Violin, Fiddle, Vocals, Writer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I am especially proud of my work on “Strawberry Wine” and “Halloween” with Noah Kahan. I contributed fiddle, violin and composition to songs that called for emotion, restraint and parts that supported the writing without distracting from it. That balance between having a recognizable voice and serving the song is what I aim for in every session.

Q: What's your 'promise' to your clients?

A: I will listen carefully, communicate clearly and treat your song like it matters. You will receive thoughtful, professionally recorded parts, organized mix-ready files and an arrangement built around your vision and the needs of the song. You will LOVE the work I do, I guarantee it.

Q: What questions do customers most commonly ask you? What's your answer?

A: Clients often ask what they need to send. A stereo rough mix with a clear starting point, tempo and creative notes is usually enough. Individual stems, chord charts and references are helpful when available, but I can work from a straightforward rough mix and build the arrangement from there.

Q: What's the biggest misconception about what you do?

A: The biggest misconception is that adding fiddle means playing constantly or making the track sound traditionally country or bluegrass. Fiddle can be rhythmic, cinematic, atmospheric, aggressive, subtle or highly melodic. Sometimes the most effective contribution is a single recurring hook or a few carefully chosen moments.

Q: What questions do you ask prospective clients?

A: I ask what role they want the fiddle to play, which sections need the most attention and how much creative freedom they want me to take. I also confirm the tempo, key, sample rate, file alignment, deadline and preferred deliverables. References are helpful for understanding the desired energy and texture, even when the final part will be completely original.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Look for someone who understands arrangement, not just technique. A great player should be able to hear the whole production, support the vocal and make choices that serve the song. Clear references are helpful, but you should also hire someone whose musical instincts you trust.

Q: What was your career path? How long have you been doing this?

A: I started playing fiddle at age four in West Virginia and have spent most of my life performing, writing and recording. I eventually built a career as a touring artist, session musician and arranger. Recordings featuring my playing have generated more than 300 million streams, and my own artist career has grown to an audience of more than 1.5 million followers. I have also reached the semifinals of America’s Got Talent and performed on NPR’s Mountain Stage.

Q: How would you describe your style?

A: My style is rooted in Appalachian fiddle but shaped by years of touring, songwriting, arranging and playing across genres. It can be rhythmic and raw, melodic and conversational, or wide and cinematic. I always want the part to feel human, intentional and connected to the emotional center of the song.

Q: Can you share one music production tip?

A: Build instrumental parts around the vocal, not on top of it. A strong fiddle part should know when to answer the singer, when to create movement underneath and when to disappear completely. Leaving space often makes the featured moments feel much bigger.

Q: What type of music do you usually work on?

A: I work primarily in Americana, country, folk, acoustic, roots and singer-songwriter music, but I also record for pop, rock, electronic country and cinematic productions. My playing can range from traditional Appalachian fiddle to modern, layered violin textures.

Q: What's your strongest skill?

A: My strongest skill is hearing what a song needs and creating a part that feels like it was always supposed to be there. I can move between supportive rhythm playing, melodic counterpoint, emotional textures and featured solos without losing sight of the song. I see it like colors and bring it to life.

Q: What do you bring to a song?

A: I bring musical instinct, energy and an understanding of arrangement. My goal is not simply to add fiddle everywhere. I look for the moments where it can create a hook, lift a section, answer the vocal, add rhythmic movement or step forward as a featured voice. Just as importantly, I know when to leave space.

Q: What's your typical work process?

A: Once the project is booked, I listen closely to the track, references and client notes to determine what role the fiddle should play. I build the arrangement around the vocal and existing production, then record, edit and organize the parts. Clients typically receive clean isolated stems and a reference comp so they can hear how everything works together. One reasonable revision round is included.

Q: Tell us about your studio setup.

A: My primary instrument is a 100-plus-year-old Ernst Heinrich Roth violin. I also record with Martin and Guild acoustic guitars, Ear Trumpet Labs microphones, professional preamps and interfaces, studio monitors and a full DAW setup. I deliver clean, high-resolution stems that are ready to drop into a professional mix.

Q: Describe the most common type of work you do for your clients.

A: Most clients send me a track that needs character, movement or a memorable instrumental voice. I create fiddle parts from scratch, including rhythmic foundations, signature hooks, counter-melodies, solos, harmonies, transitions and complete full-song arrangements. I also regularly execute written parts when the client already knows exactly what they want. Appalachian style fiddle is my speciality and I love bringing a unique flavor to people's records.