Last week, we lost another great bluegrass voice and musician, Although exact information is still forthcoming, Pat Enright passed away at the age of 81. While his name was not as well-known to the general music audience, he was a stalwart in the bluegrass community, having been a member of two influential bands and a voice that was on a multi-platinum album.
Born in Indiana, he originally wanted to be an architect. However, he got bit by the folk music bug during high school. He joined the Navy in 1965 to avoid the draft, and while stationed in Washington, DC, he discovered bluegrass music. After the service, he moved to San Francisco and played in a number of area bluegrass bands. He moved to Nashville and secured a job at Gruhn Guitars. While working on a guitar, a string snapped and hit his left eye, causing it blindness.
In 1979, he was invited by Bela Fleck to join Tasty Licks, which had him move to Boston. They would later move back to Nashville and form the Dreadful Snakes. That band’s only album, Snakes Alive, is considered one of the most important bluegrass albums of the time.
In 1984, he and Alan O’Bryant formed the Nashville Bluegrass Band, The band’s 20-year run would leave an indelible impact on bluegrass music, as they not only stressed the traditional side, but included heavy influences from black Gospel, old-time string bands, and the blues. So many of the NBB songs included four-part harmonies arranged by Enright.
The highwater mark of his performing career came in 1999, when he recorded vocals for the soundtrack to O Brother, Where Art Thou?. That is his yodel on the recording of “In the Jailhouse Now,” as well as the harmony singing on “Man of Constant Sorrow.” During the Down From the Mountain US tour, NBB served as the house band to back up many of the vocalists from the soundtrack.
NBB won numerous IBMA awards during its tenure, and of course, he received a Grammy for the soundtrack for OBWAT. After the band retired in 2004, Enright stayed away from the music scene for the most part, occasionally performing at the Station Inn or other Nashville venues. My memory of him is getting to talk to him at a few IBMA World of Bluegrass conferences around 2010. We talked about old Martin guitars and the video that NBB had made for vocal harmony instruction. As with so many bluegrass artists, he was extremely humble and cordial to me and anyone else that wanted to talk. NBB has always been one of my favorite bluegrass bands, particularly due to those amazing harmonies, courtesy of Pat Enright.
Sir, your voice will surely be missed down here, but I know that you are now singing with the Angel Band.
So I have had internet access at my house for almost a year. After years of dial up, hot-spotting off of my phone, and stealing access from neighbors that didn’t use a password, I finally can work on the web whenever I need to at my computer.
So sitting around a few days ago, I realized that I can now listen to an internet radio station to my choosing 24/7. After quitting Sirius/XM years back due to cost vs. selection, my bluegrass listening was limited to four hours on Sunday through CJAM-FM out of Windsor, Ontario, or digging through my CD collection if I wasn’t that lazy.
So I did a quick search for “bluegrass internet radio station” and Live365 had a list of Bluegrass stations. I sampled a bunch, but most seemed to mix a bluegrass song in with some classic country music. Two that I have been spending time with are “Catgut ‘n Jugs Bluegrass Show” (which leans toward the modern popular bluegrass charting songs) and “Rideout’s Bluegrass Farm” (heavy on Tony Rice, Billy Strings, and Garcia/Grisman).
It is nice to have a dose of bluegrass at the touch of a button on the keyboard, and it does run 24/7 on my computer (since I am paying for internet by the month). Howver, I am noticing that both stations tend to program the same way as SiriusXM’s “Bluegrass Junchtion” channel, which is why I unsubscribed from it. One will hear very little variety, sometimes the same song by the same artist will play two hours later than the first play.
There is so much material out there, so if it is because some computer is doing the programming, then perhaps someone at one of these stations needs to be a lot more attentive and put some personality. This is just like the old days (for me, still exists) with the car radio of twisting the dial or pushing buttons to change a station to get something different.
Yes, it is nice to hear bluegrass first thing when I wake up (“Bill Monroe for Breakfast,” or some reasonable facsimile), as well as when I walk into the house after a hard day at work. Right now, I need to check out other stations, hopefully one with more variety.
This weekend was the annual US 12 Longest Yard Sale, and I took Friday off from work to do my annual trek. While I will grab just about anything that I think is a bargain or treasure, I am mostly looking for musical instrument related items. In past years, there have been about a dozen vendors selling some such items, but this year, it was down to four, and three of them were pretty much a joke.
