5/29

Mouth

Wick-It the Instigator
Andy Frasco
APLSOZ

$11 - $13 | All Ages | 8 pm

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Mouth

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

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

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

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

OUR LINKS


Wick-It the Instigator

MORE INFO COMING SOON!



    Andy Frasco

    Andy Frasco, a twenty four year old Party Blues musician hailing from Los Angeles, California, is nothing short of an enigma. In 2011 alone, he was the "New Artist to Watch" at Hatch Fest, European Independent Film Festival, Orion Music Festival and Sundance Film Festival.

    Within the past 4 years alone, Frasco has trekked over 150,000 miles, performed over 1000 shows, and spanned the country at l
    east 12 times. Frasco’s journey, however, is just beginning. This revolutionary is on a mission to alter the music business as we know it.

    Frasco’s a rarity in the music business: one who is an industry “insider” and a talented musician. This unparalleled insight is due, in part, to his days of managing and promoting bands when he was 16 years old. He’s booked bands like HelloGoodbye, and worked with labels and venues such as Drive Thru, Atlantic Records and The Key Club in Hollywood, CA.
    From there, Frasco toured the country with VH1’s Save the Music Foundation, raising money for Music Education in the Public Schools.

    Yet 220 shows in 360 days through 33 states that he personally booked on the Save the Music Tour wasn’t enough for this young prodigy. Frasco headed back to Los Angeles to form his own band and produce his 3rd and current album, Road Life Revival. Currently on tour for Road Life Revival, Frasco continues to prove that he is a dynamic force with which to be reckoned, as listeners marvel at his talent and soulful performances wherever he goes.

    Andy Frasco has jammed with artists such as Leon Russell, Galactic, Jackie Greene, Gary Clark Jr, Jakob Dylan, Butch Walker, The Flobots, Deer Tick, John Mayer and more. Not bad for a 24 year old.
    Within the past 4 years alone, Frasco has trekked over 150,000 miles, performed over 1000 shows, and spanned the country at least 12 times. Frasco’s journey, however, is just beginning. This revolutionary is on a mission to alter the music business as we know it.

    Frasco’s a rarity in the music business: one who is an industry “insider” and a talented musician. This unparalleled insight is due, in part, to his days of managing and promoting bands when he was 16 years old. He’s booked bands like HelloGoodbye, and worked with labels and venues such as Drive Thru, Atlantic Records and The Key Club in Hollywood, CA.
    From there, Frasco toured the country with VH1’s Save the Music Foundation, raising money for Music Education in the Public Schools.

    Yet 220 shows in 360 days through 33 states that he personally booked on the Save the Music Tour wasn’t enough for this young prodigy. Frasco headed back to Los Angeles to form his own band and produce his 3rd and current album, Road Life Revival. Currently on tour for Road Life Revival, Frasco continues to prove that he is a dynamic force with which to be reckoned, as listeners marvel at his talent and soulful performances wherever he goes.

    Andy Frasco has jammed with artists such as Leon Russell, Galactic, Jackie Greene, Gary Clark Jr, Jakob Dylan, Butch Walker, The Flobots, Deer Tick, John Mayer and more. Not bad for a 24 year old.

    OUR LINKS


    APLSOZ

    Electronic melodic mad man from the matrix, Kansas City based BASS kid Aplsoz has been bursting through boundaries in the future bass music culture by combining styles of sonic force known by the likes of Bassnectar and Ill gates with melodic high energy movements that can slow down and get sexy on the drop of a dime. This ultra-captivating style has led Aplsoz to share stages with Liquid stranger, Dirt Monkey, Jantsen, Koan Sound, Marvel Years, Illenium, Minnesota, and many more. Always rockin' fully original sets, Aplsoz is on the come-up with a fully encompassing and immersive style of fresh bass beats.

    OUR LINKS


    5/30

    Andy Frasco

    Wick-It the Instigator
    Mouth

    | All Ages | 7 pm

    BUY TICKETS!
    Andy Frasco

    Andy Frasco, a twenty four year old Party Blues musician hailing from Los Angeles, California, is nothing short of an enigma. In 2011 alone, he was the "New Artist to Watch" at Hatch Fest, European Independent Film Festival, Orion Music Festival and Sundance Film Festival.

    Within the past 4 years alone, Frasco has trekked over 150,000 miles, performed over 1000 shows, and spanned the country at l
    east 12 times. Frasco’s journey, however, is just beginning. This revolutionary is on a mission to alter the music business as we know it.

    Frasco’s a rarity in the music business: one who is an industry “insider” and a talented musician. This unparalleled insight is due, in part, to his days of managing and promoting bands when he was 16 years old. He’s booked bands like HelloGoodbye, and worked with labels and venues such as Drive Thru, Atlantic Records and The Key Club in Hollywood, CA.
    From there, Frasco toured the country with VH1’s Save the Music Foundation, raising money for Music Education in the Public Schools.

    Yet 220 shows in 360 days through 33 states that he personally booked on the Save the Music Tour wasn’t enough for this young prodigy. Frasco headed back to Los Angeles to form his own band and produce his 3rd and current album, Road Life Revival. Currently on tour for Road Life Revival, Frasco continues to prove that he is a dynamic force with which to be reckoned, as listeners marvel at his talent and soulful performances wherever he goes.

    Andy Frasco has jammed with artists such as Leon Russell, Galactic, Jackie Greene, Gary Clark Jr, Jakob Dylan, Butch Walker, The Flobots, Deer Tick, John Mayer and more. Not bad for a 24 year old.
    Within the past 4 years alone, Frasco has trekked over 150,000 miles, performed over 1000 shows, and spanned the country at least 12 times. Frasco’s journey, however, is just beginning. This revolutionary is on a mission to alter the music business as we know it.

    Frasco’s a rarity in the music business: one who is an industry “insider” and a talented musician. This unparalleled insight is due, in part, to his days of managing and promoting bands when he was 16 years old. He’s booked bands like HelloGoodbye, and worked with labels and venues such as Drive Thru, Atlantic Records and The Key Club in Hollywood, CA.
    From there, Frasco toured the country with VH1’s Save the Music Foundation, raising money for Music Education in the Public Schools.

    Yet 220 shows in 360 days through 33 states that he personally booked on the Save the Music Tour wasn’t enough for this young prodigy. Frasco headed back to Los Angeles to form his own band and produce his 3rd and current album, Road Life Revival. Currently on tour for Road Life Revival, Frasco continues to prove that he is a dynamic force with which to be reckoned, as listeners marvel at his talent and soulful performances wherever he goes.

    Andy Frasco has jammed with artists such as Leon Russell, Galactic, Jackie Greene, Gary Clark Jr, Jakob Dylan, Butch Walker, The Flobots, Deer Tick, John Mayer and more. Not bad for a 24 year old.

    OUR LINKS


    Wick-It the Instigator

    MORE INFO COMING SOON!



      Mouth

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

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

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

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

      OUR LINKS


      5/30

      The Steel Wheels

      $14 - $16 | All Ages | 8 pm

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      The Steel Wheels

      The Steel Wheels have captured audiences across the country with their heady brew of original soulful mountain music and their deep commitment to roots and community. Based in the Blue Ridge Mountains of Virginia, this dynamic four-piece string band marries old-time musical traditions with their own innovative sound and lifestyle, generating a truly magnetic revival.

      The Steel Wheels is an amalgamation of hard work and easy rapport. The band is renowned for their raw energy and chemistry on stage, where they often cluster tightly around a single microphone to adorn Trent Wagler’s unmistakable tenor with bell-clear four-part harmonies inspired by their shared Mennonite heritage. Add to this Eric Brubaker’s lively and evocative fiddle, Brian Dickel’s grounded yet buoyant upright bass, and Jay Lapp’s signature mandolin style, and it’s no surprise that The Steel Wheels have enthralled the contemporary Americana scene.

      Their breakout album, Red Wing, garnered critical praise and enjoyed tremendous success on the radio. It spent 13 weeks on the Americana Music Association’s Top 40 Chart, where it reached the number 15 slot, and cracked the Euro Americana Chart top 10. Red Wing ranked 70th out of the top 100 Americana albums of 2010 and second out of all independent releases (Americana Music Association). The Steel Wheels were nominated for five Independent Music Awards in 2010, with “Nothing You Can’t Lose” taking top honors as Best Country Song. The Steel Wheels continue to take the Americana scene by storm with their latest album, Lay Down, Lay Low, which lingered for 10 weeks on the AMA’s Top 40 Chart. NPR named “Rain in the Valley” their Song of the Day, marveling that the “heavy hymn […] is sparse and dense all at once.” Already celebrated as the darlings of Merlefest 2012, the band looks forward to further accolades during a phenomenal festival line-up.

