly into “These Walls,” a silky power ballad and “I’m Goin’Home” a moving tribute to his wife showcasing his gritty vocals. Diving headlong into his funkier side, Broussard uncorked a mashup of Come Around/Sex Machine/Give Up the Funk and did not forget to give the audience a taste of the classic New Orleans party anthem “Laissez Les Bons Temps Rouler” (Let The Good Times Roll). Grabbing the mike one final time for a full-throated mix of Cry to Me/Home/Shakey Ground, Broussard dug deep to mine the soulful veins running through his southern roots.
A light rain pelted the festival grounds driving many festival goers to huddle underneath The Stage4Hope tent just as Asheville-based Grateful Dead tribute band took the stage for a crowd-pleasing retrospective of fan favorites. It was just what the doctor ordered to keep the party going despite the inclement weather.
No match for the force of nature about to grace The Main Stage, the rain slowed to a drizzle and then quit altogether as Mavis Staples appeared for a soul nurturing show. Diminutive in stature but still going strong at 86, Mavis Staples is a towering figure revered as much for her activism in the civil rights movement as she is for her music. An original member and lead vocalist for the legendary gospel/R&B group The Staple Singers, Ms. Staples has been performing around the world for over 70 years bringing thought provoking songs of struggle, pain, hope, heartbreak and joy that continue to serve as the soundtrack for The Civil Rights Movement to this day.
Drawing on extensive cannon of tunes that ring true through the ages, Ms. Staples opened with 1974’s “City in the Sky,” the title track from The Staple Singer’s last album, singing with a combination of politically conscious conviction and the earthy soul that is her signature. The long time members of her touring band (guitarist Rick Holmstrom, bassist Jeff Turmes, drummer Stephen Hodges and backing vocalists Donny Gerrard and Kelly Hogan) formed the sonic foundation on which Ms. Staples stood as she wove a tale through song of a nation still struggling to live up to its ideals.
Her potent delivery of the timeless civil rights anthem “Eyes On The Prize,” embodied the enduring spiritual strength of the song. “You Are Not Alone,” penned by Jeff Tweedy and appearing on Ms. Staples 2010 album of the same name carried the same emotional heft now as it did then in light of the Trump administration’s brutal treatment of immigrants.
The Staples Singers classic “Freedom Highway” was followed by Ms. Staples reminding us that there is still work to do in the face of adversity and despite those that would roll back progress. With a wink and a smile she elicited cheers from the audience when she declared, “We don’t need nobody putting their face on a $250 bill,” referring to the President’s recent attempts to do just that. Leading the crowd in a jubilant sing-a-long of The Staples Singers’ “Heavy Makes You Happy (Sha-Na-Boom),” followed by an emotive cover of Eddie Hinton’s “Everybody Needs Love” Mavis Staples called to mind the power of joy and human connection that the world so desperately needs right now.
Back at The Stage4Hope Tent, Clouds of Delusion kept the genial mood going for fans clearly in the mood to dance to more Grateful Dead and jam classics ahead of Trombone Shorty & Orleans Avenue’s headlining set. It was the perfect appetizer for a performance that kept the audience on their feet.
Known worldwide for their grab-you-by-the collar, high octane sets, Trombone Shorty & Orleans Avenue lit into ZHU’s infectious hip-hop, soulful brass concoction “Hold Up, Wait a Minute” originally brought to life in 2015 with contributions from Trombone Shorty (a.k.a. Troy Andrews) and Bone-Thugs-N-Harmony. Capturing the vibrant spirit of a New Orleans’ street parade and led by Shorty’s virtuosic trombone and charismatic presence, the band launched into “Buckjump” and then landed a one-two punch with “Lifted,” a stadium-sized, rock and funk anthem supercharged with Shorty’s blistering trombone solo and a tease of Black Sabbath’s “Iron Man.”
Matching Shorty’s kinetic energy was Orleans Avenue, whose touring members include original bandmates Dan Oestreicher (baritone sax), Pete Murano (guitar) and Joey Peebles (drums) along with newer members John Maestas (guitar), David Raymond, Jr. (Bass), Orlando Gilbert (tenor sax) and vocalists Tracci Lee and Taijan Cooke. Leading the band in a raucous rendition of fan favorite and live staple “Do To Me,” Shorty uncorked his signature “Supafunkrock” to the unbridled delight of the crowd.
Sporting a trumpet instead of a trombone, Shorty turned Maestas loose on vocals and soaring guitar for a latin-tinged version of “Lie to Me” for an all-out monster jam. Sticking with the trumpet, Shorty turned Allen Toussaint’s classic “Here Come The Girls” into the perfect vehicle to showcase his mastery of circular breathing, a jaw dropping technique that allows musicians to play continuously without breaking a note. Oestreicher (affectionately nicknamed “Uncle Potato Chip”) took over with deep, edgy beats rolling out of his baritone sax sweetened by Lee and Cooke’s impassioned vocals.
