9/17

Die Antwoord

$29 - $76.50 | All Ages | 7 pm

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Die Antwoord

Die Antwoord (pronounced Dee Ahnt-Woord; Afrikaans for "The Answer") is a South African rap-rave band formed in Cape Town in 2008. Fronted by vocalists Ninja and Yolandi Visser, their music is produced by DJ Hi-Tek. Their image draws from the zef counterculture movement and the works of Roger Ballen.

Die Antwoord released their first album, $O$, online for free, and attracted international attention for their music video to "Enter the Ninja". After briefly signing with Interscope Records, they founded their own label in 2011, Zef Recordz, through which they released their second album, Ten$Ion. Die Antwoord's third album Donker Mag was released on 2 June 2014.

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9/17

Andy McKee

$20 | All Ages | 8 pm

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Andy McKee

One of today's finest new fingerstyle guitarists, Andy McKee is lauded by many critics and guitarists as the most promising fingerstyle guitarist to arrive on the scene in some time. Born in 1979 in Topeka, Kansas, Andy began playing guitar on his 13th birthday when his father bought him a classical guitar. It was not long after that Andy got his first electric guitar and began emulating some of his favorite music of the time; Metallica, Eric Johnson, Joe Satriani, and Dream Theater.

Andy's 16th birthday was a real pivotal moment in his life. A guitar playing cousin nearly had to drag him to an acoustic workshop by a guitarist named Preston Reed. It was a mind blowing experience for the young electric guitarist! Shortly after, Andy discovered the music of three other great acoustic guitarists; Michael Hedges, Don Ross, and Billy McLaughlin, all whom he considers as his primary musical influences today.

Composing was something Andy caught on to a little bit later and started writing when he was 20 year old. Andy released his first CD titled "Nocturne" in 2001 and competed in the prestigious National Fingerstyle Guitar Competition in Winfield, KS. He placed 3rd, making him the youngest competitor to ever place in the top 3.

In 2003, Andy began playing internationally beginning with a tour in Taiwan with renowned guitarists Jacques Stotzem, Isato Nakagawa, and Masaaki Kishibe. He also placed 1st in the Miscellaneous Acoustic Instrument contest in his home state of Kansas with the harpguitar. In 2004, Andy Released his 2nd CD titled "Dreamcatcher". With the title track, Andy won a competition to have a chance to perform on stage with bassist Michael Manring. Andy also won 1st place in the Kansas Fingerstyle Guitar Competition and 2nd in the Canadian Fingerstyle Guitar Competiton.

In the time since, Andy has performed in various parts of the world including Japan, China, Belgium, England, Canada, and will begin performing even more in the States now. In late 2005 Andy joined Candyrat record label alongside one of his biggest inspirations, Don Ross.

From Andy,"Most of all, I hope my music communicates something to the listener. I don't want to just play music with a lot of skill. I hope listening to my music is an emotional experience!"

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9/18

Cherub

Ghost Beach
Gibbz

$17 - $19 | All Ages | 8 pm

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Cherub

“Melding a club-spawn, skull-shaking low end with a wall of guitars and talkbox pyrotechnics, the duo comprising Cherub also sport the silky smooth pipes to spread their appeal to all four corners of the dance floor.” – Nashville Scene
Cherub is a sexy, avante garde, electro-pop duo that is the dance love-child of 80’s funk, and pop-music from the future. The members of Cherub, Jordan Kelley and Jason Huber, share a love for honest original music and vibrant live performance, with a common goal to share a little bit of sex, a little bit of drugs, and a whole lot of love with people across the globe. Cherub’s music is a fresh electrified take on risqué pop music that brings to mind timeless artists like Prince, Zapp and Roger, and more contemporary Justin Timberlake. With a live show that is bouncing with energy, Cherub dances their way into the hearts of audiences from the first falsetto hook, until the very last delay filters out.
After completing studio work for Cherub’s first release, Man of the Hour, singer/songwriter Jordan Kelley joined forces with fellow producer/performer, Jason Huber, to polish Cherub’s live electro act and begin performing throughout the Southeast. Both Jordan and Jason have received recognition as producers and live musicians, previously performing as Schtompa and I.V.Y. League alongside renown acts, such as EOTO, Boombox, Count Bass D, GZA of Wu Tang Clan, Two Fresh, and many more. Since Cherub’s formation in late 2010, the band has shared the stage with highly regarded acts like Pretty Lights, Alex B, Big Gigantic, Bag Raiders, Miami Horror, and many others. The duo is looking forward to a number of high profile live dates throughout the fall of 2011, including dates in Mexico with YACHT and Nortec Collective, and a Halloween show supporting Pretty Lights in the band’s hometown, Nashville, TN.
Since the recording of Man of the Hour, Cherub has returned to the studio as a dynamic electro-pop production duo, to lay down tracks for their second collection of recorded material. This new batch of Cherub songs brings a fresh uptempo electro feel to the familiar pop sensibilities for which fans know and love Cherub. Jordan Kelley’s clever songcraft, slick production, and smooth falsetto, are complimented perfectly by Jason Huber’s on-stage production, tube-driven guitar work, and exciting vocal harmonies.
The Man of the Hour brings a new light to electro-pop music. The catchy hooks, tasteful synthwork, and dance-demanding rhythms work together with honest lyrics delivering a unique twist on accessible pop rock music. The Man of the Hour provides a musical package that keeps listeners bouncing around a club, and singing along the entire ride home. Drawing instant comparisons to contemporary favorites like Chromeo, Bag Raiders, The Dream, and MGMT, Cherub’s Man of the Hour brings new definition to live music and electronic music alike.
Jordan Kelley wants to “focus on making good music that is personally relevant, rather that pay attention to the conventions of any particular genre. That’s what made the Man of the Hour.” Cherub’s live performance of Man of the Hour captivates audiences with swooping vocals, soaring guitars and talkbox, and ethereal harmonies, from the drop of the first beat, until Jordan and Jason dance their way off stage.
The newer unreleased Cherub material brings a funky vintage vibe to a new-school electronic sound, with soulful stacks of falsetto harmonies, and a layered cake of talkbox and vocoders, reminiscent of Prince, or Zapp and Roger. These songs display Cherub’s versatility in songwriting and dance music production, ranging from grooving heartfelt ballads, to risqué club bangers that blur conventional genre barriers. Playful guitar licks and lush synthesizer textures dance around in the mix, as listeners are treated to sing-a-long hook after hook the entire way through the tunes. It’s fun. The Nashville Scene claims Cherub as their “nu favorite nu disco duo.”
“Instead of fearing the changes seen in music performance, with technology being so readily incorporated into everyday life, Cherub looks to embrace everything that is fresh and exciting, and we seek to pioneer a new school of music composition, production, and performance… Cheers to the future!” – Jason Huber

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Ghost Beach

Ghost Beach are the latest pop pioneers to set the internet ablaze with only a couple singles floating around and without any major label backing. The New York-based duo of Josh Ocean and Eric "Doc" Mendelsohn take their '80s influences one step further with Ghost Beach. Only a few months old, they've already perfected a retro-future aesthetic that sounds like the holy trifecta of The Police, Depeche Mode, and Daft Punk, with a little Passion Pit sprinkled on top for good measure. Josh plays the jilted lover with vocal panache as Eric's soaring synths, guitars and forever young harmonies are plucked right out of Neverland. Ghost Beach is more about a time than a place, and that time is now.
- Andrew Hwang

Ghost Beach are seductively good, with endless factors shaping their sound. In parts it sounds like synth-laden ’80s pop, and on others resembles a punk-rock vibe with lengthy guitar solos, like on single “First Time”. Their confused adolescent genre is a result of influences from the likes of Depeche Mode, Daft Punk and The Police. The American pairing are reminiscent of an early Hot Hot Heat, with a semi-fem vocal, unashamedly bathing in a pop bath – and I don’t mean the bubbles. They produced something that’s a lot more grown up. Saying that, they have the fun factor, the nonchalant attitude, and a contagious “let’s not stop partying until we throw up” glitter factor

-Tim Osbourne (Obscure Sound)

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Gibbz

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    9/23

    Fruition

    18 & Over | 8 pm

    Fruition

    NOVEMBER, 2011 Fruition released a new EP, It Won’t Be Long, the third album for the quintet based in Portland, Oregon. In seven original songs, Kellen Asebroek, Mimi Naja, and Jay Cobb Anderson conspire to blend raw, live energy with the strings of traditional folk-Americana. Supported by Keith Simon on upright bass, and Tyler Thompson on drums, Fruition succeeds with lyrical prowess, and harmonies as vibrant as they are heart-breaking.

    Tracks like “Wastin’ Away,” and “Bent,” showcase an effortless swing from whiskey-rock to shoe-stomp, from ballad to anthem and everywhere between. This versatility has defined the band since it began in 2008, and hundreds of shows later, Fruition now plays to an ever-growing fan-base in more than a dozen states, to electrified audiences and frenzied dance-floors.

    With a focus on the West Coast, Fruition has played most major venues in Portland (The Crystal Ballroom, The Roseland, The Wonder Ballroom, and the Doug Fir,) the Great American Music Hall in San Francisco, the Mystic Theater in Petaluma, the Tractor Tavern in Seattle, and the Oregon Brewer’s Fest. The band headlined both late-night sets at Northwest String Summit in 2011.

    Through the years they’ve had the privilege to play with the likes of Vince Herman and Andy Thorne (Left Over Salmon), Jeff Austin (Yonder Mountain String Band), Zach Gill and Dan Lebowitz (ALO & Jack Johnson), Daniel Stern, and Danny Barnes. They continue to share the stage with some good friends, like Hot Buttered Rum, Greensky Bluegrass, Elephant Revival, Watertower Bucket Boys, the Quick & Easy Boys, the Clumsy Lovers, and Dead Winter Carpenters, to name a few.

    Holehearted Fools is the upcoming LP from Fruition featuring Portland singer/songwriter Brad Parsons, to be released and toured in the Spring of 2012.

    It Won’t Be Long was recorded and mixed by Tyler Thompson at the Woodshed Studio in Enterprise, OR, and mastered by Prince Elwood of Portland Underground Recording. The recording space was donated by the Wallowa Valley Music Alliance. Fans last heard from Fruition in 2010 with their full-length, self-titled album and on the 2010 PDX POP NOW compilation. Hawthorne Hoedown, their first EP, debuted in 2008.

    It Won’t Be Long is available digitally through bandcamp (www.fruition.bandcamp.com); CDs are available for sale as of January 21, 2012.

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    9/24

    Moon Taxi

    Tumbleweed Wanderers

    $13 | All Ages | 8 pm

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    Moon Taxi

    For the members of Moon Taxi, their third album, Mountains Beaches Cities, represents the idea of exploration - searching both the world and themselves for new experiences. The Nashville rock group, who had honed in on a notably compelling aesthetic with their previous album Cabaret, focused on extending the sonic landscape they’d created in earlier recordings, but this time around they amp up the speed and turn up the volume – creating an overall bigger sound. The album was self-produced by Moon Taxi’s own guitarist Spencer Thomson with the help of keyboardist Wes Bailey and was mixed by Vance Powell (Jack White, The Dead Weather) and mastered by Greg Calbi (Talking Heads, Paul Simon, Fleet Foxes). “One thing we didn’t want to do was stray too far from what we did before,” Wes says. “We really knew that things for the band had shifted in a good direction and we were growing because of our last record. We wanted to continue the energy we created from that record.” “Like Cabaret, this project started with rough demos that slowly evolved into a statement from not just the initial songwriter, but evolved into a representation of what each of us individually have experienced in this band and how we've grown over the years as players,” Tyler adds. The band, which was founded in 2006, toured extensively in support of Cabaret, appearing at Bonnaroo, Forecastle, and Lollapalooza. Additionally, they have opened for such artists as Matisyahu, Dr. John, and Dirty Heads, and ended 2012 selling out multiple theaters on their own.While on the road, the musicians began to stockpile song ideas and demos, inspired by the trials and tribulations of traveling around the country to play shows. In early 2013, the band went into the studio to begin recording Mountains Beaches Cities with these touring experiences in mind. Much of the recording was done in Spencer’s apartment with only a few days of drum and bass riffs laid down in Nashville’s Sony Tree studio. Although Mountains Beaches Cities feels like an extension of Cabaret’s aesthetic, the new album is explorative, and its lyrics recount a new narrative for the musicians.

