8/31

Al Holliday and the East Side Rhythm Band

The Band that Saved the World

18 & Over | 8 pm

Al Holliday and the East Side Rhythm Band

St. Louis' own Al Holliday & The East Side Rhythm Band plays the soulful Rhythm and Blues - with a feeling! The name of this band pays tribute to the burning Rhythm and Blues music that has come from our beloved Metro-East. This band is deeply influenced by this music, along with classic Soul, and the music of New Orleans. They take all of these things, and do their very own, natural thing - consecrated with a tinge of musical "hip"-ness.

The East Side Rhythm Band is built on the rock-solid, foundation rhythm section of Neil Ghanti and Caleb Klinger. Rolling deep with a battery of Horn players - set this band up, and let them blow! Over the top of the whole thing, Al Holliday testifies, and there is not one jive bone in that man's body.

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The Band that Saved the World

Sporting dueling vocalists and a multitalented lineup of musicians, The Band That Saved the World is one of the few groups to feature such a vast array of stylistic influences as to be impossible to pigeonhole. Opening for headliners as disparate as Lauryn Hill and The Moody Blues, this lively original act was selected to close the 1999 French International Music Festival in Belfort, France. "Love-n-music" won the 2002 Recording Academy Midwest Professional Education Series Demo Review Contest and was the champion in the makeastar.com Contest.

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9/1

Midnight Marauders

18 & Over | 8 pm

Midnight Marauders

DJ G Train- Johnny Quest- Dj Proof

Say no more...

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9/2

Labretta Suede and the Motel 6

40 Watt Dreams

18 & Over | 8 pm

Labretta Suede and the Motel 6

Labretta Suede and The Motel 6 are a bunch of crazed Rock 'N' Rollers with a reckless set and a show of music and outfits you could just LICK!.. With a 50's Rock 'n' Roll influence, a twang and some dirge.

Formed in 2005 in Auckland, New Zealand with influences wide throughout the decades before them of damn good music.
This band brings back the true essence of roots based rock n roll, punk and rockabilly blues.

Fronted by bad girl tease Labretta Suede, with her sexy gritty performances, full frontal outfits and irresistible, irreverent, deep rich vocals that simply
undress and unleash you. while, right-hand flesh eating Johnny Moondog makes you completely unhinged with his wild tone, crazed reverb and mind bending psychedelic distortion and sneer. These two unruly and insatiable founding members are the essence behind this world traveled jungle of juju strange.

Complimented by their original New Zealand counterparts, Chris 'Bumbo' Kemp (drums) and JayL Vodanovich (bass) who kept their heads cool to lay down the slosh, so as not to drown.

This melding of nostalgic, yet originally infused swagger was at the fore front of badass rock n roll car culture, b -grade art, cinema and burlesque in their faraway shores of Aotearoa (New Zealand). However, feeling the fever to spread the disease long and far from the way down under pools of volcanic laha, hey relocated to the other side of the planet. That's right, to New York City, a place where only the sick and depraved can truly survive.

Surviving on bare bones alone on their continuing journey of rock n roll debris, struggling in a big city filled with millions seeking to find just the
right kinda strange to fit their new line-up. Cue, Max Speed $1000 on bass. A man of 50's super hero physic and proportions yet with dainty ankles for high-heel wearing and stocking steeling. However, all this mind altering swooning, would not be complete without the pounds of dirt and intangible rhythms coming from the drummer region. Take a bow, Seanzie Dirtbags.

So, the new line-up of fiends was born. A now hotter then ever *Labretta Suede and The Motel 6* have been crowd maddening, swooning and sweeping from state to state. This lingerie wearin', bone pickin', leather clad, jungle groovin' USA line-up of Labretta Suede & The Motel 6 has made the band a rock 'n' roll blitzkrieg of fierce outcasts!

This infestation simply keeps evolving to tease, titillate and leave you, well, wet with all kinds of things. They will tear you to pieces.

Check it out, it's way out!..
* Album 'Not Food Hungry' available now (which has gained rave reviews worldwide).

* Ep Loon-a-tiki also available.

* New Album *Dirty & Dumb* on it's way - keep your eyeballs peeled...

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40 Watt Dreams

Katie West fronts 40 Watt Dreams, playing guitar and banjo, singing gritty songs that range from dark hillbilly blues to irresistable pop. Katie began her career in New Orleans, where she played wash tub bass and piano in the streets and clubs of the French Quarter. In 2003 she formed the popular Alt-Country duo, Truckstop Honeymoon. She continues to tour with Truckstop Honeymoon in Australia, New Zealand, Europe and the US. Katie also records with numerous artists produced at the infamous 9th Ward Pickin’ Parlor recording studio.

40 Watt Dreams is a five piece band based in Lawrence, Kansas. Manchester-born singer songwriter. Danny McGaw plays electric guitar, while maverick bluegrass producer, Mike West, picks banjo, with Paul Scmidt on bass and Colin Mahoney on drums. 40 Watt Dreams makes high-energy music with a distinctive sound, combining rock’n’roll, bluegrass banjo and powerful vocal harmonies.

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9/3

Anthony Russo

Matty Wood$

18 & Over | 8 pm

Anthony Russo

MORE INFO COMING SOON!



    Matty Wood$

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      9/6

      Delta Rae

      Katy Guillen and The Girls
      The Church Sisters

      $6.50 + F&T | All Ages | 7 pm

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      Delta Rae

      Seymour Stein’s office sits way up in the highrises of the Rockefeller Plaza; a corner office, with a beautiful view out over New York City, its surfaces cluttered with all of the memorabilia, awards and accumulated paraphernalia of a lifetime spent in the music industry.
      It was into this office that the six members of Delta Rae shuffled one day in the summer of 2011. A rather convoluted connecti
      on had led them here to this meeting, their first with a major record label, and no one was quite sure how to proceed. “We were very nervous,” recalls Ian Holljes, with perhaps some understatement.

      “But we talked briefly, and then Seymour said ‘Well, why don’t you sing something for me?’” The band duly launched into Hey Hey Hey, a joyous, rollicking tune that begins with an exquisite four-part harmony. Ten seconds in, Stein asked them to stop. The band balked. But Stein stood up, walked to the door and hollered for his colleagues to join them. “You gotta hear these people!” he cried into the hallway. “They sound so beautiful!”

      The story that led Delta Rae to Stein’s office, a major label deal, and the release of their stunning debut album, had in fact begun many years before, in the Holljes household, where siblings Ian, Eric and Brittany, enjoyed a childhood that was close yet itinerant, carrying them from Durham, North Carolina, to the Bay area of San Francisco, via Nashville, Tennessee, and Marietta, Georgia. Throughout it all, they relished the continuity of great music — their parents’ record collection, rich with James Taylor, Cat Stevens, Fleetwood Mac, Paul Simon.

      Along the way, Ian and Eric forged what they describe as “a close musical bond” writing songs together from a young age. Their younger sister, meanwhile, was in possession of “this huge, brassy voice,” Ian recalls. “When she was young, it was like a lion that you couldn’t quite tame. But as she got older and we got to know her voice we saw the power in it.”

      The brothers both headed back to Durham for college, and after graduation decided they should pursue music in earnest. They convinced their lion-voiced sister to join them, as well as an old friend, Elizabeth Hopkins, whose singing they had always loved — “it’s got that raspiness,” Eric says, “that old soul to it.”
      The four set up home in an old house in the woods, and set about finding their collective voice, crafting their songs, and playing them live. “Very early on I felt we had found something special,” says Ian, who with his brother writes the lyrics. “It was really the uniting of the four voices, a type of music that resonated with me. Just to be in the thick of it is amazing, because the four people in this band sing with such heart — you just lose yourself in it.”

      By late 2010, the four had become six, with the addition of drummer Mike McKee and bassist Grant Emerson, and were honing their material on the road. A lot of the songs evolved through live performance: Mike, for instance, innovating the percussion with chains and trash can lids, while Grant picked up an upright bass to round out the band’s sound.

      For Ian, Eric, Brittany and Elizabeth it was a matter of working out how best to get their voices, their words, and their sentiment heard. “Playing those early shows, you’re often confronted by half-working sound-systems and weird venues and so you have to find an energy that can at times transcend the music,” Ian explains. “So a lot of times we’d come down off stage and sing something in the middle of the audience, or be screaming out as opposed to singing in order to convey the emotion, to find something primal that will affect people.” Soon earning a reputation as incredible live performers, the band's hope was that if their music was pushed and pulled and tried and tested in front of an audience, then by the time they came to record, the songs would be strong and robust.

      The 12 songs on Carry the Fire display that muscularity, as well as great tenderness and, at times, vulnerability. They are songs that reflect the great stew of the band’s own shared histories and influences, as well as those of the land that bore them. There is the richness of Americana, of gospel, bluegrass, blues and pop, but there is also the well-oaked, deep-rooted tradition of storytelling, folklore, mythology. There is a thread that binds together west coast harmonies and the gospel choir, Southern gothic and civil rights, all of the tensions and the joys and the fierce, bright hope of America’s great cultural, geographical, musical journey.

      Some of the songs here explore their relationship with Durham — the city where they now live of course, but also where the Holljes’ mother was raised, and where their parents studied. “The song Surrounded is about how the town has a lot of ghosts for us,” Ian explains. “It’s about the relationships that we make and the people that we fall in love with and the ghosts of the people that they’ve been with before and who have left an impression on them.”
      Country House, too, stems from Durham: charting the year Ian spent caring for his former professor, a paraplegic; a time that gave him cause to contemplate the isolation of growing older, and the mortality of those we love. And the stirring, bittersweet Holding On to Good belongs here too, nodding to Brittany’s decision to leave behind her first love and move to North Carolina to make music.
      As well as tales of loves lost and kindled and preserved, there are plenty of songs on the album shaped by the shared history of the siblings (and Elizabeth, a friend since childhood) and that celebrate the intensity of that bond.

      Morning Comes, for instance, Ian describes as “coming very much from our family” of the strength they showed weathering hard times and unemployment, pressed on by “the feeling that the best moments come on the other side of that; if you can just hold out, then things get better.” Eric agrees: “I think a lot of our songs are laced with hope,” he says. “Even the darker ones have hopeful qualities to them. And I think that’s something we grew up with and we believe in — we believe in the resilience of people, and we’ve seen it time and time again.”

      And certainly new single Is There Anyone Out There, carries this same spirit. A song that Ian wrote while working at a desk job, grafting 40 hour weeks, wondering if there might be more to life out there. “It’s a song about disillusionment,” he says, “about growing up and not necessarily being the person you envisaged yourself to be.”
      It is this song, too, that has borne the album’s title. “It’s saying that we’re just moving forward, and we don’t have control over what the next generation does or what they do with what we give them,” Ian says. “We only get so long on earth, so all we can do is carry the fire.”
      It is an appropriate image, perhaps, for this band — the inheritors of a great musical mantle, carrying forth such tradition, but bringing to it their own flame and ignition, the wisdom of their own generation, and the promise of so much to come.

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      Katy Guillen and The Girls

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        The Church Sisters

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          9/6

          I Heard Schmilco

          All Ages | 7 pm

          I Heard Schmilco

          On Tuesday, Sept. 6 hear the new album Schmilco for the first time ever at your favorite club in Lawrence (three days before its wide release Sept. 9).
          You can take home your own copy of Schmilco vinyl on the same day, too. It's available everywhere first on that Vinyl Tuesday, Sept. 6.
          There will be exclusives to win, too: white label Schmilco vinyl, slipmats featuring Joan Cornellà artwork + some shocking surprises.

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          9/6

          The Jauntee

          The Good Ole Fashion

          18 & Over | 9:30 pm

          The Jauntee

          Averaging over one hundred shows a year — The Jauntee has quickly made a name for themselves in the New England music scene. Hailing from Boston, they’ve solidified a dedicated following in the Northeast, playing most staple venues in the area (ie. Paradise Rock Club, Nectar’s, The Spot Underground, Stone Church). Several New England festival appearances (ie. Catskill Chill, StrangeCreek, Disc Jam) and extensive touring down the East Coast and across the Midwest have given them Nationwide recognition, with sold out shows as far west as Denver, CO (Quixote’s). A focus on live improvisation, set list variety, and musical exploration makes every show different from the last, truly making The Jauntee a live act to see again and again.

          Drawing influence from a wide variety of bands, The Jauntee’s improvisational landscape spans multiple genres, including: Funk/Rock/Jazz/Progressive/Bluegrass/Psychedelic and Ambient music. Their willingness to explore genres, abandon all song structure, and dive into ‘the weird’ sets them apart from your average upcoming Jam Band. They aim to push the boundaries of improvisation, embrace the moment and engage the audience. With an ever-expanding song catalog and an inclination for open ended improvisation, every show promises to be a unique experience.

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          The Good Ole Fashion

          MORE INFO COMING SOON!



            9/8

            Midnight Marauders

            18 & Over | 8 pm

            Midnight Marauders

            DJ G Train- Johnny Quest- Dj Proof

            Say no more...

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            9/9

            Donner Party of Three

            Signal Ridge

            All Ages | 6 pm

            Donner Party of Three

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              Signal Ridge

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                9/9

                Ozark Mountain Daredevils

                Brewer & Shipley

                $76.50 | All Ages | 7 pm

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                Ozark Mountain Daredevils

                With eight albums selling over two million records and worldwide hits like "Jackie Blue" and "If You Want To Get To Heaven" the Ozark Mountain Daredevils have come a long way from the Missouri bars and porches where their music was born. It all began for the Daredevils in 1971 when a collection of singer songwriters from the Springfield area put together a band as an outlet for their songwriting. They Played their first gig near the end of 1971 and, in the spring of the following year, went into the studio to make a demo tape. The tape came to the attention of David Anderle at A&M Records, who liked what he heard and passed the tape on to A&M president, Jerry Moss. This resulted in the band signing to A&M with Anderle and Glyn Johns producing, thus the Daredevils were off to London to Make their first album at the famed Olympic Studios. This first album contained the smash hit "If You Wanna Get To Heaven" written by Cash and Dillon, and produced a gold album. The pop"Jackie Blue", written by Cash and Larry Lee, came from the second album "It'll Shine When It Shines", and was a top-five worldwide record.

