11/22

Split Lip Rayfield

Loaded Goat

| 18 & Over | 7 pm

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Split Lip Rayfield

The Kansas-based post-punk progressive bluegrass outfit Split Lip Rayfield was comprised of vocalist/banjoist David Lawrence, guitarist/dobroist Kirk Rundstrom, and one-string bassist Jeff Eaton, whose instrument was fashioned from the gas tank of a 1965 Ford. An outgrowth of the group Scroat Belly (though it didn't take long for them to outlive the band that spawned them), the trio debuted in 1998 with a self-titled LP issued on the Bloodshot label. In the Mud followed a year later; by this time, singer and mandolin player Wayne Gottstine had expanded the lineup to four pieces and Eric Mardis had replaced Lawrence on banjo. The new millennium saw the release of a third effort, Never Make It Home, which arrived in stores in late 2000. After three years of touring, which saw the group opening for everyone from Del McCoury to Nashville Pussy, Split Lip Rayfield recorded and released a fourth long-player, Should Have Seen It Coming, in 2004. In early 2006, Rundstrom (who had also released a few solo records) was diagnosed with cancer. He continued to perform with the band for months as he fought and underwent treatment, but Rundstrom ultimately succumbed to the disease in February 2007, just about a week after playing what would be his last show. ~ Jason Ankeny, All Music Guide

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Loaded Goat

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    11/22

    Hembree

    Your Friend
    Spencer Mackenzie Brown
    Bonzo Madrid

    All Ages | 8 pm

    Hembree

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      Your Friend

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        Spencer Mackenzie Brown

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          Bonzo Madrid

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            11/25

            Dawn & Hawkes

            The Blackbird Review

            $8 | All Ages | 9 pm

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            Dawn & Hawkes

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              The Blackbird Review

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                11/28

                Mouth

                3 Son Green

                All Ages | 8 pm

                Mouth

                "Kansas City band Mouth combines the elements of guitar, bass and drums to form a delectable musical stew... The band adds the fresh spices of jazz, funk, dance and hip hop to create an eclectic mix." - Ink

                Formed in late 2008 by guitarist Jeremy Anderson, bassist Zach Rizer and drummer Stephen Gunn, Mouth plays original "cyberfunk" music: bass-heavy, deep funk grooves that combine rhythmic elements from funk, house, dubstep and hip hop with the improvisational approach of a jam band.

                Having quickly established a name for themselves in their hometown with their exhilarating live shows, Mouth is now branching out with tour dates and festival performances throughout the Midwest.

                "Fans wanting to pigeonhole Mouth's music, do so at their own risk. The three-piece Kansas City band combines elements of funk, jazz, hip hop, electronica and progressive rock in their unique, dance-friendly instrumental songs." - The Daily Record

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                3 Son Green

                Since 2007, 3 Son Green has been interweaving their vast web of sound, sense, and solidarity into the ever‐evolving architect it has become. Their RockJamJazzFunk style breaks genre bylaws, and pulls crowds out of their seats everywhere they play. 3 Son Green’s intricate songwriting combined with their natural improvisation is guaranteed to satisfy every music lover’s palette. Their well fueled, expanding flame has, even now, lapped at the feet of the music world at all manner of festivals across the Midwest. These Kansas City grown virtuosos are vaulting to new heights, and leaving no slack behind.
                Jamie Anderson – Guitar/Vocals
                Evan Carlson – Guitar/Vocals
                Steven Pearson – Drums
                Trey Green – Bass/Vocals

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                12/8

                Blackalicious

                Daniel Bambaata Marley
                Approach

                $17 - $19 | All Ages | 8 pm

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                Blackalicious

                In a hip-hop career that has stretched past a decade, Blackalicious has earned respect the old-fashioned way–rising through honesty, commitment, and artistry. Blackalicious is an American hip hop duo from Sacramento, California made up of rapper Gift of Gab (born Tim Parker) and DJ/producer Chief Xcel (born Xavier Mosley). They are noted for Gift of Gab’s often “tongue-twisting”, multisyllabic, complex rhymes and Chief Xcel’s “classic” beats.

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                Daniel Bambaata Marley

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                  Approach

                  A diversified journey through hip-hop, funk and soul that will make your head spin.

