9/1

X

Dead Rock West

| All Ages | 8 pm

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X

X were the quintessential L.A. punk rockers before they grew into a world-class rock & roll band and live band; however, enthusiasm for their unique, intelligent and humorous work never quite reached critical mass.

Formed in 1977 after songwriter and bassist John Doe (b. Feb. 24, 1956) met (and later married) Exene Cervenka (b. Feb. 1, 1956) at a Venice poetry workshop, with rockabilly veteran Billy Zoom (b. Feb. 20, 194?) on guitar and D.J. Bonebrake (b. Dec. 8, 1955) on drums, the band garnered an immediate following. "Discovered" by ex-Doors keyboardist Ray Manzarek, he took the band into the studio for the recording of Los Angeles in 1980. It was curious, at a time when punks were supposed to hate hippies, that X's merging with an ex-Door was not only tolerated, but earned them stature as California's preeminent punk band when the record earned across-the-board raves. 1981 saw the release of the similarly punked-up Wild Gift, while their 1982 album, Under the Big Black Sun, began what would be a long career in merging hard rock, country and folk into their fiery mix. The band successfully began to mix in their populist politics with an eye toward matters of the heart.

As the band began to reach wider audiences, both Doe and Cervenka enjoyed outside careers in the arts — he as an actor in films like Great Balls of Fire and Roadside Prophets, and she as a poet and spoken-word artist, collaborating with Lydia Lunch and Wanda Coleman.

In 1983, the rootsy songs on More Fun in the New World lent themselves to acoustic performances which the band had taken to trying live. They took it one step further on their side project, the Knitters (with Dave Alvin) which yielded one Slash album, Poor Little Critter in the Road, in 1985. Ain't Love Grand was a harder rock album in 1986 and was followed by Zoom's departure. He was momentarily replaced by Alvin, but for recording purposes, the band recruited Tony Gilkyson (formerly of Lone Justice) for See How We Are, the band's most decidedly hard-rock record in the catalog. Gilkyson stayed for the recording Live at the Whisky A Go-Go in 1988 before the band took some much-needed time off, although they never broke up. In the interim, Doe and Cervenka had since divorced, and the pair continued to work as solo artists, releasing Cervenka's Old Wives Tales (Rhino, 1989) and Running Sacred (1990) and Doe's Meet John Doe for Geffen in 1990.

By 1993, the band got together for the recording of Hey Zeus!, a collection of new songs, but the response was underwhelming, and it was back to solo work. Doe released Kissingsohard for Rhino in 1995. Exene also released Surface to Air Serpents for the 2.13.61 label, as well as a reading of the Unabomber Manifesto, after changing her name to Cervenkova. During their frequent hiatuses, X would occasionally appear in Los Angeles and San Francisco and during one stay, recorded a live album in San Francisco in 1995, Unclogged, and self-released it. Cervenkova's latest project is Auntie Christ with Bonebrake and Matt Freeman of Rancid. Gilkyson also works as a solo artist. X also appeared in three films: Penelope Spheeris' punk documentary The Decline of Western Civilization, Urgh! A Music War, and a documentary of their lives and times, The Unheard Music. Beginning in 1998, founding member Billy Zoom returned to the fold for a series of on-again/off-again shows and limited touring; a pair of 2004 Los Angeles concerts were recorded and videotaped for Live in Los Angeles, released both as an audio CD and video DVD in the spring of 2005.

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Dead Rock West

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    9/3

    Sister Sparrow & the Dirty Birds

    | All Ages | 8 pm

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    Sister Sparrow & the Dirty Birds

    The Catskill Mountains hid rock 'n' roll's best kept secret for almost 18 years.
    Then in 2008, singer and songwriter Arleigh Kincheloe said goodbye to her hometown
    hideaway and moved to New York City to start Sister Sparrow & The Dirty Birds. In the years
    since, the group has performed more than 600 shows, released two full­length albums and an
    EP produced by Randy Jackson (American Idol), and enchanted tastemakers ranging from
    The Wall Street Journal and LA Times to Glamour, USA Today, and The New Yorker. They
    have shared the stage with such heavyweights as Gov't Mule, Dr. John, Trombone Shorty,
    The Avett Brothers, Counting Crows, and Galactic, and have turned audiences into believers
    through appearances on the festival circuit at Bonnaroo, Firefly, Hardly Strictly Bluegrass,
    Voodoo Music Experience and many more.
    On May 19th, the band will unleash their most rambunctious, raucous, and righteous
    recording to date in the form of The Weather Below, which features the band’s roster of her
    brother, Jackson Kincheloe (harmonica), Sasha Brown (guitar), Josh Myers (bass), Phil
    Rodriguez (trumpet), and Brian Graham (saxophones), and Dan Boyden (drums).
    So, what is it about this "hard soul collective," as Arleigh so eloquently puts it, that has
    engendered such passion from both the press and the people?
    "It's loud, fun, and it's supposed to make you feel good," she declares. "That's the goal."
    Sister Sparrow & The Dirty Birds accomplish that goal tenfold with a saucy sonic brew of rock,
    blues, gospel, and soul. In order to perfect that signature amalgam, the band retreated to the
    iconic Bear Creek Studio (James Brown, Eric Clapton), just outside Seattle, WA. Locked in
    the studio for three weeks, they worked closely with producer Ryan Hadlock (The Lumineers,
    Vance Joy) and cooked up ten irresistible anthems.
    "In the past, we did every other record while we were still on the road," says Arleigh. "This
    time, we blocked out time to immerse ourselves in the recording process. We lived at the
    studio and worked for 15 hours a day. Ryan was everything I’d hoped for. He saw my vision
    and added his own flavor. Plus, the studio is so beautiful. We were in a barn in the woods,
    which was very reminiscent of the Catskill Mountains for me. I felt right at home."
    The group takes flight on the first single "Mama Knows." Bolstered by boisterous horns and
    bluesy grit, the track serves as a soulfully sweet ode to moms everywhere. "The idea for the
    chorus popped into my head when I was hanging out with my sister," Arleigh recalls. "We
    were thinking about our mom. She's a huge influence on why I sing. She was my role model.
    She sang too, and I'd attend her gigs as a little kid. She was so powerful and beautiful—just a
    queen in my eyes. On the flip side, she raised us to be really humble. I wanted to do
    something to show my appreciation to her and mothers like her everywhere."
    Then there's "Prison Cells," which swings from a bright verse into a wild chant that
    encourages living it up in the moment with the people who matter the most. "It's about getting
    in trouble with your best friends and letting the fun take over," she goes on. "We're definitely
    prone to do that in my family. We'll get into trouble, but we'll be singing and dancing all the
    way."
    Elsewhere on The Weather Below, "Disappear" flaunts a South American­style cinematic
    shine, while "Don't Be Jealous" points the spotlight on Arleigh's passionate pipes in between a
    harmonica swell.
    "That's The Dirty Birds anthem," she states. "It's the story of us on the road with me and a
    bunch of dudes and all of our trials and tribulations along the way. We're a crew, and we all
    have each other's backs. This is a family. That theme runs throughout everything."
    Ultimately, Sister Sparrow & The Dirty Birds stand poised to shake up rock 'n' roll all around
    the world. "This all stems back to why I loved performing and singing to begin with," Arleigh
    leaves off. "I want to make crowds happy and see them smile and dance. Singing brings me
    so much joy. I hope our music does the same for everyone."

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    9/5

    Love. Charity. and Rock & Roll

    Trapt
    Shaman's Harvest
    Chance the Arm

    All Ages | 5 pm

    Love. Charity. and Rock & Roll

    MORE INFO COMING SOON!