The US 12 Heritage Way website this year included a map of vendors that listed items that they were selling. I earmarked a few of them, and the results were pathetic. One had a Taylor 3/4 size gigbag for $40.00, and Elixer guitar strings for $5.00 per set (which I can get from Temu for half of that price). Another vendor’s idea of a “musical instrument” was a giant rug shaped like a keyboard.
There were a few vendors selling a few drum pieces or an old trumpet. One vendor had a few acoustic guitars, including a Harmony archtop that looked interesting. He was asking way too much, as well as high prices for two headphone amplifiers that looked like they had seen better days. Toward the end of my drive in a town called Allen (which calls itself the Antique Capital of Michigan), there is one vendor that is there every year, selling mostly fishing and hunting equipment, but has some musical instruments. They are mostly clarinets and trombones, but he does have a few guitars. However, they are all cheap department store types like First Act that are not worth anything.
In short, other than a few Hot Wheels cars that I bought for a co-worker, the only thing that I purchased for myself was a Godzilla Sandwich from Randy’s BBQ in Onsted (https://www.randysbarbecue.com/).
One of my YouTube subscriptions is to Billy Strings’s channel. When he is on tour, he will often post his opening song live. On Friday, I noticed that he was wearing a hockey helmet while performing. I figured at first that it was some kind of joke because he was playing in a hockey arena.
What is with some idiots these days? Billy is a pretty laid back guy, and he has done his best to make up for cancelled shows due to his leg injury earlier this year. There is no doubt that he and his band put on a fantastic live show, and his fanbase has grown to amazing numbers over the past few years. However, there always seems to be one or two morons that want to ruin it for the thousands that paid good money for the show.
Billy had just started talking to the audience about how glad he was to be there, when an object (most likely a disposable lighter) was thrown from the crowd and hit him in the head. Suddenly, Billy’s demeanor changed drastically, and he not only called out the unknown assailant, but asked the crowd to “sodomize” the jerk.
Can you blame Billy? He is up there literally unprotected from any flying objects, and even something like a lighter hit in the right spot could do damage. I hope to read in the news soon that the assailant was found and charged with some crime. In the meantime, I also hope that Billy understands that the does not reflect the thousands of true fans who value his musicianship and love for his audience.
I finished up on the Squier Stratocaster that I bought on the Goodwill website two months ago (https://luegra.design.blog/2026/05/17/shopping-goodwill-online/). Estimating the time, parts and effort put into getting back into playable condition, I will definitely lose money when selling, hopefully not much.
After cleaning up the graffiti and stickers, I went to work on patching up the divot that was made by the previous owner. This was a task indeed. The wood filler was not curing and sticking to the existing wood in the body, so it took about five layers. When sanding it down, it was not holding too well, so the last layer I let cure for almost a week. It held, but there are a few scratches that were too deep to come out unless I kept going with more layers, and I really did not want to invest more time on that part of the clean up.
I used simple acrylic paint on the patch. Fortunately, the patch was all in the black part of the sunburst, so only one color was needed. The polyurethane that I used for clear coating was also giving me some issues. It was going on thin, and even after about 10 coats, light sanding with 1000 grit paper took me back to the wood filler and stripping off the paint. After touching up the paint and adding a few more coasts, I switched over to some final coats of Tru-Oil. The finished job is not professional, but it is way better than it was, and it’s a Squier, not a vintage Fender.
I replaced the knobs and pickup switch with Fender-style parts to match the pickup covers. The floating bridge needed a lot of adjustment, which meant removing the back cover and force-tightening the spring screws. I could spend a lot more time on setting it up, but right now, I want to get back to the green Telecaster.
Sound-wise, it is typical of the Squier Stratocaster. There is that buzz when only one pickup is activated. I could get back into the body and put in some conductive tape, but again, I don’t want to invest more time into this guitar. The selection of neck/middle and middle/bridge pickups gives that great glassy sound. However, as these are pretty cheap pickups, the output is pretty low.
All in all, it is a beginner guitar, or a decent back up guitar. Hopefully I will find a buyer.
I recently received an email from TMJ Software/VRII with a project that they are launching for fiddle players wanting to learn a song. You send them a bluegrass song that contains a fiddle, and the company will use AI to separate the fiddle from the track, then post the song without the fiddle as well as a copy of the fiddle on its own without the band on its website so that you can check it out. They call it “stem separation.”
This sounds interesting, but I am not sure how popular it will be. I have seen other companies produce backing tracks of popular bluegrass songs like Grasstrax, but I am not sure how much of a need there is for the backing track as well as the recording of the lone instrument on its own. Most bluegrass musicians that I know can pretty much decipher the solo and are more inclined to create their own version.