                The band has made subsequent albums, and continues to build their audience through records and touring across the U.S. and Canada, performing for their large cult following. The band was described by Rolling Stone Magazine as "A mixture of Country, Appalchia, the south, and Rock & Roll".

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                Brewer & Shipley

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                  9/10

                  O.A.R.

                  The Hunts

                  $76.50 | All Ages | 7 pm

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                  O.A.R.

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                    The Hunts

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                      9/10

                      Heart Byrne

                      18 & Over | 8 pm

                      Heart Byrne

                      This band performs the music of Talking Heads. This band performs a live concert in the style of 'Stop Making Sense' while adding song selections from each phase of Talking Heads history. This band consists of musicians that live in Austin, Texas. This band consists of great friends that share a great reverence for the work of Talking Heads and David Byrne in particular.

                      Daniel Borrelli (k), Dustin Bozarth (k,v), Evan Bozarth (b,v), Emilie Clepper (v), Andy Harn (d,g,v), Chris Holland (b), Sham Jones (b,v), Meg Kemp (ts,v), Amy Lewis (v), Dan McGreevy (d,v), Charlie Narayan (g,v), Jon Olson (g), Josh Pearson (g), and Shadd Scott (d,v)

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                      9/12

                      Gabe Dixon

                      David Ryan Harris

                      | All Ages | 8 pm

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                      Gabe Dixon

                      GABE DIXON released his sophomore solo album, Turns To Gold, on April 8th, marking his first official collection as an independent artist, put out on his own Rolling Ball Records. Turns To Gold is currently featured in Rolling Stone, The Huffington Post, American Songwriter, Elmore Magazine, All Music, Relix Magazine, Indie Shuffle, and more. Paste Magazine calls it “heart-wrenchingly honest,” and No Depression says it’s “simply an exceptional album” with “all the makings of a big breakthrough.” Gabe's songs have been featured on ABC, CBS, NBC, CW and more, and his song “Find My Way” served as the song for the opening credits for the box office hit The Proposal starring Sandra Bullock. He's appeared twice on Jimmy Kimmel LIVE!, as well as The Late Show with Craig Ferguson and Last Call with Carson Daly.

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                      David Ryan Harris

                      DAVID RYAN HARRIS is internationally recognized for playing guitar and singing in John Mayer’s band (2004-2012), released his fourth full-length album, Lightyears, in the fall of 2015. The soulful 11-track album includes co-writes with Derek Trucks, Susan Tedeschi and Tyler Lyle, as well as guest appearances by John Mayer, Indie.Arie and Nikka Costa. Elmore Magazine calls Lightyears a look at “Harris doing what he does best… performing alone with his guitar, singing beautiful and all-too-real lyrics.” David Ryan Harris began his music career in 1991 when he co-founded band Follow For Now, but in 1997 embarked on his journey as a solo artist when he signed with Columbia Records and released his first self-titled record. He has since had the pleasure of writing with, playing with and/or producing artists from Dave Matthews, Cassandra Wilson, Santana, Marc Broussard, and Guy Sebastian. Harris will release his next album in September of 2016.

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                      9/13

                      Bob Mould

                      Fury Things

                      $66.50 | All Ages | 7 pm

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                      Bob Mould

                      Those familiar with the decades-spanning oeuvre of Bob Mould—from his pioneering early ’80s work with Hüsker Dü to his solo work in singer-songwriter, electronic, and rock modes, to the deafening pop sparkle of Sugar—might expect a new album bearing the title Silver Age to be a somber and reflective set in the mode of his last album, 2009’s Life and Times…and they’d be way off the mark.

                      Silver Age is an intense and concise ten song blast far more reminiscent of Bob’s latter-day Hüsker Dü output—first marked by the monumental sprawl of 1984’s Zen Arcade which then gave way to the short, sharp pop focus of 1985’s New Day Rising—and his early ’90s tenure with Sugar, whose classic debut Copper Blue marks its 20th anniversary this year. That said, Silver Age is no nostalgia trip. Aside from lyrical content that shows Bob as in-the-now as ever, Silver Age came together quickly and organically in the wake of a series of electric solo dates in 2011 supporting Foo Fighters (where he guested each night on “Dear Rosemary,” the track from the Foos’ Wasting Light on which Bob shares writing and vocal duties) as well as a solo acoustic/book tour around last summer’s publication of See a Little Light: The Trail of Rage and Melody, the autobiography Bob co-authored with Michael Azerrad (Come as You Are, Our Band Could Be Your Life). These events culminated in a tribute last November at Los Angeles’ Disney Hall that featured the likes of Dave Grohl, Ryan Adams, Spoon’s Britt Daniel, and Craig Finn and Tad Kubler of The Hold Steady celebrating the width and breadth of Bob’s body of work.

                      “I’d been batting around the idea of another aggressive pop record for some time,” Bob says, “especially as the 20th anniversary of Copper Blue kept getting closer. But it was really the shows with Foo Fighters that got me thinking when I started writing for this record: Did I just write a Sugar song? Or a Foo Fighters song? Or one of my own songs? And does it really matter? Once I got that out of the way, it freed me up to have some fun and set about making a simple rock record.”

                      It’s no surprise, then, that Silver Age careens out of the speakers with a sense of exhilaration that reflects the excitement with which Bob and his live band of bassist Jason Narducy (Spl:t S:ngle, Verbow) and drummer Jon Wurster (Superchunk, the Mountain Goats) cranked out the record in a tight whirlwind of a window from in early 2012. But that’s not to say that Silver Age is a lighthearted romp—as ever, there’s plenty of dark matter at the center of these sweet melodic nuggets. First single “The Descent,” for example, is one of those perfect moments that lands firmly in the Mould wheelhouse, with walls of luminescent guitars, phantom choruses, and infectious hooks all leading toward the concluding refrain of “My world, it is descending.” The opening one-two of “Star Machine” and “Silver Age,” on the other hand, pairs abrasive riffs with equally harsh meditations on fame, immaturity, and the lessons and consequences thereof. Other Silver Age highlights include the bittersweet romantic epic “Round the City Square” (“It feels like people always look to my songs to help define their own failed relationships,” Bob laughs); the upbeat and earnest celebration of “First Time Joy”; and the unabashedly literal “Keep Believing,” a rousing love letter to the records that shaped Bob’s personal and professional life. Listen closely and see how many of the references you can pinpoint:

                      Bring me thoughts and words, pass me the revolver
                      I can see for miles, and everything’s in color
                      Rock and roll all night until I feel the thunder
                      I got a handle on some complicated fun

                      We’re all sniffing glue, pleasures so unknown
                      A circle drawn in blue, the murmur baritone
                      Picnic on a Pedro lawn, heaven took that monkey song
                      Never mind the battle won, could you be the loveless one?

                      “I don’t know if there’s an arc to this record,” Bob says. “But if I had to boil it down to one core idea, it would be: I love music. I love my life. I love what I do for a living. It’s right there on the lyric sheet; it references itself, really. More than any other record I’ve made, this one gives a real glimpse into how much making music means to me as a means of expression, as well as what music means to me as a fan.”

                      And so has it always been the case for Bob Mould, the music he’s created defining every phase of his life, both cataloging memories and propelling him ever forward: Hüsker Dü’s formation in 1979 and the hardcore anthems, tight, melodic, hard-pop chestnuts, and sprawling double-vinyl conceptual opuses it churned out in equal measure up to its dramatic 1987 flameout; Bob’s solo works ranging from his landmark 1989 debut Workbook to Black Sheets of Rain (1990), Body of Song (2005), District Line (2008), and Life and Times (2009); his forays into electronic music, including 2002’s Modulate and his Blowoff collaboration with Richard Morel; and of course, the soon-to-be-reissued body of work that Sugar packed into its brief existence, featuring the 1992 debut Copper Blue which Bob and his band have been playing front to back at recent live shows. It seems to be Bob’s summations and reflections on these major creative periods of his life and career that open up new wellsprings while coming to terms with the old works—a natural process that has produced winning results yet again in the form of Silver Age.

                      “It’s no coincidence that this record came at this point,” Bob says. “In 1991, closing the door on a run of all-acoustic shows led right into the beginning of Sugar and Copper Blue. So you could state a case that the solo shows accompanying the book readings through 2011—plus the Disney Hall show and knowing the 20th anniversary of Copper Blue was right around the corner—wrapping that all up led me right into Silver Age. I’m well aware that there’s no way to get into a time machine and go back to being the person I was 20 years ago, but it is nice to get three musicians in the studio together and get back inside that three-minute pop song structure again.”

                      OUR LINKS


                      Fury Things

                      MORE INFO COMING SOON!



                        9/14

                        Gary Clark Jr

                        | All Ages | 7 pm

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                        Gary Clark Jr

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                          9/14

                          The Americans

                          Nicholas St. James

                          | All Ages | 8 pm

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                          The Americans

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                            Nicholas St. James

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                              9/15

                              The Hood Internet

                              Show You Suck
                              KD Kuro

                              | All Ages | 8 pm

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                              The Hood Internet

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                                Show You Suck

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                                  KD Kuro

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                                    9/16

                                    Andy Frasco & The UN

                                    Sunu

                                    | All Ages | 8 pm

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                                    Andy Frasco & The UN

                                    Andy Frasco, the 27-year old Los Angeles, CA native singer / songwriter / band maestro / entrepreneur /

                                    party starter / everyday hustler, and his band of gypsies “The U.N.” have been cited frequently as “Party

                                    Blues,” but the band’s musical inspirations and influences run much deeper incorporating elements of

                                    Soul, Funk, and Rock as well as tones of Roots, and Americana, creating a much more diverse sound and

                                    style that is distinctly Andy Frasco & the U.N.

                                    Frasco’s shows have been described as infectious, entertaining, and feel good. His performances are

                                    recognized as orchestrated chaos, inciting frenzied, undeniable good times, dancing, and perhaps even a

                                    good ole fashion freak out.

                                    Touring independently across the U.S. and Europe since he was 18 years old, Frasco first got his taste of

                                    the music industry managing and promoting bands when he was 16 years old -booking bands like Hello

                                    Goodbye, and working with labels such as Drive Thru and Atlantic Records, as well as venues like The

                                    Key Club in Hollywood, CA.

                                    Since his start, Frasco has embodied a DIY attitude and work ethic, making the road his home; averaging

                                    200+ dates a year, trekking over 200,000 thousand miles spanning the country dozens of times over,

                                    blowing minds and building a loyal following everywhere he goes.

                                    2014 marked a breakout year for Frasco, highlighted by the release of the band’s 3 rd full-length studio

                                    album Half A Man, a host of high profile festival performances both domestically and overseas, and

                                    recognition from national press outlets such as Pollstar, Live For Live Music, and Relix.

                                    Produced by Grammy Award Winning, Charles Goodan, Half A Man received warm praise from press

                                    and fans alike, charting in the top 10 of Relix/Jambands.com Radio Chart for nearly 6 months, while the

                                    road highlighted featured performances on festivals like Wakarusa, Electric Forrest, and YSMB’s

                                    Harvest Festival in the US, and festivals like Zwarte Cross (NL), King’s Day Festival (DE), Bamberg Jazz

                                    Festival (DE), Guezenpop Festival (NL), and the COTAI Jazz & Blues Festival in Macau, China.

                                    To date, Andy has shared the stage and performed with artists such as Leon Russell, Galactic, Jackie

                                    Greene, Gary Clark Jr, Jakob Dylan, Butch Walker, Deer Tick, John Mayer, Karl Denson’s Tiny

                                    Universe, Fishbone, Lukas Nelson, JJ Grey & Mofro, Lettuce and more.

                                    Continuing to build off the success of 2014, Frasco & the U.N. continued to pick up momentum both at

                                    home and abroad in 2015 with featured performances at SXSW, Wakarusa, Phases of the Moon, and

                                    Backwoods Music Festival in the U.S., as well as Totaal Festival (NL), a return to Zwarte Cross (NL),

                                    Open Flair Festival (DE), and Open Air Gross Lindow (DE) overseas.

                                    Amidst another heavy year of touring the band also recorded their 4 th full-length studio album, “Happy

                                    Bastards”, set for release by Ruf Records on February 26, 2016 with producer Rick Parker (Lord Huron,

                                    Black Rebel Motorcycle Club, Sugarcult).

                                    OUR LINKS


                                    Sunu

                                    SUNU is a wall of drums, horns and funk. Formed in 2007 in Lawrence, KS this 9 member ensemble mixes afrobeat, jazz, funk, New Orleans street beats and West African dance drumming to create a tasty brew of shake your ass music.

                                    SUNU is:

                                    Dylan Bassett –Drums & Percussion
                                    Dan Pem –Saxophone
                                    Rv. Aaron Morris –Trumpet and Vocals
                                    Chris Leopold -Trumpet and Trombone
                                    Tommy Johnson -Trumpet
                                    Michael Hamm –Guitar
                                    Chris Shaw –Bass
                                    Taylor Babb –Drums & Percussion
                                    Alex Thiessen –Drums and Percussion

                                    OUR LINKS


                                    9/17

                                    The Anniversary

                                    Heidi Lynne Gluck
                                    Psychic Heat
                                    Lily Pryor

                                    | All Ages | 8 pm

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                                    The Anniversary


                                    Jim David, Adrianne Verhoeven, Josh Berwanger, Justin Roelofs, Janko

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                                    Heidi Lynne Gluck

                                    MORE INFO COMING SOON!



