Rhonda Vincent, Neal Francis, and more on Mountain Stage

All tickets to this show are e-tickets and will be emailed to you upon purchase. Open up the pdf and the QR code on your ticket will be scanned at the door. This event will also be offered as a livestream.

Member Tickets on sale: April 25, 10am ET
Public sales: May 2, 10am ET

Mountain Stage livestreams are free, however, there are some incredible folks out there who’d like to show their support through a donation-based, pay-what-you-want “ticket” for the livestream. This is a donation-based “ticket” to show some love for the program and is not a ticket to the live event.

You’ll be able to catch the show from the comfort of your home (or wherever you wish) Sunday, July 20, 2025 – at 7 PM ET at mountainstage.org

Rhonda Vincent is a firecracker of talent that powers one of the hottest bands in any genre of music today. From humble beginnings in the tiny town of Greentop, Missouri, Rhonda’s musical heritage traces back 5 generations of the Vincent family. Her dad would pick her up from school each day, and they would sing and play till dinner. After dinner, friends came over, and they would sing and play till bedtime. She began her professional music career singing in her family’s band The Sally Mountain Show. It was an immediate “on the job training,” as they had a TV show, radio show, and made their first recording when Rhonda was 5 years old. She picked up the mandolin at eight, the fiddle at twelve, and learned a valuable life lesson as a teenager performing with her family at Silver Dollar City in Branson, Missouri. While they were playing in the pouring rain to empty seats, and what they thought, no one listening -- a week later they received a call from Hal Durham, general manager of the Grand Ole Opry at the time, and who just happened to be listening with his family around the corner. Mr. Durham loved what he heard and invited the Vincent family to appear on the Opry.

Rhonda’s life of music evolved into a successful career in bluegrass music; after being discovered by Grand Ole Opry Star “Jim Ed Brown,” and later spending what she calls her musical college years recording for Giant Records; and learning about the music business from Nashville’s best like James Stroud, Jack McFadden, and Stan Barnett.\

It was her pivotal bluegrass album “Back Home Again” that transformed Rhonda Vincent into the All American Bluegrass Girl, and crowned the New Queen of Bluegrass by “The Wall Street Journal” in 2000.

A multi-award winner, with a 2017 Grammy for Best Bluegrass Album, an Entertainer of the Year 2001, Song of the Year 2004, and unprecedented 7 consecutive Female Vocalist of the Year awards from the International Bluegrass Music Association 2000 – 2006 and an 8th win of IBMA Female Vocalist of the Year in 2015.

Her lifelong dream came true when she was invited to be a member of the Grand Ole Opry on February 28, 2020. Rhonda waited an unprecedented 345 days and was officially inducted as a member of the Grand Ole Opry on February 6, 2021. Her powerful vocal style transcends the boundaries of bluegrass music, as evidenced in her collaboration with Dolly Parton on the Elton John / Bernie Taupin Tribute Project “Restoration” 2018.

The latest album from Neal Francis, Return To Zero, emerged from the kind of visionary fever dream that only the most masterful and inventive artists are capable of bringing to life. Amid a grueling tour schedule that found him playing nearly 400 shows from 2021 to 2024, the Chicago-based singer/songwriter/pianist immersed himself in creating a beautifully strange entangling of timeless rock & roll and ’70s-era dance music, merging supremely heavy guitar riffs with lush and pulsating grooves—all constructed sans digital programming, in keeping with his devotion to all things analog. Worlds away from the glitzy fantasia of archetypal disco, Return To Zero inhabits a far moodier atmosphere and ultimately makes for the most thrilling manifestation of Francis’ peerless musicality yet.

Equal parts heady and hedonistic, pensive and euphoric, Francis’ third studio LP echoes both his deep-rooted psych-rock sensibilities and a lifelong affinity for classic funk. “I’ve always been intrigued by music that toes the line between funk and rock,” notes Francis. “In the past I’ve asked myself things like, ‘What would it sound like if Thin Lizzy cut a disco record?’ It’s something I’ve been fascinated with for a very long time, so I finally decided to really go for it.”

The follow-up to his 2023 double live album and concert film Francis Comes Alive, Return To Zero marks Francis’ first full-length studio effort since In Plain Sight—a 2021 release acclaimed by the likes of leading rock critic Steven Hyden, who praised its “throwback big-band sound that recalls the highs of 1970s funk and swamp rock.” With his past work also including his 2019 debut album Changes (hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6), Francis began playing piano at the young age of four and became an in-demand sideman while still a teenager, touring with revered blues artists and beloved instrumental band The Heard before embarking on his solo career. Over the years, he’s sold out headline shows all across the globe, supported the likes of Wilco, Black Pumas, and My Morning Jacket, appeared at major festivals such as Bonnaroo, Fuji Rock, and Lollapalooza, and even performed at historic venues like Carnegie Hall.