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                  12/31

                  Split Lip Rayfield

                  DeWayn Brothers
                  Loaded Goat

                  $26 - $28 | 18 & Over | 7 pm

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                  Split Lip Rayfield

                  The Kansas-based post-punk progressive bluegrass outfit Split Lip Rayfield was comprised of vocalist/banjoist David Lawrence, guitarist/dobroist Kirk Rundstrom, and one-string bassist Jeff Eaton, whose instrument was fashioned from the gas tank of a 1965 Ford. An outgrowth of the group Scroat Belly (though it didn't take long for them to outlive the band that spawned them), the trio debuted in 1998 with a self-titled LP issued on the Bloodshot label. In the Mud followed a year later; by this time, singer and mandolin player Wayne Gottstine had expanded the lineup to four pieces and Eric Mardis had replaced Lawrence on banjo. The new millennium saw the release of a third effort, Never Make It Home, which arrived in stores in late 2000. After three years of touring, which saw the group opening for everyone from Del McCoury to Nashville Pussy, Split Lip Rayfield recorded and released a fourth long-player, Should Have Seen It Coming, in 2004. In early 2006, Rundstrom (who had also released a few solo records) was diagnosed with cancer. He continued to perform with the band for months as he fought and underwent treatment, but Rundstrom ultimately succumbed to the disease in February 2007, just about a week after playing what would be his last show. ~ Jason Ankeny, All Music Guide

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                  DeWayn Brothers

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                    Loaded Goat

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                      1/14

                      Rebelution

                      Katchafire

                      $20 - $25 | All Ages | 7 pm

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                      Rebelution

                      Hailing from Santa Barbara, California, Rebelution has developed into the front runner for grassroots, independent and touring driven music groups representing the Cali-Reggae scene. Originally formed in 2004, members Eric Rachmany (vocals / guitar,) Rory Carey (keyboards,) Wesley Finley (drums,) and Marley D. Williams (bass) met in college, while residing in Isla Vista, a popular beachside community in Santa Barbara. It was there that the seeds to Rebelution’s future would be planted-- and would instill their kick back, “worry free” vibes, catchy refrain, and optimistic, inspiring, and engaging music that would leave their listeners with the sense that they have the power to make this world a better place.

                      Throughout 2004-05, Rebelution began to build momentum through consistently playing local shows and by independently releasing an EP. Before they knew it, they were one of the biggest drawing bands, not just in the reggae genre, but in the entire area. “It definitely went to the next level when we literally had thousands of people watching us perform in Isla Vista on Friday nights,” shares Rachmany. The band’s upbeat, highly danceable grooves were charting a direct course for bigger and better things.

                      Rebelution released their first full-length album “Courage to Grow” in June 2007, which would become the breakthrough album for the band. The album was praised for its crafty melodies, socially-conscious lyrics, and savvy musicianship. Rebelution quickly became known for sticking strongly to the roots of vintage reggae sound, all while appealing not only to reggae listeners, but also to music fans of all genres.

                      “Courage to Grow” went on to garner mass downloads and radio play on monster stations such as San Francisco’s Live 105 where their single “Safe and Sound” was played on heavy rotation, with spins on San Diego’s 91X, and Los Angels’ KROQ. The album hit an all time high when it was selected as iTunes Editor’s Choice for Best Reggae Album of 2007. In addition, “Courage to Grow” has been in the top 10 iTunes Reggae album sales since its release two years ago. It remained in the Billboard Top Reggae Album Chart for 36 weeks, and peaked at 4.

                      Now, two years since their last album, Rebelution is ready to give their fans their long-awaited, sophomore full-length album “Bright Side of Life” on August 4, 2009. Recorded in their home town of Santa Barbara at Santa Barbara Sound Design, entering the same studio the day after Depeche Mode completed their sessions for Sounds Of The Universe. “Bright Side of Life” features 12 new signature tracks blending the band’s cohesive mix of reggae, rock, and hip-hop influences in a calliope awash of front man Eric Rachmany’s Santana-esque guitar flurries, Marley D. Williams’ solid and attacking bass lines, the psychedelic and tasteful piano, keyboard and Hammond b-3 stylist of Rory Carey, and the jazz rock fusion of Wesley Finley’s finesse drumming and percussion.