                                      Psychic Heat

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

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                                      Lily Pryor

                                      MORE INFO COMING SOON!



                                        9/19

                                        Blitzen Trapper

                                        Kacy & Clayton

                                        | 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


                                        Kacy & Clayton

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                                          9/20

                                          Agent Orange

                                          Counterpunch
                                          Stiff Middle Fingers

                                          | All Ages | 8 pm

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                                          Agent Orange

                                          MORE INFO COMING SOON!



                                            Counterpunch

                                            MORE INFO COMING SOON!



                                              Stiff Middle Fingers

                                              SMF came together in 2010 when Travis Arey (Panda Circus, The Akanes), Cameron Hawk (The Dead Girls, Hidden Pictures), Barry Swenson and JP Redmon (Many Moods of Dad, Podstar) thought it would be fun to put together a short, blistering set of some of their favorite classic punk tunes. Since then, the list of songs has grown exponentially, and the SMF stage show has become nothing short of incendiary. While the band has been known to perform entire sets by certain bands (like the Descendents), they have recently started writing their own songs and plan on showcasing both originals and covers on a regular basis.

                                              Stiff Middle Fingers (SMF) is primarily a classic punk cover band. We play songs by Black Flag, Descendents, Minutemen, The Jesus Lizard, Ramones, Sex Pistols, Buzzcocks, Dead Kennedys, Wipers, Misfits, The Damned, Devo, Husker Du, Bad Brains, Mudhoney, The Vapors and many more...including Stiff Little Fingers, of course. We also write our own tunes from time to time, which carry the militant, SST-style DIY aesthetic of the songs we cover.

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                                              9/22

                                              Corey Smith

                                              Luke Combs

                                              | All Ages | 8 pm

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                                              Corey Smith

                                              The way Corey Smith sees it, he owes a debt to his fans. And it’s one he is determined to repay with his 10th album, While the Gettin’ Is Good. The project, released on Sugar Hill Records, marks the first time that the singer-songwriter, a wildly popular touring artist who has produced all of his past efforts, has turned over the reins to a bona fide country music producer in Keith Stegall. The result is Smith’s most ambitious record yet, as well as a return on the investment made by the fans who have supported him since his first album in 2003.

                                              “A lot of start-up acts are using fan-funded programs to finance their record. That’s what my whole career has been: Kickstarter before Kickstarter. When my fans show up and buy a ticket and a t-shirt, they’re investing in what I’m doing,” says Corey. “It’s my responsibility to invest it wisely and give them the best album I can. That’s what led me to While the Gettin’ Is Good.”

                                              It’s also what led him to Stegall, who has produced such radio heavyweights as Alan Jackson and Zac Brown Band. It was the producer’s track record, country-music experience and easy-going nature that convinced Corey that he was the man to refine his signature acoustic sound. “Keith knows how to make country records,” he says, “but I wanted to make my kind of country record and he understood that immediately. He simply wanted to get us comfortable in a studio environment so we could do what we do onstage every night. For me, it was very liberating to be able to focus solely on performing and not be burdened by a lot of the decision-making and drilling down that goes into producing. It was the first time I was able to go into the studio and focus on what I do best. Keith was there to handle the rest.”

                                              A collection of 12 songs, While the Gettin’ Is Good was written entirely by Corey. As such, it’s a deeply personal album, one that explores themes of love, hometown pride and even personal discovery. A close relative inspired one of the record’s highlights, “Bend,” about learning how to adapt to what life throws at you.

                                              “I wrote ‘Bend’ about a family member who was struggling with issues and I realized through writing this song that I was also talking about myself at the same time,” says Corey, who scored a Top 20 album with The Broken Record in 2011. “So that song really hits home.”

                                              Still, the album stands as the Jefferson, Georgia, native’s most upbeat. Especially on the nostalgic “Pride,” a bouncing look back at Corey’s high school days, from pep rallies to game day. His children attend the same school he did and together they often attend high-school football games, where the one-time social studies teacher sees friendly faces from his past.

                                              “I remember sitting up in the stands going, ‘Man, this is so cool.’ I’m so glad we decided to stay here and let my kids be a part of this tradition,” he says. “‘Pride’ summarizes who I am and even how my career has developed.”

                                              Likewise, album opener “Don’t Mind” coasts along with a New Orleans vibe, full of fiddle and clarinet. A fun, happy song, it sets the tone for the record and pays tribute to the things we all gladly bear when we’re in love. It also epitomizes Corey’s current worldview.

                                              “I have a 2006 truck that runs great, so I don’t need a new truck. I don’t have much time to get on a big lake, so I don’t need a bass boat. I could have bought some really cool stuff with the money that I spent on this record, but I didn’t, because I’m happy,” he says. “It’s a privilege to be able to do something like this, finance it myself and not have anyone telling me how my music needs to sound.”

                                              Nonetheless, Corey has hit on the perfect song for today’s country radio: the approachable ballad “Taking the Edge Off.” It’s a road-weary travelogue, like Bob Seger’s “Turn the Page” or Zac Brown Band’s “Colder Weather,” about the loneliness of touring and how people who travel combat such feelings.

                                              “It captures a certain mood that we go through, especially in the winter. It’s really a grind, it gets cold and lonely, and you’re taking the edge off with a drink,” he admits. “I remember being in Omaha and it was cold as hell. I worked on that tune throughout the day and night there and every time I hear it, I am transported back to that time.”

                                              Now, however, Corey is focused squarely on the future. As the new album title suggests, he’s ready to make a determined grab at country’s brass ring while the gettin’ is good. And with Keith Stegall and Sugar Hill Records behind him, the gettin’ has never been better. As the perseverant Corey is fond of saying, “There is more than one way to skin a cat in country music.”

                                              “I always dreamed of being able to make a record like this. I wanted to explore all the possibilities of a song and work with a producer who was among the best and who could teach me,” he says. “What makes me different is that I write all these songs, and I write them from the heart. I’ve lived them.”

                                              Which is exactly why his fans are willing to go along for the ride and invest so much in an artist who speaks to their way of life. To Corey, While the Gettin’ Is Good is his way of opening up his heart, along with his wallet, and paying them back.

                                              “I’m going to take the goodwill they’ve given me and continually invest it into making better and better records that reflect who I am and my vision,” he says. “They’ve entrusted me with a lot, so I’m trying to be the best steward I can be.”

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                                              Luke Combs

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                                                9/23

                                                Drive-By Truckers

                                                Son Volt (Trio)

                                                $71.50 | All Ages | 7 pm

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                                                Drive-By Truckers

                                                English Oceans, the 12th release by Athens, Georgia's Drive-By Truckers, is an elegantly balanced and deeply engaged new effort that finds the group refreshed and firing on all cylinders.
                                                All but one of the collection's 13 new songs, written by singer-guitarists and co-founding members Patterson Hood and Mike Cooley, were recorded during 13 days of sessions in August 2013 with longtime producer David Barbe.
                                                Six of the songs were the result of a burst of writing activity by Cooley.
                                                "I had time to write," Cooley says. "After we came off the road last time, we decided we were going to let it rest for a while. So I had time to really focus. I kind of had to re-learn how to write, because I didn't write as many songs as I'd wanted on the last couple of records. I was happy with these songs, and thrilled to go in and record so many that I felt real strongly about."
                                                Hood notes, "I don't think we've ever had a record where Cooley was as deeply involved in every aspect of the making of it as he was this time. With Cooley's writing, there's almost no precedent for it in our catalog. He came in with this stunning bunch of songs, full of this beautiful imagery."
                                                Writing independently, Cooley and Hood penned songs that dovetailed brilliantly with each other. Hood says, "Every song on this record connects with another song. I noticed Cooley's got a line in 'Primer Coat' about 'apron strings,' and I have the exact same image in one of my songs, 'Hanging On.' It goes on and on and on like that on this record, and that's a pretty good sign for things, particularly given how different our temperaments are and our styles of writing are."
                                                Cooley and Hood's brace of character-based songs depict a neatly interlocking gallery of relationships, often in dissolution and discord. The last song written and recorded for the album, Hood's rave-up "Pauline Hawkins," was based on a new novel by Willy Vlautin and penned after another of his compositions was scrapped.
                                                Hood says, "There was such a balance between Cooley's songs and my songs that taking a song off the record would upset the balance a little bit. I liked the back-and-forth flow, like our shows tend to do. I got an advance copy of Willy's latest book, The Free. I've been a fan of his writing for a while. I read it in about three days. I finished it on Saturday, I wrote the song on Sunday, and then we cut it on Thursday and mastered the record on the following Monday. It sure makes it a better record."
                                                DBT's ever-keen political edge can be seen in two songs on the release. Cooley's "Made Up English Oceans" derives from his interest in the career of Lee Atwater, the Republican operative who was active in the Reagan and Bush campaigns of the '80s. "He was the guy that Karl Rove and all of the modern dirty tricksters looked to – he was one of the granddaddies of it all. That song is from his point of view, fictionally of course. It's him making his pitch, telling what he understands about young, Southern men."
                                                Hood says "The Part of Him" was inspired by the procession of scandals that plague the political world year after year. "It's about political assholery -- there's someone new playing that role every few months," he says. "As soon as we get rid of one of them, someone comes up and starts playing that part again."
                                                Reflecting the renewed high level of collaboration between the band's two principals, English Oceans marks an unprecedented event: the recording of a Hood song, "Til He's Dead or Rises," with Cooley assuming the lead vocal.
                                                Cooley says, "I remember Patterson was getting frustrated trying to sing it. He was doing fine, but it seemed like there was something he wanted to do that wasn't coming. I was in the control room thinking, 'I could probably sing this' -- though it wasn't like I was saying, 'Oh, I can sing this a lot better than that.' I was thinking, 'This sounds like something I could sing.' Right after that, he walks into the control room and says, 'You want to trying singing this? It sounds more like you than me.' I said, 'Yeah, I was just thinking that.'"
                                                "Grand Canyon," the final song on the album, is an emotionally overwhelming elegy for Craig Lieske, a longtime member of DBT's touring family. The former manager of Athens' 40 Watt Club and a key player in the city's experimental music scene, Lieske died suddenly of a heart attack in January 2013 following the first night of the band's three-night homecoming stand in Athens. English Oceans is dedicated to him.
                                                "I probably wrote it in 15 minutes," Hood says. "It wasn't any kind of a conscious thing. It's the most important song of mine on the record. I wrote new songs to go with it. It recalibrated something. It became a totally different record for me than the record I thought we were going to make."
                                                The album was recorded with a compact, retooled lineup. Jay Gonzalez, who joined the band in 2008 as keyboardist, stepped into an expanded role by adding guitar to his duties, while bassist Matt Patton was drafted from the Tuscaloosa group The Dexateens. The unit was road-tested during dates in 2013.
                                                Cooley says, "This lineup is so direct. It can go from this chainsaw rock 'n' roll to very delicate, pretty-sounding stuff. We wrote a lot of those kinds of songs, and this lineup got all of that well."
                                                Hood agrees: "We recorded with a stripped-down lineup that gave things a more primal and immediate feel. It's a more turn-on-a-dime kind of thing, which suits these songs, and us as a band. It's a very tasteful group, and when it needs to be it can be a very big, powerful, over-the-top band, too, and it can go from one to the other seamlessly."
                                                Looking at the accomplishments of English Oceans from the perspective of DBT's nearly three-decade history, both Cooley and Hood decline to hedge their bets on the quality of their latest work.
                                                "You're always hesitant to say, 'Oh, this is the best record we've ever made,'" Cooley says, "because you always want to. And sometimes you say it, and sometimes you're right, and sometimes you think, 'Well, maybe I jumped the gun on that a little bit, I got excited.' But I think this just might be the best record we've ever made."
                                                Hood concurs enthusiastically: "It's my favorite thing that we've ever done. I'm proud of our catalog – we always try to make as good a record as we can make. Sometimes things just work. This time, we made kind of a magical record. I've always felt that Decoration Day was our best record, and this is the first one that I think is a better record than that was. Every piece of the puzzle fit."

                                                OUR LINKS


                                                Son Volt (Trio)

                                                MORE INFO COMING SOON!