Like all of his studio work so far (including his 2022 EP Sentimental Garbage), Return To Zero finds Francis co-producing alongside his frequent collaborator Sergio Rios and recording live with members of his touring band (drummer Collin O’Brien, bassist Mike Starr, guitarist Kellen Boersma), elegantly showcasing his prodigious talent and dazzling originality as a keyboard player. Mainly created at Rios’ L.A. studio, the album’s grandiose yet warmly inviting sound also took shape from his close collaboration with composer/conductor Dom Frigo (who aided Francis by transcribing the LP’s symphonic string sections), Say She She (a Brooklyn-based psychedelic-soul trio who adorn a number of songs with their beguiling backing vocals), and a stacked lineup of co-writers that includes Queens of the Stone Age bassist Michael Shuman and Wild Belle co-founder Elliot Bergman.

In the making of his most ambitious work to date, Francis faced countless moments of creative frustration—a factor that eventually gave the album its title. “I was cutting a lot of the vocals at home, using a hybrid process where I’d bounce the tracks from my computer to a tape machine and then record the vocals to tape,” he explains. “I’d be in my vocal booth in the closet with all our winter coats, and every time I needed to start over I’d press this button that says ‘RTZ,’ which stands for ‘Return To Zero.’ I was doing take after take and pressing that button over and over—it was a huge pain, but it also linked up with what I’ve learned in my meditation practice: no matter how frustrated you get, just remain calm and take inventory, and then begin again.”

Although executing Return To Zero’s highly elaborate arrangements often involved a very time-intensive trial-and-error approach, the album-opening “Need You Again” surfaced from an immediate burst of inspiration after Francis attended a DJ set by Derrick Carter (a Chicago house legend who created a 12-inch remix of “BNYLV” from In Plain Sight). “My girlfriend and I went out to a queer dance party called Queen! and stayed till about four in the morning, and Derrick played a track that was a big rock riff over a funk beat,” he recalls. “The next day I went into the studio on very little sleep and started working on the demo for ‘Need You Again,’ and after I finished I couldn’t stop listening to it.” Featuring a guest spot from Grammy-winning guitarist Eric Krasno (Soulive, Lettuce), the result is a glorious entry point into the album’s groove-heavy soundscape, unfolding in sinewy riffs and larger-than-life rhythms as Francis narrates a tale of ruinous infatuation. “It’s a song about a love affair, and the experience of projecting magical qualities onto another person and feeling almost addicted or beholden to them,” he reveals.

Another charmed moment in the album’s creation, “Broken Glass” was sparked from a session featuring Francis on bass and Shuman on drums, with the two soon conjuring the hypnotically potent riff that propels the track forward. With its viscerally charged depiction of lust and self-denial, the darkly majestic epic reaches a stratospheric crescendo at the bridge, when pounding drums meet with Say She She’s near-operatic harmonies. “Once we had that riff I started filling in some freeform poetry from my notebook, which had to do with the idea of taking direction in an intimate liaison,” says Francis. “It all came together so naturally because of how Michael was playing drums, bringing that Queens of the Stone Age heavy-rock thing I love so much.”

One of the most dance-ready tracks on Return To Zero, “Back It Up” glides along on glossy synth lines and a playfully swaggering riff, imbuing a carefree spirit into Francis’ deliberately over-the-top confession of romantic desperation. “That song went through a few different phases before we got to the final iteration,” he says. “It took me a while to accept that it’s okay to have fun with the lyrics, instead of making everything so serious all the time.” Meanwhile, on “What’s Left Of Me,” Francis presents a gorgeously sprawling power-pop anthem built on his resplendent piano work. Co-written with Nashville-based songwriter Chris Gelbuda, the track arose from a piano-and-vocal demo captured at Chicago’s Fine Arts Building, soon evolving into a piercingly candid reflection on life on the road. “Chris and I are good friends and we got to talking about the challenges of being in a committed relationship while you’re on tour,” says Francis. “A lot of these songs were influenced by Electric Light Orchestra and the way Jeff Lynne synthesizes classical music and pop songwriting, and ‘What’s Left Of Me’ was definitely one where I was going for an ELO vibe.”

Partly inspired by the funk and dance records he typically spins during his sets as an all-vinyl DJ, Return To Zero also encompasses everything from the spaced-out drama of “Dance Through Life” to the string-laced reverie of “Can’t Get Enough” (a collaboration with Durand Jones & The Indications’ Blake Rhein that is a sublimely mellowed-out homage to acid-jazz pioneer Roy Ayers). In creating such a complex body of work, Francis found his sense of perseverance repeatedly tested. “Most of these songs were pretty hard-won,” he says. “There was a feeling of pulling out all the stops to achieve what I was going for, and in the middle of that I was dealing with some depression and exhaustion. I ended up learning a lot about myself, and now I feel like I’m in a completely different place in terms of my priorities with mental health.” Despite its more daunting aspects, the writing and recording of Return To Zero also brought plenty of moments of pleasure, including composing with strings for the very first time and tracking songs with his longtime bandmates. “All those guys are like my brothers, and there was a feeling of us working together with an almost athletic desire to get better every time we did a new take,” Francis says. “Those were really long days at the studio, but they were also so much fun.”