Only time will tell if this works out for anyone wanting to study a certain bluegrass song’s fiddle break. I went to the website (https://vrii.tmjsoftware.com/fiddle-challenge.html) and checked out the three songs that were there. The separation was good, but one would find it hard to follow the backing track, as in the case of the recording of Bill Monroe’s “Cotton Eyed Joe,” the fiddle kicks it off, yet you can’t tell when to start if you want to jam with the backing track. Anyone interested in trying to download a song can go to the above website.
Fiddler Byron Berline was to me one of the most talented of fiddlers in the bluegrass field. His father was a champion fiddler, and it seemed to rub off on him. By the time he was 20, after winning numerous contests, he appeared on the Dillards album Pickin’ and Fiddlin’. He soon worked with Bill Monroe, then after serving in the US Army for two years, he moved to California to work with Doug Dillard and Country Gazette. Other notable projects included Berline, Crary & Hickman (1978-90) and California (1990-96). His fiddle work went through the entire scopy of the music world, working with Bob Dylan, the Nitty Gritty Dirt Band, Emmylou Harris, and the Rolling Stones (that is his fiddle on the recording of “Country Honk”).
In 1995 he moved back to his home state of Oklahoma and started the Byron Berline Band, as well as opening the Double Stop Music Shop in Guthrie. Unfortunately, a fire destroyed the shop in 2019, and Byron passed away from stroke complications in 2021. Fans of his not only value his contributions to fiddle and bluegrass music, but also know that he was a big Star Trek fan, appearing in the Star Trek: The Next Generation episode “Where No Man Has Gone Before” playing with a 18th century string quartet.
The Nashville Bluegrass Band are definitely the workhorses in the bluegrass music industry. Formed by Alan O’Bryant and Pat Enright in 1984, they held to traditional bluegrass ethics while also incorporating blues and gospel. Their a capella performances were heavily inspired by black gospel music, and they were known to revive songs that were long lost in the years. They were the first bluegrass band to perform in the People’s Republic of China, and helped to make the O Brother, Where art Thou? soundtrack the success that it was. They are two-time Grammy winners, and have continually supported other bluegrass artists in the studio and at live performances.
NBB’s induction in the BGHOF is long, long overdue. While they have never received acclaim like Del McCoury or Billy Strings, they have always been the biggest ambassadors of the genre. While I have a number of the band’s CDs, one of the items that I value the most from them is and instructional video that they released on Homespun Music Instruction entitled Harmony Vocal Workshop – Gospel/Bluegrass. It shows how really powerful and talented the band is when it comes to vocalizing traditional music. For anyone wanting to learn how to best harmonize when singing country, bluegrass, or gospel music, this is a must-have video.
The 25th Anniversary Deluxe Edition of Del and the Boys by the Del McCoury Band was released this week, and you can bet I went and bought it as soon as I could get to the record store. On the first listen, I had forgotten how classic this album truly is.
Del McCoury had a great reputation in the bluegrass community before this was originally released in 2001, and the band received some deserved recognition backing up Steve Earle on his The Mountain album, but this is the one that made Del legendary to this day. It helped that to support the release, Del and the band toured with the Down From the Mountain troupe that year.
However, it is the selection of material, as well as the band performing at its best, that makes this a must-own album. I had previously written about the opening track, “1952 Vincent Black Lightning,” as a perfect song (https://luegra.design.blog/2021/04/17/a-perfect-song-1-del-mccoury-band-1952-vincent-black-lightning/). Following that track were 11 songs (on the original release) that made you try to catch your breath when they were finished. “All Aboard” became an audience request number, almost as much as “1952.” “Gone But Not Forgotten” is break-neck speed with a tear-jerker storyline. “The Kings’s Shilling” is a great bluegrass-meets-sea shanty with amazing harmonies. And of course, what DMB album would be complete without an instrumental, and “Goldbricken” shows off Ronnie and Rob McCoury’s talents, as well as fiddler Jason Carter.
This release includes three extra tracks that were not on the original album. I would have bought the disc even if there was no bonus, but this makes it all the more sweeter. I am so glad that Del McCoury, as well as most other bluegrass artists, have not forgotten the hard-copy of music albums such as vinyl and CDs, unlike so many other artists in other formats that are relying on streaming. There is just something about holding an album cover and reading lyrics or liner notes while the music is playing. It helps to excite more of the senses.
