The Colorado Roots Music Camp (CRMC) takes place annually for a week in June at the Rocky Mountain Mennonite Camp in Divide, Colorado, USA. CRMC was founded in 2006 as a welcoming community event by local amateur musicians, comprising taught classes, informal jams and scheduled concerts in traditional, acoustic music of North America. Whereas scholarly community music discourse often centres facilitated intervention (Higgins 2012) or sustained local practices over generations (Schippers 2018), the community of CRMC gathers an evolving group of people together each year to join in musical fellowship for just a week. The welcome at CRMC is characteristic of the hospitality germane to much community music in practice (Higgins 2024). The community there is one of communitas (Turner 2012) - infused with an invitation and ethos of belonging, curating a community of amateur music makers - people who make music for the love of doing so (Kratus 2019; Silverman 2020).Hosted by Mennonite Christians, the camp is non-religious, although CRMC is imbued with a deep spirituality. Boyce-Tillman (2011, 2020) defines four experiential components that when aligned create holistic Spirituality, or what Shusterman (2000) terms aesthetic experience. The first element of Boyce-Tillman’s Spirituality is Materials, which at CRMC include human voices, traditional wooden, acoustic instruments, and the camp’s setting at 3,000m altitude in the awe-inspiring Rocky Mountains. The second component is Construction, including structured curriculum, learning and writing songs and folk tunes, and scheduled together time for meals. The third part is Culture, lived at CRMC by instructors and participants alike; everyone is affirmed and celebrated for taking part as well and as much they are able or as they choose. The fourth piece is Expression, which is omnipresent at CRMC as campers laugh, cry, sing and play the people and roles that they choose. The four elements combine to create a liminal timespace (Voegelin 2010), a Spiritual place outside of all others (Pignato 2017).The two presenters attended CRMC for a week each summer in 2025 and 2026 and embraced the encouraging ethos of musical amateurism, playing instruments and styles of music unfamiliar to them. They present a duoethgraphic account (Denzin 2014) of their experience of the Spiritual community at CRMC, and encourage other musician-educators to embrace, as they might be able, a people-centred, affirming and celebratory approach to making time for making music.