      Trapt

      Traptis an American rock band hailing from Los Gatos, California. Since its formation in 1997, Trapt has released six studio albums, one live album, one compilation album, three EPs and thirteen singles. This includes number one hits, a platinum album, and placements in movies and video games. Trapt has also traveled the world with some of the best known rock bands of today and of all-time, while managing to sell more than 2.4 million albums.The members of Trapt met in high school in the mid-'90s and shortly thereafter developed an act with Chris Taylor Brownon vocals, Simon Ormandyon guitar, Peter Charellon bass, and David Stegeon drums. The band's first few rehearsals were in Ormandy's guesthouse, which had a party-like atmosphere with its loft overlooking the living room.They began playing at local venues in 1997 before any members had graduated high school. The band received a great response and a positive buzz soon started to grow. In 1998, still before graduation, they were already opening for up-and-coming fellow acts like Papa Roach.Amalgamationwas thedebut independent release by Trapt, released in June 1999 and sold only in the Los Gatos, California area. The album wasconsidereda local success, even though this album sports a drastically different sound compared to later releases. In 2000, Trapt followed-up with an EP entitled The Glimpse.With these two releases and vigorous touring, Trapt caught the attention of major labels. In 2001, the band proceeded to sign with Warner Bros. Recordsand started recording their debut album.. On November 5, 2002,the band released their self-titled album, Trapt,which produced a total of three singles. In 2002, Trapt’s debut single"Headstrong" reached No.1 on both the Modern Rock Tracksand Hot Mainstream Rock Trackscharts, as well as No.16 on the Billboard Hot 100. “Headstrong”also won the 2003 Billboard Music Award for Modern Rock Track of the Yearand Rock Track of the Year, in addition to the Larry Award for Guilty Pleasure Award. Since then, “Headstrong”has been certified Platinum and was rated the No. 1 Alternative Song and No. 8 Rock Song of the Decade (2000s) by Billboard.The second single from the album, "Still Frame,”alsomanaged to achieve No.1 spot on the US Mainstream Rock chart and No.3 on the Modern Rock Tracks chart. The third single, "Echo" peaked at No.10 on the Modern Rock Tracks chart. The Traptalbum was certified Platinum by the RIAA, selling over 1.8 million copies to date. "New Beginning,"wasalsofeatured in the film Dragon Ball Z: The Return of Cooler.Before releasing their next full-length album, the band released a self-titled three-track EP, released March 30, 2004, that included live versions of the "Made of Glass" and "Echo" tracks from their debut album, as well as a previously unreleased non-LP track, "Promise".Their second full length album, Someone in Control, was released September 13, 2005.It produced three singles for the band: "Stand Up,""Waiting,"and "Disconnected (Out of Touch).""Stand Up" peaked at No.3 on the US Mainstream Rock chart. In support of this album, Trapt toured with Thousand Foot Krutch, Silvertide, Chevelle, Three Days Grace, Nickelback, and others.
      Their live album titled Trapt Live!, was released September 18, 2007.The album featured two new studio songs ("Stay Alive" and "Everything to Lose") as well as live versions of nine songs from their earlier records. On June 10, 2008, Trapt released "Who's Going Home with You Tonight?" as a single. They also recorded a music video for the song.On July 1, 2008 "Who's Going Home with You Tonight?" was released as part of the weekly downloadable content for the Rock Bandgame series. Only Through the Painwas released on August 5, 2008. Trapt toured in support of the album by opening for Hinderon the Jägermeister Music Tourwith Rev Theoryas well aspart of Mötley Crüe's Crüe Festalong with Buckcherry, Papa Roachand Sixx:A.M.. In March 2009, Trapt started the Contagious Tour, also featuring Red, Halestorm, Inept and Since Octoberat several shows. "Contagious" was the album's second and last single, and was also available as a free playable track in the iPhoneand iPod Touchgame Tap Tap Revenge 2.No Apologieswas released on October 12,2010. A year later, Cleopatra Records and Trapt released a compilation album called Headstrong. It featured re-recorded versions of songs, demo tracks, remixes, and acoustic versions of "Headstrong" and "Echo."Trapt’s latest album Rebornwas releasedindependentlyin January 2013. Reborn peakedat No. 44 on the Billboard 200 and No. 1 on Top Hard Rock Albums. From Reborn, “Bring It”climbedintothe Top 20 of the Mainstream Rock chart andwas used by ESPN as its promo song for Nascar Series.“Love Hate Relationship”was also released as a singleand peaked at No. 29 on Mainstream Rock chart.Trapt will be beginning the Self-Titled Tour in June of 2014, playing tracks off of their major-label debut album Trapt, as well as many fan favorites. Get Trapt music and tour updates at trapt.com.

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      Shaman's Harvest

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        Chance the Arm

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          9/10

          FIDLAR

          Dune Rats

          | All Ages | 8 pm

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          FIDLAR

          FIDLAR - A biography

          "Thanks for coming, man. Want some bum juice?"

          "What the fuck is in this shit?"

          "Tampico and Everclear. It's pretty gross."

          When they started in 2009, seeing FIDLAR meant showing up to a house party and eventually having this exchange with one of them. Zac Carper, The bands guitarist and singer (well, one of 'em) would hand you a red cup , throw an arm around your neck and probably end up blurting out how fucked up he was. Their set list would read more like a grocery list of party supplies than a list of songs: "Cocaine. Cheap Beer. Chinese weed. Four Loko."

          After a few years of being a band Zac still plugs in his pedals attached to a skate deck ("Pedal board", get it?) and says "Hi We're FIDLAR: F-I-D-L-A-R. It means 'Fuck It Dog, Life's a Risk". Seeing a FIDLAR set consists of drinking and dancing with people that are twice as drunk as you are while the band rips through songs about what they know best: The girl doesn't call, my ex is a whore, I lost my phone, my car is a piece of shit, my friends are pieces of shit, I do too many drugs, I'm really awkward, I love Del Taco.

          FIDLAR is Zac Carper, Elvis Kuehn, Brandon Schwartzel, and Max Kuehn. Elvis and Zac met at Kingsize Soundlabs in LA and recorded a ton of demos with the band before playing a live show. Their first show was on a FMLY bike ride at a skatepark in Culver City. Three years later the band has played with Black Lips, OFF!, Japanther and toured with The Hives. They've released two EP's and just got back from touring Europe.

          Listening to them, you can tell that the band did their homework on punk rock and seem dead set on inflicting lessons on anyone willing to listen. Any given song will give you a Germs influenced guitar solo, the catchy "Ooo's" and "Ah's" of The Misfits , and lyrics in the same family as Black Flag's "Six Pack" and "TV Party" . On the same token they can just as easily be compared to any of the bands they cover (Blink 182, FEAR, CCR, Warron Zevon), yet it all comes across entirely their own: Surfier, Faster, more fuzzed out, more personal and a lot more drunk.

          FIDLAR's first LP is coming out via Mom + Pop and Wichita recordings. Recorded at their home studio, The album is set to be 14 tracks long and out January 22nd. FIDLAR are your dumbass friends that find a beer, scrape the shit off their shoes, and tell you how the hardest thing about waking up late and trying not to fuck up your life is having to do it with no job, no money and everyone bumming your cigarettes.

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          Dune Rats

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            9/11

            Catch a Fire Tour 2015

            Damian “Jr. Gong” Marley
            Stephen “Ragga” Marley
            Morgan Heritage & Tarrus Riley

            | All Ages | 6 pm

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            Catch a Fire Tour 2015

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              Damian “Jr. Gong” Marley

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                Stephen “Ragga” Marley

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                  Morgan Heritage & Tarrus Riley

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                    9/12

                    O.A.R.

                    Allen Stone
                    Brynn Elliott

                    | All Ages | 6 pm

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                    O.A.R.

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                      Allen Stone

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                        Brynn Elliott

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                          9/13

                          Albert Hammond Jr.

                          Prinze George

                          | All Ages | 8 pm

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                          Albert Hammond Jr.

                          The kernels of this new full length began with his five-song strong EP, AHJ, released on Julian Casablancas’ label, Cult Records, back in October 2013. AHJ showcased a bolder stance, his vocals are deeper, pulled to the fore, with less effects applied, each song is anchored by a more muscular rhythm section. Crucially, his approach to music has shifted; he’s flipped the page.

                          “I feel like my writing, for the most part, has been emotion and excitement and I just ran with it and where it stopped, I let it be—either due to being fucked up or laziness or whatever,” he says. This time around his compositions were more sharply honed, fired by a desire to write and rework his music until he was 100 percent satisfied. Additionally these songs were brought into focus with the help of Grammy-winning producer Gus Oberg—who’s worked extensively with The Strokes and happens to be one of Hammond Jr.’s closest friends; he was the album’s benevolent taskmaster.

                          “If I wasn’t getting it right he’d make me do it over and over and over again,” he recalls. “He was really hard on me—harder than he’s ever been. It was fun though, I’m not complaining. If anything, it’s nice to have someone who pushes you and I could tell how excited he was about it.”