      As the band thrives, so do their partnerships with local businesses, artisans, and charitable organizations. The values portrayed in their music—devotion to roots, community, and family—are a way of life for The Steel Wheels, and this is reflected in everything from production process and booking agency to merchandise and touring. For the past three years, they have performed an annual SpokeSongs bicycle music tour, during which band members tow their instruments, equipment, and merchandise from one gig to another via bicycle and blog about their adventures. Last year’s tour spanned 11 days, 550 miles, and 10 shows. This year’s tour included multiple charity rides, such as Lose The Training Wheels, Charity Ride for Kids, and Wheels Up for Cory.

      The band’s merchandise represents a host of grassroots connections to people and businesses. Lucas Roasting Company, located just outside of Harrisonburg, created “Halfway to Heaven” dark roast coffee in honor of their friends The Steel Wheels. Blue Mountain Brewery, located on Afton Mountain in Virginia, hosted the band when they were just getting started and now sells a “Steel Wheels ESB.” The Livery’s master brewer rode with the band on their second bike tour and, soon after, created their “Steel Wheels Stout.” The band’s T-shirts are made in downtown Harrisonburg, and a potter who is a childhood friend of Jay’s makes their mugs. Each business is local for the band, and each product is intimately woven into their narrative. The Steel Wheels are proof that music remains a viable and sustaining force for connection in our world.

      OUR LINKS


      6/2

      Scott Bradlee’s Postmodern Jukebox

      | All Ages | 7 pm

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      Scott Bradlee’s Postmodern Jukebox

      MORE INFO COMING SOON!



        6/4

        The Avett Brothers

        | All Ages | 7 pm

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        The Avett Brothers

        The Avett Brothers begin another new era of folk with their seventh full-length album,
        and first for American Recordings/Republic Records, The Carpenter.
        Produced by the legendary Rick Rubin and recorded in North Carolina and Malibu, it's
        an artful distillation of classic homegrown folk, rock energy, bluegrass soul and pop
        charm. In 2009, the group made mainstream waves with their lauded major label
        debut, I and Love and You. It landed at #16 on the Billboard Top 200 and garnered
        unanimous critical acclaim from Rolling Stone, Paste, New York Times, Los Angeles
        Times, and Time, who even dubbed it one of Top 10 albums of the year. In addition to
        touring tirelessly, they gave memorable performances on the Late Show with David
        Letterman, the Late Late Show with Craig Ferguson, and Late Night with Jimmy Fallon
        as well as during a feature spot on the PBS series Austin City Limits.
        In 2001, banjoist Scott Avett and guitarist Seth Avett formed The Avett Brothers with
        standup bass player Bob Crawford. Growing up in Concord, NC, the boys immersed
        themselves in their musician dad's record collection, falling in love with Bob Dylan,
        Neil Young, and Crosby, Stills & Nash. Since then, they've become genre stalwarts
        over the course of six albums, including 2007's acclaimed Emotionalism.
        However, The Carpenter is the group's richest and most rewarding record yet. The
        next chapter for The Avett Brothers has commenced.

        OUR LINKS


        6/4

        HONEYHONEY

        $13 - $15 | All Ages | 8 pm

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        HONEYHONEY

        MORE INFO COMING SOON!



          6/5

          Ben Harper and The Innocent Criminals

          | All Ages | 7 pm

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          Ben Harper and The Innocent Criminals

          MORE INFO COMING SOON!



            6/6

            Old 97s

            The Delta Saints
            HONEYHONEY

            | All Ages | 7 pm

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            Old 97s

            Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a
            trail through alt-country and power-pop, led by the piercingly observant lyrics of lead
            singer Rhett Miller. Each new Old 97’s record is hotly anticipated, and rightfully so:
            “Blame It On Gravity,” from 2008, contained some of the band’s most deeply felt and
            passionately played songs. But in a career full of high-water marks, "The Grand Theatre
            Volume 1" is perhaps the most ambitious and accomplished set of recordings yet.
            The album, the band’s eighth, began to come together last year, when Miller was on a
            solo tour of Europe with Steve Earle. “When I started in this band, I wrote on the road
            constantly,” Miller says. “But I was 23 then, so everything was new to me. Over the
            years, those strange and wonderful things have begun to feel more commonplace. On the
            familiar highways, in familiar hotels, it’s pretty easy to turn into a zombie. But on this
            tour, I was in England and Ireland and Scandinavia, places where I haven’t spent very
            much time in, and because of that things seemed somehow fresh. I felt recharged. In these
            old British theaters, you sit around in ancient dressing rooms filled with these objects that
            could only be in these ancient dressing rooms. It was all very inspiring instead of tiring.”
            The result was a set of songs rooted in specific locations. "The title track, which I wrote
            in Leeds, is like a series of postcards that try to capture the moment of falling in love; it
            begins in the Grand Theatre, which is a historic venue there, on the elevator. There’s
            another song, 'Every Night Is Friday Night (Without You),' that I wrote, or at least started
            to write, while I was walking around in Soho. And a song like ‘The Dance Class’
            wouldn’t have happened if I wasn’t in Birmingham, trapped in a hotel, looking out at
            streets that were bleak and gray except for a dance studio across the way. I imagined an
            agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by
            her." Miller’s portraits of love and loneliness are paired with some of the sharpest music
            the band has ever produced, from the propulsive celebration of “Every Night Is Friday
            Night (Without You)” to the manic (and almost panicked) energy of “The Dance Class.”
            There are also moving counterpoints, such as the album’s closer, “The Beauty Marks,” a
            stark, hushed ballad about a love affair in a London pub.
            Even the songs written on this side of the Atlantic benefit from the same sense of charged
            observation. "There’s an anthem on there, 'A State of Texas,' that I wrote in New York,”
            Miller says, “and it’s specifically about not quite being home: the lyrics says ‘I’m living
            in a state of Texas’, not the state of Texas’.’
            When Miller had his songs, he brought them to the rest of the band, and as usual, the Old
            97s—the bassist Murry Hammond, the guitarist Ken Bethea, and the drummer Philip
            Peeples—rose to the challenge and then some. “I’ve been through this process many
            times—bringing my songs to the guys as we start to make a record-- and I know they're
            going to do something great with them. I'm still surprised to hear what they do, but I'm no
            longer surprised to be surprised. But there are so many fantastic things on this record,
            from a band standpoint. Murry's basslines stray so far from the one-four alt-country style
            that he's known for. They're things that he might have played in our previous band,
            Sleepy Heroes, eighteen years ago, but he hasn't, for the most part, done it on Old 97's
            records."
            The set was produced by Salim Nourallah, who also produced “Blame It On Gravity,”
            and once again it was an all-Texas affair. The band rehearsed the album in Dallas, at Sons
            of Hermann Hall, and recorded it—mostly live in the studio, with a minimum of
            overdubs—in Austin's legendary Treefort studio. The richness and diversity of the album
            has led Miller to liken the record to the Clash's legendary "London Calling," a
            comparison he says is only half-flippant. "We had a running joke in the studio. Salim
            would say 'Hey -- that was great. Now try to do it more like the Clash.' We aren't the
            Clash, obviously, but that kind of direction does bring out some of the best parts of our
            band's sound, that aggressive live rock-and-roll thing. There's also a question of artistic
            freedom, and what 'London Calling' meant to them at that point in their career. After the
            first albums, they had a little bit of leeway to do something more grandiose. We're in a
            similar place in our career. We've gotten critical approval, for what it's worth. We have
            the loyalty of our fans. Now, we can do something bigger and weirder."
            Much of that weirdness comes from the band. "I come in with my songs,” Miller says,
            “but I really pride myself on being able to change on a dime when we're in the studio.
            Someone might suggest doing a song faster, or slower, or with a train beat. I'll try it, and
            then I'll listen to it new. It's a great process, because a song that was floundering can be
            the best song once it goes through that process. When I first wrote 'Every Night Is Friday
            Night,’ it was a more traditional party song, and it wasn’t completely successful. I was
            singing, or thought I was singing, ‘Every night is Friday night with you.” But then Ken,
            who is the last person to even notice lyrics much less suggest a lyrical change, said that
            he had originally heard it as 'Every night is Friday night without you.’ He wondered if it
            might be better that way, less predictable, and it was."
            One song that depended upon predictability was "Champaign Illinois," which is a
            straightforward rewrite of old composition -- and not one of the band's own. It fits a set of
            new Miller lyrics to Bob Dylan's epochal "Desolation Row,” and the experience of
            putting the song on the record was, even for hardened rock-and-roll veterans, an eyeopener.
            "I had written this song while I was listening to the Dylan song, obviously,”
            Miller says. “But I assumed we’d never be able to record it. Then, while we were making
            the record, we decided to go for it.” Phone calls were made, and more phone calls after
            that, and word finally came back that Dylan, who had heard a live version of the song,
            wanted to read the lyrics. “To hear my manager say, even in a flat business voice, 'Bob
            Dylan likes what he heard and wants to read your lyrics,’ well, that was something you
            dream about,” Miller says. “It turned out that he liked our version so much that he wanted
            to split the publishing 50/50 with us. So that’s how I ended up writing a song with Bob
            Dylan. I’ve never been prouder, and I assume he feels the same.”
            Though Miller is frequently funny and self-deprecating, the “Volume 1” of the title is not
            a joke. "I came back from the trip with more than two dozen songs," Miller says. "I kept
            thinking we would whittle the set down, but it became obvious that none of the songs
            were falling by the wayside.” That meant, for the first time in the band’s career, that the
            Old 97s would record a double album. “But how do you really have a double album in
            today's climate?” says Miller. “I mean, think about how records are distributed and
            consumed." The solution was not a traditional double album (as it would have been in the
            seventies or eighties) or two albums released simultaneously (as it would have been in the
            nineties), but rather a pair of thematically linked records released six months apart: “The
            Grand Theatre Volume 2” is due out in May 2011.
            The same themes — place and displacement, communication and correspondence—
            power the second volume as well. “If anything, they’re a little more explicit on the there,”
            Miller says. “But that idea, that songs come from somewhere, is strong on both halves of
            the record. It's funny, because when I'm on stage and I feel myself drifting away, I bring
            myself back to the moment of writing the song. With the Grand Theatre songs, I was
            much more compulsive about marking down exactly where I was when the idea came to
            me. I think that makes for a unified studio record, and it definitely makes for a more
            focused set of performances onstage.” American audiences will have a chance to
            experience the band’s focus through the fall: the Old 97s are touring behind “The Grand
            Theatre Volume One” from December until next April, at which time the touring for
            “The Grand Theatre Volume Two” will begin.