                      Of the new album, Rebelution shares, “After the positive response from fans and critics for ‘Courage to Grow’ and touring in support of it for the last few years, we are glad to finally reveal our new material to the fans who have waited so patiently. We’ve played many of the new songs live, but the recorded versions will have that ‘studio magic’ from all the time we’ve put into them.” The band notes that their second album will show their growth in maturity musically, with a more polished sound with flares of new styles that fans and future fans have yet to hear. “Bright Side of Life” also has an overall theme of encouragement. The band shares, “Though it was important for all of us in the band to be motivated to continue with what we do best, which is making music, we feel people in the world could use some encouragement in this time to stay motivated as well, which is what we drew a lot of inspiration for this album.”

                      The release of “Bright Side of Life” marks the first release under Rebelution’s newly founded record label 87 Music, in association with Controlled Substance Sound Labs, the California based music collective, which is also home to artists Slightly Stoopid and Pepper, and their respective artist imprints.

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                      Katchafire

                      Reggae is one of the bloodlines of New Zealand music -- which accounts for the extraordinary success of Hamilton's Katchafire who, two years ago, emerged as the hardest working band in the country. Their astonishing debut album, the prophetically named Revival, sold in excess of 30,000 copies (double platinum) and they scored massive hits with songs like Giddy Up, the biggest selling single of 2002. Katchafire had tapped into that bloodline of New Zealand and people, being reacquainted with what they had lost, loved it all over again. Katchafire's music was uplifting and celebratory, and their gigs were joyous singalong affairs where people of all cultures and affiliations were welcomed.

                      Their audiences are still the most cross-cultural, cross-generational in the country. Katchafire were, and remain, unique in New Zealand music. They are a viable, touring eight-piece band which can work the length of the country without exhausting the place. They can return to a venue they played just a few months before and pack it out all over again. That is rare for any band. The success of the band was evident in album sales, opening shows for the likes of Michael Franti and Spearhead, gigs all across the country (three in one day on Waitangi Day 2004, in Hamilton, Manukau and Nelson), three tours to Australia and New Caledonia, and most recently a stadium-filling headlining show in Fiji. And now they are stepping up again with a cracking new album Slow-Burning which shows them reaching a new level.

                      From the terrific cover slip -- a cheeky homage to the classic Bob Marley album sleeve from which the band took its name -- to the eleven diverse tracks within Slow-Burning is a leap forward, both musically and lyrically. The title is again appropriate; you will feel the fire from this for a long time to come. Produced by Chris Macro (of Dubious Brothers) and with international guests, this is a new level of consciousness music from Katchafire which moves effortlessly from classic JA-sounding roots-reggae to material which could be located nowhere else other than in Aotearoa: when they say "don't frisk me down because of my brown skin" they also bring dignity to bear, "we must hold our head up high". The deeply felt and fiery I And I stands proudly in the local lineage of politicised reggae that was kick-started by Herbs.

                      More than on their debut they pull in threads of dub and toasting, there are musical references to the sound of classic Trojan records (Close Your Eyes, Hey Girl Version) but, courtesy of the French horn section Mister Gang whom they met in New Caledonia, you can also hear echoes of DD Smash-styled pop. And on Rude Girl, with toasting by Tuff Enchant, the band open with a tricky rhythm and a nod to the music of Cuba. However Katchafire haven't sacrificed their pop sensibilities and songs like Hey Girl, I Got Ya Back and Close Your Eyes should be all over radio this, and every, summer. With Slow-Burning, Katchafire have fulfilled the promise of their debut that here was a band schooled in roots reggae, which has honed its professionalism on the road, and has within its ranks songwriters who can take their place alongside the best Aotearoa has had to offer. Katchafire shows are always celebratory affairs and with Slow-Burning the band have even more to be joyous to be about. Be prepared to celebrate with them.

                      OUR LINKS


                      1/23

                      The Devil Makes Three

                      Joe Pug

                      $17.50 - $20 | 18 & Over | 7 pm

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                      The Devil Makes Three

                      The Devil Makes Three is an American band. They formed and remain based in Santa Cruz, California. They play a brand of acoustic music known to some as folk punk. It encompasses a blend of bluegrass, old time music, country, folk, blues, ragtime, and rockabilly. The group's members are guitarist Pete Bernhard, upright bassist Lucia Turino, and guitarist and tenor banjo player Cooper McBean.
                      Career

                      The band has released four full-length albums. They independently released a self-titled album in 2002. Another independent release followed in 2004, Longjohns, Boots, And A Belt. The band recorded two shows in April 2006 in Felton, California with guest fiddler Chojo Jacques. The recordings were later released as a live album, A Little Bit Faster And A Little Bit Worse.