                          Initial sessions for Momentary Masters began as a three-day stint in June 2014, an experimental getaway to test the water with his new band. Having established a solid unit touring the AHJ EP, he was keen to see how Hammarsing Kharhmar (the frontman of Mon Khmer; who’s been playing guitar with Hammond Jr. since 2008), guitarist Mikey Hart (Bleachers), bassist Jordan Brooks, and drummer Jeremy Gustin (Delicate Steve, Marc Ribot), would work together on his new material. Along with Oberg they convened at Hammond Jr.’s home in upstate New York, a converted barn he calls One Way Studios became their HQ. The space is half gearhead heaven, half welcoming living room, with high ceilings and windows that look out onto the woods. First up: working through demos for “Born Slippy,” “Caught By My Shadow,” and “Drunched in Crumbs.”

                          The sessions were extremely relaxed—they’d wake up, go for a run, play frisbee, maybe chop some wood, and then get down to it. Work days were followed by big family-style dinners cooked up in the evenings by Hammond Jr. and his wife Justyna; they’d all unwind watching John Oliver, Game of Thrones, or Boardwalk Empire. It was this summer camp-style environment that encouraged space for creativity and collaboration, which continued when they returned in September to lay down the rest of the record. (Apart from Bob Dylan cover, “Don’t Think Twice” which, with addition of a few overdubs, remains largely in its original, bedroom-demoed form.) The result offers a new kind of dynamism: you can hear it in “Power Hungry,” with its Morricone-esque grooves and a Mellotron manipulated to sound like violins; or in the aggressive stomp and anxiety-inducing guitars of “Caught By My Shadow.” Even on “Side Boob”—titled so because, hey, why not celebrate a good thing?—there’s a jittery energy that leaves the listener excited.

                          With the instrumentals largely complete, it was time for Hammond Jr. to retreat and write melodies, pouring over notebooks filled with impressionistic scraps, observations, and oxymorons, which he set about stitching together in lyrical form. The presence of these notebooks at all is thanks to a friend whose influence imperceptibly threads through much of Momentary Masters. A voracious reader herself who was constantly jotting down her thoughts, she encouraged Hammond Jr. to do the same, turning him onto poetry, and Anne Sexton in particular. She swooped into his life by chance—bonding initially over a mutual appreciation of Richard Pryor—and two short weeks later she passed away. This record is dedicated to her: Her name is Sara.

                          “I was already in that spot where I was really soaking things in: you’re sober so that’s what happens; you’re absorbing everything,” he explains. “She started showing me stuff that changed my idea of how to write and how to come up with ideas. I’d have never guessed I’d be talking about her now, but it was so magical that she came into my life for those two weeks.”

                          “Coming to Getcha” sees her presence expressly addressed—an imagined conversation between them sketched out, fragmented emotions that left an imprint, captured here so they’ll never fade. Momentary Masters is a record that reflects on missed opportunities, choices made, wasted time, and paths not chosen. He calls it “a love letter to my past self.” The music might be largely buoyant—spry, breezy guitar lines locking together and dancing apart—but melancholy frequently seeps into even the sunniest of toplines. It’s a record of acceptance too. Tucked in the song is an exploration of the reconciliation of two halves: the best self that you present to others, and the self that slips through and lies exposed when your guard drops.

                          “You know how you hang out with someone and there’s things you wouldn’t tell people? You portray that one side which you find to be most attractive, but eventually, if you become close enough, you reveal another side. Most people want to push that away and pretend it doesn’t exist. As good a person as you are, there is also darkness, and if you don’t believe that, you’re just lying to yourself. To be complete, you need to integrate that into your life and accept it as a whole.”

                          For Hammond Jr. there’s an unwavering thrill in creation and completion, and a hunger too for what’s next: he’s excited to get these songs on the road. Momentary Masters may be concerned with the duality of the human condition, and the recognition that life with all its peaks, plateaus, and lows is a mere blip—“enjoy the weirdness, because it’s all so fleeting”—but ultimately, in these succinct rock songs he’s communicated something that will morph in meaning through time, both to himself and to those who are listening.

                          - Kim Taylor Bennett

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                          Prinze George

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                            9/15

                            Citizen Cope

                            | All Ages | 7 pm

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                            Citizen Cope

                            “When I was a kid, I was a listener,” says Clarence Greenwood, a.k.a. Citizen Cope. “Music was something coming out of a radio or off a record, something that made me feel these things I couldn’t explain. It was magical to me, and I thought it was something you had to be ordained with.”

                            What’s clear when you listen to Cope’s own music now, years after he sat transfixed in front of his stereo speakers, is that he *is* ordained. Or touched. Or blessed. Or however you want to say it: The man has the gift. It’s never been more evident as on “Every Waking Moment,” his third album (second release for RCA). By far his most personal recording, “Every Waking Moment” shows Cope continuing his deep exploration of the world that confronts all of us every day. How do we love those we care about? How do we change a world that throws daily horrors in our faces? How do we live with ourselves day after day? How do we capture joy?

                            If you’ve heard any of the work that Cope has created over the past few years, you already know how quickly he can paint a masterpiece with the lightest of brushstrokes. How he captures a character in just a few words. Remember George from his self titled album, the two-bit hustler from Baltimore in “200,000 (In Counterfeit $50 Bills)?” who “spends all his dough on the horses at the Pimlico.” The amputees in Sierra Leone’s sadly named capital of Freetown in “Bullet and a Target”? The lost soul worshiping his true love in the form of a forty foot tall woman in a mural in “Pablo Picasso?” The woman who vanishes on the streets of D.C. in “Southern Avenue,” where ‘you don’t have to go overseas’ to find war, because war finds you.

                            This is Cope’s gift: He takes snapshots of the world around him, and turns them into universal truths. He sets them to the simplest of melodies, and weds those in turn to the most soul-stirring grooves.

                            “At a certain point, I got a guitar,” says Cope. He’d played a little trumpet in elementary school, but knew that was not his path. “That guitar didn’t have a high E string. The B string was tuned to a B-flat, and I thought that’s how it went. I was a teenager, I didn’t know.” It didn’t matter. He made it work. “I was writing poetry, and working on some bits of songs here and there, and I just knew I wanted to try to make somebody feel the way I was feeling when I listened to music.”

                            What he put into his music was his whole life: lots of time in a small town in Texas with an aunt and uncle, a year in Mississippi, up to Washington D.C. with his mother and sister. All throughout, the music he heard in these places was his escape.

                            It was in Washington that Clarence Greenwood found his voice. “I was keeping to myself, spending a lot of time on my own in my early twenties,” he says. “I got a drum machine, figured out a little bit of sampling, and was writing songs on my guitar. I was learning to make demos of my own stuff.”

                            In the mid-nineties, demos by Cope were eagerly passed around the D.C. music community. No one had ever heard anything like it. Was it folk? Hip-hop? Soul? Rock? Cope combined all, and made it his own. He recorded with members of Washington’s go-go bands, ensuring the deepest of grooves in his mid-tempo funk tunes. (Go-go is D.C.’s homegrown funk, a conga-driven style where the slowed down beat is king). Even in his earliest performances, Cope commanded the stage. Whether with a full band, or just strumming his oddly tuned guitar with his thumb, Cope was proving to be a charismatic frontman who rewarded careful listening.

                            He caught the ear of Capitol Records, signed with them in 1997 and made an album (“Shotguns”) which was never released. He then moved to Brooklyn (where he still resides) and was signed to Dreamworks and released, “Citizen Cope,” in 2002. About that time, a demo of a new Cope song “Sideways” was passed to Carlos Santana, who was enchanted with it and asked Cope to produce and sing it for his “Shaman” album which went on to sell five millions copies. After disappointing sales of his Dreamworks album, Cope asked to be released from the label and was immediately signed by Arista Records but before he could get his next release out to the public, further label shuffling ensued, Arista closed its doors and Cope landed on RCA where he continues to record.

                            His RCA debut, “The Clarence Greenwood Recordings,” showed the world that the brilliant simplicity of “Sideways” was no fluke. His own version of that song was featured in movies and T.V shows. The uplifting song “Son’s Gonna Rise” found its way into a Pontiac commercial, as well as several television and film soundtracks. In fact, the film world embraced his album so much that every song from it was licensed numerous times.

