This week, too often, people with mental health challenges or substance use disorder wind up in jail. But crisis response teams offer another way. Also, changes to the Endangered Species Act could benefit big business. They could also kill animals like the eastern hellbender. And, in troubled times, a West Virginia writer says to find peace in nature.
Don’t get us wrong, we love doing themes for “Mountain Stage After Midnight” (see: Celtic music for St. Patrick’s Day, archived sets in honor of new releases). But this week’s archived shows are nothin’ but good music, plain and simple.
Broadcast from 1am-5am Saturday and Sunday mornings here on West Virginia Public Broadcasting, “Mountain Stage After Midnight” takes the best episodes from the show’s 31 year history and shares their memories and songs with our late-night listeners.
Take a mid-day nap and stay up late to hear some amazing live performance radio on Saturday April 18 and Sunday April 19 during “Mountain Stage After Midnight.”
First up is a January 2008 show featuring Bill Evans Soulgrass with Sam Bush & Richard Bono, Marc Cohn, Jeremy Fisher, Kelly Sweet and Amy Correia.
Credit Brian Blauser/Mountain Stage
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Tim Finn on the Mountain Stage in 2008.
We’ll also hear a February 2008 show featuring Tim Finn, Otis Taylor, Grant Lee Phillips, Patty Larkin and Joe Rathbone.
On this week's premiere broadcast of Mountain Stage, host Kathy Mattea welcomes The Steel Wheels, Sam Weber, Peter Holsapple, Lily Talmers, and Rylee Bapst Band to the Memorial Auditorium in Athens, OH.
Acclaimed singer-songwriter Amythyst Kiah released "Still + Bright" last year, which featured guests like S.G. Goodman and Billy Strings. Inside Appalachia host Mason Adams spoke with Kiah from her home in Johnson City, Tennessee at that time. We listen to an encore of that conversation.
America continues to wrestle with racial division, but music has often been a space where those barriers are challenged. In this episode of Us & Them, host Trey Kay revisits a 1960s moment when a band refused to perform unless a mixed-race couple was allowed to dance — and paid the price for taking that stand. It’s a story about courage, consequences and the uneasy intersection of music and race in America.