    Each song on the album, and even the album title, generates its own story and imagery, but all come back to that idea of exploration and searching. “Beaches,” a surging, borderline experimental track Spencer calls “risky and ambitious” transports the listener with its haunting, emotive melody while jangling acoustic song “Young Journey” encapsulates the eye-opening experience of travel. “Morocco,” a propulsive, hooky track about a place none of the musicians have ever been, seeks adventure in the idea of going abroad. The album as a whole is grandiose and invigorating, each track revealing a new chapter in the LP’s overall story. This record, in particular, is important for Moon Taxi, who has been known in the past for its boisterous live appearances, but with Mountains Beaches Cities, it highlights the nearly perfected balance between the recorded material and how it translates to a live stage. �

    "We made a conscious effort with the last record to write meaningful songs and produce them in an exciting way,” Trevor says. "That is still the ultimate goal. We strive to produce something that will outlast us as a band. I can see this record reaching an even broader range of people because the song themes are universal. ”

    The sound of Moon Taxi pulls from the many different facets and interests of its members. Trevor, who got his start in music playing trumpet in school, is driven by his love for reading, cooking and yoga; while Tyler, who spent his younger years jamming on a drum kit with friends, is driven by an immense appreciation and knowledge of pop culture. Spencer, who used to record himself in his parents garage, has transformed his knowledge of film into producing videos for Moon Taxi’s music. Wes, meanwhile, developed his musical process from classical composers like Mozart and spends his time on tour searching for golf courses while Tommy spends his free time going to concerts and carefully following Nashville's local music scene. “I think the exploration aspect of the album came from trying to understand and explore ourselves,” Tommy says. “Personally and musically. As we get older we tend to know ourselves better, but there is always more to understand. You try new things, but continue some of the good habits you've learned. As we explored our music, we learned more about ourselves and matured as a band. I think it's a concept that won't stop at this record, but will carry on to our live shows and other records down the road.”

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    Tumbleweed Wanderers

    Oakland, California’s Tumbleweed Wanderers combine soul, folk, and rock and roll to create a hugely dynamic musical experience. They weave through their shows with smooth transitions, bringing the listener from dark chaotic banjo-rock, through intimate acoustic harmonies, to energetic explosions of soul.

    Since forming in April of 2011, TW have been bringing their electric shows to an increasingly wider audience, from their early performances at small bars and cafes, to becoming a major local headliner, selling out shows at the Bay Area’s best venues such as Great American Music Hall and Bottom of the Hill. Since recording their debut full-length album, they have entered a period of near constant touring, starting on the West Coast, but now including all of North America, most recently opening for Angus Stone at renowned venues in the US and Canada.

    Tumbleweed Wanderers recorded their debut album, So Long, at indie rocker John Vanderslice’s Tiny Telephone Studios in San Francisco, with Vanderslice himself producing the album. Recorded to tape and released on vinyl as well as on CD and digitally, So Long captures the band in a raw, live state reminiscent of recordings from the pre-auto-tune era. The album is meant to bring the listener on a two part (Side A and Side B) psychedelic musical journey, through its dynamism and gapless transitions, also including additional singers and horns.

    Getting much of their early momentum from their memorable, loud and energetic acoustic street performances (including mandolin and trash can kick drum) outside of large Bay Area concerts, the band continues to busk these shows when in the Bay Area, but also brings their street performance on the road, often surprising unsuspecting pedestrians with a level of performance uncommon on the streets of most American towns and cities.

    High school friends Jeremy Lyon (vocals, guitar, harmonica) and Zak Mandel-Romann (vocals, bass, guitar) brought together Patrick Glynn (piano, organ, mandolin), Daniel Blum (drums) and Bobby Lawrence (vocals, guitar, banjo, harmonica) to play together and eventually dive full-time into the music world.

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    9/25

    J BOOG

    Proverbial

    $15 | All Ages | 8 pm

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    J BOOG

    J Boog is a man of many influences. The singer of Samoan descent was born in Long Beach and raised in Compton, California. Growing up in the rough streets of Compton, the strong sense of tradition and culture that J Boog absorbed from his family was instrumental in his path to stay off the streets and begin a successful music career.

    At the age of four, after hearing his older sister playing the piano, he developed an interest and started watching her and learning about music. Soon, J was singing along to the notes & melodies he heard his sister play. A while later, she brought home a Bob Marley song book. Even at this young age, J knew Bob's name and his music. Upon hearing his sister begin to play, something clicked inside J. He hasn't been the same since.

    The first time J Boog performed in front of an audience, he was nine years old. It was a large family reunion at a church and there were about 200 people present. J's mother and sister insisted for him to sing Whitney Houston's "One Moment In Time" and J obliged them. Though he was nervous, it went quite well.

    J Boog's music career became serious in 2005, when a couple of brothers from his neighborhood brought him to one of J's favorite artists, George "Fiji" Veikoso". The two began working together immediately and J ended up moving to Hawaii in 2006 to continue developing his craft. After releasing his debut album "Hear Me Roar" in 2007, he joined the musical family Wash House Music Inc, a record label based in Hawaii and San Francisco.

    A year later, in 2008, J Boog met Gramps Morgan of Morgan Heritage and there was an instant chemistry. Gramps was keen on working with J, and set out to make a way. Shortly after, Gramps, J Boog and other Wash House family members were in Jamaica recording in such prestigious places as Bob Marley's "Tuff Gong" Studio, Don Corleone's "Hit Maker", Bobby Digital's "Digital B", Shaggy's "Big Yard", Sugar Minott's "Youth Man Promotion" and more.

    The results are apparent when listening to Boog's new music. It is authentic Island Music and genuine Jamaican reggae at the same time. Truly a new and exciting combination. There is a natural theme to Boog's writing: love. It recurs throughout his work and never once seems contrived. When you listen, you will feel he truly knows matters of the heart.

    These days Boog is either in a studio, on a stage or catching a flight. Radio interviews have become a daily thing and it's a little overwhelming for the young artist, though he has been smart enough to keep his humility. He has a great sense of humor and an even better sense of reality. He can be overheard saying how blessed he is on a daily basis. It's easy to see why J Boog has been winning over fans when you meet him. He has the right spirit and attitude to carry him to the next level.

    His new album, "Backyard Boogie" is slated for release September 27th 2011 and features Tarrus Riley, Jacob Hemphill (of SOJA), Peetah Morgan (of Morgan Heritage), Fiji and others.

    Leading up to the release of his official new album, J Boog released the "J Boog EP" on June 14th 2011 via Wash House Hawaii/EMPIRE Distribution. The EP featured five brand new songs, along with three previously released songs, including his smash hits "Let's Do It Again" and "So Far Gone".

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    Proverbial

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      9/26

      Dr. John & The Nite Trippers

      Honey Island Swamp Band
      Blue Orleans

      $30 - $76.50 | All Ages | 7 pm

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      Dr. John & The Nite Trippers

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        Honey Island Swamp Band

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          Blue Orleans

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            9/26

            Mike Watt

            Gnarly Davidson

            $15 | All Ages | 8 pm

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            Mike Watt

            about the band in the words of each of the three members...


            from guitarist stefano pilia:

            I met Mike Watt for the first time in 2005. He was touring italy with Raul Morales and Paul Roessler. i got very nice time in tour with them ...my role was to be "the road manager" - actually not a real good one since i was often missing the right direction. I was really amazed by Mike curiosity and admiring the big respect and attention he was giving to everyone and everything he was meeting along the trip... a real gentleman i thought ..and a great Dante Alighieri connoiseur! I immediatly felt a strong sense of familiarity even if i did not know very much of him out of his music. i thought further than my admiration maybe there was some italian blood in common to explain my feeling but then i understood that more than everything else the reason was more into what music and playing means for us... a way to liberate the mind beyond any other categories.

            From that italian time we kept in contact sharing moments of our lifes: photos, music, ideas, and all of our best wishes and respect has crossed the ocean in between...sealing a little by little... and so il Sogno del Marinaio did but now is not anymore just the two of us..now we are a trio!

            My friend Andrea Belfi is joining us with his great drumming. A musician I really admire for his talent and his great musicality. We both growed with punk and rock and all the electroacustic sound world. In these years we often played togheter in many projects sharing and working on music and soundwork on the fringes of research and experimentation.

            I feel very honoured to play with Mike and Andrea and very proud for il Sogno del Marinaio....big Respect to them.


            from drummer andrea belfi:

            My name's Andrea. I've been playing drums since 1995. I started playing with hardcore/punk bands, then I moved to rock, electroacoustic music and so on. I've been playing with a rock'n'roll band called Rosolina Mar for seven years, and I've been playing as a soloist for almost 5 years.

            I met Stefano in Florence, when we played together a bed box spring with bows in front of a hundred people, in a 40 centigrades hot room. I've seen Mike playing a few times, once together with a few other people and once with a few other thousands people. I'm honoured to play with a such skilled and experienced musician as Mike is, and with Stefano with his amazing guitar and bass sounds besides me again.

            I'm ready to have fun, to play, to learn, to tavel, to talk, to create, to drink, to eat, to r'n'r, to take pictures, to listen to music, to sail for new routes, to record, to drive with, to etc. etc. etc. together with Il Sogno del Marinaio fellows!


            from bassist mike watt:

            I was born in portsmouth, virginia in 1957. my pop was a sailor in the u.s. navy. at ten I moved to san pedro, california and a few years later got into music through my best friend d. boon - his mother put me on bass. me and d. boon started the minutemen in 1980 were part of los angeles punk scene until he was killed in a van wreck in 1985. I continued to work my bass w/fIREHOSE up to 1994 and then went on to work on many solo projects and collaborations - I currently front two active trios, the secondmen and missingmen. I've also helped out as a sideman w/porno for pyros, j mascis + the fog and most recently iggy + the stooges - all on bass, which I continue to learn on. I believe everyone has something to teach me and therefore try to keep myself in challenging situations to further inspire that endeavor and my expression through music. more can info can be found at the website I maintain, mike watt's hoot page.

            il sogno del marinaio ("the sailor's dream" in italian) is the name I picked for this collaboration w/musicians stefano pilia and andrea belfi and why did I pick it? first off, it's in italian and this important cuz it's the first time I collaborate w/artists from that land and also in their land (by the way, my ma's people come from italy). I am the son of a sailor and so you now know a little about both my parents! my first time playing in italy was in 1983 and I've done lots of gigs since but never like this, collaborating w/her native sons. I am intrigued by the works of both stefano and andrea and am quite interested in sailing their seas of music and how they merge w/mine. I think I learn more about myself this way, that is my dream - and to do the best I can for them. I feel for me it's a voyage back home in a trippy sense, a sailor's dream of discovery through connections that baffle linear thinking... that is part of the magical ocean of music I dearly believe in.




            about the album "la busta gialla" in the words of each of the three members...


            from guitarist stefano pilia:

            LA BUSTA GIALLA is our first il sogno del marinaio record studio experience we recorded it in three days in the middle of our first tour in italy. Everyone of us brought some ideas to be worked on all togheter and we basically wrote and arranged all the materials in a very short period of time the results is a record which has a very large spectrum of musical solutions and elements in which every track talks about his own world.