                                                  9/23

                                                  G Love & Special Sauce

                                                  | All Ages | 8 pm

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                                                  G Love & Special Sauce

                                                  “When you get the spark, you got to ride that energy,” says G. Love, and that spark
                                                  certainly ignites on his 10th studio full-length Love Saves The Day. He calls the new
                                                  release “the fullest realization of the hip-hop blues” that he first pioneered with Special
                                                  Sauce in the early ‘90s. The album, due out October 30 on Brushfire Records, not only
                                                  features G. Love’s long-term Special Sauce rhythm section – upright bassist James “Jimi
                                                  Jazz” Prescott, and drummer Jeffrey “The Houseman” Clemens – but also prominent
                                                  guest performers including Los Lobos guitarist David Hidalgo, Lucinda Williams,
                                                  Citizen Cope, Ozomatli, DJ Logic, Money Mark, Zach Gill and Adam Topol.
                                                  To create their down and dirty “trashcan blues” sound, G. Love and Special Sauce
                                                  returned to Brushfire Records’ Solar Powered Plastic Plant in Los Angeles. The band was
                                                  excited to reteam with Sugar engineer and producer Robert Carranza (Jack Johnson,
                                                  Beastie Boys, Mars Volta). They recorded live with few edits to capture the immediacy
                                                  of the music: G. Love making his guitar snarl and his harmonica moan, bassist Prescott
                                                  bringing nimble funk to the bottom end and Clemens’ drum work crackling with power.
                                                  “The music,” G. Love enthuses, “jumped off the tape.”
                                                  The new album completes the trilogy for G. Love that started with 2011’s Fixin To Die.
                                                  That disc stripped his music down to its roots and saw him record with The Avett
                                                  Brothers, while Sugar, in G. Love’s words, “reconnected the blues with the electric side”
                                                  and reunited the original trio to create the band’s signature style of blending John Lee
                                                  Hooker blues with “Golden Era” hip-hop beats. On Love Saves The Day the group dives
                                                  even deeper, making the grooves heavier, the music rawer and the performances more
                                                  authentic.
                                                  G. Love also feels Love Saves The Day is his most rock ‘n’ roll record yet. Just listen to
                                                  the title track that opens the album and you’ll hear why. This blast of furious blues,
                                                  powered by David Hidalgo’s wicked guitar work, stands toe-to-toe with the classic work
                                                  of Cream and the other blues-inspired bands of the ‘60s and early ‘70s. Hidalgo, a
                                                  returnee from the Sugar sessions, plays on two other songs, “Dis Song” and “That Girl.”
                                                  Besides being the first tracks recorded, G. Love sees these three tunes as forming the core
                                                  of the album. They also lead off the release and set the record’s rugged, raucous tone.
                                                  This wonderfully unruly spirit flows through the revved-up rendition of the old Leadbelly
                                                  tune “New York City,” where G. Love does a delightfully ragged duet with celebrated
                                                  singer-songwriter Lucinda Williams. On the mesmerizing “Muse,” which arose from an
                                                  all-night writing session he had with his old pal Citizen Cope, G. Love’s sinewy slide
                                                  guitar drives the tune’s southern rock/hip-hop hybrid groove. “Baby Why You Do Me
                                                  Like That” kicks off with scratching from another old friend, D.J. Logic, and features the
                                                  album’s heaviest hip-hop beats. Adding to the groove on “Muse” and “Baby…” is the
                                                  energetic horn work supplied by L.A. band Ozomatli; however, their contributions really
                                                  shine on “Let’s Have A Good Time,” a super funky jam that could have easily been a lost
                                                  James Brown gem.
                                                  2
                                                  Although “Let’s Have A Good Time,” along with the catchy, power-of-love ode “Peanut
                                                  Butter Lips,” rank as the lighter tunes on the album, the overall lyrical mood, as G. Love
                                                  easily admits, tends to favor the darker side. Even the seemingly optimistic title track
                                                  turns heavy towards the end. Standout cut “Back To Boston,” which examines a troubled
                                                  relationship, was written on a drive from New York City to Boston. Longtime fans will
                                                  recognize the tune from the acoustic EP Bloodshot & Blue, but G. Love wanted to give it
                                                  the full-band treatment, with the new version showcasing frequent collaborator Mark
                                                  Boyce’s jazzy organ work. The rough-hewn performances on tracks like “That Girl,”
                                                  “Pick Up The Phone” and “R U Kidding Me…!” further reflect the lyrics’ raw emotions,
                                                  with the sharp-tongued “Dis Song” representing the peak of, as G. Love calls it, “pissedoff-
                                                  ness.”
                                                  Whether angrily railing about a girl with a “shotgun tongue” in “Dis Song,” joyfully
                                                  leading a party celebration in “Let’s Have A Good Time,” or solemnly addressing love
                                                  woes on the solo acoustic tune “Lil’ Run Around,” G. Love’s vocals vividly express his
                                                  torn-from-the-heart emotions. He has been putting more emphasis on his singing in the
                                                  past few years, and feels his vocals on the new album are his strongest ever. G. Love
                                                  admits that singing with Citizen Cope and Lucinda Williams on this album, and the great
                                                  session singer Merry Clayton on Sugar, made him raise his game.
                                                  He certainly has come a long way in the 20 years since drummer Clemens discovered
                                                  him performing in a Boston pub. The two started playing together and, after Clemens
                                                  brought in upright bassist Prescott, G. Love & Special Sauce was born. Their self-titled
                                                  debut, featuring the hit “Cold Beverage,” wound up going gold. The band became known
                                                  for their live shows and performed around the world. G. Love has played with and
                                                  without Special Sauce over the years, but now the trio is back together and it feels right.
                                                  G. Love believes the current manifestation of the band is stronger than ever and is riding
                                                  a creative high, adding “and we didn’t want to kill each other.”
                                                  Love Saves The Day marks G. Love’s sixth with Brushfire Records and he’s thrilled with
                                                  their relationship. He lauds label chief Emmett Malloy as someone driven by creativity
                                                  first and whose aesthetic tastes he trusts. G. Love views today’s music world as the Wild
                                                  West, with “all the lines washed away;” however, his genre-blurring music now is more
                                                  relevant than when he started. “It’s a good time to be doing what we are doing,” he
                                                  asserts, noting Gary Clark Jr., Jack White, Robert Randolph and Galactic as some fellow
                                                  keepers of the blues flame who “maintain the roots but push music forward.”
                                                  G. Love proudly describes himself as a road dog who “will be touring until I fall off the
                                                  earth” and plans to keep on pushing with Special Sauce from stage to stage. Whether
                                                  Love Saves The Day makes one dollar or a million isn’t a big concern to him. It stands as
                                                  a huge success because he made the gritty, honest album that he intended by “keeping it
                                                  raw, keeping it immediate, keeping it real.” It’s an approach that he has honed over the
                                                  years: “be original and be true to what you do.”

                                                  OUR LINKS


                                                  9/24

                                                  Steve Poltz

                                                  Truckstop Honeymoon
                                                  Sky Smeed

                                                  | 18 & Over | 8 pm

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                                                  Steve Poltz

                                                  Steve Poltz is obsessed with the challenge of knowing and understanding the thoughts of each and every person in his audience. He is a lover of life; fascinated by all things large and small. As a road-tested troubadour armed with whimsy, curiosity and a healthy respect for the absurdities of existence, he is unafraid of saying yes, unafraid of letting his relentless, giddy energy fill a room and he is unafraid of letting his streams-of-consciousness take him where he needs to go.

                                                  His songs are guileless snapshots filtered through the windshield of his brain. He opens his mouth and lets it fall out - a SONG - and it's as shameless and intriguing and profound and wondrous as he is. A mix of high octane performance, singular wit and endlessly entertaining storytelling, Steve is legendary for his improvisational songwriting and timeless, original classics. Oh, and he's a pretty good guitarist too.

                                                  OUR LINKS


                                                  Truckstop Honeymoon

                                                  Truckstop Honeymoon play tough, funny, hi-octane songs about interstates, pinball arcades and true love. Katie Euliss pounds a doghouse bass while Mike West punishes a banjo mercilessly. Together they charm festival crowds and drive roadhouse drinkers to the dance-floor.

                                                  Since hurricane Katrina washed them out of New Orleans, Truckstop Honeymoon have traveled to the ends of the Earth and back, performing in Australia, Holland, Germany, Britain and throughout the US. Their music tells a story so honest and strange you know they didn’t make it up.

                                                  Katie learned whore-house piano and bucket bass in the streets of the French Quarter. There she met Mike, a banjo-slinging grifter who sold CDs he claimed cured hangovers and small-mindedness. After a court house wedding, the pair hit the road. They spent their wedding night in a truck stop somewhere between Lafayette and the Atchafalya Swamp. And so Truckstop Honeymoon was born.

                                                  On August 29 2005, flood waters submerged their home base in the Lower 9th Ward of New Orleans. Truckstop Honeymoon were on tour when the storm hit and so on-tour is where they stayed. Mike and Katie played shows every night, lived out of their van and kept their two daughters entertained in convenience stores across America. But eventually, the road weary family parked their rig as far from any large body of water as they could get: Lawrence, Kansas.

                                                  Truckstop Honeymoon continue to tour and build a loyal following from Illinois to Norway. They have put out four CDs on Baton Rouge label, Squirrel Records, and a full length documentary film by Nathan King Miller, “I Won’t Let The Angels Take You Away”, will soon be available on DVD.

                                                  When they are not traveling, Katie and Mike run The 9th Ward Pickin’ Parlor, a small studio where they produce songwriters, bands and eccentrics from all over the United States

                                                  OUR LINKS


                                                  Sky Smeed

                                                  MORE INFO COMING SOON!



                                                    9/27

                                                    Jerry Joseph & the Jackmormans

                                                    Tyler Gregory

                                                    | 18 & Over | 8 pm

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                                                    Jerry Joseph & the Jackmormans

                                                    Jerry Joseph has worn a lot of hats over more than three decades in the music trenches – righteous rocker, hyper-observant cultural observer, spiritual & political firebrand, force of nature live performer – but the bedrock of what he does has always been songwriting of the highest caliber. Joseph is a kindred tunesmith to sharp, craftsmanship minded pros like Elvis Costello, Warren Zevon and Nick Lowe, where the resoundingly sturdy bones inside their compositions shape things no matter what’s draped over them. It’s a dedication to fundamentals and classic singer-songwriter standards that’s increasingly rare and welcome in a music environment that emphasizes texture and mood over substance. While Joseph has made acoustic albums in the past his new self-titled record (available 10/31/13 on Cosmo Sex School) is his most exposed studio effort to date, the man, his guitar and songs standing in the spotlight with an open invitation for listeners to sit at his heel as he explores some of the strongest, finest reaches of his rich catalog.

                                                    “It was hard to do,” says Joseph. “It’s like that dream where you’re naked at school except I’m naked in a circle with my favorite songwriters. Nick Cave, Aimee Mann and Robert Wyatt are there and say, ‘You play one, Jerry.’ What the fuck do I play? Well, I play ‘War at the End of the World,’ ‘Cochise’ or ‘Spy’ and hope they don’t laugh me off the stage. In the end, the point of this album is to get in that circle and show what I’ve got.”

                                                    With clear, pleasantly immediate production from longtime collaborator Gregg Williams (Blitzen Trapper, Dandy Warhols), Jerry Joseph draws out hidden gems from his writing for Stockholm Syndrome, The Denmark Veseys and earlier overlooked solo releases to explore the soul floating inside his work. It’s an intimate, passionately delivered, patiently rendered portrait of a serious songsmith laid bare akin to Chris Whitley’s Weeds, Joni Mitchell’s Blue, Michael Hedges’ Watching My Life Go By, Tim Bluhm’s California Way, and Patty Griffin’s Living With Ghosts. It’s an album that sighs and laughs in real time, the emotional core lifted to the surface, the truths inside the songs as shiningly visible as their creator in this special setting.

                                                    “We recorded about 30 songs chosen carefully from the whole catalogue though consciously less from more recent records,” says Joseph. “What ended up on this album represent, to me, pretty good songwriting presented in a super intimate, completely unaffected way. We tried for perfect takes early on and figured out quickly that we just needed to let the tape roll and let each performance be as honest as possible.”

                                                    “They’re not my children, but I feel like I owe it to the songs to explore possibilities and reflect on them in a different light,” says Joseph. “With this record we wanted to leave every verse in, let the songs breathe a bit like early Dylan albums – clean, recorded with really good mics, versions that mean something.”

                                                    Joseph first came to prominence in the mid-1980s with still-beloved cult band Little Women, a reggae-rock proto-jam band that dominated the Rocky Mountain club scene for nearly a decade, and notably helped break jam giants Widespread Panic, who looked up to Joseph and opened for his band before rising to prominence. To this day, many of Panic’s favorite concert staples were written by Jerry Joseph, including such blazing epics as “North,” “Chainsaw City” and “Climb to Safety.” Today, Joseph neatly describes Little Women as “a mash-up of Burning Spear and the Grateful Dead dressed up like the New York Dolls.”

                                                    – Dennis Cook, 2013

                                                    OUR LINKS


                                                    Tyler Gregory

                                                    Hailing from the rolling hills of Kansas, Tyler Gregory can regularly be found busking on city streets with his deep voice and steam-powered melodies bouncing off the street-side architecture. His sturdy songcraft takes cues from WWII-era blues bellowers like Leadbelly and Son House.

                                                    Gregory's mix of blues and roots music howls with a sense of passion and freedom. Singing songs portraying stories of travel, land, and the meaning of simplicity, Gregory goes full force on his guitar/stomp-box live performance arrangements.

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                                                    9/29

                                                    Midnight Marauders

                                                    18 & Over | 8 pm

                                                    Midnight Marauders

                                                    DJ G Train- Johnny Quest- Dj Proof

                                                    Say no more...