I saw Del and the band two weeks ago at the Charlotte Bluegrass Festival, and at 87 years of age, he still has it. “Inspirational” is probably the best word to describe what he does for the continuing popularity of bluegrass music.
If you don’t already have this album, go out and get it! This one set the standard for modern traditional bluegrass, one that both the old-timers and progressives can truly enjoy and appreciate for a long time.
I wasn’t sure if last year’s Charlotte Bluegrass Festival could be topped by having Billy Strings perform, but Wes Pettinger (promoter and organizer) sure did it this year!
The 2026 Charlotte Bluegrass Festival is one for the books. It was amazing all three days, but especially on Friday and Saturday. Let’s cover it some from my perspective:
Vendors – I swore last year that I was not going to eat any of the food sold there, if it meant that I pack a bunch of granola bars in my backpack (which I did). However, dopey me had a craving for french fries one day. For $8.00 I got a Solo cup of fries that must have been cooked in oil old enough to come from King Tut’s tomb! I have NEVER tasted such bad french fries. Never again! I do have to say that the ice cream vendor was decent (you can’t go wrong with ice cream), and I did start to get addicted to the cinnamon roasted almonds. But no fried foods from the vendors ever again!
Friends – along with the usual crew from the Southeast Michigan Bluegrass Music Association, I was able to befriend a few new people. The first was a guy named Stevie (his father named him after Stevie Ray Vaughan). A big, bald loveable man who loves to cook, he was handing out sandwiches to anyone that was interested. As we sat watching bands during Friday and Saturday, he was asking me questions about bluegrass music and the bands/artists that perform. The highlight of the time hanging out with him was on Saturday night, for the 50/50 drawing, he tells me that he should buy some tickets, sonce his dad says he is a good luck charm. Sure enough, the guy won $1,100!. He did join SEMBMA, and plans to attend out annual picnic/pot luck event in August (already telling me the food he’ll bring).
Another new friend is Kaitlyn. She recently moved to Michigan from Wisconsin, and was only able to attend the Saturday evening shows due to work and school. She was dancing with an old guy (not me!) who dances with any gal that will let him, and was actually enjoying herself. We got to talking, and she didn’t have many friends or contacts in Michigan to see other bluegrass events, so I told her to stay in touch with me and I would let her know what’s going on in the area.
David Mayfield Parade – What can I say about this band that I haven’t said already? There is not another band out there (bluegrass or otherwise) that can generate that much energy on stage and geteven the lamest crowd motivated. I absolutely love these guys, they are truly one of the best out there! Unfortunately, they were only playing the festival on Thursday, so hopefully next year they will do two or all three days.
Dan Tyminski – Dan has been promoting his solo stuff for the past few years since he left Alison Krauss & Union Station. While his more recent solo material leans more toward the Americana format, he was smart enough Thursday night to know his audience. Almost all of his set was songs from his first solo project, his time with AKUS or the Lonesome River Band, and a few old bluegrass standards for good measure. He looked a lot thinner than his days with AKUS, so hopefully it is due to dieting and exercise (like myself).
Del McCoury/Larry Sparks/Billy Strings – I’ve lumped them together due to the amazing Friday and Saturday that was created. I swear, Billy must have a GPS tether on his butt, as once the rumor spread that he would be at the festival on Friday, the grounds filled with Billy Goats! Now, even if Billy didn’t show up, both sets by Del and Larry would have been extraordinary, as they are both true entertainers and legends in the bluegrass community. However, Billy’s surprise appearance on both evenings set the festival ablaze to say the least.
The Travelin’ McCourys (the Del McCoury Band without Del, and guitarist Cody Kilby added as a member) did two sets. Sons Rob and Ronnie McCoury have been doing the bluegrass circuit since they were teens, and this configuration allows them to perform material a bit more progressive than what they would be doing with their father. The afternoon set saw Billy come on to perform a few numbers with the band, which by that time there was no breathing room in front of the stage due to the Billy Goats (I can still smell the patchouli and weed two days latern and I am still gagging from it).
Del’s set was incredible to say the least. At 87 years old, he still kicks it out with an amazing tenor voice and puts bluegrassers less than half of his age to shame. Dell did only one set, and when Billy joined him, Billy brought his father on stage to play guitar as well. Those of us who were there last year remember that Billy’s mother died the night that Billy headlined the festival, and Wes would later dedicated this year’s festival to her memory.