            Seeing the way how our different musical personalities and attitude reflect one into the other and combine togheter touching different musical worlds has been a strong surprise and a super stimulating experience.


            from drummer andrea belfi:

            Il Sogno del Marinaio "La Busta Gialla" has been created in a two weeks journey throught the italian landscape: four days of reharsing, six shows, two days of recordings.

            Each song tells a story,the whole album has a narrative quality that is clearly perceivable from the very beginning.

            "Zoom" is an eight-minutes-long trip, that explores many different paths. Cinema pour L'Oreille I would say.

            "Partisan Song" is dedicated to a bronze monument representing two partisans standing proud in the center of a big intesection in Bologna.

            "The Tiger Princess" is a sort of fairy tale in which all instruments play many different patterns, each one different from the previous one.

            "Funanori Jig" sounds like a long trip by boat from the Mediterranean sea to the Carribeans.

            "Il Guardiano Del Faro" is the story of a shipwreck.

            "Joyfuzz" is an imaginative portrait a real person using the image of an electric guitar effect pedal.

            "Messed-Up Machine" is a sort of broken engine, that turns on and off, and at the end, after a few tries, finally works.

            In "Punkinhed Ahoy!" the New Orleans funk beat is mixed with a traditional italian longshoreman choir from Genoa. A positive ending for the great first "Il Sogno del Marinaio" experience!


            from bassist mike watt:

            this album was part of the whole experience that brought all three of us (stefano, andrea and myself) together. I was invited to join them in playing six gigs in italy during the late fall of 2009. it was an invite out of the blue and truly exciting. of course we needed material to do for these shows and I thought if we were going to come together to do that then why not also record the stuff for an album? made sense to me and I'm so glad stefano and andrea were also into it. each of us brought tunes and we worked them out first w/prac in a real old pad in a little town near bologna called palesio and then at the gigs themselves before going into a studio called la sauna in the northern italian town of varano borghi where the cats there were absolutely righteous. it was one of my favorite times recording ever, such a good time.

            the album for me represents us coming from different places and joining together to make a sound singular to the dynamic between us. we had no prior experience playing w/each other at all before the prac and the gigs so it's an accurate document of us three interacting for the first time through music and I think we did it in such a way that all three of our individual personas come through and at the same time make for ourselves an identity of a band. this was our goal we agreed at the end even though we never discussed it beforehand in words cuz I think we wanted the process to develop naturally and not foul it w/too much premeditation and expectations on where it "should" go... we in a sense "played the hand that was dealt" and gave it our best shot. the process was most interesting, the musical minds of stefano and andrea as well as their spirits as brothers very much inspired me! I am most big time grateful to them.

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            Gnarly Davidson

            LFK's premier Beer-Rock band

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            9/27

            Trampled by Turtles

            $21.50 - $61.50 | All Ages | 7 pm

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            Trampled by Turtles

            “Shooting sparks in the face of folk traditionalism, the quintet approaches the banjo and mandolin with a level of brash recklessness hardly heard since the now-mythical reign of Uncle Tupelo. Bill Monroe and Joe Strummer would both be proud.” - SF BAY GUARDIAN

            “One of very few bands in America that are hipster-approved but could heave a room of strangers into a hoe-down at any time…” - CITY PAGES (Minneapolis/St. Paul)

            With four self-released albums to their credit and a word-of-mouth reputation that draws legions of diehard fans to their must-see-to-believe live shows, northern roots music hybrid Trampled by Turtles are set to release Palomino, their first album through Thirty Tigers/RED, on April 13th, 2010. With a sound that’s a bracing hybrid of classic American songwriting, bluegrass and folk, this is forceful acoustic music from the land of ice and snow – of dark winters, isolation and numbing cold – delivered at breakneck pace with the fervor of religion.

            The five members of what would become Trampled by Turtles formed in 2003 in Duluth, Minnesota, the Great Lakes port town that had spawned slowcore pioneers Low a decade earlier. Down in the “The Cities” (Minneapolis and St. Paul to the rest of the world), such fabled Minnesota brethren as Dylan through to the Jayhawks had raised the bar pretty damn high, songcraft-wise. Within this contained music scene, the future members of TxT did their time in punk and rock and roll bands, brandishing their electricity proudly, before going “organic” with acoustic instruments.

            While they never set out to be a “bluegrass” band, the band employs the same time-honored tools of the trade – guitar, acoustic bass, banjo, mandolin and fiddle – as their ‘grass-fed country cousins. But their soul-deep differences in influences, attitude and attack, from their quicksilver, deadly accurate picking to their lonesome, hauntingly spare ballads, make for a very different musical beast indeed.

            The result of this pan-genre spot-welding is a sort of North Country & Mid-Western Blue-collar ’grass meets Basement Tapes-era The Band (unplugged!) with a fistful of gunpowder tossed into the wood-burning stove, all of which is permeated by a poignant, seductive desolation that hails from the likes of Townes Van Zandt (a favorite of Simonett’s) on up through current artists such as the Avett Brothers, Blitzen Trapper, Bill Callahan and Justin Vernon.

            Crisply produced by TxT lead singer, guitarist and primary songwriter Dave Simonett, Palomino leads off with a pair of plaintive, up-tempo ballads. “Wait So Long” offers gorgeous, high lonesome harmonies by bassist Tim Saxhaug and banjoist Dave Carroll, while “Victory” is a lament about persevering through loneliness and heartbreak, with Simonett singing “all of us lonely … it ain’t a sin; want something better than the shape we’re in …” and urging the listener to carry on, with the words “and the stars they whisper blessings babe, as you walk by.”

            TxT accelerates with the neck-snapping certainty on the rhythmic, pedal-to-the-metal showcase “It’s A War” before popping the chute to draw way back again as the band eases into the easy sway and gentle harmonies of “Separate.” “Bloodshot Eyes” slows it down a notch with a spare arrangement and languid tempo, with Simonett’s aching vocal warmed by a simple harmonica line, followed by mandolinist Erik Barry’s compositional contribution to the album, “New Son/Burnt Iron.” “Help You” is a bubbling, sun-dappled mountain stream of a tune, a fast-moving sparkler far removed from modern techno-paralysis, followed by “Feet and Bones,” where someone tosses a match to the thing and they’re off to the races again. “Gasoline” is raw blues gone acoustic, with a dirty vocal sound and a Depression-era feel.

            Simonett strikes gold yet again with “New Orleans,” an wistful time-tripper that evokes a dreamy 19th-century reverie. But not for long. With the fare-thee-well track “Again,” the album’s closer, he and the boys deliver a bruised-but-unbowed fireside lament of longing and loss that will stick with you and brings to mind Uncle Tupelo and Jay Farrar’s solo albums. It’s a song that yearns for another chance and begs for another listen, a song that blends the band’s virtuosity with the emotionalism that connects them with their audiences.

            Without press or radio support or a national release until now, TxT continue to play to sold-out venues nationwide; with 2010 bringing the band for the first time to SxSW, Stagecoach Fest, High Sierra Fest, Wakarusa, DelFest (Bluegrass legend Del McCourey’s festival) and more. They’re even getting their own star at legendary Minneapolis club First Avenue, where they can regularly sell out two consecutive nights at the 1600-capacity venue. With Palomino, TxT have harnessed their considerable power and are ready to share it with the world.

            OUR LINKS


            9/28

            Wakey Wakey

            Ben Fields

            $11 | All Ages | 8 pm

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            Wakey Wakey

            “There was a point in my childhood when I thought I was going to be a preacher,” says Michael Grubbs, the frontman-songwriter behind Brooklyn’s Wakey!Wakey! “I was going to have a congregation, talk to them about life, about how to get by. I guess this is kind of my pulpit now.”

            Ever since his single “War Sweater” jettisoned him into stardom five years ago (thanks to a game-changing plug on One Tree Hill), the indie-pop singer has built a following that’s as passionate as his compositions. His fans have bought 45,000 copies of his self-released debut, the exquisitely tortured Almost Everything I Wish I’d Said the Last Time I Saw You. They’ve permanently inked his lyrics on their bodies (you can find them on display at the “W!W! Tattoos!!!” Pinterest board). And in the ultimate gesture of support, they crowd-funded his self-released follow-up album, the fittingly titled Salvation—and even exceeded the goal by 141 percent. Meanwhile, Salvation’s first single, the bright, palpitating “Wake Up (Lily I Love You),” is already off to an auspicious start, amassing global grassroots traction.

            Wakey!Wakey! fans are not passive, and that is not lost on a humbled Grubbs. “That has fundamentally changed the conversation with me, the way that I connect with fans through music,” he says. With the optimistic Salvation, he continues, “I’m taking a leap of faith that my fans have evolved with me.”

            Faith has played a pivotal role in Grubbs’ life. Though more spiritual than religious, the Richmond, Virginia native was raised in a devout family, spending much of that time honing his skills in church, where his dad was music director. At home, the family would sing four-part harmonies at the breakfast table—a round robin of sorts, where each family member would switch vocal ranges. “My whole childhood was like boot camp for music,” he says, fondly. “When we were growing up, I think my mom wanted me and my sister to be The Carpenters.”

            His repertoire was made up of spiritual and classical songs, until he discovered Elton John and Billy Joel sheet music at the local library. Grubbs greedily sight-read these curious new finds, changing verses like “Jesus Freaks out in the street/Handing out tickets for God” (in Elton John’s “Tiny Dancer”) to “All the freaks in the streets/Handing out tickets to stuff”—to throw off his parents.

            A fan of Tennessee Williams and Arthur Miller, Grubbs majored in theater during college, but upon graduating, high-tailed it to Manhattan to chase his dream of being a serious actor. Instead, he wound up on the national musical-theater tour for Camelot. “I remember standing backstage with my tights and cape on. I saw myself in a mirror and was like, ‘F this! This is not what I signed up for.”

            He soon quit to pursue a more storied New York occupation: struggling-artist bartender. After 10 years of playing bars and open mics—notably, as a regular during the anti-folk scene at the East Village’s Sidewalk Café—he simply gave up.

            Around that time, he’d penned songs such as the sweeping “War Sweater,” mostly out of necessity. “I wrote stuff that was so syncopated, so aggressive, because half the time you played in bars, people wouldn’t shut up,” he says, laughing. Thematically, a sense of remorse reverberated through Almost Everything, with Grubbs’ long-term relationship unraveling as he deflated professionally.

            Still, the universe had faith in him: In May 2009, in an act of seeming divine intervention, the creator of One Tree Hill discovered Wakey!Wakey! through a friend. He placed “War Sweater” on a season 6 episode of the show and cast Grubbs in a small role as a bartender. Overnight, everything came back together.

            “Literally a day after ‘War Sweater’ debuted on One Tree Hill, it was No. 13 on the iTunes chart,” marvels Grubbs. “Being an artist feels like you’re in a marathon. You see what you think is the end, but you realize it’s the starting line. You run, and you run, and you run. I was so beaten down. But…here I am!”

            What he has now is lightness and vantage. Salvation is built on broader themes such as rescue and hope. At its heart lies the title track, which compares “salvation to a light turned on,” explains Grubbs. “You’re down and depressed, and someone says the right thing to you or does an unexpected act of kindness—and you’re just better.” And as the song suggests, you can ultimately save yourself. Sings Grubbs, “When there’s no one left to life you up, you reach up till your arms become wings, and they lift you.”