            OUR LINKS


            The Delta Saints

            Often leaning on the simple descriptor, “Bourbon-fueled, Bayou rock”, The Delta Saints are a Nashville-based quintet composed of Ben Ringel (vocals/resonator guitar), Dylan Fitch (lead guitar), David Supica (bass), Ben Azzi (drums), and Nate Kremer (organ). They have spent the past six years carving out their very own space in the musical gray-area occupied by other blues-inspired artists like Gary Clark Jr., Tedeschi Trucks Band, and North Mississippi Allstars.

            The band’s founding members met in the fall of 2007 as a group of college transfer students looking for drinking buddies. Friday night hangs quickly turned into Friday night jam sessions, and before they knew it, a friendship had formed. The discovery of their shared passion for creating and performing music eventually brought about the need for a name. Ringel’s upbringing in south-central Louisiana seemed an obvious connection, but he will be the first to tell you, “It just sounded right.” He continues, “One day we’ll make up a great story about how we got our name. It will involve prison and bourbon and voodoo, but until then, the truth will have to suffice.”

            However it happened, once they found their footing, The Delta Saints never looked back.

            In 2010, they recorded and released two separate EP’s, Pray On and A Bird Called Angola, respectively. Over the next two years they toured relentlessly throughout the United States and Europe. In 2012, having amassed a troop of diehard supporters, they completed a successful Kickstarter campaign to crowdfund the creation of their first full-length record, Death Letter Jubilee.

            Officially released in early 2013, Death Letter Jubilee marked the beginning of what proved to be a very productive year for the band. Highlighted by major support slots with Michael Franti & Spearhead, Goo Goo Dolls, Robert Randolph & the Family Band; festival plays at Wakarusa (US), Belgium Rhythm & Blues Festival (Belgium), Moulin Blues Festival (Netherlands); and a summer tour that touted 20 sold out shows in 13 different countries.

            Rest assured the momentum building behind The Delta Saints has not gone unnoticed. They kicked off 2014 with an extensive 50-city international tour opening for Zac Brown’s southern rock brethren, Blackberry Smoke. To commemorate the occasion, the band released a new 3-song EP called Drink it Slow, featuring two new studio recordings and one live recording. The EP is available as a free download from the band’s website.

            Summer 2014 has seen the release of their first live album, Live at Exit/In. The album captures an electric sold out 2-night weekend in their hometown of Nashville. In support of Live at Exit/In, The Delta Saints will hit the road on another international tour highlighted by a handful of major summer festival appearances at Summerfest (US), Summer Camp Festival (US), The Ride Festival (US), Grolsch Blues Festival (Germany) & Leffingeleuren Festival (Belgium).

            At the end of the day, The Delta Saints know that their continued success as a band depends on their hard work and willingness to continue soaking up every opportunity they are given.

            “We want to grow, but we understand that it’s all in due time,” says Ringel. “We want to fully realize the weight of our experiences, and be able to savor them too. We pay our bills, we fill the gas tank in our van, and we pay for our own albums to be pressed, all because of the people who believe in our music,” Ringel reflects.

            The Delta Saints have set out to build a name for themselves the old-fashioned way, winning over one fan at a time. They have already amassed an international following of friends, fans and supporters, and rest assured…they will make a believer out of you too.

            OUR LINKS


            HONEYHONEY

            MORE INFO COMING SOON!



              6/9

              yojimbo

              18 & Over | 8 pm

              yojimbo

              Yojimbo is fun! Their sound is pure punk rock energy with poppy driven melodies. You’ll be powerless to do anything except dance uncontrollably with a full-on smile. Carly Meyers leads the pack down a musical rabbit hole, welding her trombone like “a mystical samurai sword”. While Doc Sharp hammers the keyboards in cataclysmic pleasure, Patrick McDevitt slays his bass and Adam Gertner beats his drums to a bloody pulp with a widespread grin.

              Playing gigs everywhere from local favorites such as Blue Nile, Maison, One Eyed Jack’s, The Republic and the legendary Tipitina’s, this band remains a constant and respected act in the city. They have headlined with artists such as Bonerama, Raekwon, JFJO, Johnny Vidacovich, James Singleton, and Mike Dillon. Carly, Adam, and Patrick also are full-time members of The Mike Dillon Band, which has been touring the country almost non-stop for the past 2 years.

              While separately they have played at venues all over the nation, gigging at clubs, festivals, and arenas, when the three join forces the music is wild, versatile, and a little something else that you just gotta see to believe. Yojimbo produces an “unmistakable youthful playfulness that is infectious to all listeners and creates an instant party atmosphere”-Live Music Nola.

              As one reviewer declared, “Yojimbo’s… the perfect blend of aggressive passion, punk rock chaos, and technical expertise.”

              OUR LINKS


              6/11

              Lucinda Williams

              | All Ages | 7 pm

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              Lucinda Williams

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                6/12

                Weaver

                18 & Over | 8 pm

                Weaver

                MORE INFO COMING SOON!



                  6/13

                  Missouri Chainsaw Grassacre

                  Split Lip Rayfield
                  Mountain Sprout
                  Horseshoes and Hand Grenades
                  Strung Like A Horse
                  Cowgirls Train Set
                  Loaded Goat
                  The Souveneers
                  Cutty Rye

                  | All Ages | 11 am

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                  Missouri Chainsaw Grassacre

                  MORE INFO COMING SOON!



                    Split Lip Rayfield

                    The fire rages on for the powerhouse trio from Kansas, Split Lip Rayfield (SLR), as they celebrate the release of their new record, "I’ll Be Around." The new album showcases the songwriting talents of mandolin player Wayne Gottstine and banjo player Eric Mardis, tied together by the harmony and deep-bass licks of Jeff Eaton. Such songs as "Aces High," "Heart of Darkness," and "The High Price of Necromancy" will take listeners on a journey of love, loss, change, and dark powers, as they discover what lies in the mysterious minds of SLR. The song for which the album is named, "I’ll Be Around," serves as a tribute to the band’s fallen teammate Kirk Rundstrom, whose influence on the band and its path was great. Rundstrom’s legacy continues to live on in the new album and also the band itself as every live show is dedicated to his memory. Split Lip Rayfield has carved out their own genre of music with their unique sound and instrumentation. Often described as a mix of bluegrass and country with an accent of metal, no other band delivers the experience of the homemade gas-tank bass played by Jeff Eaton, sets the mandolin strings on fire like Wayne Gottstine, or makes the banjo sing like Eric Mardis. Together, they burn up speakers and stages alike providing an unforgettable experience.

                    OUR LINKS


                    Mountain Sprout

                    Mountain Sprout is a highly energetic hillbilly music machine, spitting original tunes and blowing minds with original whitty lyrics and face melting musicianship. The Sprouts are a full time working band and play shows all year round for anyone who will listen. Whether it be Grayson VanSickle playing his machine gun banjo, singing out the novel of our lives or guitarist Adam Waggs, who yanks up the melody up by the ear and keeps you kickin'. With a smile on his face, Daniel Redmond pulls out cannon fire notes pounding the stand-up, dog house bass, and Blayne Thiebaux gives the crowd a spectacular show, burnin' rosin and bendin' air, exploding the fiddle while bursting into flames. Together, they are MOUNTAIN SPROUT.