                      After the release of their live album, the band signed with independent label Milan Records, which specializes in film scores and soundtracks. Their first album on Milan was a re-release of their debut album, The Devil Makes Three. In 2009, they followed with an all-new album, Do Wrong Right.

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                      Joe Pug

                      “If my thoughts are hard to gather
                      if I don’t know where to start
                      it ain’t my mind that matters
                      for I have an unsophisticated heart.”
                      — Joe Pug, “Unsophisticated Heart”
                      For the moment, Joe Pug has it figured out, career if not life: Just write the songs that have to be written,
                      play them for anybody who will listen, tour as if you had no home. Oh, and give your music away. Which
                      isn’t to say he won’t be selling his debut full-length offering, Messenger (released 2/16/2010 on Lightning
                      Rod). But free is how he came to make it, more or less.
                      It worked like this, for Joe Pug anyhow: The day before his senior year as a playwright student at the
                      University of North Carolina, he sat down for a cup of coffee and had the clearest thought of his life: I am
                      profoundly unhappy here. Then came the second clearest.
                      Pug packed up his belongings and pointed his car towards Chicago. Working as a carpenter by day, the 23
                      year-old Pug spent nights playing the guitar he hadn’t picked up since his teenage years. Using ideas
                      originally slated for a play he was writing called “Austin Fish,” Pug began creating the sublime lyrical
                      arrangements that would become the Nation of Heat EP.
                      The songs were recorded fast and fervently at a Chicago studio where a friend snuck him in to late night
                      slots other musicians had canceled. He was short on money, but his bare-boned sincerity didn’t require
                      much more than a microphone and it dripped off of each note he sang.
                      The early rumblings of critical praise for the EP were confirmed when his first headlining gig sold out
                      Chicago’s storied Schubas Tavern in 2008. As word spread, Pug struck upon an idea that would later prove
                      to be one of the most significant in his young career. He offered his existing fans unlimited copies of a free
                      2-song sampler CD to pass along to their friends. He sent the CDs out at his own expense, even covering
                      the postage. Inside each package was a personal note thanking the fan for helping to spread the word. The
                      response was overwhelming, and to date he has sent out over 15,000 CDs to 50 states and 14 different
                      countries. Without access to radio, Pug managed to turn his fans into his very own broadcast system. The
                      offer still stands, and to this day it’s featured prominently on www.joepugmusic.com.
                      “Look, in the end, I just trust my fans, and the nature of people in general. I need to pay my bills like
                      anyone else does. But I also don’t think it’s right to ask someone to pay $15 when they don’t know what
                      they’re getting. So in a way by sending out these CDs, I’m wagering that they’ll like my music, and that if
                      they do they’ll come to shows, buy CDs, and help me spread the word even further. And so far I’ve been
                      proven right. Without question, the more sampler CDs I send out, the more music I sell.”
                      Nation of Heat took on a life of its own, passing from friend to friend and iPod to iPod. The crowds swelled
                      and the media took notice. Tours with Steve Earle, M. Ward, and Josh Ritter followed, as did invitations to
                      Lollapalooza and the Newport Folk Festival. He crisscrossed the country incessantly, traveling mostly
                      alone in his 1995 Plymouth Voyager with no stereo or air conditioning. As the tours went on, he became
                      closely linked to the burgeoning indie-folk scene that was coalescing loosely around Pug and his young
                      contemporaries in bands such as The Low Anthem, Langhorne Slim, and Horse Feathers.
                      After over 200 shows, Pug took a brief respite to record his full-length debut. If Nation of Heat heralded the
                      arrival of a talent to watch, Messenger assigns Pug a deserved spot among the finest songwriters of his
                      generation. From the opening notes of the title track that leads off the record, it’s clear that the artist has no
                      intention of retreating to the comfortable or the familiar. While the scathing war indictment “Bury Me Far
                      (From My Uniform)” and the sparse, poetic “Unsophisticated Heart” illustrate that Pug is still a master of
                      the guy-and-guitar song, it’s the supporting cast Pug brought on board that truly brings out the record’s
                      subtle beauty.
                      From the haunting, ethereal pedal steel guitar that sneaks delicately under “The Sharpest Crown” to the
                      barrelhouse rhythm section that propels “The Door Is Always Open”, it’s clear that Pug is as comfortable
                      exploring this new territory as he is solo. “The first record, it was a breeze,” he says. “Didn’t even know we
                      were making it, just me and a guitar…the songs completely unadorned. This one, it’s like that thing where
                      there’s an explosion and you realize how many options there are in the world.”
                      With his debut album now released, the options only get more numerous for the 25 year-old-singer. The
                      remainder of 2009 was spent touring Europe before he returned home to hit the road in support of
                      Messenger.