            If “Salvation” symbolizes his album’s driving message, then “Waste Away” represents its ambitions. “Thematically, it’s deep, but it’s also a very spacious song. That’s not usual for me. I tend to write really concisely,” he says. “We took a big step forward toward making something bigger.” After all, there is little fun in comfort zones.

            “I wrote the last album when I was in a pretty dark place,” he says. Grubbs’ ache was powerful and relatable—which, of course, won him a lot of fans. Salvation, in kind, captures his current state: happy. Really happy. He figures the least he could do is share that with his fans, as well. “I don’t want to write songs that make people in the front row cry,” he says, then adds: “At least not for the whole show…”

            OUR LINKS


            Ben Fields

            MORE INFO COMING SOON!



              9/30

              Matisyahu

              Radical Something

              $25 - $66.50 | All Ages | 7 pm

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              Matisyahu

              In April of 2005 a fresh voice announced his arrival on the international stage with a stunningly inventive document titled Live at Stubb’s. Six years later, Matisyahu returns to the renowned Austin venue that helped to launch his career with Live at Stubb’s, Vol. II, a new CD-DVD package that demonstrates the continued originality and increasing depth of this longtime New Yorker’s craft.

              Inspired by the runaway success of the original record, which spawned the hit single “King Without a Crown” and has to date sold over 700,000 copies in the United States, Matisyahu says he always knew he wanted to make another live album. “Performing is such a big part of what I do,” he says, “and there’s a lot about that live energy that you just can’t catch in the studio. So for me it was simply a matter of figuring out the right time to do it.”

              He chose well: Last year Matisyahu released Light, a David Kahne-produced studio disc on which he jumped boldly from hard-edged dancehall and ska-inflected New Wave to laidback pop-rock and acoustic folk-soul. The album took Matisyahu well beyond his stylistic comfort zone and charted the growth of his vocals from traditional reggae toasting to a more dynamic, emotional place. But it didn’t necessarily show off his onstage evolution.

              “I’ve played so many shows and gone through so many metamorphoses as a performer,” he says. Especially valuable was the opportunity to showcase that evolution at the very club where his career really took off. “It was kind of a return-to-roots occasion,” he says—albeit one where we see how far he’s come, as well.

              Part of that transformation has been fueled by Matisyahu’s new band: Brooklyn’s acclaimed Dub Trio, which includes guitarist D.P. Holmes, bassist Stu Brooks and drummer Joe Tomino. The singer first came across the group—as fate would have it—while in Austin recording the first Stubb’s record. “I remember seeing their name at a record signing and being intrigued,” he says. “So I got one of their records while I was on tour, and there was this one song I couldn’t stop playing.”

              Shortly thereafter, Matisyahu spent an entire day walking around Boston writing lyrics to the tune. “I love the way they bounce back and forth between really beautiful music and heavier, harder-edged stuff,” he says. “I knew right then that I wanted to work with them.” Last year he booked a show with Dub Trio at a small club in Brooklyn. “We just did an improv set after maybe one rehearsal,” he recalls. “It felt so right.”

              That improvisational spirit looms large throughout Live at Stubb’s, Vol. II, which pulls primarily from Light and Youth, Matisyahu’s 2006 full-length. “Dub Trio understand the concept of space,” he says, “which for a vocalist is great, because that leaves a lot of room for me to really get into my lyrics in new ways.” Here Matisyahu uses that room to dig deeper into his sound than ever before, shedding new light on its hip-hop, rock and reggae dimensions to the vocal delight of the enthusiastic (and demographically varied) Stubb’s crowd.

              That audience was central to what Matisyahu set out to accomplish with Live at Stubb’s, Vol. II. After all, the fans were the ones who enabled his return to the venue in the first place, affording Matisyahu the opportunity to extend the legacy Stubb’s represents. In fact, one crowd member made a lasting contribution.

              “The night before the show I took a picture of my tour bus in the hotel parking lot and posted it on Twitter,” Matisyahu remembers. “Someone sent back a tweet saying they’d figured out which hotel it was and asked if they could come say hi. I said sure and a couple of kids showed up; we hung out for a few minutes on the bus. Then the next night at the show I’m pulling people up onstage during ‘King Without a Crown’ and one of them is the kid from Twitter!” The singer laughs. “So the last clip on the DVD is actually me giving him a high-five.”

              The appreciation, no doubt, was mutual.

              OUR LINKS


              Radical Something

              MORE INFO COMING SOON!



                10/1

                Fortunate Youth

                Ease Up
                77 Jefferson

                $13 | All Ages | 8 pm

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                Fortunate Youth

                Fortunate Youth is a collaboration of South Bay Reggae stand-outs. Rising from various bands, they’ve created a phenomenal 7-piece masterpiece bringing more fire to the stage than ever before. Combining rootsy vibes and unique bass lines united with multiple harmonies, boisterous guitar solos, and heavy keys separates Fortunate Youth from every other mainstream Reggae band. With their high energy approach and positive stage presence they provide an unforgettable show to every music fan. Fortunate Youth’s objective is to ensure a performance that leaves you feeling euphoric and curious of what might happen at the next show.

                In 2011 they supported Tribal Seeds on their nationwide Tribal Youth Tour to spread their conscious music to the nation. F.Y. linked up The Green, from Hawaii, for a Midwest/Westcoast run before jumping back in the studio to record. They have hit the masses promoting only their 6-song EP titled “Up-Lifted EP” and just released their full-length album, “IRIE STATE OF MIND” on July 1, 2011. Fortunate Youth will also be touring very heavily through 2011 including a Naitonwide CD Release Summer Tour.

                Upon Releasing their full-length album they quickly rose to #2 on the iTunes Reggae Charts and also locked in a #13 position on Billboard Top 100 Reggae Albums. Receiving great praise for early success Fortunate Youth strives to spread their interpretation of Reggae music to Music Lovers worldwide.

                They have had the honor to share the stage with bands such as Groundation, Toots & The Maytals, The Green, The Wailers, Katchafire, Tribal Seeds, The Expendables, Pepper, Dirty Heads, Natural Vibrations, Tomorrows Bad Seeds and Sashamon.

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                Ease Up

                MORE INFO COMING SOON!



                  77 Jefferson

                  Joel Castillo, Miles Brown, Mike Dunn, Mark Baltzell and Richard Faught are musicians who go by the name 77 Jefferson. They have been touring for the last 3 years boasting over 300 shows in over 100 cities and 25 states throughout the midwest and on both coasts. 77 Jefferson writes, records and promotes their music with a grass roots do-it-yourself mentality. They have played many festivals and 77 Jefferson has had the privelege to share the stage with legendary national artists such as Lee "Scratch" Perry, SOJA, Luciano, Sugar Minott, Junior Reed, Tomorrow's Bad Seeds, Josh Fischell, Jah Roots, Gramps Morgan of Morgan Heritage, Part One Tribe, Ossie Dellimore, Cas Haley, Steve Ewing, Whild Peach and many more. Their debut album, "Sledgehammer," is available on Itunes, Cdbaby.com., and Rhapsody, as well as "Rarities," a collection of acoustic, beats, and rare out-takes. 77 is currently finishing up their next full length album,"In the Right Mood," to be released August 3rd also on I-tunes, Cdbaby.com and Rhapsody, folllowed by a southern and west coast tour in August.

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                  10/3

                  Gov''''''''t Mule

                  $25 - $76.50 | All Ages | 7 pm

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                  Gov''''''''t Mule

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                    10/6

                    J Roddy Walston & the Business

                    Fly Golden Eagle

                    $15 | All Ages | 8 pm

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                    J Roddy Walston & the Business

                    The third album from J. Roddy Walston & The Business, Essential Tremors borrows its name from a nervous-system disorder that’s long plagued the band’s frontman. “It’s this condition where my hands shake―sometimes not at all, but sometimes pretty bad,” says singer/pianist/guitarist Walston. “I’ve referenced it throughout all our records in some way, but it made sense to be more open about it on this album, which is partly about owning and embracing your weirdness instead of letting it hold you captive because you don’t even want to talk about it.”

                    For J. Roddy Walston & The Business―who formed in 2002 in Walston’s hometown of Cleveland, Tennessee―embracing weirdness means a mumble-out-loud celebration of that great and terrible burden of being human. Forcing the oft-clashing worlds of art and rock-and-roll to make nice, the band (including guitarist/vocalist Billy Gordon, bassist/vocalist Logan Davis, and drummer Steve Colmus) deals in a scrappy yet sublime sound that honors both their Southern roots and punk spirit. On Essential Tremors, J. Roddy Walston & The Business builds off that formula with a mix of heavy hooks and elegant melodies revealing their affinity for artists as disparate as Led Zeppelin, pre-disco-era Bee Gees, The Replacements, Randy Newman, and the Southern soul outfits that once populated the Stax Records label. Co-produced by Matt Wignall (Delta Spirit, Cold War Kids) and Grammy-winning producer/engineer Mark Neill (The Black Keys) at Neill’s own Soil of the South Studios (a Valdosta, Georgia-based facility where J. Roddy Walston & The Business were the first to ever record), the follow-up to 2010’s much-acclaimed self-titled sophomore album also finds the band crafting lyrics that ultimately serve as a secret language to the initiated listener.

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                    Fly Golden Eagle

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                      10/7

                      J Mascis

                      Luluc

                      $17 - $19 | All Ages | 8 pm

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                      J Mascis

                      It’s all but inconceivable that J Mascis requires an introduction. In the quarter-century since he founded Dinosaur (Jr.), Mascis has created some of the era’s signature songs, albums and styles. As a skier, golfer, songwriter, skateboarder, record producer, and musician, J has few peers. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands – Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple – and he has guested on innumerable sessions.But Several Shades of Why is J’s first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.

                      Recorded at Amherst Massachusetts’ Bisquiteen Studios, Several Shades is nearly all acoustic and was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Pall Jenkins (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees). Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer/songwriterism. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals.

                      “Megan from Sub Pop has wanted me to do this record for a long time,” J says. “She was very into it when I was playing solo a lot in the early 2000s, around the time of the Fog album [2002's Free So Free]. She always wanted to know when I’d do a solo record. [Several Shades of Why] came out of that. There are a couple of songs that are older, but the rest is new this year. And it’s basically all acoustic. There’s some fuzz, but it’s acoustic through fuzz. There’re no drums on it, either. Just one tambourine song, that’s it. It was a specific decision to not have drums. Usually I like to have them, but going drum-less pushes everything in a new direction, and makes it easier to keep things sounding different.”

                      There is little evidence of stress on Several Shades of Why. The title track is a duet with Sophie Trudeau’s violin recalling Nick Drake’s work at its most elegant. ‘Not Enough’ feels like a lost hippie-harmony classic from David Crosby’s If I Could Only Remember My Name. ‘Is It Done’ rolls like one of the Grisman/Garcia tunes on American Beauty. ‘Very Nervous and Love’ has the same rich vibe as the amazing rural side of Terry Reid’s The River. And on and on it goes. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure. What a goddamn great album.

                      OUR LINKS


                      Luluc

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                        10/8

                        Slow Magic

                        Kodak To Graph
                        Daktyl

                        $11 - $13 | All Ages | 8 pm

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                        Slow Magic

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                          Kodak To Graph

                          Allured by pulsing incantations of cassette grain and VHS blips, live instrumentation and other found sounds, Kodak To Graph's Michael Maleki (22), delicately floats listeners through blooming clouds of synth-washes, haunting reverberations and propulsive rhythms.
                          Maleki's candle-waxed R&B and flower-trailed soundscapes weave together the nostalgic tones and colors reminiscent of a quiet childhood with the urban bounce and rhythmic disposition of the more modern spirit.