                    Playing around 250 shows a year, including music festivals, concert halls and backwood hole in the walls. They have performed in venues large and small. From opening up for national icons Willie Nelson and Leonn Russel to performing with jam band titans such as Yonder Mountain String Band and Wide Spread Panic. You can find them hanging out with home grown legends like Split Lip Rayfield, Randy Crouch and countless other amazing musicians. Always opening up another beer or a sheltered mind at the local and not-so-local bars, MOUNTAIN SPROUT is always truly a crowd favorite.

                    After forming several renditions, the band made a final pact in ‘06. Since then MOUNTAIN SPROUT has released multiple recordings preceded by the infamous “Pornobilly”(2005) that earned a place in everyones heart. Then officially releasing their original debut album "One More for the Ditch"(2007), followed by a collection of traditional tunes entitled "Fambilly Hour"(2008), and tapped from source with another CD of original songs called "Into the Sun"(2009). With there latest smash hit album for the collection “Habits to Feed”(2010).

                    Now with much more to come from the Mudstomp Records family and the Pipeline Productions power house, Mountain Sprout is here to push the limits! Just make contact with plenty of advance notice so that you too can enjoy the live supernatural performance of the Mountain Sprout and if you all just want to party, well thats we do best, so let us set the mood for an amazing experience anytime; every time.

                    OUR LINKS


                    Horseshoes and Hand Grenades

                    In 2010, the five Wisconsinites that today make up Horseshoes & Hand Grenades found
                    themselves in a living room in the college town of Stevens Point, WI, holding acoustic
                    instruments and enjoying a hodgepodge of fermented beverages. Music ensued that
                    evening and while many of the party guests eventually bid their goodbye well into
                    the morning hours, Horseshoes & Hand Grenades wasn’t ready to let the get-together
                    fade. Three years later, the music still hasn’t stopped and the party is still going strong,
                    from the mountain west to the river towns of the midwest that the quintet calls home.
                    Early open mic performances at a central-Wisconsin country bar called the Northland
                    Ballroom led to other shows and the band began to realize their love for playing music
                    together and traveling to new places and new people. As the band continued to
                    perform regularly on weekend nights, while also hanging out and picking at parties
                    and get-togethers just about any night of the week while attending school, a sound
                    began to form that was reflective of the musical influences of the individuals that make
                    up the group. While strongly rooted in bluegrass, old-time, and folk music, the band
                    produces a sound that draws on the vaults of music collectively or individually enjoyed
                    through the course of their lives thus far. The music doesn’t lend itself well to definitions
                    or boundaries. One could probably be formed, but the boys seem to generally prefer
                    fishing a river, or enjoying the company of friends and barley beers.
                    With their music well-defined or not, Horseshoes & Hand Grenades has began to form a
                    place in the midwest music scene, gaining recognition on both a regional and national
                    scale. The band took 3rd place at the Telluride Bluegrass Festival’s Band Competition in
                    2012 and has shared the stage with Merle Haggard, the Infamous Stringdusters, Yonder
                    Mountain String Band, Charlie Parr, the Big Wu, Pert Near Sandstone, and many more.
                    In 2012, the group received a nomination for a Wisconsin Area Music Industry Award
                    in the category of Bluegrass/Americana. The group’s recent album release, This Old
                    Town, has been featured on the popular Wisconsin radio show, Simply Folk, as well
                    as other radio shows across the country.

                    OUR LINKS


                    Strung Like A Horse

                    MORE INFO COMING SOON!



                      Cowgirls Train Set

                      Originally a 2 piece but though out everything has just grown and grown and grown to become this 7 piece of destruction and energy. we have formed here in the great state of Kansas bringing in our experiences from all across the free state. Now we have become a force to be reckoned with using our huge sound and great harmonies and vocal variety. prepare for the end!

                      OUR LINKS


                      Loaded Goat

                      Loaded Goat is a mad mash of bluegrass, old-time, honky-tonk music. To activate: Flick a little moonshine in it's face and get ready for some banjo for your ear-holes. Playing a predominantly original catalog of heartbreak and headache, Loaded Goat will occasionally surprise with the surprising cover song. Loaded Goat is great for bars, campfire jams, weddings, cowboy saloon shootouts, Rural Grit Happy Hour, and more, more, more.

                      OUR LINKS


                      The Souveneers

                      MORE INFO COMING SOON!



                        Cutty Rye

                        MORE INFO COMING SOON!



                          6/14

                          The Melvins

                          Le Butcherettes

                          $19 - $21 | All Ages | 8 pm

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                          The Melvins

                          The Melvins formed in Aberdeen/Montesano, WA in 1983 the founding members were Buzz, Mike Dillard (drums), and ex-Mudhoney bassist Matt Lukin. Buzz, Mike, and Matt all went to high school in Montesano. The name Melvins came from a grocery clerk at the Thriftway in Montesano where King Buzzo served as clerk and vandal. Melvin was the most hated fellow employee and they felt it to be an appropriately ridiculous name.

                          When Mike couldn't cut it, as rumor has it because the songs were getting too mathematically complex, Dale was recruited out of the Iron Maiden cover band he played in at the age of 15. Matt was replaced by Lori Black (Lorax) (Shirley Temple's daughter) when they left Aberdeen for San Francisco.

                          The Melvins have had quite a few bass player changes during their tenure. Check out the bassist morgue to learn more. The Melvins live in Hollywood, CA right now.

                          The Melvins Discography is an exhaustive resource of their many releases. They were on a major label Atlantic Records for three albums, although most would agree they're not the type of band that would appeal to a major label. They knew this while they were being signed and just took advantage of the drunken blitz the record companies were on in signing any band connected to a supposed Seattle "grunge" sound.

                          Dale filled in for Nirvana when they were between drummers and he appears on Incesticide and Bleach as a result of those sessions. Buzz has a side project called Fantômas with Mike Patton (Faith No More/Mr. Bungle) who is also owner of Ipecac Recordings the label the melvins are currently releasing material through. He also plays guitar in the hardcore/grind "supergroup" Venomous Concept, featuring members/former members of Napalm Death and Brutal Truth (also released through Ipecac). Melvins have also released music on Boner Records, Alchemy Records, Amphetamine Reptile Records, Alternative Tentacles Records, and numerous others in the manner of 7"s and whatnot.

                          Dale has a side project called Altamont. Kevin Rutmanis (bassist, 1998 - early 2005) used to be in the band Cows, he also is in another Mike Patton project along with Duane Denison of the Jesus Lizard called Tomahawk. I would completely recommend anything a Melvins member has released. Melvins have toured with KISS, White Zombie, NIN, L7, Primus, Tool, and Rush, among others and were also on the Ozzfest tour in 98. They toured with a second guitarist at one point David Scott Stone (a great noisician). If you ever get the chance to see them live be sure to give them gifts, they prefer Cracker Barrel gift certificates.

                          Purchase tickets at: http://pipelineticketing.frontgatesolutions.com/

                          OUR LINKS


                          Le Butcherettes

                          MORE INFO COMING SOON!



                            6/16

                            Michael Franti & Spearhead

                            Nattali Rize & Notis

                            | All Ages | 7 pm

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                            Michael Franti & Spearhead

                            Michael Franti & Spearhead

                            In the mid-Nineties, Franti first formed Spearhead, and increasingly in recent years, he’s found his own voice musically and his own organic brand of popular success. Franti and Spearhead’s last album, 2008’s All Rebel Rockers -- recorded in Jamaica with legendary producers and players Sly & Robbie – became the biggest hit of Franti’s career, hitting the Top 40 on the Billboard 200, and yielded his biggest hit, the Top 20 “Say Hey (I Love You).”



                            “I had a nice, long time to get ready for that first hit, and so I really appreciated it when it happened,” says Franti. “So when we were just mastering the new album, I was saying to my manager, “Boy, wouldn’t it be fun to have a sophomore hit?” He was like, “Sophomore hit? You’ve already been through grad school, man” So yes, I’ve paid some dues, and that’s made getting this far -- and still being here -- mean even more to me. The funny thing is that `Say Hey’ went into the Top Twenty right as I was being wheeled into surgery. I got the text, and I thought, `Wow, I’ve finally got a hit record, and I’m not even going to live to enjoy it.’ That put everything in perspective too.”



                            Michael Franti is not a man to openly chase success – in fact; he’s not a man who even wears shoes(for the last ten years). Still, Franti has absolutely no problem hearing his music on the radio now. “When I was a kid, I used to listen to AM radio on family vacations in the car, and at family barbeques and my dad would leave the radio on. So songs that were the silly pop hits became a really meaningful part of my childhood - and of my adult life now. So when I think of the fact that there’s some family out there on the beach in the summer together listening to `Say Hey,’ it makes me feel really good. The truth is a good pop song that makes you feel good can be something of value and meaning to people.”



                            Arguably the most cohesive, romantic and life-affirming album that Franti and Spearhead have ever made, The Sound Of Sunshinereflects the fact that, as Franti puts it, “With time, you get a better sense who you are and how to put together all your musical passions into your own sound. I feel like for a long time, I dabbled in other sounds. Like `Let’s do something with a reggae vibe here.’ Or `Let’s really rock here.’ But now, I write everything from the acoustic guitar up -- which keeps you honest.  Then Jay Bowman, my songwriting partner and I, take a lot of time figuring out what’s the best way to present this song and make every word of it come across and ring true.”