Embracing the sonic culture of New Orleans, the band kept the party rolling with a time-honored send up of the southern classic “Little Liza Jane,” featuring a bedazzling guitar solo by Moreno. Not ready to abandon a good time, Shorty made his way down into the crowd to lead them in a joyful second line before jumping back on stage for the finale – a mad, unfiltered, throw down stuffed to the brim with freewheeling hip-hop rhythms and rhymes and celebratory brass locked into the bass and drums.
Sunday’s festivities got under got underway before noon with DJ Tennis Legend spinning classic soul and R&B, a perfectly chill way to ease fans into the day’s happenings.
Georgia-based Pony Bradshaw held down the opening slot pressing on with unbuttoned melodies falling somewhere between Americana and Bluegrass. Recognized for his riveting story-telling, Bradshaw wove tales drawn from the land and experiences running through Appalachia and the deep south. Backed by his tight-knit band of troubadours (guitarist Will Stewart, pedal steel guitarist and keyboardist Philippe Bronchtein, bassist Robert Green and drummer Ryan Moore) Bradshaw came armed with an acoustic guitar and gripping voice for a mesmerizing set that included “Sawtoothed Jericho,” a tune filled with eccentric rural characters searching for a mythical plant and “Ginseng Daddy” a psychedelic folk tale.
Bradshaw’s brooding delivery of “Bad Teeth” and accompanying guitars painted a beautiful and unsettling picture of a troubled character along with the moody sway of closer “Hillbilly Possessed” sets him on a path blazed by the likes of country’s legendary poets Merle Haggard and James McMurty.
DJ Tennis Legend was back at The Stage4Hope Stage with more R&B classics for fans in the mood to dance ahead of Kashus Culpepper’s electrifying performance. A rising star in the world of country music, Alabama born Culpepper is a devoted student of Southern music. His husky vocals are the perfect vehicle to convey a raw blend of country, soul, blues, folk and rock. Keeping it real, Culpepper delivered a set of original and cover tunes drawn from the heart.
Opening with a rollicking, soulful, bluesy “Southern Man,” a tune penned with Bear Rinehart of NEEDTOBREATHE, Culpepper showed off the diverse musical influences as disparate as Stevie Wonder, Howlin’ Wolf, Hank Williams and Ella Fitzgerald, that inform his music. Building momentum with the Motown-infused “Stay” featuring a tantalizing pedal steel guitar interlude by longtime bandmate Bridger Fruth and the slow burning soulful grooves of “Mean To Me,” Culpepper sprung a surprising mash up of “Alabama Beauty Queen” and Grover Washington, Jr’s “Just The Two Of Us.”
Rolling into the character-driven “Jenni,” harmonica in hand, and the Ray Charles-inspired “Pour Me Out,” Culpepper leaned heavily into his Southern Rock bonafides with a heart-pounding rendition of “Whipping Post.” More fantastic selections off Culpepper’s most recent album ACT 1 including “Believe” and “Man of His Word” before giving us one last taste of his distinctive gospel-infused growl for a soul-stirring mingling of “Ain’t No Sunshine” and a crown jewel of a track “Out Of My Mind.”
Under the Stage4Hope Tent, Greenville-based singer/songwriter Darby Wilcox was serenading festival goers in her signature, emotive style that has endeared her to audiences across the Carolinas. As the founder and mayor of “Babetown,” a powerful community of female artists, Wilcox supplements her usual backup band, The Peep Show (guitarist Nathan Gray, bassist Sam Kruer, drummer Matt Porter,) with rotating cast of women as she did Sunday featuring dynamite guitarist Tipton Jones-Boiter. Switching gears from Saturday’s intimate, daytime solo acoustic performance at the festival’s Summit & Sound event, Wilcox led her band through a jubilant, energetic set of original tunes and crowd-pleasing covers. The set was an exercise in joy that was not lost on old and new fans alike.
Productions
One powerful woman followed another as Margo Price commandeered The Main Stage for an ebullient set of genre-blurring outlaw country, heartland rock and psychedelic Americana. Riding a wave of fierce, unapologetic, authentic storytelling and songwriting, the Nashville-based singer’s star has been ascendant earning her a Grammy nomination, world tours alongside Chris Stapleton, and Willie Nelson and collaborations with Tyler Childers, Billy Strings, Phil Lesh, Goose and the late Bob Wier.
Beloved by her fans, Price unraveled a passionate performance filled with inspired moments that had them on their feet. One of them, and a terrifically fun number, was “Screw You and the Horse You Rode In On” about taking arrogant people down a notch. Yet to be released but a staple in live settings, the high energy, country romp leaned into Price’s trademark sharp wit and defiant humor.
Another standout moment was “Don’t Wake Me Up,” a song co-written with Jeremy Ivey, Price’s bandmate, collaborator and husband. Featuring a bluesy roots-rock groove, Price’s rapid fire vocals and Ivey’s prismatic harmonica and guitar plowed forward for an irresistible country romp fleshed out by her longtime studio and touring band The Pricetags (guitarists Logan Ledger and Sean Thompson, bassist Alec Newman and drummer Brandon Combs).