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                          Daktyl

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                            10/9

                            Mike Doughty

                            Question Jar Show

                            $15 | All Ages | 7 pm

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                            Mike Doughty

                            Mike Doughty contains multitudes: Singer. Songwriter. Guitar player. Poet. Author. Playwright. Photographer. Most Improved Camper, West Point Youth Camp, 1982. He's released five solo albums, some EPs, a covers album, a couple of live albums, a bunch of EDM tracks and remixes, a poetry book, and a memoir about that time he was in a band called Soul Coughing and didn't like it and took a lot of drugs. He most recently released "Circles Super Bon Bon...," an album of re-imagined Soul Coughing songs recorded with the hip-hop/house DJ Good Goose, in September 2013.

                            OUR LINKS


                            Question Jar Show

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                              10/11

                              Big Gigantic

                              The Floozies
                              Manic Focus

                              $22.86 - $69.96 | All Ages | 7 pm

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                              Big Gigantic

                              CONTACT
                              Big Gigantic is…
                              Dominic Lalli - Producer/Sax
                              Jeremy Salken - Drums

                              OUR LINKS


                              The Floozies

                              Just outside the jazz mecca of Kansas City springs liberal oasis Lawrence, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence, it would logically follow that an act could rise to prominence fueled by the swing of Basie, the birth of Charlie Parker’s bebop, and the wild frontier of electronica. Born in funk and bred in the digital age, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most.

                              Brothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist, and without a word between them, Matt’s guitar is in lockstep with the thud of Mark’s kick. Endless looping and production builds the raw scenery upon which palm muted chugs, searing solos, and wobbling bass paint their dazzling array of colors.

                              Well versed in everything from Chris Cornell to Kavinsky, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader, deeper tastes including Zapp & Roger, Lettuce, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past, all the while producing wildly futuristic tunes for the masses to dig now.

                              When the pendulum swung as far as it could away from live instrumentation to laptops, The Floozies rose up to the challenge, swinging as hard as they could in the other direction with neck-snapping, knee-breaking funk so dirty that the gatekeepers stood up, wiped themselves off, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey’s McGee as readily as electronic elites GRiZ and Big Gigantic. A nationwide tour with Archnemesis and Wick-it The Instigator cemented the duo’s ascent while major festival appearances at Wakarusa, Summer Camp, Kanrocksas, and Sonic Bloom dot the horizon.

                              The Floozies are bringing the funk back, and they’re right on time.

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                              Manic Focus

                              Manic Focus is the musical conception of John “JmaC” McCarten that breaks the bounds of the typical electronic music realm. Being classically-trained on piano at an early age, his musical talents have brought him through the realms of hip-hop beats and electronic music, having now evolved into the dynamic, bass-induced sounds of Manic Focus. A Minnesota native and recent transplant to Chicago, this producer is blowing up the EDM scene.

                              Manic Focus isn't your typical electronic dance music. His first album, Definition of the Rhythm, provides a broad array of tracks, from energized electro hip-hop to tranquil, melodious grooves. His deep bass lines and popping beats drive the tracks along, while spellbinding melodies and carefully-chosen vocal samples entrance the listener. The essence of Manic Focus lies within his flawless production, weaving together rhythms and effects to create a sheer masterpiece every time.

                              His second album, Expanding Mind, showcases how Manic Focus is broadening his spectrum, going from dark, majestic sounds toward a funky, bass-laden dance vibe. Now dipping into the realms of house, drum & bass, and glitch-hop, Manic Focus is exploring new genres and continuing to produce pure musical magic along the way.

                              With continuous new releases and dates stacking up across the country, Manic Focus is on pace to take the music industry by storm. The talents of this producer create a spell-binding effect that only further showcases the evolution of his undeniable musical ability.

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                              10/13

                              Ingrid Michaelson

                              Neulore

                              $23 - $3.90 | All Ages | 7 pm

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                              Ingrid Michaelson

                              In the past two years, Ingrid Michaelson -- who'll drop her fifth studio album, "Lights Out" (Cabin 24/Mom+Pop) on April 15 -- has vaulted from overachieving indie-pop sweetheart to a bona-fide pop star. Her last release, "Human Again," debuted at No. 5 on the Billboard album chart (plus No.1 on iTunes).

                              This achievement merely crowned the considerable success Ingrid had already earned with her previous compositions: beautiful, idiosyncratic songs that have been prominently featured in popular films, television and on regular rotation in commercials. Her DIY approach to making music -- composing her own songs, co-releasing albums on her Cabin 24 imprint, building an organic following through music-licensing, and back in her MySpace days (where she was discovered in 2006), promoting herself -- was a slam-dunk. Now, it had evolved into a well-oiled machine, The New York Times even weighed in, declaring her songwriting "smart," her tunes "irresistible" and her live show "seamless."

                              Then, says Ingrid, "Everything just came to a screeching halt." While helping out seriously ill relatives, her dog died. Soon after, Ingrid herself fell sick with serious stomach issues. "My whole throat was on fire for a few months. I had to stop writing," she says, of the time between April and August 2013. "I was so ill, I couldn't sing." After seeing countless doctors -- "like, three a day" at its worst -- she got better and was able to resume writing "Lights Out." For someone associated with crafting sunny tunes about escapism, a creative detour into dusk seemed almost inevitable.

                              Technically, "Lights Out" refers to the two words uttered on Ingrid's tour bus when everyone's ready to call it a night. But given recent developments, it's become a metaphor for contemplating mortality and letting go -- themes more thoughtful than they are dark. The album builds into intensity, but is anchored by the swelling pop-affirmation "Time Machine" and the sweetly buoyant "Girls Chase Boys," which fits squarely into her existing catalog. "We thought of that song as the bridge for people. I'm still respecting what people want, but showing them what I can do," she explains, adding: "Some of the songs, like 'Over You,' are written to sound like relationship-y songs, but they're not."

                              The ethereal "Handsome Hands" is arguably "Lights Out"'s most left-of-center offering. "The song is about death, but it's also about the higher power," she explains. "In moments of desperation, even the most non-religious people pray. When you're pushed to your limits, you look for help from something other than yourself." Similarly, "Wonderful Unknown" is a positive, if beguiling narrative about the fears and uncertainties of growing old with your spouse, which she delivers in a lower register. An after-effect of her illness? "I don't think I've lost part of my voice," she explains, "but my voice has somewhat changed."

                              Perhaps more dauntingly, "Lights Out" also marks Ingrid's entry into a brave new world of songwriting. Recorded in New York, Los Angeles, and Nashville, the album features six producers and ten co-writers, including singer-songwriters Katie Herzig and Trent Dabbs, as well as the very in-demand Busbee (Pink, Katy Perry, Lady Antebellum). "With every other record, I've always written all of the songs. I've worked with one producer. And we've stayed in one room," she says. "I've been such a control freak about my songs! But if you can get with the right person, there are ideas you could never come up with. It totally opens doors."

                              And with opportunity comes meaningful change. "It's funny. It doesn't even feel like I wrote 'The Way I Am,'" Ingrid says of her platinum break-out single, recorded seven year ago. "It's a memory." She'll continue to perform it live as she tours "Lights Out" -- just stripped-down, recasting the flittering ditty into something weightier. "It feels like a little girl wrote that song. So much has happened to me in life."

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                              Neulore

                              MORE INFO COMING SOON!



                                10/15

                                Dopapod

                                Tauk

                                $10 | All Ages | 8 pm

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                                Dopapod

                                Dopapod is not so much a jam band as they are a band that improvises. They are an electronic band without computers. They are a metal band with groove and soul. They are a funk band that’s not afraid to get intricate. With no regard towards toward stylistic boundaries, the sound that emerges from the quartet both live and in the studio is as varied and diverse as the many influences that they adapt from. Their approach to complementing a distinct genre bending sound to top-notch musicianship is what has kept the quartet committed to evolving their unique brand. This progressive song writing leaves room for boundless improvisational exploration and has been the root of why more and more music lovers are steadily growing in numbers eagerly returning for more.

                                In the past three years, Dopapod has been tirelessly planting its seed in ears throughout the entire East Coast and into the Midwest with their infectious and sensory live performances. Covering all this ground has seen the young, yet seasoned group make appearances at numerous festivals including Camp Bisco, Mountain Jam, Gathering Of the Vibes, Bonnaroo, Burning Man, Catskill Chill, Bear Creek, The Big Up, Rootwire, and more. Their electric live showcase has been cultivating a fast growing, loyal fan base, and seen them share bills with artists such as Moe, Lotus, EOTO, Papadosio, Zach Deputy, Sam Kininger (Lettuce, Soulive), and Carl Palmer (Emerson, Lake, & Palmer).

                                Redivider is Dopapod’s third studio effort. Having been recorded and released less than a year after the band’s last record Drawn Onward came out, recording was done at Tyrone Farm, a scenic and completely solar powered farm in the small town of Pomfret, CT. Opting to take a different route than recording in a studio, the band brought their own to the barn of the farm and produced it by themselves. Redivider displays a drastic evolution in the band’s songwriting skills as well as marking the first time ever that the band has added vocals into songs. The added texture serves as yet another dimension in what allows the band to look in multiple directions at one time while remaining focused on a cohesive blend of sound.

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                                Tauk

                                MORE INFO COMING SOON!



                                  10/16

                                  Odesza

                                  Ambassadeurs
                                  Hayden James

                                  $12 - $15 | All Ages | 8 pm

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                                  Odesza

                                  In 2012, a striking new voice emerged from the wider surge of electronic music in the U.S. ODESZA’s Summer’s Gone stood out from the crowd; it was a collection of songs, not just beats; and its irresistible, startling dreaminess, addictive drums and fathoms-deep bass set it apart from the by-the-numbers brutality of EDM’s also-rans. In an age of manufactured internet buzz and carefully plotted hype, ODESZA’s story was refreshingly authentic: A brilliant new duo unveiled their music on the internet, and the world paid attention.

                                  Harrison Mills (aka CatacombKid) and Clayton Knight (aka BeachesBeaches) began recording together after meeting at Western Washington University. There was instant chemistry, and the pair worked prolifically, quickly carving out a distinctive, heady sound: glitched-out vocals, soaring, visceral melody and ear-gripping drums. Two songs from Summer’s Gone – “How Did I Get Here” and “iPlayYouListen” – instantly leapt to number 1 on the Hype Machine Popular Chart. ODESZA began to make evangelical fans, with word of their music setting the world – both real and virtual – alight.

                                  2013 saw the release of the My Friends Never Die EP, with three of the five tracks hitting #1 on Hype Machine. Relentless touring followed, including dates with Pretty Lights, Emancipator, Michal Menert, and performances at Sasquatch Music Festival, Lightning In A Bottle, What The Festival, Summer Meltdown, Capitol Hill Block Party, MusicfestNW, Decibel Festival and Symbiosis Gathering. Thrown in at the deep end, ODESZA quickly honed a live craft to match that of their recordings.

                                  The duo was playing to larger and larger crowds when Pretty Lights asked them to be the support act on the fall Pretty Lights tour, and to remix "One Day They'll Know," which also hit #1 on Hype Machine and #8 on the iTunes Electronic Chart. Later in 2013, ODESZA selected their favourite producers for a follow up remix EP, My Friends Never Die Remixes, and launched the ambitious, ongoing mixtape series NO.SLEEP.

                                  February 2014 brought the release of the ODESZA single “Sun Models (feat. Madelyn Grant,)” taken from the duo’s forthcoming second album. This song continued the trend they’d set previously, and it too hit #1 on Hype Machine. In March 2014 ODESZA’s remix of Pretty Lights’ “Lost And Found” was released on the DIVERGENT movie soundtrack, and (you guessed it!) hit #1 on Hype Machine.