                            Even the recording process for The Sound Of Sunshine reflects Franti’s desire to communicate directly with his audience. “We started in Jamaica actually recording a bunch of tracks with Sly and Robbie who are, of course, great, and we used some of those tracks. Then we got home and started mixing the record. Then I went to Bali and wrote some more songs, but we still didn’t have it finished. So we said let’s bring a portable studio on the road with us. We’d literally recorded the drums in the locker room of the Toronto Raptors or in the shower of some NHL team. Then we’d go right onstage and play the song and see how other people would react to it. We’d see what worked and go back and record it again the next day. So these songs have really been road tested in front of live bodies.”



                            For Franti, “To play for people and share your songs with them is to make a real connection. That’s why we play outside our shows for those who can’t afford to come inside. They need the songs too – maybe more. That’s the reality. And as a musician I was on tour with put it recently, “Our fans didn’t come to us from a reality show. They came to us from reality.” And so, we mean something in their lives. We’re the music they put on when they drive their little kids to school, or hang out with the person they love at night. There’s no higher honor. So they have an investment in the music. And that means so much because this music is very personal to me too.”

                            OUR LINKS


                            Nattali Rize & Notis

                            MORE INFO COMING SOON!



                              6/25

                              Lawrence Field Day Fest! #LFDF

                              18 & Over | 8 pm

                              Lawrence Field Day Fest! #LFDF

                              Thursday
                              Bottleneck Stage: Voyager (8 PM), Chastity Belt (9 PM), Jorge Arana Trio (10 PM), Spencer Brown (11 PM)

                              Friday
                              Bottleneck Stage: Drew Black & The Dirty Electric (8 PM), Captiva (9 PM), Admiral of the Red (10 PM), Josh Berwanger Band (11 PM), Red Kate (12 AM)

                              Saturday
                              Bottleneck Stage: Primetime Heroes (8 PM), Drop A Grand (9 PM), La Guerre (10 PM), The Noise FM (11 PM), Westerners (12 AM)

                              OUR LINKS


                              6/26

                              Lawrence Field Day Fest! #LFDF

                              18 & Over | 8 pm

                              Lawrence Field Day Fest! #LFDF

                              Thursday
                              Bottleneck Stage: Voyager (8 PM), Chastity Belt (9 PM), Jorge Arana Trio (10 PM), Spencer Brown (11 PM)

                              Friday
                              Bottleneck Stage: Drew Black & The Dirty Electric (8 PM), Captiva (9 PM), Admiral of the Red (10 PM), Josh Berwanger Band (11 PM), Red Kate (12 AM)

                              Saturday
                              Bottleneck Stage: Primetime Heroes (8 PM), Drop A Grand (9 PM), La Guerre (10 PM), The Noise FM (11 PM), Westerners (12 AM)

                              OUR LINKS


                              6/27

                              Umphrey's McGee

                              | All Ages | 7 pm

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                              Umphrey's McGee

                              After 17-plus years of performing more than 100 concerts annually, releasing eight studio albums and selling more than 3.5 million tracks online, Umphrey’s McGee might be forgiven if they chose to rest on their laurels. But then that wouldn’t be consistent with the work ethic demonstrated by the band, which consistently attempts to raise the bar, setting and achieving new goals since forming on the Notre Dame campus in South Bend, IN, in 1997. After releasing their eighth studio album, Similar Skin, the first for their own indie label, Nothing Too Fancy (N2F) Music (distributed by RED), the group continue to push the envelope and test the limits. Their brand-new studio album, The London Session, was a dream come true for the members having been recorded at the legendary Studio Two at historic Abbey Road. The stealth recording session yielded 10 tracks in a single day, proving once again, the prolific UM waits for no one.

                              The original Umphrey’s McGee played a mix of originals and cover songs, waiting just eight months to release their debut album, the cheekily titled Greatest Hits Volume III. Their initial “proper” recording, Local Band Does OK, came out in 2002, followed shortly afterward by an appearance at the first-ever Bonnaroo in Tennessee, selling more albums than any other band on the bill. The 2007 double album, Live at the Murat, earned a four-star review in Rolling Stone and a Jammy for Best Live Album.

                              OUR LINKS


                              6/27

                              Lawrence Field Day Fest! #LFDF

                              18 & Over | 8 pm

                              Lawrence Field Day Fest! #LFDF

                              Thursday
                              Bottleneck Stage: Voyager (8 PM), Chastity Belt (9 PM), Jorge Arana Trio (10 PM), Spencer Brown (11 PM)

                              Friday
                              Bottleneck Stage: Drew Black & The Dirty Electric (8 PM), Captiva (9 PM), Admiral of the Red (10 PM), Josh Berwanger Band (11 PM), Red Kate (12 AM)

                              Saturday
                              Bottleneck Stage: Primetime Heroes (8 PM), Drop A Grand (9 PM), La Guerre (10 PM), The Noise FM (11 PM), Westerners (12 AM)

                              OUR LINKS


                              6/30

                              Dark Star Orchestra

                              | All Ages | 7 pm

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                              Dark Star Orchestra

                              Performing to critical acclaim worldwide for over 13 years and more than 1800 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead’s extensive catalog and the talent of these 7 fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.

                              Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about a contagious energy, ... in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.

                              Dark Star Orchestra has performed throughout the United States and Europe. They continue to grow their fan base by playing at larger venues for two and even three nightstands as well as performing at major music festivals including Bonnaroo, All Good Festival, Gathering of the Vibes, Mountain Jam, Summer Camp, Wakarusa and 10,000 Lakes. In addition, Dark Star Orchestra hosts its own annual gathering, Gratefulfest, where they headline three nights and are joined by a mix of established and up and coming national touring acts.

                              Fans and critics haven’t been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from original Grateful Dead members Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-Mackay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin’ Jack Elliot and many more…

                              "For us it's a chance to recreate some of the magic that was created for us over the years," rhythm guitarist and vocalist Rob Eaton explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."

                              OUR LINKS


                              7/3

                              Gogol Bordello

                              | All Ages | 7 pm

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                              Gogol Bordello

                              HüTZNOMOVETZ - INTRO WORD - There are many of us for whom music is an irreplaceable part of life We rely on it to take us out of sadness, pressures of poverty, youth, age, etc Mixed with alcohol it seems to be a remedy for just about anything Be it a rapid fire of notes exploding in catharsis all over the major key or an obsessive marathon of soul-searching sounds crawling around minor it all appears somehow more solid and present in our lives than materials something we can always address and hold on too At its best music connects us to a feeling as large as the whole goddamn universe itself...

                              Of course, sometimes when sober, we can say, Well, after all, its just music Yet everywhere youll go, in every culture, youll see its major royal presence Some say with a straight up claim that music is the essence of life (for example: Wlodzimier Staniewski with his theatre group Gardzienice(Musicality of Earth, or seePraktyki teatralne Wl. Staniewski Test, Lublin, 97, Poland)) I join in with them Others see it more as an inhancing luxurious amusement-like activity. Sure, Im down with that too, but one way or another, both positions advocate its primal positive powers

                              Often you will hear people talking about a concert theyve experienced for years! Why? In Gypsy mythology they say it is memorable because the devil visited that room, others say the other guy was there But one way or another they all link it to supernatural

                              Considering its power, it is not impossible to think of music making as a sacred art discipline and, for example, in anthropological tribal studies the medicine man functions are not really differentiated from musicians But lets not get too anthropological on your ass These are just elementary streamline reminders of musics rocking good and what it could do.

                              But instead, saturated with garbage, airways discredit this art and separate people from the power and meaning of music Rivers of meaningless puke are poured into ours ears on daily basis and many forgot to even think about music as of a major source of energy, joy and inspiration and fucking heat too!..