Acknowledging her female fans, Price dedicated “Hard Headed Woman” from her critically acclaimed 2025 album of the same name to “all the difficult women out there.” Her raw, spirited vocals made it known that this is her personal manifesto with its central theme being absolute defiance and radical independence. The song flowed perfectly into “Don’t Let The Bastards Get You Down.” Co-written with Jeremy Ivey, country legend Rodney Crowell and the late Kris Kristofferson, “Don’t Let The Bastards Get You Down” opened with explosive drumbeats from Brandon Combs kicking down the door for Price’s firecracker vocals. The tune is a battle cry for the downtrodden with Price delivering a clear and simple message – don’t take shit from anyone.
A little later, Price stepped back to let the breadth of Logan Ledger’s talent shine on “Love Me Like You Used To Do.” Ledger anchored the melancholy tune with an outstanding pedal steel guitar and soulful vocals.
Fearlessly outspoken, Price pulled out all the stops for the Blaze Foley cover “Oval Room.” Written in 1989, the track still speaks to today’s current events about a narcissistic, self-serving leader trashing the country he attempts to rule. Raising two middle fingers skyward to end the song, Price made her feelings unmistakable. Closing the set with the Bob Dylan’s “Maggie’s Farm,” Price repurposed the classic protest anthem into a fiery countrified rock version packed with incendiary guitar licks and her howling vocals.
Vilai Harrington and The Hamptones were holding court at the Stage4Hope Stage before a growing crowd of fans and curiosity seekers. The Greenvillle-based outfit has been hard at work bringing their brand of soulful Americana with a country edge to the region for several years now. Driven by troubadour and South Carolina native Vilai Harrington, the band’s sonic palate is authentic, stirring and consequential, living somewhere between folk and modern bluegrass while embracing their Appalachian roots. A gifted singer/songwriter and acoustic guitarist, Harrington delivered a passionate performance of originals and covers while the Hamptones (electric guitarist/vocalist Justin Garber bassist/vocalist Josh Riley, lap steel guitarist Drew Spencer, drummer Joe Tamburro) wove lush, textured instrumentation worthy of bigger stages.
The band served up “Thoughts of a Helpless Romantic,” and “Mid-20’s Crisis” from their excellent recent EP along with a dynamite cover of the country classic “She’s All I Got” featuring Spencer’s rich, harmonic lap steel guitar and Harrington’s raw vocals. Other Harrington originals including a beautifully rendered “Van Fire” and a hypnotic “Sandhill Shaman” to close out. Vilai Harrington and The Hamptones are ones to watch as they move beyond their home base.
Charley Crockett is fast approaching superstar status in country music with critics comparing him to outlaw country legends like Hank Williams, Sr., Willie Nelson and Johnny Cash. Crockett’s sound also heavily incorporates what he calls “Gulf & Western,” an amalgamation of country, blues and soul drawing comparisons with Ray Charles and Lightnin’ Hopkins. The Texas native fiercely rejects the polished, over produced formulas of modern, homogeneous pop-country blanketing commercial airwaves. His unabashed embrace of traditional instrumentation and an outsider’s ethos has gained him a zealous following and turned lukewarm country enthusiasts (like this writer) into eager converts.
A sea of cowboy hats and a deafening roar met Crockett and his longtime backup band The Blue Drifters (electric guitarist Alexis Sanchez, pedal steel and lap steel guitarist Nathan Fleming; keyboardist/trumpeter/ Kullen Fox, upright and electric bassist Jacob Marchese and drummer/percussionist Mario Valdez) took the stage for the festival’s closing set which turned out to be a tour de force. Crockett’s songs lean into short, punchy and powerful tracks grabbing fans with danceable rhythms built atop a honky tonk foundation. Opening with “Crazy Woman Ridge,” an uptempo, honky tonk throwback, Crockett gave free rein to the playful energy that would occupy the king-sized (28 songs in all) set. Self admittedly not one to take requests, Crockett broke his own rule happily obliging a young fan sitting atop her father’s shoulders with “Lonesome Dove,” a minimalist melody about an outlaw character pining for love.
Other highlights included the twin themed “Welcome To Hard Times” and “Hard Luck & Circumstances” complete with traditional western grooves, textured twangs and a terrific pedal steel guitar. Crockett commandeered the stage for solo renditions of “Cover My Trail Tonight” and “Honest Fight” manifesting the standout lyricism that makes him a compelling storyteller. Crockett and the band pulled out all the stops for a cover of Link Wray’s “Fire and Brimstone,” a crowd favorite and tour staple. Crockett closed out with “Lonesome Drifter” a classic country/blues number, but fans were not about to let him leave. He and The Blue Drifters soon returned for an encore unleashing Tanya Tucker’s “The Jamestown Ferry” and “Paint It Blue” an original tune embracing Crockett’s outlaw energy that painted a portrait of a defiant vagabond and outsider – a man living by his own terms.
A deep bow of gratitude goes out to co-producers Eleven Events and non-profit Highlands Festivals, Inc. along with their staff and army of volunteers who worked tirelessly to breath new life into Bear Shadow. Stacy Carter also deserves a massive “Thank You!” for opening her home to well over a thousand strangers for a good cause. The mountains will be calling us back again next spring when Bear Shadow reemerges from hibernation.
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