The Community-Building Power of the Village Concerts Series

By: Emily Mook / Photos by: Brianne Friberg

The power of music is boundless and often paradoxical: it hearkens back even as it innovates, it defines moments in time and is defined by those moments in seemingly equal measure, it can inspire conflicting emotions within seconds, and it can transport listeners while simultaneously making them feel more grounded. And yet, despite its myriad complexities and its capacity for evading definition, music has at its center an abiding feature: the ability to foster meaningful connection. 

Music can—and does—mean entirely different things to different people, but anyone who listens to it can agree that it is meaningful, and so we find ourselves listening to it, talking about it, and perhaps even making it together. In the extraordinary case of Polly King and Van Holton, music has led to finding a life partner and hosting a groundbreaking concert series together that spotlights and nurtures music’s singular community-building power: the Village Concerts Series.

King started the Village Concerts Series in Palmyra, Virginia, in 2007 and met Holton
when he attended one of the concerts in 2009. Long before that fateful meeting, music had
played a significant role in both of their lives.

“I’ve been a groupie since the late 60s,” Holton remarks. “Nobody could ride in the backseat of my Volkswagen because I had so many boxes of 8 tracks back there!”

For King, music was a constant in a childhood characterized by frequent change.

“I was an army brat, and we ended up traveling quite a bit,” she recalls. “My mom loved to sing and cofounded a choir in Wilmington, North Carolina, many, many years ago. We always had a piano and I learned to play the flute.”

At a certain point, King realized that she felt more suited to playing a supporting role when it comes to music, and this realization played a role in her decision to get her master’s degree in Arts Administration.

“I always loved the arts in general and gravitated toward creative people,” she notes. “I always felt that many of my friends were more creative than I was, but I was a good organizer and support person. When I ended up going to graduate school at Virginia Tech, I went for a MFA in Arts Administration with the full intention of being the background person.”

After attaining her degree, King traveled widely and worked for the Baltimore Symphony, a chamber music and jazz producing company in Mount Gretna, and an ethnic folk arts center and a baroque chamber ensemble in New York City. Subsequently, her then-husband got an arts job in Abingdon and hired her to put together an arts series that they called “The New Traditions.”

“The series lasted about three years,” says King. “We featured music, lectures, and films. It was a lot of fun and really brought people together in a good way.”

These experiences, coupled with a desire for connection, led King to start the Village Concerts Series in Palmyra in 2007.

“I started the concert series in Palmyra because I was lonely,” she remarks. “I lived in a village of twelve houses, ten of which were occupied, and when I was home on the weekends, people were gone. I didn’t see very many people. So, I thought, ‘Well, I know how to push furniture back in my living room and put up folding chairs and host concerts,’ and that’s what I did. The first year was rough and I thought I wasn’t going to be able to continue because we didn’t have a lot of people coming for the parties, but then more and more people started coming and this wonderful community of music lovers was built up around a common theme of sharing live music.”

As luck would have it, one of those attendees was Holton, who had incidentally had a similar realization to King about playing a supporting role when it comes to music.

“It used to frustrate me that I can’t sing or play an instrument, but then I learned a word: aesthete,” he states. “An aesthete is an expert appreciator.  That’s me; I can do that!”

And so, although neither King nor Holton sang or played an instrument on that fateful day in December 2009, music—in its limitless capacity for facilitating connection—brought them together.

Holton built King a gardening shed (which was actually more suited to serve as a stage), and in 2013, the pair began hosting annual outdoor “SHED Song” concerts in addition to several indoor concerts per year. The two wed in their backyard in Palmyra in 2015 between the second and third bands of that year’s outdoor concert.

In 2018, the couple decided to move to Lynchburg. After looking into hosting concerts through various commercial venues, they ultimately decided to host concerts at their home on Harrison Street in 2020. After hosting one concert in January and one in March, however, the COVID-19 pandemic shut everything down. In late 2021, they moved to their current home and started presenting again.

Location changes aside, the Village Concerts Series has retained certain qualities from the start: it features a mix of Sunday matinee shows (seven to nine per year) and an annual “SHED Song” show the weekend before Father’s Day, attendees are invited through a mailing list and pay strictly on a voluntary basis, the shows are deemed “listening shows,” and the caliber of music presented is always topnotch.

Because attendance is limited to a mailing list—a longstanding but also ever-growing list—of Holton and King’s friends and friends of friends, Village Concerts are able to operate in a non-capital driven and organic capacity. The couple asks attendees for voluntary contributions and then makes up the difference from their own pockets.