                              As a matter of fact, it has been turned into something that steals our energy and replaces it with stress and discouraging examples of what making music leads to All kinds of false notions of joyless, artificial, pseudo-mythology are now firmly attached to it... Celebrity lifestyle, VIP status, acting like an asshole all these notions seem to be inseparable from music making these days. Many fall for it just to be spat out with a raped and destroyed sense of self-worth Kids start bands often motivated by fame alone Of course, many great famous brothers, like Stravinsky or Josef Boyse, for example, succeeded in turning fame into a vehicle of positive energies and spreading great progressive shit But it is perhaps, worth to mention that mechanics of modern fame have changed from its original oral tradition drive, which produced legends, anecdotes, good word, etc Mechanics of modern fame are fueled by media and media alone and nobody in their fucking right mind, of course, would start passing legends about, for example, The Strokes or their twin sister Britney Spears

                              But getting back it is as easy as one plus fucking three The more sources of inspiration you have, the better off you are The happier you go through your day towards a more enjoyable night the better you generally walk through the fire and so on life-ward to the next drink(Russells Strategies of Being). But economics these days so strongly rule the arts and for obvious reasons favor English-speaking product, that it does not provide you with any info on actual real music at all Even if you are a curious soul and ventured out to get something different, you very well end up with Buddha Bar or Putamya record products which promises you something exotic but basically are traps for yuppies who would like to fancy themselves cultured That is basically like attending a belly dance class in Wyoming with the hopes to understand Muslims Even if a good artist shows up on a compilation like that after a labels re-mastering his work comes across as nothing but an ass-licking background singing for Starbucks coffee shop. This situation also prolongs total ignorance and confusion Youll find millions of people not knowing if they support or oppose Globalization simply because they dont know what it means Or thanks to great products like Global Lounge compilation you will find people who celebrate Globalization And youll think, wow man, I never thought that new Colonialism can be such a great cause for a party

                              Favoring of White-English speaking product is often explained by patriotic or simply stupid arguments like, people can really understand this song. This is total fucking bullshit. For every scientist will tell you that sound is the purest form of information. The language barrier in the context of music does not exist. And majority of power is contained in fingers of a player and in the tone of his/her voice. This is why the emotional message of music is so instant and human Thats why the voice of Johnny Cash or Vladimir Visotsky goes unstoppably through anything to anyone And meaning of music stands up in its full pride Of course lyrical content of a song may take it much higher, but not knowing English never stopped millions around the world (including myself) from growing up on rocknroll So if you dont mind an extra fuel for your life you just may have to make music research your task, for information on good music is not provided, and not searching for it, is basically stealing from yourself Fortunately, most of us live in places where information, if not provided, is still accessible without riding a horse for a week In some most animalistic highs sometimes I dive with my ribs open out from the stage onto the table full of glasses and bottles Im pretty sure that if I would do it in silence, I would perhaps go straight to the hospital

                              With our music, and music that we popularize, we try to reach out and remind people that when taken out of the hands of a parasite, music is still a great lead into a democratic atmosphere of chaos where moments of great freedom and where great friends could be found And that in the world of rapidly dissolving authentic cultures, soul-searching through the music is something that connects you with the most authentic thing there isyour savage heart

                              And so to answer many questions at once, here is a list of music that we recommend and keeps us company on our tour bus and everywhere else we go Of course we cant provide you with detailed information on where to get each and every album, for we are not a shop but the albums recommended here are solid from the beginning to the end for the most part. It is a matter of individual feeling if you go completely nuts for it Keep in mind also that many fantastic things are not mentioned simply because they are part of our previous or next tour bus collection But if used wisely and with a good awareness of a sequence this collection alone can make you a best dj in your fucking hemisphere

                              OUR LINKS


                              7/6

                              Edward Sharpe and the Magnetic Zeros

                              The Bright Light Social Hour
                              Letts

                              | All Ages | 6 pm

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                              Edward Sharpe and the Magnetic Zeros

                              Edward Sharpe and the Magnetic Zeros formed in Los Angeles in 2007. They released their debut album, Up From Below, in July 2009 on Community Music. The album has sold over 275,000 copies in the US, and charted on iTunes for 69 straight weeks. With its unique and universal appeal, their hit single "Home" soared to over 775,000 downloads. After intensive touring throughout 2009-2011, including hit appearances at Lollapalooza, Bonnaroo, and Coachella, Edward Sharpe and the Magnetic Zeros have proven themselves to be a touring force to be reckoned with. In March 2011, the troupe's lead singer Alex Ebert released his solo debut album, Alexander, on Community Music, which was written and recorded during breaks from being on tour as a part of Edward Sharpe & The Magnetic Zeros. The album includes ten brand new songs that Alexander wrote and played entirely himself. In April 2011, the band embarked on the "Railroad Revival Tour" with Mumford & Sons and Old Crow Medicine Show where the band traveled exclusively in vintage railcars across the American Southwest for a week and played concerts at unique outdoor locations along the route. Edward Sharpe and The Magnetic Zeros actively support Water Wells For Africa, Charity Water, APJ Now, Hope Campaign and Voice Project. Edward Sharpe and the Magnetic Zeros will release their second studio album on Community Music / Vagrant Records on May 29, 2012.

                              OUR LINKS


                              The Bright Light Social Hour

                              The Bright Light Social Hour is an American rock band from Austin, Texas. Born out of a university art-rock collective, the band first gained attention in Austin from their incendiary live performances and innovative vision of rock and roll. Melding southern rock, hard dance, psychedelic blues, and deep soul, their debut full-length album led to heightening critical acclaim, national touring, and
                              a rare sweep of six awards at the SXSW 2011 Austin Music Awards, including Band of the Year, Album of the Year, and Song of the Year.

                              Recorded in five studios around Austin during summer 2010, their self-titled debut is founded on sun-drenched optimism, raucous youth, and an innovative brew of American music. Producer Danny Reisch of Good Danny's utilized the best elements of vintage and modern recording to achieve a sound both forward-looking and evocative of 1970s hi-fi. The first track, "Shanty," pairs southern rock with hard disco, featuring the searing slide licks of guitarist Curtis Roush. Following the lean, exuberant stomp of "Bare Hands Bare Feet," the band settles into the dark psychedelic funk of "La Piedra De La Iguana," led by keyboardist A.J. Vincent's dusky vocal and Farfisa organ work. Throughout the middle of the record, the solemn rhythm and blues of "Detroit" is juxtaposed with "Back And Forth," a four-on-the-floor disco-funk romp. On "Garden Of The Gods," the album's penultimate 10-minute epic, the band evolves from stately ballroom Americana to an expansive, ensemble anthem, conjuring up their limber and unrelenting live sets. The fiery "Rhubarb Jam" closes out the record, featuring the agile, booming funk of bassist Jack O'Brien and drummer Joseph Mirasole.

                              Following their album release, The Bright Light Social Hour have embarked on a heavy touring rotation, playing over two hundred shows throughout the United States, Canada, and Mexico. They performed in front of thousands of new fans at SXSW and Canadian Music Week and will spend the remainder of 2012 touring North America, including festival plays at Wakarusa, Bear Creek Music Fest and Ottawa Bluesfest. Chronicling their adventures, the band has released a series of self-produced tour documentaries depicting their life on the road.

                              The Bright Light Social Hour is currently writing new material for a second full-length album with plans to return to the studio in 2013.

                              OUR LINKS


                              Letts

                              MORE INFO COMING SOON!



                                7/7

                                311

                                The Green

                                | All Ages | 7 pm

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                                311

                                311 was formed in 1990 in Omaha, Nebraska by singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and bassist P-Nut. The band now resides in Los Angeles, California.

                                311 mix rock, rap, reggae and funk into their own unique sound. After years of consistent touring, 311 have developed a reputation as one of the hardest working, most influential and most entertaining live bands in the U.S.

                                311 have released eleven studio albums, one live album, one greatest hits album and three dvd's - and have sold over 8.5 million albums in the U.S. Eight of their albums have reached the Top 10 on Billboard's Top 200 Sales Chart...and nine of their singles have reached the Top 10 on Billboard's Alternative Rock Radio Chart (including the #1 singles Down, Love Song & Don't Tread On Me. Along with Amber, All Mixed Up, Come Original, Creatures For Awhile, Hey You and Sunset in July).

                                311 recorded their 11th studio album, STEREOLITHIC, for a March 11, 2014 release. That same day 311 played their special 311 DAY show at the New Orleans Arena, which attracts thousands of dedicated 311 fans from around the world. Tickets were sold to fans in 49 U.S. States and 15 countries. The show includes an extended setlist (60+ songs) and state of the art production.

                                The band's celebratory live shows & incessant touring schedule have earned them a massive grassroots following nationwide. Since its inception in 2004, 311’s annual summer headlining amphitheatre run, Unity Tour, has become one of the largest modern rock concerts of the summer. Support acts on previous Unity Tours have included Sublime with Rome, Cypress Hill, The Offspring, Slightly Stoopid, Snoop Dogg, The Roots, Papa Roach, The Wailers, O.A.R., Matisyahu, and Ziggy Marley.

                                For more info www.311.com

                                OUR LINKS


                                The Green

                                The Green’s latest album, Hawai‘i ’13, opens with a chant.

                                “From the times of ancient Hawai‘i and even up to present day, chanting has been a part of our culture,” says JP Kennedy, guitarist, vocalist, and one of the band’s five songwriters. “It’s a way to start something important. When we chant, we ask for blessings, knowledge, and guidance so that we can be ‘pono’ or righteous in whatever we do.”