                            Cope had clearly arrived. Although never embraced by mainstream commercial radio, in 2004, he was seemingly everywhere. Though he was living in Brooklyn, his real life at that point was on the road. He toured steadily for sixteen-months, a grueling stretch that Cope was determined to use to build a connection with his fans. He knew radio didn’t know what to do with his genre-bending music, and that he would have to bring his music to the people.

                            It was challenging. “Out there for so long, it’s a lonely existence, even when you’re surrounded by people,” Cope says. “You’re away from the ones you love and it can be unsettling.”

                            You can hear the difficulty of those times in the songs Cope wrote for his latest release, “Every Waking Moment.” There’s a marked change in his writing from character-driven stories to deeply introspective ruminations on self, on love and its challenges: “Been stuck in the middle of a vendetta between me and myself, I sure could use a witness. But I just ain’t found one yet” (on “Back Together”); “Could you believe me somehow, you’re second to none and you got my love” (from “Somehow”); “Your heart is full of all I ever need, and I can’t take it, I can’t speak” (from “More Than it Seems”); “Here’s a song for you I play, from all of my life, from all of my days” (from “All Dressed Up”).

                            And even when he sings about politicians “ordering the killing of innocent civilians,” there’s still the background chant of “Without you I’d be all alone.” It’s the sound of Cope connecting with himself, connecting with the one he loves, and most profoundly, connecting with the listener. And in the sweeping, driving “Brother Lee,” he pulls us all in, wherever we are, from “Brooklyn USA to a tinsel town where now the Dodgers play.” It’s an emotional update of Woody Guthrie’s line in “This Land Was Made For You and Me,” the line “From California to the New York island.” Cope makes it clear that the things that tie us all together are stronger than the things that tear us apart, as he chants in his nearly hypnotic smoky, soulful voice, “I got a brother named Lee who looked just like me, both sides of the Mississippi.”

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                            9/15

                            Jeff Austin Band

                            | All Ages | 8 pm

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                            Jeff Austin Band

                            Mandolinist Jeff Austin is unstoppable. He is celebrated for his fleet fingers and penchant for improvisation on stage, but those qualities also speak volumes about how he chooses to live. Austin has cultivated his natural musical abilities and allowed himself to be driven by his boldest instincts. In this way, he has been able to build positive, exciting momentum around his life’s greatest passion.

                            In 1998, while working at a bar called the Verve in Nederland, Colorado, Austin met Adam Aijala and Ben Kaufmann, with whom he and Dave Johnston would form the Yonder Mountain String Band.

                            “My time with Yonder has taught me what is possible,” Austin says. “It has shown me that if you work hard at it and you believe in it and there’s a part of you that’s meant to do it, it will happen. It’s clichéd, but it’s true.”

                            It is with this history at his back that Jeff Austin will step out into the spotlight as a solo act. “My ideal sound is between Phish, My Morning Jacket, and Zac Brown Band.” Austin plans to continue songwriting for his solo project but might be weaving in a bit of mainstream, in the style of his John Scott Sherrill/Shawn Camp co-write “Fiddlin’ Around,” featured on Dierks Bentley’s 2010 bluegrass album Up on the Ridge. “I love writing a three-minute song with a hook that would grab a five-hundred-pound marlin as much as I like writing something that goes, ‘okay, after the bridge, it’s going to open up and just go wide.’”

                            Indeed, “wide” is what Jeff Austin is all about. He wants new and different, complex and interesting. He wants everything the music world has to offer, and he’s willing to work hard to get it.

                            OUR LINKS


                            9/22

                            Eligh

                            | All Ages | 8 pm

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                            Eligh

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                              9/25

                              Radkey

                              Gnarly Davidson
                              The Peoples Punk Band

                              | All Ages | 8 pm

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                              Radkey

                              Radkey is a punk band from St. Joseph, Missouri that is made up of three brothers. Dee the lead guitarist and vocalist is into learning to read and write Japanese, watching anime and enjoys books by Stephen King, Michael Crichton and Edgar Rice Burroughs. He hates milk and not only because of his lactose intolerance. It’s the kind of hate that comes from deep down inside, the kind of hatred you would hold towards someone that has wronged you in an unmentionable way. He does have a soft spot in his heart for cheese though.

                              Isaiah the bass player and middle brother watches a shit ton of movies…I’m talking HOLY SHIT! That’s a lot of movies. Some of his favorite directors include Guy Ritchie, Robert Rodriguez and Wes Anderson. Please don’t mention X-Men 3 around Isaiah because it may cause a rant that will make you wish you had never been born. He reads comic books, manga and fiction by J.R.R Tolkien, George R.R. Martin and C.S. Lewis. He plays all kinds of video games including first person shooters, RPG’s and no he does not play Angry Birds “phone games don’t fucking count”.

                              Solomon the drummer and youngest brother has burned hundreds of hours playing Halo, Mario 64 and several other video games. He loves the Kansas City Royals and Chiefs and doesn’t care what anyone says about it. He can’t get enough spicy food and he can be found putting sriracha chili sauce on and in just about anything. Comic books and anime are high on his list as well as the movies of Edgar Wright. He’s hates flying insects with stingers, but he loves beef jerky.

                              They also like music.

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                              Gnarly Davidson

                              LFK's premier Beer-Rock band

                              OUR LINKS


                              The Peoples Punk Band

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                                9/26

                                Kirk Rundstrom Tribute Project

                                | All Ages | 8 pm

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                                Kirk Rundstrom Tribute Project

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                                  9/27

                                  Reverend Horton Heat

                                  | All Ages | 7 pm

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                                  Reverend Horton Heat

                                  It’s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Problem Children, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can’t be wrong). But whatever you happen to call them, their country-flavored punkabilly and onstage antics have brought the Reverend Horton Heat a strikingly diverse fan base and a devoted cult following. The Rev himself, aka Jim Heath, leads the way with signature guitar riffs, while pounding out the bottom notes (often on top of) his upright bass is Jimbo Wallace, while Scott Churilla keeps time on the drums.

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                                  9/27

                                  The Growlers

                                  The Babe Rainbow

                                  | All Ages | 8 pm

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                                  The Growlers

                                  The music of The Growlers is unmistakable.
                                  Sure, you can hone in on some influences baked into the work of this California-bred band.
                                  Heck, even they’d cop to a few, like Ricky Nelson and The Clash. But once those same RIYL
                                  tags have been filtered through the minds and hands and voices of this five-piece, there’s simply
                                  nothing else like it.
                                  The Growlers took the phrase “Beach Goth” as an apt descriptor of their music. Sunburned and
                                  salty, that term perfectly describes their distinctive melding of reverb heavy surf guitar and
                                  Bakersfield-style honky tonk with ‘80s post-punk.
                                  This is especially true of Chinese Fountain, The Growlers’ fifth full-length set to be released on
                                  September 23rd via Everloving Records. The 11 songs found on it are some of the strongest that
                                  they’ve committed to tape yet; a byproduct not only of eight years in the trenches together, but
                                  finely honing their gypsy folk dirges and psychedelic sea shanties to fans at close to 150 shows
                                  each year. The connection between vocalist Brooks Nielsen and guitarist Matt Taylor (the
                                  principal songwriters of the group) has only grown deeper.
                                  “The band played better than they’ve ever played,” says Nielsen. “We’ve got the process down
                                  now. There’s less screwing around to get the songs laid out and we weren’t waiting around for
                                  take after take. We knew it and we played without much time to spare.”
                                  That confidence bleeds through every track on Chinese Fountain, with the band assured enough
                                  to layer in shades of many new influences: the loping ska beat of “Dull Boy” and “Going Gets
                                  Tuff,” the playful disco beat behind the title track, or the Teardrop Explodes-like agitation of
                                  “Good Advice.”
                                  Not that the band left themselves much room to second-guess anything. The five spent about
                                  three weeks writing the tracks, and about half that time in the studio recording them. That may
                                  sound rushed, but it’s not as if you can hear any strain on the finished product; Chinese Fountain
                                  is as rock solid and watertight as anything in their still-growing discography.
                                  There’s evolution to be heard in Chinese Fountain as well, courtesy of some of Nielsen’s most
                                  pointed and poignant lyrics to date. He takes our obsession with the online world to task on the
                                  funky title track. When he drops the bomb that obliterates that most famous of Beatles’ claims
                                  with "The internet is bigger than Jesus or John Lennon” he re-contextualizes Marshall
                                  McLuhan's "the medium is the message" in the same breath. He urges positivity no matter the
                                  obstacles (“Going Gets Tuff”). Too, he reveals a tattered heart to the world on tracks like “Rare
                                  Hearts” and “Love Test.”
                                  “This is my chance to let it all out,” Nielsen says of these songs. “I kind of bottle things up and
                                  don’t really get emotional. But I think if I don’t open up, I’d be a really stale person.”