                                  Harrison and Clayton headed back into the studio, putting the finishes touches to their forthcoming second album, before setting out on a sold out North American tour in Spring, culminating in a performance at Coachella. Not wanting to leave their growing legion of fans wanting, the duo’s remix of ZHU’s hit “Faded” was released, taking their #1s on the Hype Machine chart straight into double figures.

                                  Summer 2014 saw ODESZA visit Australia to play a series of live dates, before heading back to North America for festivals, and to polish up and master their now hotly anticipated sophomore album.

                                  And finally that brand new album is here. In Return has more than just delivered on the promise of ODESZA’s previous work. A record with a precocious maturity and coherence, it’s a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Vocal performances from Zyra, Py and Shy Girls accompany that of Madelyn Grant on Sun Models, expertly worked into ODESZA’s trademark, mood-altering uplift.

                                  ODESZA are set to tour the album throughout the fall, playing long runs of sold out dates across the U.S and Europe. A new live performance has been developed to accompany In Return – ensuring that the shows will do full justice to the album – and a host of like minded artists are busily remixing the singles.

                                  One of the stunning aspects of ODESZA is the speed with which they’ve created a large, devoted fanbase – testament to just how refreshing, immediate and exciting their music is. ODESZA has amassed over 15 million SoundCloud streams, at an average of 500,000 per week. They’ve picked up 7.5 million Spotify plays, and been licensed by Adidas, GoPro, Piz Buin and many more.

                                  That’s a lot of people who’ve been waiting on the new album. Luckily for them, In Return is everything fans might have hoped for and then some: An album that places ODESZA firmly in the vanguard of electronic music’s coming of age.


                                  "ODESZA's...'iPlayYouListen'...fits firmly in the goopy electro-camp of acts like Purity Ring and Chvrches, where ebullient production floats on a stormy, synthy sea, where bright notes reflect even brighter off the water" -The FADER

                                  "Their new jam, 'My Friends Never Die,' feels like crashing down a waterfall on a bouquet of roses with Flying Lotus as your chauffeur. These are stoner jams to smack your bubblegum to -- full of hip-hop grooves and sunshine." - Vice's Thump

                                  "Accented by a pretty piano riff, the graceful track ['Home'] takes its time while taking your brain on a calm ride, eventually getting comfy under a sexy bass-and-snap drumbeat." - Interview Magazine

                                  "Harrison Mills and Clayton Knight have spent the last couple years creating dreamy instrumental hip-hop as Catacombkid and BeachesBeaches, respectively. And while Catacombkid's late-night beauty feels counterpoint to Beaches' sunny bliss - together, as ODESZA, they create a world where both exist in gorgeous harmony." - Stereogum

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                                  Ambassadeurs

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                                    Hayden James

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                                      10/18

                                      Spankalicious

                                      $11 - $13 | All Ages | 7 pm

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                                      Spankalicious

                                      Making his mark on the electronic music scene in the Midwest with the high energy that he brings to the stage, creating the vibe needed to get the rage started! Kevin Moore (aka: Spankalicious) is currently based out of St. Louis, Missouri. Coming from an extensive background in rudimental percussion/drumming have allowed Spank to read rhythms inside and out. Shown through scratching, drumming, as well as seamlessly blending and mixing. Spankalicious thrives on taking the crowd through a musical journey that always brings many flavors of emotion to the party. A hefty line of residencies, as well as extensive tour experience, have rounded Spank to be a self proven party rocker! In 2009 he co-billed with Ana Sia, Eoto, Vibesquad, Big Gigantic. Thus far in 2010 he has played alongside cutting edge headliners such as Pretty Lights, Bassnectar, CASPA, The Glitch Mob, Brother Ali, Boombox, Eskmo, Marty Party, Dubskin, Break Science, Kraddy, Mimosa, SAVOY, Two Fresh, Emancipator, Ott, Virtual Boy, and Elliot Lipp. He served as the host of the Wakarusa Dj Classic in Columbia and St. Louis, Mo. In June of this year he was voted "Best Dj in St. Louis" by the River Front Times annual readers poll/music showcase. Festival appearances include: Summer Camp Music Fest, Wakarusa's Interstellar Meltdown, Bassnectar's First Bass Center in Colorado, Underground Sound 6, Immix Fest, Tall Tree Lake Fest, and Schwagstock 45 at Camp Zoe.

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                                      10/19

                                      Tribal Seeds

                                      Ballyhoo!
                                      Gonzo

                                      $15 - $17 | All Ages | 8 pm

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                                      Tribal Seeds

                                      From San Diego, California, award-winning reggae group Tribal Seeds have become known for their spiritually driven, refreshing rock vibe they have infused with the roots style of reggae music. Originally started by two brothers, Steven Rene Jacobo [lyrics, lead vocals, rhythm guitar] and Tony-Ray Jacobo [producer, keyboard player], Tribal Seeds now boats six members, including: Tony Navarro [lead guitar], Carlos Verdugo [drums], Jose Rodriguez [keys, percussion], and Victor Navarro [bass].
                                      Tribal Seeds’ unmatched musical talent and authentic sound has brought them to the forefront of the reggae rock genre, as their art form has reached people of all ages across the United States, and worldwide. The band’s self titled debut album, “Tribal Seeds” was released in 2008, and their second album “The Harvest” was released in June of 2009. iTunes named both albums the “Best Of” in the Reggae genre, for their respected years. Their debut album helped garner them the “Best World Music” title at the San Diego Music Awards in 2008, and “The Harvest,” which contained fourteen new and original songs, debuted at the number 5 spot on the Billboard Reggae Charts. The tracks, written and produced by Tribal Seeds, were recorded and mixed by Alan Sanderson at Signature Sound Studios in San Diego, and mastered by Erik Lobson at Universal Mastering.
                                      On July 19, 2011, Tribal Seeds gave listeners a brand new EP entitled “Soundwaves,” which peaked at number 2 on the Billboard Reggae Charts. The band notes that the album was inspired by their life experiences, being on tour, and their desire to inspire youth to raise their voices and seek a higher consciousness. Tribal Seeds have toured throughout the United States including Hawaii & Guam, and have also performed in Mexico & Aruba. They have shared the stage with artists such as Dave Mathews Band, Jack White, Red Hot Chili Peppers, Jane’s Addiction, Skrillex, MGMT, Cee Lo Green, Jason Mraz, Matisyahu, Sublime with Rome, Taking Back Sunday, O.A.R., Pretty Lights, Pepper, Collie Buddz, The Wailers, Julian Marley, Stephen Marley, Gregory Issacs, SOJA, Rebelution, and many more

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                                      Ballyhoo!

                                      A rock band with punk energy and pop reggae grooves, Baltimore’s BALLYHOO! are a fun, fan-loving powerhouse. These road dogs have tirelessly toured coast-to-coast taking their music to the people. Between the road and the studio, BALLYHOO! have crafted a sound distinctly their own; fresh, fun, and embodied by the soul of the party lifestyle. Lead singer and guitarist, Howi Spangler, has a reputation for mixing slick lyrics with his smooth but powerful voice. Drummer Donald “Big D” Spangler lays out the hard-hitting beats, which are underlined by JR Gregory’s funky and witty bass lines. Scott Vandrey (aka DJ Blaze) rounds it out on the turntables and keys.

                                      BALLYHOO!’s unique sound, hardcore devotion to the road and their fans has pitched them into snowballing success. The band has performed with a myriad of national touring acts; 311, Slightly Stoopid, SOJA, The Dirty Heads, Matisyahu, and more. In 2011, after concluding the Last Calls and Liabilities tour with respected contemporaries, Pepper, they were honored with being included on the ever-popular Hollister Holiday Playlist. They were listed on MTV’s Top 100 Bands to Watch and even featured 2 downloadable songs on the popular video game ROCK BAND. Tour highlights include the 2011 311 Pow Wow Festival, the 2012 311 Caribbean Cruise, Bamboozle 2012, & the entire 2012 Vans Warped Tour.

                                      The band’s last single “Last Night” saw rotation at various alternative radio stations including WHFS Baltimore, WRFF Philadelphia, KUKQ Phoenix, Star 101.9 Honolulu, & SiriusXM/Faction, as well as various specialty shows around the country. The band's new single "Walk Away" is next and poised to open even more doors at radio with it's melodic chorus and sing along vibe. Yesod Williams, owner of the band’s label LAW Records says of his newest addition, “Having BALLYHOO! join the LAW family is a perfect fit. They are an incredibly talented band with a really catchy style”.

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                                      Gonzo

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                                        10/20

                                        Ryan Adams

                                        Butch Walker

                                        $38.50 - $9.90 | All Ages | 7 pm

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                                        Ryan Adams

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                                          Butch Walker


                                          man... Bios kinda suck. I've been doing these things for so long now, that I feel like just when I have written the mother of all things informative and maybe funny, I go and record a new record. Why does shit always have to evolve and the information change every time another year goes by? Why, since the last bio (which I felt was an understated masterpiece) did I have to go and do shit to deem it necessary for an update? Just because between the last album, "I Liked it Better When You Had No Heart" and now, I have: shot a video for "Pretty Melody" from the album ILIBWYHNH, wore a tv on my head in it and fought ninjas, got it featured on YouTube and it got a half million views, did a sold out headlining tour of the states last year, supported Train on a sold out tour of the states, then went and supported Pink on a sold out stadium tour of Europe all summer, including sold out headlining club shows of our own over there. Hmmm... What else.. Oh! Taylor Swift heard a little version I did of her song, "I Liked it Better When You Belonged With Me" (or was it "You Belong With Me"? I can't freaking remember...). She called me and asked if she could play my version of it on the Grammys and would I mind playing along side her and Stevie Nicks for the performance. Then she fell in love with me and ran away to Barcelona to elope, only to find out that while I was in the bathroom at the airport, she fell in love with Jake Gylenhall (sp?), who stole my fucking seat next to her in the waiting terminal.... Ok... I made that last part up. Fun right? No? Ok.. Like the fans are always telling me, don't talk about politics, religious views or Tay Tay Swift.

                                          I should mention the band i play in. Just like the last record, this record was recorded, written and produced by me and the Black Widows. It consist of my longtime bandmates, Chris Unck on guitar, lap and pedal steel. He's a redneck from the north Georgia mountains who I think wrestled alligators at one time, and built lighthouses. He also fronted Chris Unck and the Black Roses.. Until I stole him. Fran Capitanelli on lead guitar is also a friend of mine that resided in Atlanta during my tenure there, and he played guitar and sang lead in a band I loved called The Tom Collins. Until I stole him. He is the Professor of Energy.... Ask him to explain. Jake Sinclair on bass is not only the tallest, skinniest bassist I know, but he's also the best. He's even better than me, and I'm fucking awesome. I met Jake while producing a record for his band The Films.... Until I stole him. I bartered with him though. I told him he could also engineer the records I make in my studio with me (he's also the best engineer I know) and that his singer/songwriter in the Films, Mike Trent, would have to join in on the Black Widows writing process. I kinda made out good on this whole deal, because Mike is one of the most unsung singer/songwriters I know, and the lyrical collaborations we have done on the last couple of records have been my favorites. Oh yeah, Mike's wife (Cary Ann Hearst) is also an amazing singer/songwriter that I produced a record for last year.... She sang backup vocals on the new Widows record. It's a family affair...