                                The chant of “He Mele No Ku‘u Hawai‘i” prepares the album’s listener as much as the band. Hawai‘i ’13 dances through roots reggae, soul, and R&B. The album charts a journey through Hawaiian life and music in 2013, reflecting The Green’s musical upbringing as much as their vision for the future of Hawai‘i and its musical output. Following The Green’s usual modus operandi, the album was written by the group’s five separate songwriters (Kennedy, guitarist-vocalist Zion Thompson, vocalist Caleb Keolanui, keyboardist-vocalist Ikaika Antone, and bassist/multi-instrumentalist Brad Watanabe); the band’s four singers (Kennedy, Thompson, Keolanui and Antone) take turns on lead vocals, sometimes trading off with each other within a song. Once you listen to this record, there is little doubt that the chant served its purpose, as the results show the band has been righteous in their hard work.

                                The Green formed on O‘ahu, Hawai‘i, in 2009. The group began as a vehicle for six different members of Hawai‘i’s tight-knit music scene to record a few songs and have a bit of fun along the way. Their self-titled debut album, released in 2010, earned both critical and commercial acclaim, and was awarded iTunes Best Reggae Album of the Year.

                                Afterwards, the band jumped on a plane to the mainland and started a heavy touring cycle. On the strength of their debut album, The Green struck a record deal with ground-breaking independent reggae label Easy Star Records to record their sophomore album, Ways & Means. Ways & Means hit #1 on the iTunes and Billboard Reggae charts and the band embarked on more intense touring; supporting acts like Rebelution, Iration, SOJA and Damian Marley. They also played at acclaimed festivals including Vans Warped Tour, Wakarusa, Sierra Nevada World Music Festival and California Roots Festival.

                                Despite all the time spent away from home, Hawai‘i never left the band’s day-to-day life on the road. In almost every state, the band met Hawaiian ex-pats, driven away from their home state for reasons both economic and social. The Green’s concerts became a place where Hawaiian natives could gather and for one night, share a bit of Aloha spirit from the Pacific islands they call home.

                                “Hawaiians living on the mainland will come to our shows and say ‘I haven’t been home in years! You remind me so much of home,’” says multi-instrumentalist-songwriter Brad “BW” Watanabe. “I feel like that’s our service in some way.”

                                In early 2013, The Green retreated to Hurley Studios in Costa Mesa, CA, to record their third album with Danny Kalb (Ben Harper, Beck, Jack Johnson), the band’s first outside producer/engineer, at the helm. In addition, the group brought in Joe Tomino, drummer from Dub Trio (who also double as Matisyahu’s backing band), to handle the drums for the sessions.

                                “We were worried about it because we always recorded everything ourselves,” Kennedy admits. “But when we added Danny Kalb to the mix, and Joe on the drums, they just brought so much to the sound of the songs.”

                                The addition of an outside ear helped sharpen the band’s direction, and the 13 tracks on Hawai‘i ’13 sound focused and pointed, despite the group’s many different songwriters. “All of us contribute to the creation of a song,” says guitarist-vocalist Zion Thompson, “whether it’s lyrics or music, it’s always collaborative.”

                                “Everyone respects each other’s opinions,” Thompson continues. “Everyone has their place and everyone makes room for it to work.”

                                The album’s songs span soulful lover’s rock (“Striking Up A Love,” “Take Me On”), heavy roots workouts (“Good One,” “Forgive Me”), smooth R&B ballads (“Chocolates & Roses”), roots reggae-pop hybrids (“Power in the Words,” “Good Vibe Killah”), and herb anthems (“Hold Me Tight”).

                                The Green hit all the right notes with their first two albums, but the band members are still coming to grips with the personal toll of success. Bands from the mainland may be used to touring from state to state, but that’s no small step for a group from a small island in the South Pacific. “While I face a dozen spotlights, you’re crying at home,” goes “Something About It,” one of the lead singles from Hawai‘i ’13. “Sit by the phone. You think I’m alone, wishing I could be there. But the music’s got me traveling on.”

                                The Green struck the reggae community hard with their debut in 2010. Their sophomore LP Ways & Means solidified their status as a force in reggae music. With Hawai‘i ’13, the band aims higher. The album collects 13 stellar tracks by a group with an insatiable urge to push their music onto the global stage. Some songs punch and some songs sway, but ultimately they all blend to form a new shade of Green.

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                                7/14

                                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

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                                7/15

                                Wilco

                                Steve Gunn

                                | All Ages | 7 pm

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                                Wilco

                                Wilco rose from the ashes of the seminal roots rockers Uncle Tupelo, who disbanded in 1994. While Jay Farrar, one of the group's two singer/songwriters, went on to form the band Son Volt, his ex-partner Jeff Tweedy established Wilco along with the remaining members of Tupelo's final incarnation, which included drummer Ken Coomer as well as part-time bandmates John Stirratt (bass) and Max Johnston (mandolin, banjo, fiddle, and lap steel). Guitarist Jay Bennett rounded out the group, which in 1995 issued their debut album, A.M., a collection of spry country-rock tunes that followed the course established in Tweedy's earlier work. Wilco's sophomore effort, 1996's two-disc set Being There, marked a radical transformation in the group's sound; while remaining steeped in the style that earned Tweedy his reputation, the songs took unexpected detours into psychedelia, power pop, and soul, complete with orchestral touches and R&B horn flourishes. Shortly after the release of Being There, which most critics judged to be among the year's best releases, Johnston left the group to play with his sister, singer Michelle Shocked, and was replaced by guitarist Bob Egan of the band Freakwater. At the same time, while remaining full-time members of Wilco, Stirratt, Bennett, and Coomer also began performing together in the pop side project Courtesy Move. In 1998, Wilco collaborated with singer/songwriter Billy Bragg on Mermaid Avenue, a collection of performances based on unreleased material originally written by Woody Guthrie.

                                Their stunningly lush third album, Summerteeth, followed in 1999 and met with critical acclaim but only average sales, initiating tensions with their label, Warner Bros. 2000 saw the release of Mermaid Avenue, Vol. 2, which featured more selections from the band's collaborations with Bragg on Woody Guthrie's unfinished songs. Following this release, longtime drummer Ken Coomer decided to amicably leave the band and was replaced by the Chicago-based Glenn Kotche. The band then focused on recording their fourth album, Yankee Hotel Foxtrot, which ultimately led to the departure of guitarist Jay Bennett, and further tensions with their label. Unwilling to change the album to make it more "commercially viable," Wilco bought the finished studio tapes from Warner/Reprise for a reported $50,000 and left the label altogether. Leaked tracks from the album surfaced on the Internet in late 2001, and the stripped-down lineup of Tweedy, Kotche, Stirratt, and multi-instrumentalist Leroy Bach embarked on a small tour to support -- or drum up support for -- their unreleased album. Nonesuch Records picked up the album and the official release came out in early 2002 to widespread critical acclaim. Meanwhile, an independent film documenting the drama surrounding the album entitled I Am Trying to Break Your Heart followed in the fall of 2002. During the down time after the album was recorded, Tweedy composed and recorded the film score to the Ethan Hawke film Chelsea Walls, which ended up being released around the same time as Yankee Hotel Foxtrot.

                                Wilco toured extensively following the release of Yankee Hotel Foxtrot, and in 2003 began work on their next album, A Ghost Is Born. While sessions went smoothly compared to Yankee Hotel Foxtrot, after the album was finished Leroy Bach left the band in a split that was described as mutual and amicable; guitarist Nels Cline, keyboardist Mike Jorgensen, and multi-instrumentalist Pat Sansone joined Wilco for their subsequent tour. Shortly before the album's release, Tweedy surprised many fans by announcing he had entered a drug rehabilitation facility to treat a dependency on painkillers, prescribed to treat a long history of migraine headaches aggravated by panic disorder. Tweedy discussed his heath problems in depth, along with the often tangled history of Wilco and Uncle Tupelo, in Wilco: Learning How to Die, a biography of the group written by rock journalist Greg Kot, published to coincide with A Ghost Is Born's release in the spring of 2004. The following year, the group released Kicking Television: Live in Chicago, a 23-track collection recorded in the Windy City's Vic Theatre, an album that was later deemed one of the Top 20 best live albums by Q Magazine. In 2007 Wilco's sixth studio album, Sky Blue Sky, hit shelves. ~ Jason Ankeny & Zac Johnson, All Music Guide

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                                Steve Gunn

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                                  7/17

                                  Randy Rogers Band

                                  Stoney LaRue
                                  Wade Bowen

                                  | All Ages | 6 pm

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                                  Randy Rogers Band

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                                    Stoney LaRue

                                    At 3 years old, Stoney LaRue could be found belting out “Swinging” by John Anderson on his Mr. Microphone radio. The son of a struggling bass player and a nurse, LaRue understood the allure of music at an early age, and recorded his first works at age twelve. He earned accolades through school for his unmatched vocal abilities and promising instrumental talents. Many subscribe Stoney LaRue to the category of artists that are simply natural born performers, just don’t try to limit him by category.

                                    Born in Taft,Texas, LaRue actually spent the majority of his adolescence north of the Red River, where he was raised in Southeastern Oklahoma . He never really pictured himself doing anything else but making good music, so LaRue eventually made his way to the state’s Red Dirt hotbed of Stillwater, where he began to develop his individualized style from a widespread range of influences.