                                  OUR LINKS


                                  The Babe Rainbow

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                                    9/29

                                    Zappa Plays Zappa

                                    | All Ages | 7 pm

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                                    Zappa Plays Zappa

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                                      10/2

                                      Dale Earnhardt Jr Jr

                                      Hippo Campus

                                      | All Ages | 8 pm

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                                      Dale Earnhardt Jr Jr

                                      "Formed in late 2009, Dale Earnhardt Jr. Jr. is the off-kilter title under which Detroit-area natives Joshua Epstein and Daniel Zott record, release and perform music.

                                      Initially beginning as an exercise in collaboration undertaken with very little intention of ever being publicly consumed, the band’s trajectory has been as unexpected as it has been unlikely. In just a few short years, fans have seen the project grow from basement recording project--to media curiosity--to an international touring ensemble widely recognized for their joy-fueled live offerings.

                                      While Epstein and Zott have no ties to popular NASCAR circuit driver Dale Earnhardt Jr. nor his late father, the band’s peculiar name was initially suggested to the pair on a lark. The pair assert that the strange moniker has been kept in tact due to the freedom they came to realize such a title gave them to explore whatever musical endeavors they could think up. “The idea being”, Epstein says, “that if one can accept a band being named Dale Earnhardt Jr. Jr., then you’ve already opened yourself up to listening to anything that band can come up with. You’ve already decided to leave expectations behind”.

                                      From that mantra, the foundation of their partnership was built. Each having spent a good deal of time in various recording and performance environments prior to working with one another, Epstein & Zott set out to explore the many intricacies of cross-genre songwriting and production together with a willingness to borrow as much from the Beach Boys as the Geto Boys if it meant a more dynamic form of pop music. An organic vs. synthesized perspective which by necessity lacked a specified audience or desired outcome, outside of challenging oneself."

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                                      Hippo Campus

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                                        10/7

                                        Built to Spill

                                        | All Ages | 8 pm

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                                        Built to Spill

                                        Twenty years on from first signing to Warner Bros. Records, Built To Spill is set to return in 2015 with its eighth studio album, Untethered Moon. That’s now two complete decades that one of America’s leading “indie rock” bands has happily made its home on a major label, and in the process redefined that clumsy descriptor of independence by operating wholly and consistently under its own steam, taking the proper time to craft timeless songs and playing endless, epic shows to a growing grip of fans each year. Under the command of its constant leader, Doug Martsch, as well as a new rhythm section, Built To Spill’s creative process continues to ebb, flow and evolve in its own orbit, reemerging on record for the first time since 2009’s There Is No Enemy with ten new songs that fit at once into the band’s resonant catalog while infusing fresh energy into that signature sound.

                                        In the summer of 2012, Martsch and his longtime bass player Brett Nelson and drummer Scott Plouf recorded an album’s worth of new songs and then went on tour. Martsch was unsatisfied with his performance on the recordings, feeling that he had had too few “eureka moments” in the studio and planned to tweak his parts after tour. Then, citing tour burnout, Nelson and Plouf quit the band, leaving Martsch to scrap the recordings and essentially start over. Adding longtime musical comrades Jason Albertini on bass and Steve Gere on drums, and along with guitarists Jim Roth and Brett Netson, the new Built To Spill emerged a month after reforming to play more shows in 2013 than any other year in the band’s existence. Energized by the new blood as well as marathon rehearsal sessions, Martsch decided to revisit the recording process as a trio, without the other guitar players. “With fewer people it’s easier to focus and communicate during the songwriting process,” says Martsch. “Also we wanted to make the record a little more stripped-down, a little rawer than our last one.”

                                        Over much of the next year, the band would travel to Portland, Oregon, to record with producer Sam Coomes, the Quasi founder whose keyboard playing appears on several earlier Built To Spill albums. “Working with Sam was awesome. He would come to rehearsals and take notes and record us on various little devices. He had ideas for the songs, structural changes, and things like that, but most importantly, he was enthusiastic. We had rehearsed a ton and were maybe losing perspective a little, so to have someone we admire and trust telling us we were on the right path was huge. He also shared our vision of leaving out shit that’s not necessary.”

                                        Acknowledging the intricate, bombastic drumming from Gere and Albertini’s effortless ability to “keep it in the pocket and move the song along,” Martsch found inspiration and confidence. He completed the songwriting with his usual method of piecing together scraps of guitar and instrumental parts from tapes of jams from previous eras of creation, along with the easy cohesion of the trio on new material, which they had practiced and demoed endlessly before setting foot in the studio.

                                        “When we get together and pick up our instruments, I always believe that something magical is going to happen. And it often does, but it’s a magic that maybe only we can feel, in the moment, and doesn’t necessarily translate to tape or to other people. So we keep messing with it until it feels like real music to us. The songs evolve over a long period of time through trial and error. There’s a lot of ideas that don’t go anywhere, and it’s just a matter of leaving them out and including the things that work.” Whether a call by Coomes to abandon a trumpet in favor of a tripped-out guitar, or a killer drum beat evolving from a simple exercise pattern, or even a coincidentally connected artistic inspiration from Alejandro Jodorowsky, the tarot and a photograph of pets, there was no shortage of eureka moments during the making of Untethered Moon.

                                        The album begins with the hard-hitting trio of “All Our Songs,” “Living Zoo,” and “On the Way,” songs that are as complex and compelling as anything on previous Built To Spill outings. Ripping solos, warm tones, vague and familiar Martsch themes of subconscious connection, human commonality and memory, Neil Young influences—it’s all there. “Never Be The Same” is a song from Martsch’s past, redone and encouraged by Coomes, while “C.R.E.B.” is a meditation on the scientific process of forgetting. The album ends with the eight-minute standout “When I’m Blind,” with solos echoing in and out of a drum-tight jam held down to perfection by the new guys. All in all, it’s the unmistakable sound of Built To Spill, but with a new energy that hearkens back to Martsch’s beginnings all those years ago in Twin Falls, Idaho.
                                        Two decades on a major label and even more as a successful musician, the fire and focus haven’t changed for Martsch in the least. “We like making music and that's why we do this. Of course if everyone else hates this record, we’ll be bummed. We are trying to make music that people will enjoy."

                                        OUR LINKS


                                        10/8

                                        Bully

                                        Heat
                                        FAKE LIMBS

                                        | All Ages | 8 pm

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                                        Bully

                                        Led by Alicia Bognanno, Nashville's indie rock outfit Bully parlayed a 2013 self-titled EP and 2014's "Milkman" single into a deal with Startime International, an imprint of Columbia Records. Bognanno's experience as a sound engineer under Steve Albini at Chicago's Electrical Audio surely influenced the band's classic '90s indie rock sound.

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                                        Heat

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                                          FAKE LIMBS

                                          The product of a sympathetic nervous system askew, Fake Limbs is simultaneous fight and flight; hysteria with teeth. This dumb, lumbering beast with four backs just wants to graze and screw but when forced into a corner, it transforms ferociously. They’re part Harry and the Hendersons and part Smokey and the Bandit II (the one where all the cops get destroyed). Concussive, unrelenting percussion supports wild, desperate guitars and unhinged vocalization. They transcend both the flailing childish entitlement of the aggro and the apologetic whining of the meek. The result is uncomfortable, loud, and sexually confusing.

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                                          10/14

                                          Beats Antique

                                          MOon Hooch

                                          | All Ages | 7 pm

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                                          Beats Antique

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                                            MOon Hooch

                                            About Moon We are Moon Hooch - a Brooklyn-based collaboarative trio (Mike Wilbur - tenor saxophone, Wenzl McGowen - tenor saxophone, James Muschler - drums) that formed in the summer of 2010. Our music is a fusion of house, dance, drum and bass, jazz, world, and classical music. Our mission is to make people dance and be happy. Thanks for listening!!