“The folks who attend the concerts are not patrons—they’re friends,” notes Holton. “It’s not about commercialization. We don’t make or keep a dime. We love to introduce our friends to our other friends who just happen to be musicians!”

According to King, “guests can come up and talk to the musicians in the potluck line and have one-on-one conversations that they would never have elsewhere.” That intimate feel also extends to the concerts themselves in that they are considered “listening shows.”

“People come here and learn that musicians want to be listened to,” King says. “It’s rare to be at a show where people actually listen. We’ve had people cry in the audiences of the concerts we host because they’re so moved—the beauty of the music and the experience moves them to tears. People stop talking and truly listen, and the musicians really appreciate that.”

Village Concerts Series concerts are not limited to specific genres of music, but they all feature first-rate talent.

“When people ask what kind of music gets played at the concerts, I always say that it’s good music,” says Holton.
“It could be jazz, folk, bluegrass, rock and roll—it could be just about any genre. It’s professional, high-shelf music. These are artists who live to play music. I personally admire strong stage presence, beautiful timing, and a good backstory. I love to see what music does to a room.”

Past featured artists include Wayne Henderson, Mike Seeger, The Honey Dewdrops, The Steel Wheels, Will Kimbrough, Mary Gauthier, Ana Egge, Morgan Wade, David Olney, Love Canon, David Wax Museum, Arkansauce, Palmyra, Abe Partridge, The Matt Flinner Trio, Tony Furtado, Maeve Gilchrist, Danny Schmidt and Carrie Elkin, Eric Taylor, James and Vivian Leva, Danny Knicely, Tony Trishka, Robin and Linda Williams, Michelle Malone, Seth Walker, and more.

Additionally, at the time of publication of this issue, the Blue Newt Band—a popular and award-winning Lynchburg-based band from the 1990s through the 2000s—will have reunited for their first performance in almost 20 years for a special Village Concert on August 31. The show will have been open to the public and all voluntary donations will have gone to the Lynchburg Daily Bread.

An upcoming collaboration with the Academy Center of the Arts (ACOA) will also increase access to the Village Concerts Series’ unique charms. The Academy will host shows coordinated by Village Concerts in their new Music Hall or in the Warehouse Theater, with the first show slated for September 20.

“Polly and Van are bringing acts to the Academy that they could not bring to their own venue, whether because of audience size, cost of artist, etc.,” remarks Tabitha Abbott, Chief Operating Officer of ACOA. “These acts will be reviewed by an internal committee and presented through the Village Concerts brand. I love how Van and Polly have created a niche audience, and our hope is that we can bring their influence to downtown Lynchburg to continue to diversify the music scene in the arts and culture district. They have a reputation and a following and we are honored to combine our resources to benefit the community.”

As more and more voices add their harmonies to the beautiful melody that King and Holton have composed with the Village Concerts Series, Lynchburg stands to become an even more sought-after musical destination—a fact that is music to King’s ears.

“I find the sense of community especially rewarding,” she notes. “Even though I called the concerts ‘Village Concerts’ because I lived in the village of Palmyra, what has actually grown up around it is a village of people.”  

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Peace of Pie Pizzeria Offers Customers Stellar Food at Reasonable Prices

By: Christian Shields  |  Photos by: Ashlee Glen

Through a combination of quality food and family atmosphere, as well as an appreciation of classic rock music, Peace of Pie Pizzeria diligently serves the Altavista community.

Featuring a variety of pizza, salad, sandwiches, and more, the restaurant aims to provide every customer who walks through the door with fantastic food.

Started in 2010 by Donna Hendricks, the restaurant was purchased by Breezy and Lucas Peterson, who by their own admission have done as little as they can to change the small business since their acquisition. This includes adding only one new menu item, the Chicken Bacon Ranch (available as a pizza, sub, or salad), and keeping prices similar to what they have been in the past.

“We have done as little differently as possible, because everything [Hendricks] did was so successful,” Breezy said. “For her, her guiding principles were to love people and love food. That is what we continue to do. First and foremost, we are Christians, so our faith definitely guides all of the decisions that we make. When we love people, we love them as Christ would love them, we just do that with pizza.”

Originally from San Francisco, California, the Petersons first moved to Altavista from Connecticut in 2013 after Lucas completed six years of service in the U.S. Navy. They instantly fell in love with the town and decided that it would be a great place to raise their young children. After several years as faithful customers of Peace of Pie, Breezy and Lucas decided to purchase the place after hearing from a mutual friend that Hendricks was planning to sell the restaurant. 