                                          so this is the part of the bio where I'm supposed to describe the new record by us called "The Spade". I'm supposed to inject words about the songs like "soaring", "pounding", "climactic", and maybe even a "unrivaled"...... But I just can't talk like that about my own music. But what I can say is, just like my bass paying skills..... It's fucking awesome. we will be on the road this year a lot, and probably sleeping at many KOA campgrounds this fall. More than likely, you are reading this because you don't know shit about me and you are about to interview me for your school paper or local radio station visit (yes, im in the lobby) and you need to find out a few things about me to talk about. It's ok. I'm not mad. I'm not very popular and I don't blame you if you "just aren't into the music". You may not have read this far, or been able to get past the bass playing part, but if you have, then I commend you. Let's talk....

                                          end of bio.

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                                          10/22

                                          Zach Deputy

                                          $11 | 18 & Over | 8 pm

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                                          Zach Deputy

                                          One of the pre-eminent practitioners of “live looping”, Zach Deputy’s one-man show of "Island-infused, Drum 'n' Bass, Gospel-Ninja-Soul" has the energy and sound of a 6-piece band. Ensconced behind an array of microphones and technology, Zach and his nylon stringed guitar weave a tapestry of instrumentation and voices in an ever-evolving, improvised arrangement that is ultimately based on a composition but allowed to breathe with the audience. Enhanced by a stunning light show, Zach Deputy’s show transforms clubs and open fields alike into sweaty dance parties for fans of R&B, soul, jam, Caribbean music and even electronica.

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                                          10/23

                                          Greensky Bluegrass

                                          $15 - $18 | All Ages | 8 pm

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                                          Greensky Bluegrass

                                          “There’s this great duality to our band,” reflects Greensky Bluegrass mandolinist, vocalist, and songwriter Paul Hoffman. “We’re existing in a few different places at once: we’re a bluegrass band and a rock band, we’re song-driven and interested in extended improvisation.”
                                          “We play acoustic instruments,” adds dobro player Anders Beck, “but we put on a rock’n’roll show. We play in bigger clubs and theaters, there’s a killer light show, and we’re as loud as your favorite rock band. It’s not easy to make five acoustic instruments sound like this – it’s something we’ve spent years working on.”
                                          From these seemingly irreconcilable elements, the five members of Greensky Bluegrass have forged a defiant, powerful sound that, while rooted in classic stringband Americana, extends outwards with a fearless, exploratory zeal. The tension and release between these components – tradition and innovation, prearranged songs and improvisation, acoustic tones and electric volume – is what makes them so thrillingly dynamic, in concert and on record. “In theory,” Hoffman explains, “greensky is the complete opposite of bluegrass. So, by definition, we are contrasting everything that isn’t bluegrass with everything that is.”
                                          That their sound is so seamless, so organic, is testament to Greensky’s enduring vision and tireless dedication. Since their first rumblings at the start of the millennium, they have emerged as relentless road warriors, creating a captivating live show while at the same time developing a knack for evocative, disarming songcraft.
                                          Their fifth studio album, If Sorrows Swim – available September 9, 2014 and distributed by Thirty Tigers – is their most riveting yet, balancing gripping songs (by Hoffman and guitarist Dave Bruzza) and remarkably thoughtful, tight arrangements with an instrumental fluidity born of countless hours playing together – on stage and off.

                                          From their unlikely base of Kalamazoo, Michigan (home of the original Gibson Mandolin-Guitar factory), Greensky – which also includes banjoist Michael Arlen Bont and bassist Michael Devol – arrived at their unique take on the bluegrass tradition by working from the outside inward. “I found bluegrass through the back door,” Beck says, “through the Jerry Garcia route. That’s how I got to listening to Bill Monroe and Earl Scruggs. It’s really interesting how many people in our generation got into acoustic music through that channel.”
                                          Approaching their instruments from an open-ended, rock perspective gave them the freedom to create their own rules. “We were always coming at bluegrass backwards,” Hoffman says. “We were better musicians than we were bluegrass musicians. I mean, I didn’t buy a mandolin until I was 18. Dave didn’t start playing acoustic guitar until he was 18. Bont got a banjo when he was 20. We discovered that, when it came to learning these instruments, we preferred to do so by improvising and writing our own songs, instead playing standard material and fiddle tunes.”
                                          The roots of Greensky Bluegrass lay in the friendship of Bruzza and Bont. While nurturing a nascent interest in acoustic music, they were joined by Hoffman. The trio shedded intently, playing informally in living rooms and at open mics for years before setting out as a band. Devol, a classically trained cellist, was added in the fall of 2004, and in 2006 Greensky Bluegrass won the coveted band contest at Colorado’s forward-thinking Telluride Bluegrass Festival. At that point, the members dedicated themselves to Greensky full-time and began widening their touring radius.
                                          In 2007, dobroist Beck came aboard. From the sidelines, he was quick to pinpoint the band’s appeal. “It was all about the songs,” he says. “You can be the best pickers in the world or the most educated musicians, but, all in all, the things that connect with people are songs, lyrics, and melodies. That was the real kicker.”
                                          By playing up to 175 shows a year, mostly in rock clubs and more open-minded festivals like Telluride, Austin City Limits, Bonnaroo, and the New Orleans Jazz and Heritage Festival, Greensky Bluegrass became a word-of-mouth underground sensation, cultivating a devoted legion of fans entranced both by the band’s improvisational acumen and the quality of their songwriting. Then and now, despite their wide-ranging musical interests, Greensky continues to work within the structure of a classic five-man stringband. “The cool thing about a bluegrass band or, really, any drummerless band,” Hoffman explains, “is that it’s like acoustic chamber music — challenging, exciting, and fun to play.”
                                          “While there are potential limitations because of our instrumentation,” Beck adds, “a really big part of what is Greensky Bluegrass is about is to essentially ignore those limitations.”
                                          The depth and sophistication of the band’s interplay is showcased throughout If Sorrows Swim, across a program of stirring, resonant original songs. Recorded over ten days, the album was tracked to two-inch tape. “The decision to use tape over digital recording is basically the decision to use less,” Hoffman explains. “It’s not about everything being perfect, it’s about capturing a moment in time."
                                          the album mixes previously unrecorded, road-tested concert staples with new material carefully honed with the sort of razor’s edge focus that the recording studio inspires.
                                          If Sorrows Swim opens with “Windshield,” a haunting rumination that slowly builds in emotional and musical intensity around an an insistent pulse from the bass. The desperation in Hoffman’s increasingly anguished vocal is slowly surrounded by churning rhythm guitar and incessant banjo before the tension is dispersed by a plaintive dobro solo. A brooding cello line deep in the mix adds an ominous undercurrent, and underpins the group’s swirling counterpoint as the track fades.
                                          The album’s title derives from “Burn Them,” a minor key reflection set to a more straight-ahead, driving bluegrass rhythm. “There was something on This American Life,” Hoffman recalls. “Someone was talking about just how upset and sad they were. They were drinking a lot, but they just couldn’t drink that pain away. When I heard that, I thought to myself, ‘What if sorrows swim?’ I couldn’t get that thought out of my mind.” Tightly orchestrated, the performance is marked by ingenious touches. The transitions between the guitar and mandolin solos are delineated by a quick unison passage played by both instruments, and Bont contributes an especially nimble, melodic break.
                                          Having two distinct songwriting voices further enriches If Sorrows Swim, with Bruzza contributing a quartet of varied, insightful songs featuring his burnished, soulful vocals. “Worried About the Weather” moves between a swinging half-time feel and a breezier, bluegrass tempo – reinforcing the contrast between relief and uncertainty embodied in the lyric. Bruzza’s brisk “Kerosene” features some of the album’s more daring improvisational passages, and highlights the band’s gift for electrically processing their acoustic instruments to emphasize the emotion behind their playing. Hoffman’s mandolin solo is colored by subtle delay, while Bruzza’s spacious, inquisitive break finds him employing a slightly distorted tone to further escalate the song’s intensity.
                                          “What makes this album different from the last,” Hoffman explains, referring to 2011’s accomplished Handguns, “is that we paid so much more attention to what the song needs. At every juncture, we would ask, ‘Does it serve the song?’ We ask that a lot.” Throughout If Sorrows Swim, Greensky’s playing and arrangements are impressively intricate – and showcased in a rich, spacious sound that lets each note and accent sing and decay as if in slow motion.
                                          The taxing yet rewarding process of recording now behind them, Greensky Bluegrass is anxious to unveil If Sorrows Swim’s unheard material in concert. “The live experience is this springboard,” Beck muses. “You just see what happens. When you’re improvising every night and taking risks, it becomes a very circular thing with the audience — the audience feeds off the energy of the band and the band feeds off the energy of the audience and it becomes a much bigger thing.”
                                          With the release of their first nationally distributed album and a busy touring season ahead of them, Greensky Bluegrass are facing a new level of exposure. It’s a challenge they are up to, that they embrace. As their music and their audience has grown, so have they, and their sites are set ever-higher.
                                          “When we were doing our first shows and making those early records,” Hoffman concludes, “it was stressful because we wanted to hit the right notes. We just wanted it to be good enough. But now, we want it to be great.”

                                          Media Quotes:

                                          “Representing the genre for a whole new generation.” – Rolling Stone

                                          "Taking chances - and pushing the boundaries of a proud tradition - are what mark Greensky Bluegrass' sound, which tips its cap to backwoods-jazz virtuosity while holding on to a rock 'n' roll edge." - San Francisco Chronicle

                                          “…under the old-timey harmonies, mandolin, banjo and upright bass is a vibe that’s just as comfortable with mellow workouts as it is with speedily picked hoedown numbers.” – The Onion, Denver

                                          "Skillfully walks the line between traditional and progressive... Greensky Bluegrass shows its reverence for those artisans who've come before, even while the band blazes ahead." – Relix Magazine

                                          “…snappy mandolin and banjo hooks, playful acoustic ramblings and plenty of down home American spirit… whether you’re a String Cheese, Railroad Earth or Del McCoury fan; they’ve got you covered.” – Sacramento Press

                                          “Much like newgrass heroes Yonder Mountain String Band and Railroad Earth before them, Kalamazoo, Michigan’s Greensky Bluegrass trade in carefree brand of genre- jumping roots music. Though their tunes bear notable traces of rock, jazz and Americana, their affinity and respect for traditional bluegrass shines through with every nimbly picked tone.” – Seven Days, Burlington

                                          “In the big, crowded world of jam bands, carving out a distinct identity and following isn't an easy task. But Kalamazoo's Greensky Bluegrass is busy achieving just that, enjoying road success and growing national acclaim for its sublime, inventive approach to rootsy Americana.” – Detroit Free Press

                                          “The five-man outfit plays originals and covers (traditional and otherwise) with rootsy precision and edgy boldness.” – Dallas Morning News

                                          “Along with acts like Yonder Mountain String Band and Old Crow Medicine Show, the five-man, all-acoustic Greensky Bluegrass keeps one foot in traditional music and steps the other forward. The sound isn’t unfamiliar — banjo, mandolin and stand-up bass picking still race through the tunes, but so do heavy grooves, swooning strings and extended jams.” – Metromix Indianapolis

                                          “…the band brings plenty of chops to the table, but the finger-plucking rarely steals the spotlight. This Michigan quintet is more about warm voices telling stories in tightly constructed tunes, and they do it mighty well.” – Columbus Alive

                                          “Greensky Bluegrass takes bluegrass to a new high by weaving psychedelic rock into a roots-oriented go-for-broke approach… With some of the new-school attitude of Yonder Mountain String Band and the down-home sound of the hills (via Michigan), the group is carving out its own space in the jamgrass barnyard.” – Westword

                                          “…channeling all the right icons: Norman Blake, the Seldom Scene and even mid-'70s New Grass Revival (the choice stuff, before Béla). Of course, this is bluegrass. So manic chops mean a lot to Greensky Bluegrass. Yet they are also masterful storytellers.” – Seattle Weekly

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                                          10/24

                                          Agent Orange

                                          The Architects

                                          $16 | All Ages | 8 pm

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                                          Agent Orange

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                                            The Architects

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                                              10/28

                                              The Werks vs Zoogma

                                              $13 - $15 | All Ages | 8 pm

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                                              The Werks vs Zoogma

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                                                11/7

                                                Lucinda Williams

                                                All Ages | 7 pm

                                                Lucinda Williams

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                                                  11/11

                                                  Chadwick Stokes

                                                  Ark Life

                                                  $1 | All Ages | 8 pm

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                                                  Chadwick Stokes

                                                  It takes a certain type of musician to hop freight trains and barrel across the vastness of North America with his brother and cousin. Especially for an artist who, just years before, sold out Madison Square Garden for three consecutive nights. CHAD “CHADWICK” STOKES is anything but a typical rock star. So, there he was, wading across a river to escape the chasing railroad bulls and hanging in the different down and out jungles with other traveling folks. And in the end, after the three had finally reached the West Coast and were laying face down in the dirt at gunpoint care of the NSA, he says it was all well worth it.