                      OUR LINKS


                      1/27

                      John Doe (of X)

                      $16 - $19 | All Ages | 8 pm

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                      John Doe (of X)

                      John Doe was born in 1977 when he arrived in Los Angeles. His previous life in Tennessee, Wisconsin & Baltimore was a great & fertile time but new music and social changes led him to events that created a life in art. He graduated from Antioch College in Baltimore in 1975, worked as a roofer, aluminum siding mechanic, and ran a poetry reading series. Ms. Meyers was his landlord in the rural black community of Simpsonville , MD.
                      John met Exene Cervenka at the Venice poetry workshop Nov 1976 and he started working with Billy Zoom around the same time. When DJ Bonebrake joined X in mid-1977 the line up was complete. They released six studio records, five or six singles and one live record from 1978-1993. Five of X’s records have been re-issued along with two compilations. The Unheard Music documents their lives and progress as a band from 1980-83. In 2009 the film was included in the Sundance UCLA Archive of greatest films of all time. They appeared several times on American Bandstand, Solid Gold and David Letterman. As one of the last original punk rock bands standing, they continue to tour. The day that X played a free noontime concert in Fullerton, CA, they caused Orange County’s greatest high school truancy rate to date.
                      In 1988 John started a family and lived in the Tehachapi Mountains, near the “Grapevine” of Highway 5, which separates southern and central California. He has recorded 8 solo records w/ numerous renowned singers and players, more recently including Patty Griffin, Dan Auerbach, Aimee Mann, Don Was, Kathleen Edwards and Greg Liesz. He has appeared in over 50 films and television productions, with some of his most notable roles in Road House, Georgia, Roadside Prophets, Great Balls of Fire, Pure Country and Roswell. He continues to act these days but more sporadically as his touring schedule has become more demanding.
                      Other musical side projects include work with the Knitters, Jill Sobule and The Sadies. He continues to write poetry and has even taught workshops from time to time. He currently lives north of San Francisco, California.

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                      2/6

                      Ben Howard

                      $25 - $7.25 | All Ages | 7 pm

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                      Ben Howard

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                        2/18

                        The Wood Brothers

                        $19 - $21 | All Ages | 7 pm

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                        The Wood Brothers

                        Ways Not To Lose, the 2006 debut from the Wood Brothers had, in a sense, been a lifetime in the making—the first public collaboration between vocalist and guitarist Oliver Wood, who fronts Atlanta-based blues band King Johnson, and upright bassist Chris Wood, of the long-running, genre-blasting trio Medeski Martin and Wood. As players, they displayed an easy-going virtuosity; as siblings, they had an extraordinary rapport. Their folk and acoustic blues tunes, tinged with gospel hopefulness and country melancholy, were welcomed like old friends by both fans and pundits. National Public Radio named their debut disc one of their top ten discoveries that year. Rolling Stone declared, “The flip, easygoing party music on ‘Lose’ disguises sneakily deep inquiries into what it means to be alive, struggle with temptation, and every once in a while seek some truth.”

                        With the 2008 release of Loaded, the Wood Brothers engage in a more expansive musical dialogue that commenced well before they hit the studio; they collaborated for the first time on writing material together. John Medeski, returning as producer, got into the mix as the songs were just taking shape, and he plays keyboards on several tracks. The crew, working at a studio near Woodstock, New York, opened up the sessions to other musicians and friends—singers Amos Lee, Pieta Brown and Frazey Ford, steel guitarist Darick Campbell, violinists David Mansfield and Jennifer Choi, cellist David Eggar, drummers Billy Martin and Kenny Wolleson, and percussionist Donnie McCormick—making this a more fleshed-out, multi-layered band effort compared to the spare, live-in-the-studio approach of Ways Not To Lose.