Looking back on the making of Return To Zero, Francis points to certain crucial lessons absorbed while creating his most extravagantly realized work so far. “One of the main things I’ve learned is that every album is going to be its own journey; I can’t really take the arsenal of things I’ve learned in the past and expect them to save me from any kind of frustration with whatever I make next,” he says. “Creating art is always going to be a challenge, which maybe goes back to why AI-created music is never going to be all that compelling—it’s just too fucking easy. The best I can do is use what’s at my disposal and try not to freak out or despair when it gets difficult, and hopefully end up making something that gives people joy.”

Best Global/World Music Artist 2024 – Washington Area Music Awards

GRAMMY Award winning American Roots artists Cathy Fink & Marcy Marxer join with Chinese classical hammered dulcimer player Chao Tian in a show that combines music from China to Appalachia and beyond. Instrumentation includes yangqin (Chinese hammered dulcimer), gourd banjo, five-string banjo, ukulele, guitars, dumbek, cello-banjo and mandolin. Songs are both in English and in Chinese.

Their album, FROM CHINA TO APPALACHIA, won praise from National Public Radio, Songlines Magazine, CDHotlist.com and hit highs on both the Billboard Bluegrass charts and the Folk Radio charts. The Bluegrass Situation called the group “ONE-OF-A-KIND INTERCULTURAL COLLABORATION.

The group’s repertoire includes traditional Chinese and Appalachian music as well as contemporary and traditional music from around the world. Unusual combinations explore new arrangements to old music, such as “Dark Eyes.” Ukulele, yangqin and guitar create a new pallet for this Russian folk song turned jazz manouche tune. Cathy and Marcy join Chao in singing a Chinese lullaby, “Nani Wan” and Chao easily adds her love of American Old-Time music to fiddle tunes and songs.

From China to Appalachia was borne of a friendship and mutual love of musical exploration experienced in jam sessions that inspired a show speaking to the power of music to connect cultures. The group has performed together since 2015 and toured extensively together since 2023.

Classically trained since the age of five, Chao Tian spent years working as an instructor and the director of the Arts Education Center at Beijing Language and Culture University (BLCU). She is a founding member of BLCU Arts College's music department and is a PhD student in Ethnomusicology at Boston University.

Chao has performed in over 30 different countries and regions across the globe and collaborated with numerous talented musicians in many unprecedented projects. In 2015, she was accepted into the prestigious Artist in Residence program at the Music Center at Strathmore, where she met Cathy Fink who has served as a mentor for the program for twenty years.

TWO-TIME GRAMMY® Award Winners, Cathy Fink & Marcy Marxer Marxer are master musicians with a career spanning 44 years together. Their superb harmonies are backed by instrumental virtuosity on the guitar, five-string banjo, ukulele, mandolin, cello-banjo, and more. Their repertoire ranges from classic country to western swing, gypsy jazz to bluegrass, and old-time string band to contemporary folk (including some original gems).

Cathy & Marcy have performed at hundreds of bluegrass and folk festivals and taught at close to 100 music camps worldwide. Happily known as “social music conductors” ready to start a jam session, a community sing, or create a music camp helping others learn to play and sing, the duo’s past students include Kaki King and Rhiannon Giddens.

Dawn Landes is a North Carolina-based singer-songwriter whose music you might have heard if you watch The Good Wife, House or Gossip Girl. Along with releasing seven albums and five EPs since 2005, she’s a frequent collaborator with contemporaries such as Sufjan Stevens, Norah Jones and composer Nico Muhly. She has appeared with the Boston Pops, the NYC Ballet and on the TED main stage. Her musical ROW about fellow Kentucky native Tori Murden McClure’s quest to become the first woman to row across the Atlantic Ocean premiered in 2021 at Williamstown Theatre Festival and is available on Audible. Her latest release is The Liberated Woman's Songbook, an album of folk songs that leads us through a history of women’s activism from the 1800's through the high times of Women’s Lib in the 1970’s. The album was produced by her longtime collaborator Josh Kaufman (Bonny Light Horseman) and features guests including Emily Frantz (Watchhouse, formerly Mandolin Orange), Kanene Pipkin (The Lone Bellow) Charly Lowry, Rissi Palmer and Lizzy Ross (Violet Bell).

Also check out other Music events in Charleston, Entertainment events in Charleston, Arts events in Charleston.