Larry Sparks goes beyond legendary. From the time he played with the Stanley Brothers to today, his down-home voice and trademark guitar sound are an absolute treasure. Surprisingly, there were not as many Billy Goats there on Saturday, so when Billy came on stage with Larry to perform the old Stanley Brothers’ song “Lonesome River,” the front of the stage had more of the die-hard traditional bluegrass fans standing. One can definitely see the gratitude in Billy’s eyes and on his face. Like a kid in a candy store, he is totally enjoying and appreciating the fact that he is able to perform on stage with his bluegrass heroes. I was also amazed that the Billy Goats that were there knew a lot about Larry, as they were shouting out requests of his songs.
Of course, I had to bug my buddy Ken all weekend on what was happening by sending him texts and photos. Every year I tell him the dates for the festival months in advance, and every year he misses it. I told him today the next year’s dates (a whole year away), and he says that he is inking it in.
Yes, June 24-26 are already planned for me, even though I don’t have a clue as to what bands are performing. Next year’s festival will also include a Kids Academy set up by SEMBMA for children to learn more about bluegrass and learning to play instruments. At this point, I’m not sure that I’ll be able to assist in that, but I will be at the the main three days. I really do not know how this year can be topped.
I will be heading to the Charlotte Bluegrass Festival in a few weeks, and this time, I plan to do some jamming after the shows. Besides getting a good supply of energy drinks so I can stay up past my normal bedtime, there are a few other things that I am either taking or preparing for.
Before packing, I need to check to make sure the guitar is ready as well. I will most likely be taking the Martin D-28 “Hazel” with me, as my Cirrus acoustic is at the Cirrus Guitar shop getting a modification. At the last jam session there this past Thursday, I asked Mike Franks to install the 1946 penny into the back of the headstock (https://luegra.design.blog/2026/04/19/the-1946-penny/). I haven’t picked it up in a while, so the strings may need changing, and I will want to stretch them out a bit before the jamming weekend.
A few other things that I will be taking along:
An extra set (or two) of strings. It is insurance just in case I do break a string, as well as being neighborly and offering a replacement to someone else that breaks one.
A fake book. Since I have been writing my own material over the past few years, I have slacked off on knowing many of the bluegrass standards by heart. Until the Charlotte weekend comes, I plan to spend every available minute thumbing through my fake books and re-familiarizing myself with them. I blogged about fake books a while back (https://luegra.design.blog/2020/07/17/a-brief-look-at-bluegrass-fake-books/), and while I don’t plan on playing just old bluegrass standards, It is nice to know that I have references.
Tool kit. I am not sure if I mentioned this item before in a previous blog, but I have been finding that if I go to a jam session or even a bluegrass show, I take along one of these. It is a case about the size of a ladies wallet, and consists of tools that one may need in emergency repair situations, such as string winder, string cutter, truss rod hex key, screwdriver, and other maintenance items. You can get one of these for about $20.00 through wish.com or Temu. They are not the most quality tools, but they work in that emergency. I usually throw in additional items in my kit, including the Roadie Rench-like multi-tool (available from D-Addario) and a feeler gauge.
Recording device. It is possible to record with my phone, but I have a pocket digital recorder used by some people to record notes instead of writing them down on a small pad or sticky note. I temporarily lost my good one, so I picked up another one, then found my original buried under some books. These recorders are small, about the size of a large pack of gum, and are very easy to use. The second one I have charges via USB for power, and both have proven to be worth keeping around at all times to record a lyric thought or a guitar riff for later use. I purchased my second one from Temu for less than $15.00, so I recommend snagging one.
Calling cards. You never know who you will be talking to at one of these bluegrass festivals. I hand these out a lot over the weekend, most notably to artists when I am trying to push some of my songs, but also other fans and players for future jamming and correspondence.
This year’s festival looks fantastic as far as a lineup. Along with my favorite band the David Mayfield Parade, the legendary Del McCoury is scheduled to perform, along with the Travelin’ McCourys, Larry Sparks, and the Dan Tyminski Band. Considering the Billy Strings played last year, this festival is proving to be a go-to for national bluegrass acts of A-list stature. I am so looking forward to these three days.
On May 5th, the bluegrass world lost another wonderful traditional voice. Evelyn Cox Hobbs, singer and guitarist for the Cox Family, passed away at the age of 66.
The Cox Family as a band was started by father Willard in the late 1970s. They resided in the Cotton Valley of northwest Louisiana. As kids, Evelyn, along with brother Sidney and sisters Lynn and Suzanne, would learn instruments as well as sing harmonies to gospel music. From performing at local hayrides to appearances on the the Grand Ole Opry. The band won a Grammy in 1994 in the Best Southern, Country or Bluegrass Album category for I Know Who Holds Tomorrow, a collaboration with Alison Krauss.