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                        3/2

                        Houndmouth

                        $13 | All Ages | 8 pm

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                        Houndmouth

                        That first November 2011 night, when it all fell together at the Green House, was nothing more complicated than four friends playing music, armed with something to drink and a curiosity about what might happen. They were the generation who has come of age in the new economy, already adept at shuffling jobs and get-bys, firmly acclimated to the diminished expectations that come with growing up somewhere the rest of the world assumes is nowhere. Which, in this case, is New Albany, Indiana.

                        Houndmouth, then, knew each other from…around. Matt Myers and Zak Appleby had played in cover bands together for years, schooled in blues and classic rock and Motown, toughened by indifferent audiences and the clatter of empty bottles. Matt and Katie Toupin had worked as an acoustic duo for three years, when she wasn’t on the road tending to a straight job. Katie and Shane Cody had gone to high school together, before Shane disappeared off to Chicago and New York to study audio engineering. In the beginning it was Shane and Matt who’d started knocking around at first, just drums and guitar, once Shane got home and free of a brief bluegrass flirtation.

                        The rest happened in a tumble, Zak and Katie switching from guitars to bass and keyboards, respectively. Four months later, their homemade EP in hand, Houndmouth made the pilgrimage to South By Southwest. Their booking agent convinced Rough Trade’s Geoff Travis to come have a listen. Of such things are dreams made. Months of conversation and a proper studio later, their debut album, From the Hills Below the City, will be released by Rough Trade.

                        “We lucked out,” Matt says. “We knew we were making good music. We knew we had something. But we didn’t know it would escalate so quickly. Always the element of luck.”

                        Before and after that bit of luck, Houndmouth have been on the road, building their audience. Working. Opening for the Drive-By Truckers, the Lumineers, the Alabama Shakes, Lucero, and Grace Potter and the Nocturnals. Headlining on their own. Turning heads.

                        “You know good art when you see it,” says Newport Folk Festival booker Jay Sweet, an early adopter, “and you know good food when you taste it. Well, you also know good music when you hear it, and when I first heard Houndmouth it was like freshest tasting art I had heard in many moons. A true musical omnivore’s delight.”
                        “I’m going down where nobody knows me,” they sing during the jaunty chorus of “On the Road.” The opening track to From the Hills Below the City, which is more or less the relationship New Albany has to Louisville, across the river: “I had a job had to leave behind me…I had to move to another city.” A two and a half minute slightly bent pop confection, conscious of all kinds of music which went before. Self-conscious about nothing, not even the neo-rap cutting contest that snaps across one break. A blues for now, then.

                        The older heads are noticing, the ones who are hardest to convince. “Houndmouth is a great young band,” testifies Patterson Hood of the Truckers. “They toured with us last month and brought it each and every night. They were extremely popular with our fanbase and our band. I look forward to hearing what they do next.”
                        Rolling Stone’s David Fricke joined the chorus of praise after seeing Houndmouth during SXSW ’13: “They are all singers, leading with individual character and harmonizing in saloon-choir empathy. The music is earthy melancholy with a rude garage-rock streak.”

                        Houndmouth’s songs emerge with a loose-limbed swing, anchored by a sturdy rhythm and a cagey melodic sensibility. “Penitentiary,” revived from Matt and Katie’s acoustic days, is all dressed up as a rock anthem. It’s dark, yet fun, with all those voices singing, “come on down to the Penitentiary/oh mama, the law came crashing down on me.”

                        Matt sketches the origins of his song, which became their song. “I met a guy in Reno on a road trip before we started the band, and he was super down on his luck,” he says. “We met him at a gas station, bumming money. He told me a few details that are probably in the song, but I made most of it up. I changed the setting to Texas, because it sounded authentic.” And then he mentions that he was listening to Jimmie Rodgers at the time.
                        Hard-luck songs, to be sure, betraying a certain criminal bent. Not their stories, Katie is careful to note, but the world they’ve watched walk on by. “We grew up in Southern Indiana,” she says. “It’s not always the classiest place. So all that is not unfamiliar even if we haven’t personally been through the darkest parts of it.”