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                                                    9/30

                                                    Blackalicious

                                                    LUSHLIFE

                                                    | All Ages | 8 pm

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                                                    Blackalicious

                                                    "We're older, we're wiser, we're more mature," MC Gift of Gab (nee Timothy Parker) says of Imani, Vol. 1, Blackalicious' first new album in a decade. "It's better now, because we've grown as people and artists."
                                                    "Each one of these records is a chapter in our lives, and we put our complete heart and soul into it," agrees Gab's longtime musical partner, CJ/producer Chief Xcel (aka Xavier Mosley). "We live these records."
                                                    Imani, Vol. 1 lives up to the beloved California-bred duo's hard-won reputation as one of hip-hop's most progressive, forward-thinking creative forces. Acclaimed for the sublime combination of Gab's verbal dexterity and lyrical eloquence, and X's bracing beats and distinctive soundscapes, Blackalicious has earned widespread respect, both inside and outside of the hip-hop community, for the wildly inventive, personally charged innovations of its first three albums, 1999's Nia, 2002's Blazing Arrow and 2005's The Craft.
                                                    Three years in the making, Imani, Vol. 1—the first of a projected trilogy to be released over the course of two years—is perhaps Blackalicious' most ambitious and accomplished effort to date, maintaining the spirituality, introspection and positivity that are the twosome's trademarks, while making it clear that their musical vision and creative drive remain as strong as ever.
                                                    Although Imani, Vol. 1 is driven by Gift of Gab's uplifting verbal sophistication and Chief Xcel's expansive sonic sensibility, which are as distinctive as ever on such riveting tracks as "On Fire Tonight," "Escape," The Sun," "We Did It Again" and the epic "Alpha and Omega."
                                                    The pair is joined by such guest performers as Afro-pop diva Zap Mama, who's featured on the title track; Amde Hamilton of legendary '60s rap progenitors the Watts Prophets on the album-opener "Faith," eclectic singer-songwriter Imani Coppola on "The Sun," underground hip-hop duo LifeSavas on "That Night," neo-blues auteur Fantastic Negrito on "Love's Gonna Save the Day," Myron of retro-soulsters Myron & E on "On Fire Tonight," and the all-star hip-hop combo of Lateef, Lyrics Born, Monophonics and DJ D Sharp on "Alpha and Omega."
                                                    Imani—whose title is the Swahili word for "faith"—is a particularly personal project for Blackalicious, with its title reflecting the personal trials that helped to inspire the words and music.
                                                    "Faith has been a big word in both of our lives in the last couple of years," Gift of Gab affirms. "We both dealt with some personal situations that really required faith and forced us to think about a lot of things. Most of our albums are about where we are at that point in our lives, and that's definitely true on this one."
                                                    Imani, Vol. 1's birth cycle coincided with Gab's ongoing fight for his health after suffering kidney failure.
                                                    "My kidneys failed at the top of 2012, when we were gearing up to do this record," Gift of Gab notes. "I got put on dialysis, so now when I travel or go on tour, I do dialysis wherever I go. When I got the news, there was a moment where it was a little dark, where I was questioning if I'm still gonna be able to do this. But then I had the realization that no one can ever take my creativity away. I realized that this is a circumstance that I'm temporarily gonna be dealing with, and that I have to make some adjustments for it, but that it doesn't stop me from being a creative person. Once I
                                                    realized that, I started to feel inspired and just threw myself into writing, and that became a big part of the fuel for this record."
                                                    Although it's been a decade since the last Blackalicious release, the pair has remained busy with a variety of musical endeavors. Gift of Gab released three solo albums, 2004's 4th Dimension Rocketships Going Up, 2009's Escape 2 Mars and 2012's The Next Logical Progression. Chief Xcel worked with acclaimed soul singer Ledisi, and formed Burning House with R.V. Salters of General Eletriks, releasing the 2013 album Walking Into A Burning House.
                                                    "Blackalicious never stopped," asserts Gift of Gab. "We just wanted to explore other things as individuals, and in 2012 we realized that it was time to return to the mothership. I was a little nervous at first, and thought that it might take some time to rebuild. But when we started doing shows, we were selling out everywhere, and people were telling us that they grew up on our music. It was encouraging to find out that, even after all these years, we're actually important to people.
                                                    "It's like traveling," Gab continues. "It's always good to travel and see the world. But then when you come back home, you appreciate it that much more. We stepped right back into it, and it was like 'Oh yeah, I remember this. This is home.'"
                                                    "Once we got into the studio," Chief Xcel recalls, "everything flowed very naturally. We just got in there and kind of let the album make itself. When we were in the studio together, it was pretty effortless, because we know each other so well creatively. We wrote about 60 songs for this record, and went with the ones that we felt strongest about. And about 90 per cent of it is live tracks; it's probably the fewest samples I've ever used on a record."
                                                    "X gave me the beats, and I just went in and wrote every day," Gift of Gab states. "There was not a lot of thought or planning this time, it was more about action. It was just, as soon as it moves you, you write something. There was not a whole lot of thought put into it. It was more like 'OK, let's create.'"
                                                    "We're like two kids who've been playing basketball together since the second grade, and now they're in the NBA so they really know each other and can anticipate each other's next move," Chief Xcel says of his and Gab's enduring partnership. "It's totally instinctive, and we kind of communicate without talking. I know just from his physical reaction, when he hears a beat or a song, if there's a spark or if he feels inspired. And vice versa; he can tell by my immediate reaction if we've hit the mark or not. That just comes from time."
                                                    With Imani, Vol. 1 demonstrating that Blackalicious is as potent a creative entity as ever, Gift of Gab and Chief Xcel are embracing their return to the spotlight, and looking forward to reconnecting with their loyal, demographically diverse fan base.
                                                    "I think that this album is coming from a very honest place, and I really think that this is the most creative and prolific point of our careers, so we're really excited about it," Chief Xcel says, adding, "The next year or two, it's gonna be a nonstop balance of touring and being in the studio working on Volumes 2 and 3. We're definitely looking forward to seeing how things evolve and change."
                                                    "In my opinion, this is one of our best records," Gift of Gab agrees. "It's been a long time, we worked hard on it, and I hope that people enjoy it. People will come up to us and say 'Yo, that record changed my life' or 'That record helped me to get sober' or 'That record started me on a spiritual journey.' People say personal stuff like that, and we take it seriously."
                                                    "Our audience seems to be people who see music and art as essential parts of life, and not just disposable accessories," Chief Xcel concludes. "That's who we make music for—people who need music in their life. I'm one of those people. Imani is Swahili for faith, and that's really where we're at at this juncture. We're so rooted in our purpose that we don't have to second-guess, we just know. There's no fear of the unknown, there's just the fire to move forward and get to wherever the journey takes us."

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                                                    LUSHLIFE

                                                    “Peace to Roky Erickson / Peace to Bo Derek / So lost in the television / Walk with the elephants / To die by their relatives / Lushlife holy ghost / Float through the tenements / Back to irrelevance”

                                                    From the moment you hear the bristling boom-bap chorus on album-opener “Totally Mutual Feeling,” it becomes apparent that Lushlife’s third full-length finds the Philadelphia rapper-producer at his most introspective. Themes of isolation and mortality permeate Ritualize, a cinematic hour-long odyssey co-produced by enigmatic production trio, CSLSX (pronounced “Casual Sex“) and featuring contributions from Ariel Pink, Killer Mike, Freeway, Marissa Nadler, RJD2, and more. With CSLSX at the boards, an entire universe opens up for Lush, where the pulsating Juno synths of ’80s LA night music sit side-by-side with gorgeously propulsive indie-leaning jams, and low-fi soul burners too. The resulting LP is a post-blog-era joint that seems to exhale the whole of the 20th century in a single, fascinating breath.

                                                    “After toiling over two self-produced LPs in the last half-decade, I felt compelled to bring on an outside production team for Ritualize,“ Lushlife (born Raj Haldar) explains. “Not only did I want to broaden the musical palette, but I felt like the group production effort would give me a depth of focus on lyrical content and emotion that I hadn’t previously been afforded.“ After a chance encounter with CSLSX, who had been quietly self-releasing low-fi dance gems to remarkable organic blog buzz, the newly-formed team set out on a three-year journey that would eventually yield their new joint album. By the time work began on Ritualize, Lush had already been riding a small wave of critical acclaim for his 2012 full-length, Plateau Vision, an album that made several year-end lists and was described by the Sunday New York Times as a melding of “captivating rhymes with audacious, gorgeous production.“ Still, with Ritualize, Lushlife and CSLSX seem to have gone one deeper.

                                                    From album cut, “The Waking World,” which finds Lushlife spitting thorough sixteens from the vantage of Mark David Chapman lying in wait for John Lennon, to “Incantation,“ a song that’s as much inspired by Allen Ginsberg’s Howl as the general, street-level anxieties of urban life, Ritualizeis nothing short of a step forward. For proof, look no further than “Toynbee Suite,“ a 10-minute, 4-movement rap epic that explores the strange Toynbee Tile meta-art conspiracy that has captivated Philadelphians for decades. As the centerpiece of the album, “Toynbee Suite“ was the subject of a 2013 documentary, and itself represents the combined work of 20+ musicians, including RJD2, Nightlands, Yikes the Zero, and a full chamber orchestra. On the other hand, the CSLSX-produced, “Hong Kong (Lady of Love),“ a collaboration with weird music godhead, Ariel Pink, is a sparse yet powerful four-on-the-floor ode to LA, inspired by the film soundtrack work of Giorgio Moroder, Vangelis, and others.

                                                    “My Los Angeles / My Philadelphiatic / Coke flow Vangelis / Synth rap evangelist“

                                                    And once you start looking for it, the fingerprint of Los Angeles is everywhere on Ritualize. In fact, much of the album was written and recorded as Lushlife made monthly back-and-forth trips between Philadelphia and the west coast. “At some point in early 2014, while dealing with a tumultuous, failing relationship and bouts of depression, I started to suffer from writer’s block, too,“ the rapper recounts. “After awhile, I realized that I was getting my best writing done at 30,000 feet, where distractions were minimal and I felt alone but not lonely.“ So, while Lushlife’s 2009 debut album,Cassette City, might be his take on east coast hip-hop classicism, and Plateau Vision is some kind of pilgrim’s progress to find a hidden America, Ritualize completes the triptych, arriving in LA with a sense of manifest destiny.

                                                    And CSLSX expertly crafts the backdrop for his imminent arrival. Whether it’s the peyote psych-rock of “Burt Reynolds (Desert Visions)“ or the reimagination of William Basinski’s ambient masterwork as an “Integration Loop,“ the musical bed of Ritualize seems to ebb and flow in a way that’s rare in hip-hop. This musical depth turns out to be a perfect bedfellow for Lush, allowing him to conjure a wide array of references with surprising ease; creating a world where ’90s rap romanticism, western esotericism, and personal anguish rub shoulders easily. In the end, we’re left with a stunningly singular rap album that’s as avant-garde as it is accessible.

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                                                    10/6

                                                    New Kingston

                                                    Sensemotion
                                                    New Common Ground

                                                    | All Ages | 8 pm

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                                                    New Kingston


                                                    NEW KINGSTON formed in 2006 in the basement of their Brooklyn home, when brothers Tahir (keys), Courtney Jr. (drums) & Stephen (guitar) began covering music by the likes of Bob Marley, Earth Wind & Fire, Dennis Brown, Michael Jackson, The Whispers and many more. The three brothers, under the watchful eye of their father (and bassist) Courtney Panton Sr., called themselves New Kingston to appropriately reflect a combination of their Jamaican heritage and their present lives in progressive New York City. The musical styles of both places informed their sound and songwriting.

                                                    “We used to come home from school and we’d be marched right down to the music room by our dad,” said Stephen.

                                                    They began performing in other basements and small backyard parties around town, all the while developing their skills and beginning to write their own original music. Talent rises to the top, and soon enough New Kingston started a heavy touring cycle supporting reggae stars such as Rebelution, The Green, SOJA, Matisyahu, Beres Hammond and Collie Buddz, while also securing spots on notable festivals such as the California Roots Festival, Reggae On The River, Summer Jam (Germany), and Uppsala Reggae Festival (Sweden), to name a few. For a while, they joined Collie Buddz to tour as his backing band, which exposed them to international audiences, while continuing their education on what it takes to make a great live show. It also helped them realize they had tons of their own original material and they quickly moved from that role to being a headliner on their own.

                                                    The band’s background and upbringing are reflected in their approach to the industry, as well: they are truly a U.S. reggae band, part of the movement that has revitalized and evolved the genre domestically, with a focus on digital marketing, heavy national touring, and never sticking to a stale formula for what reggae should sound like. As second generation Jamaican-Americans, they are able to just as easily hold their own with the traditional reggae scene.

                                                    New Kingston self-released two full-length albums: In The Streets (2010) and Kingston University (2013). The band recently announced the signing to New York-based reggae label Easy Star Records and will release their third studio album Kingston City on January 27, 2015. The record features collaborations with Tribal Seeds, Kimie Miner, France’s Dub Inc., Sister Carol, The Wailing Souls, and the late, great father of dancehall, Sugar Minott. If that guest list doesn’t give you a snapshot of the combination of the old world and new horizons that New Kingston is all about, nothing will.

                                                    OUR LINKS


                                                    Sensemotion

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                                                      New Common Ground

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                                                        10/8

                                                        Matt Wertz

                                                        Cappa
                                                        Aaron Krause

                                                        | All Ages | 7:30 pm

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                                                        Matt Wertz

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                                                          Cappa

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                                                            Aaron Krause

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                                                              10/12

                                                              Peelander-Z

                                                              Sharks in the Deep End
                                                              The Peoples Punk Band

                                                              | All Ages | 8 pm

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                                                              Peelander-Z

                                                              PEELANDER-Z, the Japanese Action Comic Punk Band based in NYC, was originally formed in 1998 by Peelander-Yellow, Peelander-Red, and Peelander-Blue, after meeting in New York City (although they'll tell you they're all from the Z area on the planet Peelander). Peelander-Green was welcomed in July 2008 after Blue left the band.

                                                              Peelander-Z has appeared at major music festivals including Bonnaroo, CMJ and SXSW, and played with artists such as Buckethead, Electric SIx, Particles, The Vibrators, and Guitar Wolf. Peelander-Z has also been featured on TV programs like VH1's Best Week Ever, Comedy Central's Upright Citizens Brigade, Spike TV's MXC: Most Extreme Challenge, and Anime Network. They also often perform at Anime conventions and festivals all over the US, as well as at Kaiju Big Battel.

                                                              At their live show, you'll see the band in colorful costumes reminiscent of Japanese Animation, though they describe their outfit as their skin. Their shows guarantee intense audience participation and chance to exercise with the band. "Do human bowling with us. Do limbo dancing with us. Do karaoke competition with us. Hit our cowbell with us," says Yellow. " Don't be shy, give us your smile! We can beat your stress! See you at our show!"
                                                              One experience would capture you. Just pay attention to their coming activities.