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                                            10/14

                                            Lydia

                                            Seahaven
                                            Turnover
                                            The Technicolors

                                            | All Ages | 8 pm

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                                            Lydia

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                                              Seahaven

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                                                Turnover

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                                                  The Technicolors

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                                                    10/15

                                                    BRONCHO

                                                    Psychic Heat

                                                    | All Ages | 8 pm

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                                                    BRONCHO

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                                                      Psychic Heat

                                                      Steve/Evan Herd - Guitar/Vox
                                                      Tanner Spreer - Guitar
                                                      Sam Boatright - Bass
                                                      Joel Coon - Drums/Keyboards/Guitar/BackingVox/Production

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                                                      10/17

                                                      Youth Lagoon

                                                      Moon King

                                                      | All Ages | 8 pm

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                                                      Youth Lagoon

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                                                        Moon King

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                                                          10/18

                                                          Jeremy Loops

                                                          Brick + Mortar

                                                          | All Ages | 8 pm

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                                                          Jeremy Loops

                                                          I call myself a modern folk artist. My influences are folk legends like Woody Guthrie and Bob Dylan, but what I create is a mash-up of a number of genres, namely folk, reggae, hip-hop, gypsy-jazz…. whatever keeps me smiling really.
                                                          I don’t believe in boundaries.
                                                          And now, our long-awaited debut album, ‘Trading Change’ is out on iTunes South Africa! Pre-order now at iTunes South Africa.
                                                          I make music that inspires and motivates me. It’s both my place of refuge and my source of courage to tackle this beautiful, often crazy world we live in. I’ve been gifted with an amazing, dedicated community of listeners who resonate deeply with this vision, and all the work I put in, I do so for them.
                                                          When I’m not making songs, I help run GreenPop.
                                                          I believe music, like all art, is a visual/audible representation of humanity. And humanity is community. In Africa, we call this concept Ubuntu.
                                                          In this way, while the music I make is my own, on stage I collaborate closely with rapper Motheo Moleko and saxophonist Jamie Faull, while behind the scenes there’s a team tirelessly working to make this dream a reality.

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                                                          Brick + Mortar

                                                          Brick + Mortar is a two-piece indie pop outfit from Asbury Park, NJ. The duo consists of Brandon Asraf (guitars/vocals/programming) and John Tacon(drums/programming). Best described as controlled chaos, the band combines choppy rhythms, smooth bass lines, tempestuous drumming and honest lyrics, all of which culminates in something that is just as likely to show up on an indie up-and-comers list as it is to show up on a DJ’s playlist – something that is evidenced in the band’s role as a remix magnet for artists such as Baauer. Brick + Mortar is one of the few bands who can conjure up images of both carousels and cocaine, combining dancy with dark and pop with despair.
                                                          Speaking in an article with VICE Magazine, Asraf says of their most recent music video for Bangs, “The story is my chance to be in [my father's] world and tell a conglomerate of a bunch of stories I’ve heard.” The result is a gripping video reflective not only of Asraf’s father’s violent past as an international fugitive, but also of the sometimes ominous and abrasive tone of the new EP.
                                                          Coming off of the release of their EP, “BANGS,” Brick + Mortar is touring relentlessly, opening for Imagine Dragons, Icona Pop, and Jimmy Eat World, as well as performing in the summer festival circuit at mainstays including Made in America, Loufest, and Lollapalooza.
                                                          In a time where purists patiently await the return of rock and roll, Brick + Mortar is gifted enough to combine exciting elements of each genre with their no-bullshit approach to songwriting.

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                                                          10/21

                                                          Lettuce

                                                          | All Ages | 7 pm

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                                                          Lettuce

                                                          After celebrating their 20th anniversary as modern day rulers of old school funk, the Brooklyn-based juggernaut Lettuce is not showing any signs of slowing. Having blown up stages from coast to coast last year, ranging from The Fillmore in San Francisco to Terminal 5 in NYC, Bonnaroo to Pemberton and all points in-between, Lettuce is poised to continue their rapid growth throughout 2014.

                                                          “We’re more together and set to crush than ever before,” says drummer and chief songwriter Adam Deitch of the all-star group that he and his accomplished band-mates cut their teeth with back in their Berklee School of Music days. That much history, along with the A-list crop of projects that each member has taken on away from Lettuce, gives the group a bottomless well of musical ideas and unrivaled chemistry—in fact, referring to themselves as a band of brothers. “I was in a practice room at 16 with these guys, and it all clicked,” says lead bassist Erick “Jesus” Coomes. “We all felt rhythms in similar ways. We were all about the pocket from day one.”

                                                          “People tend to look at funk as a one-trick pony,” says Deitch, “but we aim to smash those limits by drawing on a range of styles that can be traced from the early ’60s through the early ’80s, incorporating plenty of modern hip-hop sensibilities—heavy bass, kick and snare—along the way. Having evolved and refocused, without ever dropping the beat, Lettuce is getting ready to take audiences to the cosmos with a high-octane Fall tour. “Lettuce is like a Learjet that wasn’t getting clearance from the tower,” says Jesus. “But we’re done just rolling around on the runway.” They’re not asking for permission, so put your tray tables in their full, upright and locked position. This plane’s itching for lift off.

                                                          Lettuce released a limited edition ‘45 featuring “Don’t Be Afraid To Try” with singer Alecia Chakour (who is also touring with the band) this March, and are recording a new full-length record this fall. So be on the lookout for new music and a guaranteed PARTY!

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                                                          10/24

                                                          Blitzen Trapper

                                                          | All Ages | 8 pm

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                                                          Blitzen Trapper