                                                  “I had ridden the trains a little bit in the past for a day or two but I had never done it for weeks at a time,” Stokes says. “I discovered an America that I knew was out there but had limited experience with. There's all kinds of people out on the rails: people simply trying to get from point A to B, people running from whatever they left behind, people with nowhere else to go. You get to see a part of America that only the trains go through -- remote stretches without any sign of mankind." It was out on these long isolated stretches and in the inner city train yards that Stokes found the inspiration for his solo debut, titled SIMMERKANE II.

                                                  While riding the rails, Stokes made a designated stop so his band, State Radio, could play an anti-war concert at the Denver Coliseum with Rage Against The Machine. It is a DIY social consciousness that Stokes came to early in life - growing up as a pacifist, working in Zimbabwe after high school and eventually co-founding the Elias Fund, the Dispatch Foundation, and now Calling All Crows. In 2008, Stokes was honored as Humanitarian of the Year at the Boston Music Awards.

                                                  Simmerkane II, a proper follow-up to the State Radio EP (Simmerkane I), is a marked evolution in the musician-songwriter’s creative journey. Produced by John Dragonetti (of The Submarines), the album features background vocals from Carly Simon, Matt Embree (Rx Bandits), The White Buffalo, Blake Hazard (The Submarines), and Sierra Leone's Refugee All Stars. The sound is an engaging mix of Americana, country, folk and rock in the service of some undeniably evocative lyrics. The songs tell a loose narrative of travel, love and loss, like some re-imagined rock-n-roll odyssey.

                                                  The journey begins with “Adelaide,” a fuzzed-out melodic folk rocker containing the prophetic line, “We left Worcester with our boots and our bags - and America undressed herself in front of our eyes.” Next, listeners venture into the “Crowbar Hotel” to discover an underground world populated by hard luck outsiders: “We are sold to the highest bidder, we are down to our very last crumb - May we invite ourselves to dinner, ‘cause we might just have to make a run.” The song “Back To The Races,” has Stokes reflecting on past mistakes and longing for the childhood farm while still seduced by the excitement of the journey and a new love. The symphonic rock-n-roll charges ahead before dropping down for the intimate lyrical refrain “Back to the races - and on with the day.”

                                                  The two-disc deluxe package includes three bonus tracks with Sierra Leone’s Refugee All Stars, a musical ensemble of refugees from Sierra Leone’s 1991 civil war. Stokes, who did humanitarian work in Zimbabwe as a youth, has been a longtime fan of the All Stars. The tracks include a lilting African-tinged folk song called “Coffee And Wine,” a reflective reggae track titled, “All My Possessions (Ode To Troy)” and “Don’t Have You” – a heartfelt ballad that eventually erupts in celebration with the All Stars’ backing vocals and percussions carrying the weight of their troubled history and eventual transcendence. “It was such an honor to work with the All Stars,” Stokes explains. “The songs we did were kind of folk songs and one reggae song, so they were a bit out of their element trying to adapt to the folky farm kid and his songs. But you can hear their history in their singing and playing and it adds this amazing power to the songs.”

                                                  Simmerkane II is an ambitious album about discovery, loss and moving on. What begun as a journey across an unseen America becomes a moving musical tribute to the resilience of the human heart. “The album was initially inspired by the freight train trip with my brother and that vast underworld that exists out there,” Stokes explains. “But then it’s also about growing up on the farm and losing loved ones; a young man learning about life.” In his spare time, Stokes can still be found hopping trains with his beloved travel companion, Lefty.

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                                                  Ark Life

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                                                    11/12

                                                    Twiddle

                                                    Mister F

                                                    $9 - $11 | All Ages | 8 pm

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                                                    Twiddle

                                                    Twiddle, a Vermont based quartet, spins tall tales over an intricate soundscape of hi-def shred. Their fresh multi-genre approach conjures up jazz, classical, and bluegrass, but above all, masterfully blends reggae and funk. Obliterating laws of improvisation, their complex arrangements never fail to leave crowds lusting for more. With sage songwriting and unmatched variety, Twiddle’s thrilling infancy continues to exceed all expectation. After whimsically jamming in the fall of 2004, the founding members of Twiddle immediately recognized chemistry and a common seriousness. By the second semester at Castleton State, Mihali Savoulidis and Ryan Dempsey were already intertwining harmony and fantasy, birthing Twiddle staples like ‘Frankenfoote’ and ‘Gatsby the Great’. Brook Jordan, and Billy Comstock, Twiddle’s original bassist, complemented these melodies with a densely layered, and exciting funk rhythm This young foursome had taken Castleton by storm, toured the northeast, and composed an impressive catalog of original tunes before becoming upper-classmen.

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                                                    Mister F

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                                                      11/13

                                                      BIG SMO

                                                      $16.50 - $20 | All Ages | 7 pm

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                                                      BIG SMO

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                                                        11/14

                                                        David Bazan + Passenger String Quartet

                                                        David Dondero

                                                        $20 | All Ages | 8 pm

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                                                        David Bazan + Passenger String Quartet

                                                        The seed for this album was planted during a one-off show back in 2012. Bazan was invited to play a show in Tacoma WA with the Passenger String Quartet. PSQ leader Andrew Joslyn put together string arrangements for 4 songs and it was an enjoyable evening for all. They immediately began talking about doing it again and eventually started talking about making proper studio recordings of these songs. But it took nearly two years for everyone’s schedules to line up again. In February 2014, they were able to spend a week at Avast! studio in Seattle tracking a collection of 10 songs pulled from Pedro The Lion, Headphones and Bazan solo albums. Long time friend and Bazan collaborator Chris Colbert recorded, mixed and mastered the album. Chris’s no nonsense approach and years of friendship helped bring things into focus and they were able to record the entire album in just a few days.

                                                        With the release of the album they will be touring all across the USA in October and November playing in clubs, small theaters and cathedrals.

                                                        David Bazan was, for many years, the songwriter and driving force behind the acclaimed band Pedro the Lion, building a dedicated following and selling a couple hundred-thousand albums. After a decade helming the project, he found himself embroiled in a major personal philosophical and spiritual cataclysm, wrapped in a growing drinking problem. Bazan got to work exorcizing both his demons and angels, ditching the Pedro moniker in favor of his given name. He’s released the Fewer Moving Parts EP (2006) and two full-length albums, Curse Your Branches (2009), Strange Negotiations (2011) under his own name.

                                                        The Passenger String Quartet is an avant-garde, experimental neo-classical group, formed by Northwest composer/violinist Andrew Joslyn. The group is in high demand as studio session musicians, tours & performs original compositions, as well as backs a wide variety of regional, and national touring groups from DJ Spooky, Suzanne Vega, to Macklemore and Ryan Lewis, Ivan and Alyosha, Kris Orlowski, Doug Martsche, and many more.

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                                                        David Dondero

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                                                          11/21

                                                          Drew Holcomb & The Neighbors

                                                          $13 - $15 | All Ages | 8 pm

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                                                          Drew Holcomb & The Neighbors

                                                          Drew Holcomb and The Neighbors

                                                          Some artists are able to articulate a vision at the very beginning of their career, while others hone their craft over time, growing into their vision as they mature.

                                                          “I am definitely in the latter category,” explains Drew Holcomb, a Tennessee-born, duck hunting, bourbon drinking, 1st edition book collecting, golf playing Eagle Scout with a Masters degree in Divinity from Scotland’s University of St Andrews (he wrote his dissertation on “Springsteen and American Redemptive Imagination”) who has spent the better part of the past decade as a professional musician – recording, writing, and touring with his band Drew Holcomb & The Neighbors.

                                                          Since releasing their first album, 2005’s Washed In Blue, Drew & The Neighbors (Ellie Holcomb, Nathan Dugger, Rich Brinsfield) have established themselves as a formidable indie act, selling more than 75,000 records, playing more than 1,500 live dates, selling-out headline shows, and touring alongside such varied acts as The Avett Brothers, Ryan Adams, Los Lobos, NEEDTOBREATHE, Susan Tedeschi, North Mississippi Allstars, Marc Broussard, and more. Their songs have been used in countless television shows and commercials, most notably in TNT’s Emmy Award winning 2011 Christmas Day NBA Forever spot, which paired the song Live Forever with a mesmerizing montage of past and present NBA video footage.

                                                          The hard work has paid off with the band’s sixth album Good Light showcasing Drew’s signature brand of singer/songwriter Americana in its finest form yet. Recorded live at Ardent Studios in Memphis, Good Light arrives shortly following Drew’s 30th birthday and the birth of his first child, daughter Emmylou (named for – you guessed it – Emmylou Harris), with wife and band-mate Ellie Holcomb. I think about my daughter every time I sing the title track, how I want to sing it over her when she is old enough to start understanding the world of truth and consequence,” says the Memphis native who now calls Nashville home.

                                                          “This album perfectly tells the story for a new stage in my life,” explains Drew “On past albums I was searching for my voice, both literally and figuratively. I co-wrote a lot of songs, peppered the music with too many influences, and let too many other voices in my head.”

                                                          With this album, Drew dedicated himself to the process of songwriting, stripping away extra layers, ridding himself of past boundaries and expectations. He wrote more than 40 songs for Good Light, mostly alone on his 1934 Gibson Archtop, eventually whittling the selections down to a final 12 tracks.

                                                          Drawing from personal experience to craft songs that speak to all of us, Drew explores the universal need to find meaning and joy in the midst of heartbreak and disappointment throughout Good Light. The last song on the album Tomorrow opens with the lyric, ‘Nothing ever turns out like you thought it would.’ It’s a theme that permeates the album.

                                                          “I have been through really difficult things,” Drew continues. “When I was 17, I lost my younger brother, and have lived through the grief of that great absence. On the other hand, I have experienced the joy of being married to the girl I always wanted, and have been loved really well by her…Everyone has all these different ingredients; our geography, our family, our interests, the places we have been and the places we long to see, the loves we have found and the loves we have lost. Each of us has a story, and it’s the only one we can tell. With this album I’m telling my story, in the hope that it helps other people tell theirs.”

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                                                          OUR CALENDAR

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                                                          17
                                                          Wednesday

                                                          Crossroads KC

                                                          Die Antwoord

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                                                          Andy McKee

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                                                          18
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                                                          September
                                                          25
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                                                          September
                                                          26
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                                                          26
                                                          Friday

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                                                          il sogno del marinaio

                                                          Mike Watt

                                                          Gnarly Davidson

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                                                          September
                                                          27
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                                                          Trampled by Turtles

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                                                          September
                                                          28
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                                                          Wakey Wakey

                                                          Ben Fields

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                                                          30
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                                                          October
                                                          1
                                                          Wednesday

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