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                                                              Sharks in the Deep End

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                                                                The Peoples Punk Band

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                                                                  10/14

                                                                  Lettuce

                                                                  The Geek x Vrv

                                                                  $66.50 + F&T | All Ages | 7 pm

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                                                                  Lettuce

                                                                  For more than two decades, Lettuce have brought a new vitality to classic funk, matching their smooth and soulful grooves with a hip-hop-inspired urgency and mastery of beat. Now, on their fourth studio album Crush, drummer Adam Deitch, guitarists Adam Smirnoff and Eric Krasno, bassist Erick “Jesus” Coomes, keyboardist Neal Evans, saxophonist Ryan Zoidis, and trumpet players Eric Bloom and Rashawn Ross deepen that sound by channeling the sonic freedom and infectious energy of their incendiary live show. Produced by Lettuce and recorded/mixed by Joel Hamilton at Brooklyn’s Studio G, Crush first came to life on the road, with the band developing new material and testing it out live as they toured. “We’ve all noticed that our music goes into a lot of different directions onstage, and we wanted to capture that in a way that we never really have before,” says Coomes, who names classic psychedelia and ‘90s hip-hop among Lettuce’s key inspirations on Crush. “It’s definitely more wide-open in terms style, but it still stays true to the funk.” As they pushed into new sonic territory throughout the making of Crush, Lettuce drew on a natural musicality that each member has sharpened through an impressive string of outside projects: Deitch also drums and produces for artists like Pretty Lights and Talib Kweli, Krasno’s played with the Allman Brothers Band and on Grammy Award-winning albums from the Tedeschi Trucks Band and Derek Trucks Band, Ross is a full-time member of the Dave Matthews Band, and the most recent of Coomes’s bass credits include Dr. Dre’s Compton. “We’re all doing such eclectic things, and we all absorb those new experiences and feed them back into our own music,” notes Krasno. “Our palette just keeps growing and growing.” The follow-up to 2012’s Fly, Crush finds Lettuce brilliantly infusing their psychedelic and hip-hop sensibilities into bass-heavy funk. With its spidery guitar work and hypnotic beats, “Phyllis” is a delicately sprawling epic that embodies what Deitch refers to as “a chill-hop vibe that’s kind of the flip-side of all that powerful uptempo funk that people might expect from us.” On “Get Greasy,” Lettuce give a nod to the groove-fueled EDM subgenre known as future funk, building off its highly danceable rhythm with a blissfully loose and horn-laced arrangement. And on “He Made a Woman Out of Me,” guest vocalist Alecia Chakour lends her bluesy growl to a scorching take on Bobbie Gentry’s 1970 country-soul classic. Whether paying homage to Led Zeppelin on the fiery and guitar-driven “Silverdome” or delivering a deeply riveting and richly textured hip-hop medley with “Oresteia,” Lettuce maneuver through Crush’s kaleidoscopic sound with sophisticated ease and powerful synergy. “More so than any of the records we’ve done before, this album is very much about the improvised grooves and improvised solos,” says Krasno. “Instead of going at it like, ‘Here’s a melody, now here’s a guitar solo, here’s another melody, here’s a sax solo,’ everyone’s leaning on each other in a way that’s completely unspoken. It’s all of us moving as one unit and creating this new sound together.”

                                                                  According to Lettuce, that sense of unity and togetherness has much to do with a camaraderie that’s only intensified over the lifespan of the band. Formed in 1992, when several band members attended a summer program at Boston’s Berklee College of Music as teenagers, Lettuce was founded on a shared love of legendary funk artists like Earth, Wind & Fire and Tower of Power. After returning to Berklee as undergrads in 1994, Lettuce started playing in local clubs and steadily built up a following that soon extended to cities across the country and then throughout the world. Releasing their studio debut Outta Here in 2002 and its follow-up album Rage! in 2009, the band dedicated the coming years to balancing their frequent touring with involvement in a host of other musical endeavors (including Evans and Krasno’s role as founding members of acclaimed soul/jazz trio Soulive). In recent years, Lettuce have watched their fanbase expand as they’ve hit bigger and bigger stages and earned their name as a can’t-miss festival act. And in making Crush, the band had no trouble harnessing the spirit of their explosive live show. “Some of these shows we’ve played over the past couple years have been so amazing, it’s like you go home a different person,” says Coomes. “I’m sure remembering those moments in our minds and our hearts helped bring out something special when we were recording these new songs.” So while Crush offers everything from all-out party jams to headphone-ready journeys into space funk, each track was born from an unabashed joy and love of live performance. “That energy we get when it’s prime time and we’re about to go onstage and we’re just excited beyond belief—that all came out on this new album,” says Deitch. “There’s a feeling that the band is rising, and it’s a really beautiful thing.”

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                                                                  The Geek x Vrv

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                                                                    10/14

                                                                    Wookiefoot

                                                                    Heatbox
                                                                    Jon Wayne & the Pain

                                                                    | All Ages | 8 pm

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                                                                    Wookiefoot

                                                                    Wookiefoot is a band, a non-profit charity organization (BeTheChangeCharities.org) , a circus, a philosophy, and a community of globe trekking bliss junkies and believers that are the fuel to keep this Tribadelic Spaceship going! Their charity organization (with the support of their community) has donated over $400,000 to third world relief efforts. Wookiefoot invites their community home every September… when they host and headline their own Global Conscious Gathering called Shangri~La Festival at Harmony Park in Southern MN.

                                                                    Wookiefoot’s live sets are an entertaining barrage of sonic and visual stimulation. The fast paced circus like set has been called “Short Attention Span Musical Theater”. These live performances are a one of a kind experience that mixes Reggae, World Beat, Hip Hop, Irish, Funk, Folk, Rock & more with a large band featuring everything from a vintage Hammond Organ to Bag Pipes! Combine that with a mind-blowing stage show that may include anything (such as a light show, projection, costumes, fire, dancers, aerialists, magic, clowns, puppets, etc)

                                                                    Welcome… and thank you for riding Wookiefoot!

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                                                                    Heatbox

                                                                    The One Man Entertainment System, otherwise known as Heatbox, has been emerging in the Minneapolis music scene (“the 612”) for the better part of a decade. From rocking crowds in his humble beginnings with the Root City Band to selling out shows across the country, Heatbox's unparalleled crossover between Motown, A cappalla, R&B, Hip Hop, Soul and Funk has gained National attention from both fans and the media alike.
                                                                    Creating beats and building songs from the ground up, Heatbox uses a Boss LoopStation RC-50 and a DigiTech Vocal 300 to create his songs. Recording each part as he goes, Heatbox's music is live and in the moment. Using no tracks, samples, or pre-recorded music, each song and performance is distinctly unique.
                                                                    Heatbox's discography includes two full-length studio albums, Entertainment (2006) and System (2009). Included on System is a video game, Ninja Strike, designed and programmed entirely by Heatbox. Following the System release in 2009, he co-produced two original music videos, "Pizza Funk" and "Jack & Coke” alongside acclaimed Boston video producer Spookie Daly.
                                                                    Promoting his latest Album, Heatbox is currently touring the US and Canada. In recent months, he toured with fellow solo act That 1 Guy and supported artists such as Buckethead, Medeski Martin & Wood, Bassnectar, Umphrey's McGee and Chali 2na. Additionally, he played notable music festivals including South by Southwest, 10,000 Lakes, Bella Music Fest, Summer Camp, Harvest Fest, Big Wu Family Reunion and Camp Euphoria.
                                                                    Showing no signs of slowing down, Heatbox plans on spreading his music and positive message to the rest of the world. Ultimately, his passion is to entertain people, and that's exactly what he does. He truly is a one-man entertainment system!

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                                                                    Jon Wayne & the Pain

                                                                    If Lee Scratch Perry and Deadmau5 died, went to heaven, and recorded an album with Bradley Nowell and Jerry Garcia, they’d end up with something like Jon Wayne and The Pain’s new full length album “Surrender”. In addition to the Minneapolis trio’s signature sound of roots infused Reggae Rock, their latest release adds a bold fusion of Jam and EDM into the fold.

                                                                    The trio’s previous album “Follow Through” for the most part only teases with a few subtle, dark electronic elements but stays true to the roots infused Reggae Rock sound that could be described as an ideal poolside soundtrack. Until the release of “Surrender”, their sometimes sinister combination of organic drums and guitar with electronic bass and synths could only be heard if fans could catch the band’s live act in clubs and festivals around the U.S. or sift through bootleg uploads on Youtube. Their third full length album is full of electronic instrumentals that build from entrasic dub loops (wait for the drop) then explode into high energy party anthems with intense vocals and powerful acoustic drums.

                                                                    Pushing boundaries further, Jon Wayne and The Pain inject Roots, Jam, and Ska into the mix with sounds that band members Jon, Chuckie, and Teeto have grown to love while playing alongside some of the most influential musicians in the festival scene. Complete with a sanctioned Grateful Dead cover and a festie-fan shout out track “Festival Friends”, JWP pays tribute to the Jam scene in a big way. Keeping in tune with the sound that made fans rush to see Jon Wayne and The Pain since the band’s early days, heartfelt Reggae-Rock tunes are still a staple in the diverse collection of songs that make up “Surrender”

                                                                    OUR LINKS


                                                                    10/15

                                                                    Fed Up Fest by Harvesters

                                                                    Sylvan Esso
                                                                    Hippo Campus

                                                                    | All Ages | 2 pm

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                                                                    Fed Up Fest by Harvesters

                                                                    MORE INFO COMING SOON!



                                                                      Sylvan Esso

                                                                      Sylvan Esso was not meant to be a band. Rather, Amelia Meath had written a song called “Play It Right” and sung it with her trio Mountain Man. She’d met Nick Sanborn, an electronic producer working under the name Made of Oak, in passing on a shared bill in a small club somewhere. She asked him to scramble it, to render her work his way. He did the obligatory remix, but he sensed that there was something more important here than a one-time handoff: Of all the songs Sanborn had ever recast, this was the first time he felt he’d added to the raw material without subtracting from it, as though, across the unseen wires of online file exchange, he’d found his new collaborator without even looking.

                                                                      Meath felt it, too. Schedules aligned. Moves were made. And as 2012 slipped into 2013, Sanborn and Meath reconvened in the unlikely artistic hub of Durham, N.C., a former manufacturing town with cheap rent and good food. Sylvan Esso became a band. A year later, their self-titled debut—a collection of vivid addictions concerning suffering and love, darkness and deliverance—arrives as a necessary pop balm, an album stuffed with songs that don’t suffer the longstanding complications of that term.

                                                                      OUR LINKS


                                                                      Hippo Campus

                                                                      Hippo Campus is four Minnesotan boys making music that is simple, joyful, and thematically soaked with the sense of cynicism accompanying the youthful search of self-meaning.
                                                                      The band’s debut EP, ‘Bashful Creatures’, is set for release November 18, 2014. Recorded over two days at Pachyderm Studios in Cannon Falls, MN, the EP was produced by Low’s Alan Sparhawk.
                                                                      With the philosophy that there is beauty among thorns, Hippo Campus presents the world of Bashful Creatures...
                                                                      Kids, Adults, Youth, Age, Tumblr, and Cigarettes. Boots, Younger brothers. Older brothers, Brothers from other mothers, Summer, Friends, alcohol, drugs, and a touch of Boredom. Heterochromia, Heterosexuals, Teachers, English class Ratchet-ness, Lips, and Dancing in Tank tops. Sneaking out for Friends, Sex, Art, but mostly just art school girls. Playing with Guns, American exceptionalism, “Suicide," Shyness, confidence, and Grace.
                                                                      With love, Beans, Espo, Stitches, Turntan.

                                                                      OUR LINKS


                                                                      10/15

                                                                      Wick-It the Instigator

                                                                      | All Ages | 8 pm

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                                                                      Wick-It the Instigator

                                                                      He’s got a reputation for doing some thoughtfully fresh and mindblowingly original remixes that take him from beyond a standard dub step or mash-up artist to a DJ/producer with skills that have turned heads and caught ears all over the Southeast. In a live setting, he sends people off with his mix of humor, ingenious pop culture samples and beats that can’t be touched. While his roots are firmly planted in hip hop, there is no shortage of heavy electronic bass music at a Wick-it show.

                                                                      OUR LINKS


                                                                      10/19

                                                                      Hellbound Glory

                                                                      | All Ages | 8 pm

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                                                                      Hellbound Glory

                                                                      Barreling through the gates of country music, HELLBOUND GLORY, is justifying rightful ownership to the band’s declarative namesake. In defining their sound, distilled of equal parts melody and bar-room-thump, this Reno, NV based band is packing the house to a growing legion of fans coast to coast. Front man and songwriter, Leroy Virgil, explains; “We just really dig the challenge of a new audience. We’ll walk into a new room full of folks that haven’t heard our music, play a 4 or 5 hour night, and drive away with more people that consider themselves fans. I’m not a flashy guy but I like showing off.”

                                                                      The bands formation in 2008 was a graduation of sorts for Virgil who originally hails from Aberdeen, WA. Relocating to Reno in 2002, the singer jumped head-long into the nightlife of the Biggest Little City In The World. This ‘nightlife’ had an immediate impact on what would become HELLBOUND GLORY’S material. Virgil explains Reno’s influence, “I grew up in a hick-town by a lot of peoples standards. Reno is just a hick-town with taller buildings and brighter lights. Playing Reno is like playing a 24 hour dive bar. No matter where I play, I’m never too far from home.”

                                                                      Virgil’s songwriting consistently tests the boundaries of conventional country music’s lyrical playing field. When asked to describe the band’s signature sound, Virgil proclaims, “Country music was a big influence on the rock music I wrote when I was younger and still in Aberdeen. That same rock music echoes a bit in my country western music today. We’re really not afraid to piss off any of either genre’s purists. We’re just out there being ourselves!” In fact, HELLBOUND GLORY songs resound with equal parts wit and humor. An unabbreviated and honest statement of the world we live in today.