“It’s cool that we get to know people and they get to know us,” Breezy said. “When you buy from a small business, you aren’t throwing money into the corporate void. It literally pays for our kid’s horseback riding lessons and our 17-year-old just bought her first car with the money she earned here. When you come and see us, we are a part of the fabric of Altavista, and we love that.”

The couple recently purchased a two-story building on Main St., providing them with three or four times the amount of space they had at their previous location. This new building also includes an inn on the second floor, offering yet another business opportunity for the family. 

While the current focus for the Petersons has been on renovating the pizzeria in the new space, they plan to eventually rebrand the inn to match the restaurant’s musical theme once they rebuild their cash reserves. 

Customers entering the restaurant are instantly greeted with a wide range of music memorabilia ranging from vinyl records, homemade coasters, and even Lego models of Volkswagen Beetles. Breezy noted that a lot of this memorabilia was purchased alongside the restaurant, but a large portion is gifts by customers who wanted to add their own personal flair to the restaurant. 

“It’s amazing how much it resonates with people, and that comes from our culture,” she said. “It’s very important to us to love people well. It’s not about being nice for a good tip, but we genuinely enjoy people and want them to enjoy the experience and the food.”

When the family purchased Peace of Pie, they were originally hesitant to broadcast the change in leadership, hoping to continue the same level of expertise maintained by the previous ownership.

“For us, it was a point of pride to make it so that no one noticed,” Breezy said. “We didn’t want the quality of food to change, and we didn’t want the quality of the service to change. We actually didn’t ‘out’ ourselves on social media for almost a year. That was a choice that we made because we wanted to see if we could continue with Donna’s standard to honor her. She is one of the coolest people on the planet—if she could do this forever, I’m sure no one would be mad about it. But I’m glad she gets to relax, enjoy her dogs, and be retired.”

Keeping with the family environment, Peace of Pie utilizes an exposed kitchen. Not only does this allow the couple and their older children to remain close while working long hours in the restaurant, but it also allows customers to see firsthand how the food is made. Breezy noted everything on the menu is made in-house, apart from the gluten-free and vegan options (which, Breezy noted, are incredibly tiresome to make by hand) and the chicken wings.

“It’s unique to function like that and it would certainly be cheaper to get things coming in in little pre-sliced cubes and frozen things that have a better shelf life, but we are not willing to compromise on taste and quality,” she said. “It works for people, and we are really glad. If the economy were a little different and we weren’t so successful, then maybe we couldn’t do things the way we do because it is more expensive for us. But it is true to the identity of Peace of Pie, which is good food, made well, by real people. I have the scars from the slicer to prove it. We do everything ourselves.”

Another way Breezy and Lucas maintain this family atmosphere is through selective hiring, ensuring that everyone who joins the Peace of Pie community falls in line with the restaurant’s values and mission. With a workforce composed largely of local high school and college students as well as the couple’s own children, Peace of Pie remains a place where Altavista residents feel comfortable and at home. 

Because of the small staff, the Petersons are unable to keep the restaurant open for the same number of hours as other similar restaurants, but Breezy noted that this decision is intentional, so the couple still has time to raise their children.  

Customers can visit Peace of the Pie Pizzeria, located at 534 Main St., Wednesday-Saturday from 12-8 p.m. They can also keep up with the restaurant by following them on Facebook.

Written and Photographed by: Abby Price

Bristol, a twin city straddling the border of Virginia and Tennessee, is famous for the world-renowned Bristol Motor Speedway. However, it’s also celebrated as the birthplace of country music.

In 1927, the Bristol Sessions, which were a series of music recording sessions that took place in Bristol, marked a significant milestone in country music history. Musicians from near and far like Ernest Stoneman, the Carter family, and Jimmie Rodgers, flocked to Bristol to record their songs, guided by Ralph Peer, a Victor Talking Machine Company producer. These sessions catapulted country music into the national spotlight, cementing Bristol’s place on the musical map.

Today, Bristol’s rich musical heritage permeates the city, evident in nods to its musical past at nearly every turn. Whether strolling through a park, enjoying live music at a restaurant, or staying at the lovely Sessions Hotel, you’ll feel immersed in Bristol’s musical legacy practically everywhere.

Harmonious Details at The Sessions Hotel

The Sessions Hotel takes its name from the historic Bristol Sessions of 1927. This event is echoed throughout the hotel, which retains a vintage exterior while offering modern amenities inside.

The hotel consists of three separate buildings: the Bristol Grocery Building, the Jobbers Candy Factory, and the Simply Grand Granary Mill. These three historic buildings were refurbished and now serve as The Sessions Hotel.