                                                          Over the course of 15 years and seven full-length albums, Blitzen Trapper has crafted one of the more compelling and varied catalogs in contemporary rock and roll. Indeed, singer and guitarist Eric Earley, who is also the Portland, Oregon-based band's primary songwriter, is possessed of a musical and lyrical sensibility that is remarkably deep and wide; big ideas and universal emotions are wrung from the seemingly plainspoken details of small-screen and often highly personal stories, and set to music that reaches way, way back to old-timey folk and bluegrass, travels through everything from country, psychedelia and soul to prog, garage and metal, indulges gloriously in the classic rock of the 70s and 80s, and makes occasional side trips into hip-hop, skewed pop and noisey freakouts.
                                                          Even while continuing to explore broad stylistic territory, Blitzen Trapper's eighth studio album, a 10-song collection titled All Across This Land, stands as an exceptionally focused and immediate effort. Though it follows 2013's somewhat experimental VII, a futuristic hip-hop/country-rock hybrid, All Across This Land, in contrast, is a top-down, tightly defined piece of classic rock and roll, full of big riffs, bigger hooks and compelling, instantly relatable lyrics. In sound and scope it recalls two of the band's more beloved albums, 2008's breakthrough fourth effort, Furr, and 2011's landmark American Goldwing. "I think it's a return to the sort of more 'classic' Blitzen Trapper thing, for sure," Earley says.
                                                          It also follows something of a pattern. "It seems to be that every other album goes this way," Earley continues. "After Furr we did [2010's] Destroyer of the Void, where we were exploring all these different things. Then came American Goldwing. After that, VII. Now we're back to that rock thing again."
                                                          Something else All Across This Land shares with Furr and American Goldwing: the fact that these new songs came quick, and in a very concentrated period of time. "Those two albums, I wrote all the songs at once and they all hang together. But the records that came in between, they were written over the course of a year-and-a-half or so," Earley says. For All Across This Land, he continues, "I had all the songs written and demoed in a three or four month span. And I think they work together because everything came in such a short period."
                                                          And yet, for a record characterized by its focus, there is still plenty of musical and lyrical ground covered within its ten songs. Gentle, almost folksy moments–the lilting, pedal steel-inflected "Love Grow Cold"; the fingerpicked closer "Across the River"; the acoustic-guitar-and-harmonica-led "Lonesome Angel"–abound, even if, for the most part, All Across This Land is defined by its more upbeat rock-and-roll numbers. To that end, Earley says it's the record that perhaps best represents what Blitzen Trapper is as a live act. "It's funny, because I think with this band, there's two different ways people see us," he says. "People who just hear the music somewhere, they tend to think of us as this, like, indie-folk act. But people who come to the shows know that we're actually a hard rock band. And who knows? Maybe all that some people really want from us is folk music. But what we like to do is play rock music."
                                                          On All Across This Land, they certainly do. The album kicks off with "All Across This Land," a slice of sun-drenched rock propelled by a stabbing and syncopated guitar riff and full-voiced chords, accented by some euphoric "hoo hoo" backing vocals. When Earley's vocal enters, it's with a greeting of sorts: "Welcome to earth my son you're here just in time / So much to learn so many ways you can shine." The song is, at its core, a celebration of life, in particular of one that is just beginning. "One of the members of our band, Mike [Van Pelt] had just had his second boy, and I was thinking a lot about that," Earley says. From there, he also began to look back on his relationship with his own father, a bluegrass and folk musician. "I was remembering how my father taught me to play music, There's just so much potential in that relationship you have with a new life."
                                                          From here, the record moves into "Rock and Roll Was Made for You," another celebration of sorts, this one for music itself. Over a driving, percussive guitar riff, Earley testifies about its sometimes otherworldly powers: "Rock and roll gonna make you shout / It's for shooting down planes after blacking out."
                                                          Music also serves as the inspiration behind the record's third track, the pulsing and atmospheric "Mystery and Wonder." "In a lot of ways this one is me reminiscing about the songs I've written in the past and my reasons for writing them," Earley says. "And it also looks at how we got into playing music as a band. Because we all came from much smaller places and then we moved to the city, which was Portland. Now, Portland isn't really that big a place, but to us it was. And that's where it all started." Another cut, "Nights Were Made For Love" finds Earley examining his life and band from a more nostalgic perspective. Over a quick-paced but laidback country-rock rhythm, he sings about being "stupid, strange and young at heart / and all we wanted was to rock and roll." "It's looking back at our high school days–going to football games, playing music," he says. "In certain ways, it's sort of the story of the journey of our band."
                                                          Earley's childhood comes into play in a much different way on the dark and driving "Cadillac Road." "That song is about a small mill town in the mountains outside of where we all grew up," the singer explains. "Around '83 or '84, they shut down the mill and everyone was told to pack up and leave. And everyone did–but one guy stayed. People said he lived in the woods, and that if you listened you could hear him at night. It was this odd story that stuck with me, and I felt like I should tell that story." But in telling the tale of one man, Earley manages to touch on much larger themes of loss, regret and perseverance in the face of a shifting American landscape. "Gotta change with the times," he sings at one point, "but I dont have the heart."
                                                          The album ends with another big statement, "Across the River," a rumination on life and death that Earley sees as something of a bookend to opener "All Across This Land." "I feel like they tie in together, because the first song is about new life, and the last one is almost a near-death experience," he says. "I'm crossing a river to another place that's something like the afterlife–it's heaven, but it's not. And then my father shows up and he says, 'You're not supposed to be here yet. You've got more stuff to do.' "
                                                          Earley's father comes up often in the context of his lyrics, which is understandable–the elder Earley has cast a long shadow over his son's musical life. "My dad and my grandfather both played instruments–guitars, banjos...my grandfather was a harmonica virtuoso," Earley says. "So there was a lot of music around me as a child. And it was old-timey stuff. Like mountain music–the kinds of songs where no one knows who wrote them, basically."
                                                          Earley's childhood was so rooted in this music that he didn't get turned on to rock and roll until much later, when he was already in high school. "So to me," he says, "the 80s is kind of my foundation for rock. A lot of my influence is from the Replacements, R.E.M., that kind of stuff. Even Pavement in the early 90s." As a result, on All Across This Land, "when I'm thinking of rock and roll, I'm thinking of Paul Westerberg, to be honest," Earley admits with a laugh. In addition to Westerberg, he also cites Joe Walsh as one of his main rock influences: "He's always been one of my favorite guitar players, and you can hear it on the album. The riffs and chords on 'All Across This Land,' that's straight from Joe Walsh."
                                                          That love of a particular type of rock and roll helped guide Blitzen Trapper's approach on All Across This Land. "We recorded it specifically to be a two guitar, bass, drums and piano record," Earley says. "Every song is a band song, and arranged just how we'd play it onstage. Because at this point, we've made tons of records and we've played tons of shows. And the people who come out to see us, they understand what we're doing and they don't care about genres or anything like that. They're more interested in our actual specific unique personality as a band."
                                                          As for what that specific personality is? "I think there's two kinds of songs I love to write," Earley says. "I love songs that rock hard and that just make you feel good, and then I love songs that are sad and introspective and touch you in a very deep place."
                                                          Which, in essence, is exactly what Blitzen Trapper puts forth on All Across This Land. "I was trying to distill everything down to those two things," Earley explains. And if, in doing so, the band happens to pick up a host of different sounds and styles along the way, so be it. "We're never going to be a band that plays the same song over and over again," he says. "We like to explore. And sometimes that's not so easy for people to deal with. But we're going to just keep on doing what we do."

                                                          OUR LINKS


                                                          10/29

                                                          Jon McLaughlin

                                                          Tess Henley

                                                          | All Ages | 8 pm

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                                                          Jon McLaughlin

                                                          Jon McLaughlin has been playing piano and making music since childhood. He was born and raised in Indiana, and eventually ended up at Anderson University, also in Indiana. With the support of the university’s record label, Oranghaus, a few friends and an old Chevy van, McLaughlin wrote and recorded music, and toured extensively throughout his college years
                                                          before he was signed to Island Records in 2006.

                                                          The following eight years had one common denominator for Jon McLaughlin: writing and producing songs, releasing albums, driving around the country playing music with his band and collaborating with fellow artists like Sara Bareilles, Demi Lovato, Xenia and Need to Breathe, among others. He has shared the stage with artists such as Kelly Clarkson, Adele, One Republic,
                                                          Bon Jovi, Colbie Caillat, Parachute, and Duffy. And, in 2014, a dream came true when Jon
                                                          supported the legendary piano man himself, Billy Joel, in selected dates across the country.

                                                          This coming fall, Jon will be touring with fellow Nashville singer songwriter, Ben Rector. Jon has also made his mark in music for film and television. In 2008, McLaughlin had a cameo appearance in the Disney movie, Enchanted, and performed the Oscar nominated song “So Close,” both on the film’s soundtrack and at the 80th Academy Awards. Jon’s songs have been
                                                          featured in major films such as Georgia Rule and Bridge to Terabithia. Jon’s music has been
                                                          featured on TV shows such as Scrubs, So You think You Can Dance, Ghost Whisperer, The Event as well as major network promotions. Jon has appeared on talk shows such as The Tonight Show with Jay Leno, CBS Saturday Morning, The Today Show, and The Bonnie Hunt Show, among others.

                                                          Selected Discography:

                                                          2007 Indiana (Island)
                                                          2008 OK Now (Island)
                                                          2011 Forever If Ever (Independent Release) 2012 Promising Promises (Razor and Tie)
                                                          2013 Holding My Breath (Independent Release) 2014 The Christmas EP (Independent Release)

                                                          OUR LINKS


                                                          Tess Henley

                                                          MORE INFO COMING SOON!



                                                            11/2

                                                            Prof

                                                            | All Ages | 8 pm

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                                                            Prof

                                                            Prof, the newest signee to Rhymesayers Entertainment, is already a legend on the southside of Minneapolis. With three self-released albums, plus three additional mixtapes of exclusive material already under his belt, it should come as no surprise he's been tirelessly making music for over a decade. While he's continued to develop over that time, both musically and artistically, he's also fine-tuned his live show to such a spectacle that he's undeniably made a lasting impression on the scene. As an entertainer, Prof shows incredible diversity. Whether artistically, or characteristically, he purposefully maneuvers between the parallels of inconceivable experiences and extraordinary fantasies. From the factual to the fictitious, there’s seemingly no end to the number of unique narratives or deliveries at his disposal. Once considered the underdog, Prof has fought his way to the forefront of the scene and amassed a ravenous following along the way.

                                                            OUR LINKS


                                                            11/5

                                                            Heartless Bastards

                                                            Slothrust

                                                            | All Ages | 8 pm

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                                                            Heartless Bastards

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                                                              Slothrust

                                                              A grunge band trying to bring trauma back into your life immediately.