                                                                      Forged through a relentless touring schedule that carries the band cross-country on a regular basis; HELLBOUND GLORY are conquering new stomping ground on the strength of three full length releases; “Scumbag Country (2008),” “Old Highs & New Lows (2010),” and “Damaged Goods (2011).”

                                                                      HELLBOUND GLORY can count some of music’s most prolific and accomplished artists today among their growing number of supporters. Virgil continues “It’s pretty cool that we can count these folks as fans of our music, but I’ve got to be my own fan first and foremost.”

                                                                      This is HELLBOUND GLORY, music as honest and reflective in a frantic urban metropolis as it is on a lost and desolate byway.

                                                                      The band is currently in the studio recording a follow-up to the highly acclaimed “Damaged Goods.”

                                                                      OUR LINKS


                                                                      10/22

                                                                      Astronautalis

                                                                      Ceschi & Factor Chandelier
                                                                      Transit

                                                                      | All Ages | 8 pm

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                                                                      Astronautalis

                                                                      It may sound like hyperbole, but there is truly no one out else there quite like
                                                                      Astronautalis. In addition to moonlighting as a travel writer, avid photographer,
                                                                      Harleyrider,
                                                                      and most assuredly being the first rapper to perform and have a
                                                                      piece on display at the world famous Venice Biennale, this nomadic wordsmith
                                                                      has been perfecting his own unique hybrid of hiphop,
                                                                      indie rock and punk for
                                                                      over a decade. C ut The Body Loose is Astronautalis' fifth fulllength
                                                                      and also the
                                                                      first album he's released since his Justin Vernon a.ka. Bon Iverfronted,
                                                                      highprofile
                                                                      hybrid project Jason Feathers, who released their debut D e Oro last
                                                                      year. While sonically different from Astronautalis' own music, he insists that in
                                                                      many ways this album was inspired by the making of De Oro .
                                                                      "The process of creating D e Oro with Justin Vernon and those other guys was
                                                                      the most fun I ever had making an album and it really changed the way I thought
                                                                      about making my own," Astronautalis explains. I n keeping with that new
                                                                      approach, he decided to record C ut The Body Loose at Justin Vernon’s April
                                                                      Base home/studio outside of Eau Claire, Wisconsin, with his long time producer,
                                                                      engineer, and musical collaborator, John Congleton (Modest Mouse, St Vincent,
                                                                      Earl Sweatshirt).
                                                                      "I realized early on in the writing process that I was creating my record about the
                                                                      south that I grew up in, and around, and down the block from,” he explains, “a s
                                                                      well as my Father's South, my Mother's South, and the South of the past, and the
                                                                      South of future, and all the magic, and mysticism, and horror, and tragedy, and
                                                                      weird, sweaty, fucked up beauty that entailed.”
                                                                      No t only did Astronautalis take influence from the music that was ubiquitous to
                                                                      his youth like Trick Daddy, Mystikal, Three 6 Mafia and the classic No Limits
                                                                      Records roster, he drew further inspiration from every corner of the south's
                                                                      musical past. He cites everything from the New Orleans trad jazz of Allen
                                                                      Touissant and Professor Longhair, to the hill country blues of Mississippi Fred
                                                                      McDowell, the night trips of Dr. John, and even the legendary college marching
                                                                      bands during halftime at the Florida Classic.
                                                                      And s omehow, Astronautalis manages to tie this "bipolar
                                                                      southern insanity" t o
                                                                      the dominant hiphop
                                                                      hallmarks of today to create his own jagged, puzzlepiece
                                                                      persona on this record. "Running Away From God" is about him attending a
                                                                      wedding in New Orleans six months after Hurricane Katrina and admiring the
                                                                      beauty of watching people s till find love, drink, dance, and celebrate in the
                                                                      chaos. He had a similar experience when he played a show in Č adca, Slovakia,
                                                                      a poor mining town where people, despite the bleak situation of a mine gone
                                                                      bust, and a economy teetering on the edge of collapse, still managed to not only
                                                                      survive, but to really live. "The overarching theme of this record is seeing people
                                                                      in adverse conditions take matters into their own hands and still find the energy
                                                                      to go dancing or fall in love or create art," he explains. "I've started to get really
                                                                      frustrated with our complacency here in America and those feelings came out a
                                                                      lot on this album."
                                                                      Although this may be Astronautalis' most aggressive album, to call it angry, or
                                                                      pessimistic, would be to miss the point. I t is, in fact, an album about liberation. In
                                                                      a traditional New Orleans jazz funeral, there is a ritual of grief, that carries from
                                                                      the wake, to the service, to procession of the pall bearers out of the church.
                                                                      Each step of the way, the sorrow, and pain, escalates, soundtracked by the
                                                                      music of suffering. Heavy, gutwrenching,
                                                                      plodding dirges fill the air, as the
                                                                      funeral service, and the casket itself, spill out of the church, and into the streets.
                                                                      The mourners, and a full brass band follow along with the casket, as the pall
                                                                      bearers, carry the departed to the cemetery gates. The music guides the pace of
                                                                      the procession, while shaping the suffering of the mourners. And just when it
                                                                      seems as if the pain is becoming too much to bear, the suffering insurmountable,
                                                                      the casket reaches the cemetery gates, the band swings into the raucous
                                                                      celebration of "When the Saints Go Marching In", and the mourners "cut the body
                                                                      loose" as they leave the body to gravediggers, and they dance on down the
                                                                      street. The time for sadness left in their dust.
                                                                      The scene of the album is set early with the gritty, glitchy opener "Kurt Cobain"
                                                                      which is as much a call to arms as it is an mission statement. C ut The Body
                                                                      Loose exists in a space between heartache and acceptance, and that duality is
                                                                      evident in songs like "You Know What It Is," which starts as a downbeat critique
                                                                      of music and pop culture in general before exploding into a joyful, horndriven
                                                                      celebration of life. Like life, there's plenty of inherent variety, which is why there's
                                                                      room for ominous, ethereal bangers like "Kudzu" or the pianodriven,
                                                                      downbeat
                                                                      hiphop
                                                                      ballad "Boiled Peanuts,” an ode to his hometown of Jacksonville, Florida.
                                                                      "I feel like I really fell in love with hiphop
                                                                      again on this album," Astronautalis
                                                                      explains. "That was territory I tackled here that I was really scared to go to
                                                                      because I'm at the point where I could just write more songs about girls, but I
                                                                      didn't really want to do that again and wanted to see what would come out if I
                                                                      wrote from the heart."
                                                                      As anyone whose seen him live knows, it's difficult to separate Astronautalis'
                                                                      music from his raucous performances, which are less cerebral than than used to
                                                                      be and currently favor a freeforall
                                                                      full of freestyles and beats so infectious that
                                                                      you can't help it but get lost in the kinetic energy of it all. "For the longest time my
                                                                      inspiration for live shows were watching bands like Grandaddy or Bill Callahan
                                                                      and now I'm way ore interested in watching The Knife or gangster rappers getting
                                                                      totally nuts onstage," he explains. "To me that's way more exciting and it's also a
                                                                      huge influence on this album in the sense that I want to write songs where I can
                                                                      make everyone jump up and down and sweat and get whiskey dumped over
                                                                      themselves to, you know?" In other words when Astronautalis commands the
                                                                      audience to "turn it up 'til it shakes the rafters" on "Running Away From God," it's
                                                                      not a metaphor, it's time to tear the fucking room apart.
                                                                      On the surface, C ut The Body Loose centers around themes of loss,
                                                                      disappointment, and struggle but in the end, it is really about finding redemption,
                                                                      triumph and catharsis in the face of all of that sadness.
                                                                      "The core of this album is the fact that the world is fucked in a lot of ways but
                                                                      instead of letting that crush you, you can use those circumstances to make a
                                                                      small change," Astronautalis says. "I'm not talking about recycling, I'm talking
                                                                      about finding joy in being good and happiness inside the framework of what can
                                                                      easily be a crushing amount of sadness you see in the world around you," he
                                                                      continues, "a nd exercise those demons and find an outlet for all of those feelings
                                                                      through my stories and experiences."
                                                                      Having played thousands of shows all over the world and seen more than many
                                                                      of us will ever witness, it’s a perspective that's worth hearing out.

                                                                      OUR LINKS


                                                                      Ceschi & Factor Chandelier

                                                                      New Haven CT’s Ceschi (pronounced chess-key) Ramos makes his own version of progressive hip hop spliced with elements of folk & indie rock. Although he has almost “mathy” technical rap abilities he’s first and foremost a singer-songwriter at heart. Although one Ceschi song may consist of punk influenced machine gun fast raps, the next may be a quiet folk ballad played on acoustic guitar.
                                                                      Since the release of 2010′s Dj Scientist produced conceptual psych-rock inspired hip hop record “The One Man Band Broke Up” Ceschi spent the last few years collaborating with an innumerable amount of today’s most talented MC’s, producers and artists of multiple genres including Sage Francis, Astronautalis & Radical Face. He’s toured throughout North America, Europe, Asia & Australia with independent hip-hop heroes such as Busdriver & Sole and even created his own successful record label – Fake Four, Inc.- that many of these artists now call home.

                                                                      FACTOR CHANDELIER
                                                                      Starting out as a DJ in 1998, Factor Chandelier has evolved into one of Western Canada’s busiest producers. He is continuously working and touring with high caliber Canadian and American artists including: Awol One, Open Mike Eagle, Moka Only, Myka 9, Ceschi, Sole, Aesop Rock, Buck65, Gregory Pepper, Astronautalis, Sunspot Jonz, Evil Ebenezer, Merkules, Xzibit, Kool Keith, Def 3, Kay the Aquanaut and the Side Road Crew. He is known for continuously dropping top-notch product out of Saskatoon since the late ‘90s. He is the founder, owner and operator of Side Road Records (2001), releasing over 30 professional albums between Side Road & Fake Four inc. Factor's music has garnered international distribution and he has received positive critical acclaim by way of magazine and website reviews as well as receiving radio play on college/community radio all over Canada, the US and Japan. His collaborative album "Wildlif3" with Def 3 won the WCMA for best hip hop recording in 2015.

                                                                      Factor Chandelier's production combines smooth melodic soundscapes and live instruments over immaculate drums put together seemingly effortlessly to create a distinct sound of his own and it's for this reason he's consistently banging out one-of-a-kind beats as one of underground music’s favorite new school producers. Factor is always trying to create original, thought-provoking music that pushes the envelope of traditional hip-hop and has drawn significant attention to this Canadian artist. Hailing from the prairies, this Saskatoon, SK born and raised musician continues to make waves with his innovative sound.

                                                                      OUR LINKS


                                                                      Transit

                                                                      MORE INFO COMING SOON!



                                                                        10/26

                                                                        The Main Squeeze

                                                                        Evanoff

                                                                        | All Ages | 8 pm

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                                                                        The Main Squeeze

                                                                        Seamlessly blending Funk, Soul, and Rock n’ Roll, The Main Squeeze promises to keep your body moving with their infectious feel-good musical gumbo.

                                                                        The energetic five-piece found its roots in Bloomington Indiana’s surprisingly vibrant live music scene, and they have been leaving audiences “Freshly Squozen” since 2010.

                                                                        Their ability to fluidly blend and bend genres is unparalleled, and creates for an unforgettable live experience. Every performance is different from the last, showcasing each member’s virtuosic talent with soulful vocals, intricate jams, tight grooves and powerful solos.

                                                                        Since their inception, The Main Squeeze has amassed a remarkably loyal and rapidly growing national fan base. They’ve graced the stages at some of the country’s biggest festivals, including: Bonnaroo, Electric Forest, Phases of the Moon and Gathering of The Vibes. In addition, they put their stamp on the Rolling Stone Super Bowl XLVI Pre-Party and dazzled music lovers at the International Battle of the Bands in Macau. Having shared the stage with artists like The Roots, Jane’s Addiction, The Meters, Aloe Blacc and Trombone Shorty, The Main Squeeze continues to catch the ear of industry giants.

                                                                        Now based in Chicago, The Main Squeeze is working with legendary producer, Randy Jackson, to put the finishing touches on their sophomore album. The band’s self-titled debut was released in 2012, and is available for purchase on iTunes and Amazon.

                                                                        As their fan base continues to multiply, and their unique sound, contagious energy, and unrivaled talent continue to mesmerize audiences, The Main Squeeze is poised for a meteoric rise in the world of music. Make sure to climb aboard for the ride.

                                                                        OUR LINKS


                                                                        Evanoff

                                                                        MORE INFO COMING SOON!



                                                                          10/27

                                                                          Cherub

                                                                          Frenship
                                                                          Boo Seeka

                                                                          $24.50 + F&T | All Ages | 7 pm

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                                                                          Cherub

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

                                                                          OUR LINKS


                                                                          Frenship

                                                                          MORE INFO COMING SOON!



                                                                            Boo Seeka

                                                                            MORE INFO COMING SOON!



                                                                              10/29

                                                                              Aaron Kamm & the One Drops

                                                                              Soul Rebel and the Beast

                                                                              18 & Over | 8 pm

                                                                              Aaron Kamm & the One Drops

                                                                              Hailing from St. Louis, MO, Aaron Kamm and the One Drops merge flavors of Roots Reggae, Mississippi River Blues, Improv-laced Jams, and Soulful Vocals. With a High energy performance and a unique sound this band is a must see.

                                                                              OUR LINKS


                                                                              Soul Rebel and the Beast

                                                                              Hailing from Topeka, Kansas, Soul Rebel And The Beast is hardly a Rebel without a cause. Taking reggae, hip-hop, rock, funk, jazz and whatever else you want to call it and fusing it into a sound we consider our own. When asked what Soul Rebel And The Beast means, this is the best way it can be explained...You must live for life. You can't live your life as others see fit. Rather, live in a way that your soul is content. If you seek happiness, then you must find that happiness. Fight against any entity that causes strife, or you will never know peace.