The rooms at The Sessions Hotel are a delightful blend of industrial and contemporary design. They feature exposed brick, tall ceilings, and other classic details paired with chic, modern touches and musical elements.

As you enter your room, you’re greeted by a record player and vinyl on your bed, a nod to Bristol’s musical legacy. Other thoughtful details throughout the room honor the Bristol Sessions, including musical accents like wall art and light fixtures crafted from antique microphones, adding to the unique charm.

Complementing the musical touches in your room, the hotel boasts three live entertainment spaces, including a rooftop venue where we enjoyed a local musician’s performance. With soft seating and a cozy bar serving delicious drinks and small bites, it was the perfect way to conclude a day of exploring, especially with the stunning mountain views you can appreciate all around you from on top of the hotel.

Another live entertainment venue sits between the three buildings in the grassy courtyard area. While we couldn’t catch a live performance while we were in town, it’s undoubtedly a highlight of the hotel, making it convenient for visitors to catch live shows just outside their doorsteps. 

Adding to the hotel’s appeal is the addition of the Southern Craft barbecue restaurant located at the bottom of one of the hotel buildings. The restaurant offers outdoor seating right by the courtyard entertainment area, making it super convenient to eat and watch live music. 

Not only is the restaurant a prime location for catching a concert, but it’s delicious, too. We enjoyed our dinners there, relishing dishes like burnt ends, pulled pork, and mac and cheese. The convenience of having such a great restaurant just steps from our room was a highlight, enhancing the overall experience and thoughtfulness that went into the hotel’s refurbishment and design.

Country Music Roots Throughout the City

While the hotel excels at celebrating the town’s musical history, the entire city also embraces this heritage. Many venues throughout Bristol offer live music, creating a lively and enjoyable atmosphere.

During our weekend getaway to Bristol, my favorite spot for live music was The Rooftop at the Sessions Hotel. However, another great venue to visit is the Axe and Ale House, offering ax throwing, bar food, and live music on specific days. >>

In addition to live music, Cumberland Square Park is another fantastic destination with unique tributes to the town’s musical history. The park is a great place for a stroll and features statues of musicians singing and playing the guitar and violin, showcasing the community’s pride in its musical heritage.

The park is conveniently situated near numerous top-rated restaurants, bars, and attractions in town, including the renowned Birthplace of Country Music Museum. The museum is the perfect place to explore the origins of country music and learn about the historic Bristol Sessions.

The Birthplace of Country Music Museum 

The Birthplace of Country Music Museum is a place to learn more about the roots of country music and Bristol’s history. One of the highlights is a short film that plays every 20 minutes in a small theater in the museum, providing a glimpse into Bristol’s musical past.

When you reach the top floor of the museum, you can choose to watch the short film first or explore the exhibits. My husband and I opted to explore the exhibits and were instantly captivated by the various displays, which included archives, guitars, letters, and more. The exhibits featured items from the film, such as the Victor Talking Machine, alongside other artifacts like signed instruments, letters from musicians, and photographs. 

The maze of archives provided us with a deeper understanding of the Bristol Sessions and the development of country music. We saw old banjos played by country music legends, black-and-white photographs of Bristol during the Sessions, and glimpses of how the community would come together to watch live performances or gather on porches to listen to radios. We also had the opportunity to listen to the recordings themselves, experiencing the static yet brilliant music that was shared across the United States.

The museum excels at guiding visitors through the history of country music, from the musical instruments to the nuances of how country music permeated households in the 1920s. One unique exhibit I found particularly noteworthy was the role of porches during this time. Interestingly, porches were especially significant in the 1920s when family and friends used them as gathering places for chatting, singing, and enjoying good music. This greatly facilitated the spread of music at that time because not every family had a radio. Instead, people valued their porches as gathering spots where loved ones could visit, enjoy each other’s company, and listen to the latest songs.

Besides the porch exhibit, the museum does a fantastic job of showing the timeline of country music’s development and explaining why Bristol is called the Birthplace of Country Music.

Just like a porch in the 1920s, where community was created over warm songs and the soulful sound of Jimmy Rodgers crackling over a radio, Bristol continues to foster a community of music lovers. By nature, the city spans across both Virginia and Tennessee and equally transcends genre and musical tastes. While it’s known as the Birthplace of Country Music, it will continue to be celebrated for its liveliness and remarkable character.  

A Day in Pompeii Is Changing the Perception of Female-Fronted Metal Music

By: Olivia Carter  |  Photos by: Ashlee Glen

Angry music for happy people.” This is how members of local band A Day in Pompeii describe their music.