                        And yet, as she also says, “No matter how much anyone wants to write a completely fictional or narrative song, there’s ALWAYS part of you in it. I think that it is important, even when writing narrative songs, that there is something real about them. That there is part of yourself in them.” Houndmouth’s truths, then, are emotional. For the most part.

                        “The dealers and the bootleggers/Got me hooked on freebasing/And I can’t trust my government/So I looked into the other dimension,” Katie sings, tough and innocent. “And now they got me doing bad things.” “The song is a story,” Katie says. “I didn’t get hooked on freebasing. Yet there is part of me in it…It’s also maybe about me wanting to escape, loosen my morals, not opening my heart to people.”

                        So are the songs. Deeply emotional, that weird, powerful, essential thing the blues does that makes you feel better through the tears. Especially the songs which are deeply personal, like “Halfway to Hardinsburg” or “Palmyra.” Or the sad, slurring loss of “Long as You’re Home,” on which they sing, “Who am I supposed to be?”

                        Themselves, of course.

                        Four musicians from New Albany, Indiana, across the river from Louisville. Where Will Oldham, Jim James, and Freakwater’s Catherine Irwin live. A fecund place, and place
                        matters. Not a sound, not a scene, but a place. A real place. “There is a familiar element about My Morning Jacket that I can’t really pinpoint,” Katie says. “It’s kinda like what I can’t pinpoint about what Houndmouth is that we all sort of get. It just makes us feel at home.”

                        OUR LINKS


                        3/5

                        Young the Giant

                        $25 - $28 | All Ages | 7 pm

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                        Young the Giant

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                          OUR CALENDAR

                          November
                          22
                          Saturday

                          Wareham Opera House

                          Split Lip Rayfield

                          Loaded Goat

                          DOORS AT 7:00 pm

                          SHOW AT 8:00 pm

                          BUY TICKETS!
                          18 & Over
                          November
                          22
                          Saturday

                          DOORS AT 8:00 pm

                          SHOW AT 9:00 pm

                          All Ages
                          November
                          25
                          Tuesday

                          DOORS AT 9:00 pm

                          SHOW AT 10:00 pm

                          BUY TICKETS!
                          $8
                          All Ages
                          November
                          28
                          Friday

                          The Bottleneck

                          Mouth

                          3 Son Green

                          DOORS AT 8:00 pm

                          SHOW AT 9:00 pm

                          All Ages
                          December
                          8
                          Monday

                          DOORS AT 8:00 pm

                          SHOW AT 9:00 pm

                          BUY TICKETS!
                          $17 - $19
                          All Ages
                          December
                          31
                          Wednesday

                          DOORS AT 7:00 pm

                          SHOW AT 8:00 pm

                          BUY TICKETS!
                          $26 - $28
                          18 & Over
                          January
                          14
                          Wednesday

                          Liberty Hall

                          Rebelution

                          Katchafire

                          DOORS AT 7:00 pm

                          SHOW AT 8:00 pm

                          BUY TICKETS!
                          $20 - $25
                          All Ages
                          January
                          23
                          Friday

                          Wareham Opera House

                          The Devil Makes Three

                          Joe Pug

                          DOORS AT 7:00 pm

                          SHOW AT 8:00 pm

                          BUY TICKETS!
                          $17.50 - $20
                          18 & Over
                          January
                          27
                          Tuesday

                          The Bottleneck

                          John Doe (of X)

                          DOORS AT 8:00 pm

                          SHOW AT 9:00 pm

                          BUY TICKETS!
                          $16 - $19
                          All Ages
                          February
                          6
                          Friday

                          Uptown Theater

                          Ben Howard

                          DOORS AT 7:00 pm

                          SHOW AT 8:00 pm

                          BUY TICKETS!
                          $32.25
                          All Ages
                          February
                          18
                          Wednesday

                          The Bottleneck

                          The Wood Brothers

                          DOORS AT 7:00 pm

                          SHOW AT 8:00 pm

                          BUY TICKETS!
                          $19 - $21
                          All Ages
                          March
                          2
                          Monday

                          The Bottleneck

                          Houndmouth

                          DOORS AT 8:00 pm

                          SHOW AT 9:00 pm

                          BUY TICKETS!
                          $13
                          All Ages