We’re FINALLY doing a concert in The Taproom! Don’t miss this super intimate show from Into The Fog!
Must have concert ticket to be in the taproom!!
This is a STANDING ROOM ONLY event!
Tickets only $10.
Very very Limited!
Follow Ticket Link
We open at 5pm.
Showtime 7pm!

Psychedelic Jamgrass from Appalachia

Into The Fog is a psychedelic jamgrass band from Raleigh, North Carolina that combines timeless songwriting with progressive instrumentation and tight harmonies. The group consists of Winston Mitchell (mandolin), Derek Lane (upright bass), and Connor Kozlosky (guitar), with everyone contributing on vocals. The band’s members have varied musical backgrounds that range from bluegrass to funk, which helps create Into The Fog’s genre-jumping sound.

The band has released three studio albums and two live records. Their latest, Carolina Moon released in August of 2024, expands upon their latest sounds incorporating collaborative songwriting, improvised jams, and a focus on harmony. Live shows are a keystone of the Into The Fog experience, as the band expands songs to highlight their instrumental prowess and push the boundaries of the newgrass sound.

Into The Fog has shared the stage with the likes of Sam Bush, Leftover Salmon, Keller & The Keels, Town Mountain, Daniel Donato, Arkansauce, Shadowgrass, Big Richard, and The Grass Is Dead. No strangers to the festival scene, Into The Fog has played FloydFest, Rooster Walk, Grey Fox Bluegrass Festival, Charleston Bluegrass Festival, First City Music Festival, Earl Scruggs Music Festival, The Big What? and more.

With a nod to the past and glance to the future the Dirty Grass Players are keeping alive the long history of bluegrass while pushing the traditional genre into the next generation.

The Dirty Grass Players are an energetic explosion of old-time pickin’, coloured with an inventive, newgrass hand, that is given lyrical life by their soaring vocal harmonies that exist on an ethereal plain. They live at the crossroads between the traditional, which is the backbone of what they do, and the progressive with their innovative forward-thinking approach. The Dirty Grass Players, with their steady, workman-like precision and loose adventurous spirit are a band that can both confound Bill Monroe and cause him to smile uncontrollably. Their music is progressive, traditional, experimental, imaginative, and at its core, Dirty.

The Dirty Grass Players formed in 2015 with guitarist Ben Kolakowski and mandolinist Ryan Rogers at a series of informal picking sessions in the Baltimore area. The band quickly started to garner attention in the area, culminating in them winning the competitive Charm City Bluegrass Festival Battle of the Bands in 2017. The band’s original bassist and fiddler left shortly after and they solidified around the addition of bassist Connor Murray. In 2024, Sam Guthridge joined on banjo and the band reemerged as a powerful four-piece.

Since then they have released two albums, 2020’s Beneath the Woodpile and 2023 Shiny Side Up and established themselves as one of the most exciting young bluegrass bands around. With their high-octane shows they have become a mainstay on the festival circuit, being invited to play at some of the the most prestigious gatherings from coast to coast including Delfest, Grey Fox, Kingman Island, Hot August Music Festival, Dark Star Jubilee, Ramble Fest, First Class Music Fest, and many others.

Their latest album Shiny Side Up, produced by The Travelin’ McCourys’ Coldy Kilby, continues to further the evolution of bluegrass with its hard-driving sound that showcases the progressive, darkside of bluegrass with its forward-looking, non-traditional playing and songwriting. In its praise of the album, Bluegrass Unlimited says, “Shiny Side Up validates the arrival of the Dirty Grass Players onto the scene and shows bluegrass is in good hands going forward.

Music has guided Driftwood to hallowed ground many times since its founding members, Joe Kollar and Dan Forsyth, started making music as high schoolers in Joe’s parents’ basement. Whether the Upstate New York folk rock group—which today also includes violinist Claire Byrne, bassist Joey Arcuri, and drummer Sam Fishman—are converting new fans on a hardscrabble tour across the country or playing to a devoted crowd at hero Levon Helm’s Woodstock barn, the band’s shapeshifting approach to folk music continues to break new ground. And yet in many ways Driftwood’s latest work, the transformative December Last Call, finds the group coming home. 

Recorded in that very same basement where the Driftwood dream began, December Last Call lyrically reflects on the recent past, musing on the ways the group grew up, together and apart, through curveballs like new parenthood or pandemic shutdowns. But sonically, the band’s sixth album looks confidently to the future, experimenting with new sounds while staying true to the bluegrass roots that built them. Across the album’s nine tracks, the band often leans into hard-rocking electric guitars and driving percussion: On “Every Which Way But Loose,” we get a foot-tapping beat and a sweeping chorus, and on “Up All Night Blues,” the band shines with an ambling, sing-along-able reflection on the challenges of new motherhood. But other tracks, like standout closer “Stardust,” take a simpler route, allowing bare-bones vocals and acoustic instrumentals to underpin a deeper emotional message.

One of Driftwood’s biggest differentiators—and perhaps its biggest strength—is the sheer breadth of talent in its lineup, with Claire, Joe, and Dan all contributing as songwriters and vocalists. This creative push-pull, where each selects songs to share with the group and record together, bakes vulnerability and collaborative spirit into every recording. “It’s at the heart of what we do,” says Dan. “Everybody has a strong love for songs, for songwriting, and we each appreciate everybody else and the way that they contribute to that.” 

While 2019’s acclaimed Tree of Shade tapped Simon Felice as producer, the band opted to self-produce this latest effort, leaning into their creative impulses and striving to capture their distinctive live energy. Figuring out how to channel that on-stage intensity into a recording has actually, in many ways, been a lesson in restraint. “When I look back at the things we were writing and playing, oh, I don’t know, 10, 12 years ago, they were really arranged: a lot of you do this here, we’re going to do this there, we’re going to break down, we’re going to do a big build,” Claire explains. “These days, it’s more like, ‘Let’s play the song and just see what happens.’”

This approach makes all the more sense when you consider Driftwood’s live shows, which operate not only as effervescent, twang-studded musical parties, but also as reunions for their throng of devoted listeners—folks who have started to feel less like fans and more like something bigger. “They’re supporters. They’re friends,” explains Joe. “It’s crazy how much love we’ve got and how many wild situations on the road we’ve gotten out of because of those people.” Many of them are quite literally invested in the band’s future: December Last Call was a crowd-funded effort, and it wasn’t the band’s first. It’s as if every listener, ticketbuyer, album backer, and general band evangelist is in on Driftwood’s biggest secret: this whole band thing has endured for nearly two decades because it offers a kind of community you can’t get just anywhere.

“Driftwood is basically a beautiful friendship that happens to play music together,” says Joe. “I know it’s rare. I know I’m lucky to know these people and lean on them and go through these massive life changes together.” For Driftwood, each song is like a journal entry: cathartic to create, yes, but capable of unlocking new lessons—and when shared—forging new bonds. “We’re communal, right? Humans need to be connected,” Joe says. “And we get to have this special thing.”