The players of Strummer come from a wide variety of backgrounds with a vast array of influences, and each leaves their own mark on the band, from song selection to the unusual arrangements that allow guitar, banjo and bass to come together in a way you least expect. You should meet them.

Rebecca Worth: Banjo, Vocals

Rebecca grew up surrounded by the Blue Ridge mountains, and her first taste of music came from the bluegrass, folk, and Grateful Dead that came floating down the hollers like so much moonshine. She discovered the joy of playing the banjo, and ignored the jeers to throw away the stylings of the clawhammer players to develop her more intricate finger-picking style. She took lessons from some of the most accomplished banjo players (Banjoists? Banjoers?) in the region, and continues to study this unusual and often-derided instrument. She welcomes your scorn and anticipates your appreciation as she slays Pink Floyd.

Rebecca is also a talented jewelry designer, and a dyslexia advocate, founding PQBD, a nonprofit raising awareness and funding for children struggling to learn with dyslexia.

Scott Dickens: Guitar, Vocals

A native of Danville, Virginia, Scott was raised listening to classic rock on the radio, Simon & Garfunkel and show tunes in his mom’s records, and hard rock. No stranger to the hair metal scene, he took his playing inspiration from Deep Purple’s Ritchie Blackmore, Judas Priest and Iron Maiden’s dueling guitarists, and stadium bands of the 80s, like Van Halen, Y&T, and Journey. Strong licks and wicked riffs that hit you over the head like a brick.

Scott is also a fan of intricate arrangements and anyone who can truly play the guitar. He brings this lifelong love of music to his role as the band’s primary arranger, turning the most unusual song into an acoustic romp that would make Earl Scruggs blush with envy.

Chris Crews: Bass, Vocals, Harmonica

Originally a drummer, Chris began playing bass over 20 years ago when he bought a used Mazda RX-7 on a dare. He finds the instrument to be the perfect marriage of rhythm and melody, and it’s infinitely more portable than a Pearl 5-piece.

He was born and raised in the Washington, D.C. area, and grew up as the region’s nascent punk scene was exploding. As his high school classmates were screaming the anthems of AC DC and Molly Hatchet, he was flashing a fake I.D. to enter the clubs and basements of the D.C. underground movement. Mixed bill shows exposed him to the reggae of Unity, the Go Go of Experience Unlimited, and the anarchy of Minor Threat – on the same night and same bill. An early show at the original 9:30 Club with the legendary Fishbone changed his life.

REM was the opening act.

He considers his style a mixture of the smooth melodies of Pino Palladino, the unusual stylings of Tony Levin, and the thunderous bottom end of John Entwistle. He lacks the number of fingers or strings to pull this off, but you sense his inspiration.

His harmonica skills are the result of another dare, and unlike the Mazda, it paid off.