                                                              OUR LINKS


                                                              11/11

                                                              Parquet Courts

                                                              Lazy

                                                              | All Ages | 8 pm

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                                                              Parquet Courts

                                                              Little was said about Parquet Courts’ debut effort, American Specialties. Released exclusively on cassette tape, the quasi-album was an odd collection of 4 track recordings that left those who were paying attention wanting more. A year of woodshedding live sets passed before the Courts committed another song to tape. The band’s first proper LP, Light Up Gold, is a dynamic and diverse foray into the back alleys of the American DIY underground. Bright guitars swirl serpentine over looping, groovy post-punk bass lines and drums that border on robotic precision. While the initial rawness of the band’s early output remains, the songwriting has gracefully evolved. Primary wordsmiths A. Savage and Austin Brown combine for a dynamic lyrical experience, one part an erudite overflow of ideas, the other an exercise in laid-back observation. Lyrically dense, the poetry is in how it flows along with the melody, often times as locked-in as the rhythm section.

                                                              “This record is for the over-socialized victims of the 1990’s ‘you can be anything you want’, Nickelodeon-induced lethargy that ran away from home not out of any wide-eyed big city daydream, but just out of a subconscious return to America’s scandalous origin,” writes Savage in the album’s scratched-out liner notes. Recorded over a few days in an ice-box practice space, Light Up Gold is equally indebted to Krautrock, The Fall, and a slew of contemporaries like Tyvek and Eddy Current Suppression Ring.

                                                              Though made up of Texan transplants, Parquet Courts are a New York band. Throw out the countless shallow Brooklyn bands of the blasé 2000’s: Light Up Gold is a conscious effort to draw from the rich culture of the city - the bands like Sonic Youth, Bob Dylan, and the Velvet Underground that are not from New York, but of it. A panoramic landscape of dilapidated corner-stores and crowded apartments is superimposed over bare-bones Americana, leaving little room for romance or sentiment. It’s punk, it’s American, it’s New York… it’s the color of something you were looking for.

                                                              OUR LINKS


                                                              Lazy

                                                              MORE INFO COMING SOON!



                                                                11/12

                                                                Young the Giant

                                                                Wildling

                                                                | All Ages | 7 pm

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                                                                Young the Giant

                                                                MORE INFO COMING SOON!



                                                                  Wildling

                                                                  MORE INFO COMING SOON!



                                                                    11/12

                                                                    Martin Sexton

                                                                    | All Ages | 8 pm

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                                                                    Martin Sexton

                                                                    A native of Syracuse, New York, Martin Sexton grew up on the timeless sounds of '70s radio, from Stevie Wonder to Led Zeppelin (who led him toward blues legends like Howlin Wolf and Willie Dixon). Sexton eventually migrated to Boston, where he began to build his following singing on the streets of Harvard Square and gradually working his way into the club scene. His 1992 collection of self-produced demo recordings, IN THE JOURNEY, was recorded on a old 8-track in a friend's attic. He managed to sell 20,000 copies out of his guitar case busking. Sexton recalls, "All those one-dollar bills I saved
                                                                    to make that record was the best eight-hundred bucks I ever spent." His captivating performances led to a bounty of Boston Music Awards and the National Academy of Songwriters "Artist of the Year" award.

                                                                    1996 saw Sexton release his first full-fledged studio recording, BLACK SHEEP, which remains an active favorite among fans. While the acclaimed Atlantic debut, 1998s THE AMERICAN, was produced by Danny Kortchmar, on the next record Martin opted to take the reins himself and produce. WONDER BAR (2000), the highly-anticipated second Atlantic release, Sexton was able to fashion an extraordinary collection of songs, reconstructing the spirited sound and unpretentious attitude of that classic '70s FM radio for a new generation.

                                                                    Hailed by Billboard as "the finest new male singer/songwriter of recent memory," as well as "a vocalist of amazing proficiency and sensual conviction." The Boston based troubadour on WONDER BAR was accompanied by two of rock's most valuable players bassist Tony Levin (King Crimson, Peter Gabriel) and keyboardist David Sancious (Bruce Springsteen, Sting). This and all Sexton's records distill soul, gospel, R&B, country and blues... in short, the American musical landscape into archetypal rock n roll.

                                                                    While Sexton enjoyed an uncommon artistic freedom and the backing a major label can provide, he was still left wondering if that large corporate machinery was necessary. Sexton asked Atlantic to be released from his contract and now...

                                                                    Happily and fiercely independent, Martin Sexton launched his own label Kitchen Table Records (2002) with his first live double-cd set, LIVE WIDE OPEN. Mixed by John Alagia (Dave Matthews Band, John Mayer), this record captures the energy of the artist connecting with the crowd, highlighting the joy, skill, and inspiration of any Martin Sexton musical performance.

                                                                    Renowned as a die-hard road warrior, Sexton has traveled the globe with his guitar slung on his back and a heart full of soul. His songs are intricate and spirited...His fans range from teenage students to jocks to musicians, from the East Village to Wall Street, tradesmen to doctors, black, white, young and old, all singing together in three-part harmony. To see the crowd at a Martin Sexton concert is to witness a cross-section of America. People claim Sexton's songs inspire them to change, quit their job, go cross-country, follow their dreams, or whatever... To this Sexton replies, "Walking down 7th Avenue I saw an old black man banging on a five-gallon bucket and singing some African chant. I was in a hurry to get where I was going, but had to stop, not because of the music, but because of his face. It was glowing, pouring out, overflowing with the most profound joy I had
                                                                    ever seen. This changed my life. Music has that power."

                                                                    Acoustic Guitar Magazine raved about Sexton's remarkable visceral live shows, calling the singer a "master of dynamics, reducing a room to silence with his blustering baritone, then teasing that silence with a fluttering falsetto." Jon Pareles of The New York Times wrote that the singer/songwriter "jumps beyond standard fare on the strength of his voice, a blue-eyed soul man’s supple instrument," adding that "his unpretentious heartiness helps him focus on every soul singer’s goal: to amplify the sound of the ordinary heart."

                                                                    Sexton tours in support of his seventh record, SEEDS, releasing April 2007, from the Nokia Theatre (NYC) to The Fillmore (San Francisco) and all points in between.

                                                                    OUR LINKS



                                                                    OUR CALENDAR

                                                                    September
                                                                    1
                                                                    Tuesday

                                                                    The Bottleneck

                                                                    X

                                                                    Dead Rock West

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

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                                                                    $31 + F&T
                                                                    All Ages
                                                                    September
                                                                    3
                                                                    Thursday

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

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                                                                    $9 + F&T
                                                                    All Ages
                                                                    September
                                                                    5
                                                                    Saturday

                                                                    DOORS AT 5:00 pm

                                                                    SHOW AT 6:00 pm

                                                                    All Ages
                                                                    September
                                                                    10
                                                                    Thursday

                                                                    The Bottleneck

                                                                    FIDLAR

                                                                    Dune Rats

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

                                                                    BUY TICKETS!
                                                                    $16 + F&T
                                                                    All Ages
                                                                    September
                                                                    11
                                                                    Friday

                                                                    DOORS AT 6:00 pm

                                                                    SHOW AT 7:00 pm

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                                                                    $30.50 + F&T
                                                                    All Ages
                                                                    September
                                                                    12
                                                                    Saturday

                                                                    DOORS AT 6:00 pm

                                                                    SHOW AT 7:00 pm

                                                                    BUY TICKETS!
                                                                    $36 + F&T
                                                                    All Ages
                                                                    September
                                                                    13
                                                                    Sunday

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

                                                                    BUY TICKETS!
                                                                    $15 + F&T
                                                                    All Ages
                                                                    September
                                                                    15
                                                                    Tuesday

                                                                    Crossroads KC

                                                                    Citizen Cope

                                                                    DOORS AT 7:00 pm

                                                                    SHOW AT 8:00 pm

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                                                                    $26 + F&T
                                                                    All Ages
                                                                    September
                                                                    15
                                                                    Tuesday

                                                                    The Bottleneck

                                                                    Jeff Austin Band

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

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                                                                    $16 + F&T
                                                                    All Ages
                                                                    September
                                                                    22
                                                                    Tuesday

                                                                    The Bottleneck

                                                                    Eligh

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

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                                                                    $11 + F&T
                                                                    All Ages
                                                                    September
                                                                    25
                                                                    Friday

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

                                                                    BUY TICKETS!
                                                                    $11 + F&T
                                                                    All Ages
                                                                    September
                                                                    26
                                                                    Saturday

                                                                    DOORS AT 8:00 pm

                                                                    SHOW AT 9:00 pm

                                                                    BUY TICKETS!
                                                                    $21 + F&T
                                                                    All Ages