                                                                              OUR LINKS


                                                                              11/1

                                                                              Sturgill Simpson

                                                                              | All Ages | 7 pm

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                                                                              Sturgill Simpson


                                                                              Sturgill Simpson's authenticity stands out like an island of hope in a sea of tacky.

                                                                              Bonafide mountain hillbilly soul, as pure as you are going to find anywhere. All it takes is one listen to FINALLY understand

                                                                              OUR LINKS


                                                                              11/11

                                                                              Earphunk

                                                                              | All Ages | 8 pm

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                                                                              Earphunk

                                                                              Hailing from New Orleans, Prog-Funk band Earphunk has emerged as one of the Southeast's premier jam acts. The quintet has been steadily building a rabid fan base across the United States with their unique brand of high-energy funk, inspired improvisation, and dynamic stage production. In an innovative move to get their music in the hands of live music fans, Earphunk have partnered with direct-to-fan publisher platform BitTorrent Bundle to release content-rich collections of live shows and studio albums. Visit the band's website (www.earphunk.com) to stream and download songs from Earphunk's current discography for free.

                                                                              OUR LINKS


                                                                              11/18

                                                                              Two Tongues

                                                                              Backwards Dancer

                                                                              | All Ages | 7 pm

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                                                                              Two Tongues

                                                                              MORE INFO COMING SOON!



                                                                                Backwards Dancer

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                                                                                  11/18

                                                                                  Rebelution

                                                                                  Hirie

                                                                                  $22.50 | All Ages | 7:30 pm

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                                                                                  Rebelution

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

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

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

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

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

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

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

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                                                                                  Hirie

                                                                                  MORE INFO COMING SOON!



                                                                                    11/20

                                                                                    Kevin Devine & the Goddamn Band

                                                                                    Pinegrove
                                                                                    Petal

                                                                                    | All Ages | 7 pm

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                                                                                    Kevin Devine & the Goddamn Band

                                                                                    Kevin Devine is an independent singer/songwriter from Brooklyn, NY. He plays alone, with his Goddamn Band, and as a member of Bad Books.

                                                                                    OUR LINKS


                                                                                    Pinegrove

                                                                                    MORE INFO COMING SOON!



                                                                                      Petal

                                                                                      MORE INFO COMING SOON!



                                                                                        11/25

                                                                                        Mr Mojo Risin A Celebration of the Doors

                                                                                        18 & Over | 8 pm

                                                                                        Mr Mojo Risin A Celebration of the Doors


                                                                                        Mr. Mojo Risin' celebrates the career of the Doors from their first self-titled album, through LA Woman, covering all of the best and amazing music in between. We bring an authentic concert experience representative of the band's best shows.

                                                                                        Our performances are a tribute to the music, and musicians that were the Doors. Whether in Kansas City or beyond, you will feel like you are on the Sunset Strip in 1966.

                                                                                        Break on Through...

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                                                                                        11/27

                                                                                        The Good Life

                                                                                        Field Mouse
                                                                                        Jake Bellows

                                                                                        | All Ages | 7 pm

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                                                                                        The Good Life

                                                                                        THE GOOD LIFE

                                                                                        Omaha, NE’s The Good Life returns this summer with their first album in eight years, Everybody’s Coming Down. Call it a soundtrack to Man’s 21st century existential angst, the album poses cosmic queries, contemplates regrets, questions self-worth, and examines the possibility of living in the moment, when memories are all that we truly take with us. And in some ways, that’s the sweet spot front man and lyricist Tim Kasher inhabits: trying to make sense of this world of ours, and how and why we navigate it the way we do.
                                                                                        Everybody’s Coming Down moves in a new direction musically and, in contrast to The Good Life’s earlier releases, is very much a rock record. It is also the first that truly embodies the band as a whole, more so than any previous album. In blending elements of drummer Roger L. Lewis’s love of classic rock, multi-instrumentalist Ryan Fox’s chaotic approach to melody, Stefanie Drootin-Senseney’s propulsive yet tuneful bass parts, and Kasher’s deft, complementary song writing, the band sparked a vibrant evolution in sound. The gentler, folk-driven pop/rock for which the band is beloved remains (sonic sister album bookends “7 In The Morning” and “Midnight Is Upon Us;” “The Troubadour’s Green Room”), but it is now mixed amongst guitars lines that unspool in a blaze across songs that hit harder and more viscerally (“Everybody,” “Holy Shit”), as well as moments of distorted psychedelia and moody ambience (“Flotsam Locked Into A Groove,” “Diving Bell,” “How Small We Are”).
                                                                                        The Good Life have never been afraid to switch up their sound, refusing to be ascribed as one thing or another. 2000’s Novena On A Nocturn – recorded essentially as a solo project by Kasher as an outlet for quieter songs that didn’t quite fit with his long-standing band Cursive – was spacious and stirring, glistening with occasional electronic flourishes. 2002’s Black Out saw The Good Life grow into a full band, telling tales of drunken nights and capricious lovers over an evocative blend of electronic and traditional instrumentation. 2004’s Album Of The Year was the first recorded with the now longtime core band of Kasher, Drootin-Senseney, Fox, and Lewis. Hailed by Pitchfork, Alternative Press, NYLON, SPIN, and Time Out New York, among others, this album left behind any electronic touches as it chronicled 12 months of a doomed relationship – and the attendant complex feelings – through strains of soaring pop. 2007’s Help Wanted Nights, conceived as the soundtrack to a screenplay, was a more musically stripped-down affair and presented a bare look at human emotions through characters in a small-town bar.
                                                                                        Following a tour supporting Help Wanted Nights, and save for a handful of June 2010 shows, the band’s four members quietly moved on to other projects without officially saying goodbye, but with the confident assumption that they’d come back together again. Then life, as it does, took over: Kasher moved around the US, eventually settled in Chicago, and released two Cursive albums as well as two solo albums. Drootin-Senseney relocated to Los Angeles with her husband Chris, where they had a couple of kids and formed the band Big Harp, which released two albums. Fox moved to Portland, OR, worked on solo material, recorded with label-mate Jake Bellows, and started a tape label, Majestic Litter. Lewis stayed put in Omaha – The Good Life gleaned its name from Nebraska’s displaced state slogan – and played with bands Conduits and Oquoa.
                                                                                        Kasher began writing songs for a new album in October 2013, and the quartet – balancing their busy lives and multiple projects – reconvened from July to December 2014 to finish writing what became Everybody’s Coming Down. With the help of Ben Brodin in Omaha’s ARC Studios, The Good Life started recording in January of this year and finished the album in their respective homes. The band then turned to John Congleton (St. Vincent, Baroness, Angel Olsen, Cloud Nothings) to mix the album at his Elmwood Recording in Dallas, TX, looking to his experienced hand and uninhibited style to maintain and further realize the album’s untempered, vital sound.
                                                                                        And vital it is: Everybody’s Coming Down might not crack the ever-elusive code to our universal wonderings, but it’ll make you think, illuminate a new or alternative perspective, perhaps salve a lonely ache of isolation. Because we are, ultimately, all in this together – forever coming down.

                                                                                        OUR LINKS


                                                                                        Field Mouse

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                                                                                          Jake Bellows

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                                                                                            1/6

                                                                                            Andy McKee

                                                                                            | All Ages | 8 pm

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                                                                                            Andy McKee

                                                                                            Andy McKee is among the world’s finest acoustic guitarists. His youthful energy and attention to song structure and melodic content elevates him above the rest. He entertains both the eye and the ear as he magically transforms the steel string guitar into a full orchestra via his use of altered tunings, tapping, partial capos, percussive hits and a signature two-handed technique.

                                                                                            McKee’s crossover success has helped him to achieve millions upon millions of YouTube viewers, underscoring his emergence as one of today’s most unique and influential artists. He has been featured as a cover story in both Acoustic Guitar Magazine in the U.S. and Acoustic Magazine in the UK, and is also the figurehead of the unique Guitar Masters tours. McKee’s tour dates have taken him through Europe, Asia, Australia and North America, including tours with legendary acts including Prince and Dream Theater.

                                                                                            Live performances of Andy’s have become a point of fascination with his loyal followers. So, in late 2015, Andy decided it was time to release a live album. Featuring tracks from his entire catalog, Live Book was recorded live in December 2015 at The Melting Point in Athens, GA, the Red Clay Music Foundry in Duluth, GA, and Workplay in Birmingham, AL. McKee went through the recordings from all three shows and selected the finest takes of each set. Reflecting on the song choices, he looks to provide current fans the chance to relive their favorite shows, and hopes that he can showcase the energy he creates for those who haven’t been able to attend a show and new fans alike.

                                                                                            “I’ve always wanted to do a live album; for quite a few years I’ve felt it’s something that has been missing from my collection of releases,” says McKee. “This album will feature some of my YouTube hits like ‘Drifting’ and ‘Rylynn’, some songs from my 2014 EP Mythmaker, and a cover of a Michael Hedges song called ‘Because It’s There’ played on harp guitar that I haven’t released yet.”

                                                                                            McKee is the first artist to be signed CGP Sounds, the record label founded by fellow guitarist Tommy Emmanuel.

                                                                                            “I’m honored to be a part of his label. I heard Tommy 15 years ago at a festival in Kansas and was blown away by his playing and performing, and I still am,” Mckee stated. “To be the first person on his label is surreal, and I’m excited and proud to be a part of it.”

                                                                                            Live Book released worldwide on April 22. The album, McKee’s first live record, was released through CGP Sounds. In support of the new album, McKee is now embarking on “The Next Chapter Tour” throughout Europe, Asia, and the United States.

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                                                                                            OUR CALENDAR

                                                                                            August
                                                                                            31
                                                                                            Wednesday

                                                                                            The Bottleneck

                                                                                            Soulful Rhythm & Blues from St. Louis

                                                                                            Al Holliday and the East Side Rhythm Band

                                                                                            The Band that Saved the World

                                                                                            DOORS AT 8:00 pm

                                                                                            SHOW AT 9:00 pm

                                                                                            18 & Over
                                                                                            September
                                                                                            1
                                                                                            Thursday

                                                                                            The Bottleneck

                                                                                            Beats and Bottles at the Neck!

                                                                                            Midnight Marauders

                                                                                            DOORS AT 8:00 pm

                                                                                            SHOW AT 9:00 pm

                                                                                            18 & Over
                                                                                            September
                                                                                            2
                                                                                            Friday

                                                                                            The Bottleneck

                                                                                            from Auckland, New Zealand

                                                                                            Labretta Suede and the Motel 6

                                                                                            40 Watt Dreams

                                                                                            DOORS AT 8:00 pm

                                                                                            SHOW AT 9:00 pm

                                                                                            18 & Over
                                                                                            September
                                                                                            3
                                                                                            Saturday

                                                                                            The Bottleneck

                                                                                            Anthony Russo

                                                                                            Matty Wood$

                                                                                            DOORS AT 8:00 pm

                                                                                            SHOW AT 9:00 pm

                                                                                            18 & Over
                                                                                            September
                                                                                            6
                                                                                            Tuesday

                                                                                            DOORS AT 7:00 pm

                                                                                            SHOW AT 8:00 pm

                                                                                            BUY TICKETS!
                                                                                            $6.50 + F&T
                                                                                            All Ages
                                                                                            September
                                                                                            6
                                                                                            Tuesday

                                                                                            The Bottleneck

                                                                                            Hear It Here First!

                                                                                            I Heard Schmilco

                                                                                            DOORS AT 7:00 pm

                                                                                            SHOW AT 8:00 pm

                                                                                            All Ages
                                                                                            September
                                                                                            6
                                                                                            Tuesday

                                                                                            The Bottleneck

                                                                                            from Boston

                                                                                            The Jauntee

                                                                                            The Good Ole Fashion

                                                                                            DOORS AT 9:30 pm

                                                                                            SHOW AT 10:00 pm

                                                                                            18 & Over
                                                                                            September
                                                                                            8
                                                                                            Thursday

                                                                                            The Bottleneck

                                                                                            Beats and Bottles at the Neck!

                                                                                            Midnight Marauders

                                                                                            DOORS AT 8:00 pm

                                                                                            SHOW AT 9:00 pm

                                                                                            18 & Over
                                                                                            September
                                                                                            9
                                                                                            Friday

                                                                                            The Bottleneck

                                                                                            Baker Wetlands Discovery Center Benefit

                                                                                            Donner Party of Three

                                                                                            Signal Ridge

                                                                                            DOORS AT 6:00 pm

                                                                                            SHOW AT 7:00 pm

                                                                                            All Ages
                                                                                            September
                                                                                            9
                                                                                            Friday

                                                                                            Crossroads KC

                                                                                            NEWLY RESCHEDULED!

                                                                                            Ozark Mountain Daredevils

                                                                                            Brewer & Shipley

                                                                                            DOORS AT 7:00 pm

                                                                                            SHOW AT 8:00 pm

                                                                                            BUY TICKETS!
                                                                                            $76.50
                                                                                            All Ages
                                                                                            September
                                                                                            10
                                                                                            Saturday

                                                                                            Crossroads KC

                                                                                            O.A.R.

                                                                                            The Hunts

                                                                                            DOORS AT 7:00 pm

                                                                                            SHOW AT 8:00 pm

                                                                                            BUY TICKETS!
                                                                                            $76.50
                                                                                            All Ages
                                                                                            September
                                                                                            10
                                                                                            Saturday

                                                                                            The Bottleneck

                                                                                            Greensky Bluegrass Afterparty!

                                                                                            Heart Byrne

                                                                                            DOORS AT 8:00 pm

                                                                                            SHOW AT 11:00 pm

                                                                                            18 & Over