Probably the biggest boost to the band’s career was an appearance in the movie O Brother, Where Art Thou?, as well as in the documentary of the soundtrack to the movie Down From the Mountain. The band performed two classic songs at the Ryman Auditorium for that film, which showcase the beautiful harmonies that they were known for.
Willard retired from the band shortly after the appearance, but the siblings continued on. Evelyn and Suzanne retired a few years back, and Sidney reformed the band with his daughters to create a second generation of the legacy.
I was fortunate to see the band during the Down From the Mountain tours. Willard had already retired, so Evelyn was the spokesperson for the group. She had kept the laid-back humor that her father always showed on stage. However, it was those precious harmonies that melted my heart. Whenever I need shot of joy, I pull up the performance of “Will There Be Any Stars In My Crown” from the Ryman performance on YouTube. Simply beautiful to hear.
Evelyn, thank you for giving the rest of a voice that could only have been given to you by God to put to good use,, which you did. You are now in Heaven, singing in the Angel Band with your father.
I was recently asked to assist in getting a bluegrass jam started at a bar here in Detroit. Basically a person that I met at a local jam has an uncle that owns a bar, and this person wants to start a regular bluegrass jam at the bar. I checked out the place, and it has pretty much a faux Irish pub look to it, but the outdoor patio is spacious enough for small concerts.
It got me to thinking about my experience with bluegrass jams over the years. While most bluegrassers may be familiar with the night-long jam sessions after performances at festivals, there is occasionally the established jam session organized somewhere during the times when festivals are not happening, like during the winter up here in the north.
These types of jams are hard to predict as far as success. Most local bluegrass associations (like the Southeast Michigan Bluegrass Music Association) attempt to set up or help sponsor jams, usually after a business meeting. SEMBMA used to do that, but it would be disheartening, as the meeting would have five or six people attending, then as the meeting was wrapping up, 20 people would show up with instruments in-hand. Thus, not much got done by the association from its “members,” as they only seemed to join just to have a place to play. SEMBMA has had to cancel many sponsored activities due to lack of membership volunteer help at them. If the only reason to join the association is to plant your butt at a place to play, then why bother?
One association up here in Michigan used to sponsor a monthly jam at a school. About 10 classrooms were open, and the cafeteria had a small stage for sign-up performing. I went a few times, and the folks that ran it were stand-offish to say the least. Each room was taken up by some amateur band that did not want anyone from the outside coming in to jam. The last that I heard, this association has dissolved sometime around COVID.
Jams at places like restaurants and bars are also hard to keep going. One has to remember that the owner of the establishment is hoping to make money at this business. Live music, even with established bands, can be a coin toss as far as profitability. I am sure that every bar owner would love to have a Billy Strings or Del McCoury play at his/her venue once a month to make up for the dead evenings the rest of the time. Open mics and jam sessions are very shaky at bars. The bar owner may try it once or twice, but if he/she is losing money on that night, forget it going past a third time. I have seen way too many times that jammers show up, play for hours, not buying a drink (or worse yet, try to sneak in their own drinks), then up and leave without spending a dollar on food or beer. There is usually no cover charge on these nights, but I have also seen places that charge a few dollars for jam nights, which stalwart jammers thumb their noses to. In the end, bar owners lose money, and jammers are out of another place to play.
One jam night here in suburban Detroit that I have enjoyed hitting is at the Cirrus Guitar shop. Once per month Mike Franks opens up a room for two hours of bluegrass and folk jamming. After which, everyone there gabs about music, instruments, or other topics, while Mike takes any newcomers on a tour of the shop. This is successful because Mike has a deep love for the music, his shop would probably be open anyways, and the people that show up do not take advantage of his gratitude. If I do show up, I usually bring some snacks for afterwards.
Jams take some time for the news to get out. That first one at Cirrus had five people. It has grown some, but there are other factors (only once per month, it is on a weeknight, and not centrally located). However, the main factor I see that would make a regularly scheduled jam session a success would be the cooperation of the jammers themselves. Accept that someone is allowing you to come into his/her facility for a few hours to play with others. See what you can do for that owner. Provide snacks, help clean up afterwards, help set up beforehand, even pass the hat and throw in a buck or two (if no cover charge is being made) to help play the electric bill for that evening. If that is too much to ask, then just stay home and jam with yourself, or have a jam session at your house. See how much time and effort it takes to make a bunch of jammers happy at no cost to them.
Luegra 