The heavy rock and metal band describe their sound as a mix of intense, emotional music aimed to uplift and energize listeners. While the band has a wealth of original material, they also perform covers to engage audiences and draw them in. 

The band formed last year and today includes Anna Tracy, Candy Phelps, Jonathan May, and Brian Honeycutt.

For Tracy and Phelps, who are sisters, music has always been a family affair.

“Candy and I have always been in music together. It’s a family kind of thing,” Tracy said.

Phelps, the bassist and vocalist for A Day in Pompeii, has always felt a deep connection to music.

“I’ve always felt drawn to be involved in music in one way or another for as long as I can remember,” she said.

Creating, performing, writing, and recording music is not just an activity—it’s a part of her identity.

“It’s part of who we are,” she said.

May, the guitarist and harsh vocalist for the band, said he became involved after he asked Tracy to sing on one of the songs in the band he was playing for at the time.

The collaboration went well, and an idea formed.

“We should start a band,” he suggested, and the rest, as they say, is history.

The origin of the band’s name, A Day in Pompeii, stems from a question at May’s workplace: If you could go anywhere in history without affecting the timeline or fearing death, where would you go?

May’s answer was, “the last day in Pompeii.” He pitched this idea as a band name, and Tracy immediately saw its appeal.

“If I read that, I’m going to click on it. It says metal, it says rock, it’s heavy, and it’s catchy,” Tracy said.

Despite their demanding schedules, the band remains committed to producing high-quality music.

“It’s a challenge to do it when you have a full-time job and a family, but we get it done. We have a high standard of what we want to sound like,” Tracy said.

The band meets weekly to rehearse, working on songs individually at home, and coming together to perfect their sound which blends heavy and melodic elements.

“We meet once a week, rehearse, and practice. We work on our songs individually at home, and when we come together, it’s like a group project where everyone does their part,” she said.

Tracy, who has a background in rock, acapella, and gospel music, brings a fresh dynamic to the band.

“I’ve never been in a band where I was singing with a male voice. The harsh vocals from John are new and exciting for me,” she said.

Despite the male-dominated genre, she believes there is a place for women in metal.

The genre already has plenty of women in it, Tracy said.

“These women have been around for like two decades. So it’s not new. As for A Day in Pompeii, I guess the uniqueness for us is we really like to have the harmonies in the layers of female vocals against harsh vocals and you’ll get that from us,” she said. “If you hear our songs, you recognize it as us because you have those beautiful harmonies on top of the melody, which is all female. And then you have harsh vocals coming in with John.”

There have been preconceived notions about female-fronted bands in the hard rock and metal genres, Phelps said, and she finds it perplexing that some people view female-fronted bands as deliberately going against the grain.

“Hard rock and metal were never meant to be just male voices or just female voices,” she said.

The genre, she believes, is for everyone and their music should be appreciated for its authenticity rather than judged by outdated stereotypes.

The band said it has had a difficult time getting booked at local venues.

“It’s really challenging for an original metal band with female singers to get in these venues,” Tracy said. “Venue owners need to take a risk and give us the opportunity. Lynchburg wants metal and they will show up if given the chance.”

Most live music events take place in restaurants or businesses that double as music spaces, Phelps said.

“[Venues] think people only want to hear music they’ve heard a million times before,” she said.

The band has a vision for the future of Lynchburg’s music scene. They hope to see more original bands like theirs on stage and to be a part of a thriving local music community.

“We want to play our town and have the support of local fans. We believe Lynchburg has a lot of talented musicians and we want to be a part of that scene,” Tracy said.

A Day in Pompeii is determined to bring heavy metal back to Lynchburg and to change preconceived notions about female-fronted metal bands.

“We want to play our town and have the support of local fans. We believe Lynchburg has a lot of talented musicians and we want to be a part of that scene,” Tracy said.

When asked about the band’s sound, Phelps said she finds it challenging to compare themselves to other bands.

“We all have different influences. We sound like A Day in Pompeii,” she said confidently.

The band’s music is rooted in their local experiences and reflects their own lives.

“The songs we write are an expression of people who live where you live,” Phelps said.

She said the music resonates with the struggles, joys, and experiences of their community.

 “Give it a chance because you might find something that connects with you,” she said.

A goal for A Day in Pompeii is to create a deep connection with their audience.

“We don’t just write songs; we build soundscapes. We want listeners to feel what we feel when we play,” May said.

The band strives to evoke a range of emotions, from headbanging excitement to goosebumps-inducing epic moments.

May said the band is a prime example of creativity and taking a risk.

“Don’t be afraid to shoot your shot,” he said. “Don’t be afraid to break through the stereotypes because that’s what we’re doing.”