                                    From Willie Nelson to Ray Charles, to The Grateful Dead and Kris Kristofferson, LaRue’s emerging style impressively blends varied elements of country, blues, and soulful rock into cohesive, vocal driven performances. His abilities earned the immediate respect of then “up and coming” peers including Cody Canada, Mike McClure, Jason Boland, and other cohorts of the revitalizing Texas and Red Dirt circuits (now electrifying audiences nationwide.)

                                    In 2002, both fans and industry took good notice of LaRue after he spearheaded The Organic Boogie Band and released ”Downtown,” which was recorded in private sessions at Cain’s Ballroom in Tulsa and mixed in a trailer on the side of a cliff in Bartlesville,OK. It was just the beginning, as the debut cemented LaRue’s following and inspired a move to New Braunfels, Texas, where a vibrant music community and a persistent touring schedule spawned a vast response.

                                    Fans anxiously awaited the August 2005 release of Stoney LaRue-the Red Dirt Album, which hit the Billboard sales charts in its debut week. A far cry from the mixing trailer on the cliff, The Red Dirt Album was recorded with a tight circle of players and professionals in a studio setting. The record was a pinnacle effort for LaRue and has inarguably established his triple threat status as a truly gifted vocalist, player, and performer.

                                    In 2006, Stoney released an addition to the famed Live at Billy Bob’s series. His live single, “Oklahoma Breakdown” topped the Texas charts for over four weeks and has ignited Stoney’s powerful support as an artist not to be missed.

                                    Armed with golden ear musicianship, an amusing wit, and soulful magnetism, LaRue’s shows are infused with an uplifting quality, a cathartic barroom brand of spirituality, where venues are complimented for good bar “feng shui,” and where time and dimension can be traversed via emotive lyrics and melodic riffs. A charismatic performer, LaRue’s flawless vocals can draw a crowd to a open mouth level of sonic mesmerization, and next have them singing “Forever Young” so loudly that you can’t hear anything else.

                                    At 30 years old, Stoney LaRue now performs close to 300 dates a year at top festivals and venues across the world, including the Caribbean and Europe, sharing bills with renowned acts like Lee Ann Womack, Gary Allan, Dierks Bentley, Cross Canadian Ragweed, Willie Nelson, Rodney Crowell and others. With a band that includes Dave Bowen (drums), Jesse Fritz (bass), Kevin Webb (guitar), Jeremy Watkins (fiddle) and Steve Littleton (keys), Stoney is poised for what is on the horizon to come.

                                    The music is undeniably inside of Stoney LaRue, but he’s the type of artist that doesn’t HAVE to point it out to you, his belief in the music is strong enough that it just powers through transparently. Stoney LaRue is not trying to be anybody but the artist that he is, and his sincerity just seeps out, spills off the stage, and overtakes any room.

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                                    Wade Bowen

                                    If it’s true what they say, that parenthood teaches some of the most profound lessons in patience and humility, this could partly explain the professional maturation that singer-songwriter Wade Bowen has experienced over the last couple of years. Settled nicely into his new role of father and family man, Wade Bowen has learned that both in the music process and in life, it’s hard to rush a good thing. Thankfully while recording his February 2006 release, Lost Hotel, Wade Bowen had time to push a step further and truly come into his own, resulting in his most depth-reaching, acclaimed effort yet.

                                    Today, he’s already a familiar and awarded name in music, performing along the active touring highways of Texas and the Southwest and selling out top venues like the legendary Gruene Hall in New Braunfels. Carving out a dedicated fan base with his magnetic appeal and proven abilities, Wade Bowen has enjoyed a 7 year stint as a leader amongst a flourishing Americana and Alt-Country music community. From the numerous successes of his February 2006 release, Lost Hotel, to his recent tour with Lee Ann Womack and Friends, Wade Bowen shows absolutely no sign of slowing down.

                                    The most recent on his growing list of musical accolades, the single off Lost Hotel, “God Bless This Town”, charted at #1 on the Texas Music Chart and was voted the # 4 Song of the Year on both the Texas Regional Radio Report and the Texas Music Chart’s Top 30 Songs of 2006, landing just below Pat Green, Jack Ingram, and Randy Rogers on both respective charts. Plus, consider that Bowen is impressively the only artist in that ranking without the support of a major label. The video for “God Bless This Town” debuted on the Top 20 countdown on CMT and stayed in the #1 spot for several weeks on CMT’s Pure Country 12 Pack Countdown, in the company of pinnacle artists like Alan Jackson and Brad Paisley.

                                    Back in 2000, hardworking Bowen whetted his musical appetite and sharpened his abilities via various bar room and backyard BBQ gigs while he simultaneously pursued and obtained a degree in public relations from Texas Tech University. Soon, Bowen helped establish West 84, the initial grouping that toured throughout Texas in the wake of the young songwriter’s quality originals and captivating vocal abilities. The magnetic singer-songwriter was naturally spurred to center spotlight and eventually the name West 84 was retired for the more apt, Wade Bowen. The soon to be out of print debut, Just For Fun, revealed a burgeoning uniqueness that put Wade Bowen on the map and on the road full time, hashing out his style while delving full force into the musical process.

                                    The 2002 follow up, Try Not To Listen, propelled Bowen to new heights as he continued to refine his songwriting and live performance. The title track single reached #8 on the Texas Music Chart, in addition to being named the chart’s #26 Song of 2002. The intensifying energy both onstage and in the audience ushered in Wade Bowen’s first live effort in 2003, The Blue Light Live, which parked on the LoneStarMusic.com Top 25 best-sellers list for an impressive 2 and a half years, most of that spent in the Top Ten list. The Blue Light Live won 2004 Album of the Year honors from MyTexasMusic.com, was nominated for Live Album of the Year by GruenewithEnvy.com, and spotlighted Bowen as the 2004 Male Vocalist of the Year by MyTexasMusic.com as well.

                                    With musical influences that cite everyone from Aerosmith to Patty Griffin to Led Zeppelin and Paul Thorn, the result of Wade Bowen’s incessant touring is something akin to a smooth shot of roots rock with an alt-country back, served on ice with doses of traditional country and sensitive blues, but with a fiery edge, too. A blend made all its own while not overwhelming the music pallet, Bowen is passionate about being a genre-crossing artist, learning from a variety of musical styles.

                                    Bowen’s influences have melded to form a well-rounded songwriter, familiar with shaping melodies to evoke emotion, and boosted by a layered vocal intensity that shines. His writing skills have garnered a stash of notable songwriting credits and co-writes, including the widespread acclaim earned for his co-write with Pat Green on “Don’t Break My Heart Again,” the lead single for Green’s Top 10 release, Lucky Ones. Wade Bowen has written with the likes of Ray Wylie Hubbard, who also made a cameo appearance in Bowen’s video for the single “God Bless This Town.” Bowen and his brother in law, aka Cross Canadian Ragweed front man Cody Canada, penned “When It All Goes Down” together, which was released on Cross Canadian Ragweed’s Garage album.

                                    On Lost Hotel, Wade Bowen again teamed up with J.R. Rodriguez, producer of The Blue Light Live, and headed to Nashville with a new lot of original songs and co-writes with peers like Randy Rogers, Brandon Rhyder, and Bleu Edmondson. Almost four years since his last studio album, Lost Hotel was released on Sustain Records in 2006 and was the first opportunity Bowen had in the studio where he felt free from the typical time and studio challenges. Giving Bowen ample time to examine old wounds and dig deeper in his songwriting, the album reflects themes of struggle and loss as well as hopeful perseverance and new beginnings.

                                    If the record reveals transitional themes, it’s rightly so, as these days Bowen and wife Shelby have made New Braunfels home to them and their first born, Bruce (tellingly after the Springsteen variety and not Willis, though Die Hard would also be an apt description of the Bowen family’s dedication to the craft of music.) Enjoying a continuously growing horizon, Bowen and cohorts are stretching their legs across the nation, touring regularly in the Midwest and Southeast, in addition to heavy performing spanning the Southwest.

                                    Paralleling his personal maturation as a father, Wade Bowen has ascended to a new level as an artist, a player, and a writer in the wake of Lost Hotel. With a personality that has been described as unabashedly straightforward and honest, his raw approach simply transcends to his craft and makes audiences feel more like friends, lucky enough to witness the next gifted performer as he rises out of Texas. Hence, Bowen’s journey on Lost Hotel truly parallels his real life musical process, where guts and faith are everything and a patient struggle culminates in triumph. Well-oiled, primed, and ready to surpass an already impressive tally of accomplishments, Bowen is anxious to get back into the studio with his brand new material, expected for release later this year.

                                    As for humility, well, despite his high ranking within the Southwest’s lively Americana music community, Wade Bowen says things like this and means it: “I may be crazy, but it's hard for me to believe that I have fans that honestly care enough to listen to my music….It shocks me every day.” Some would say that even parenthood can’t teach that level of humility, not to one of today’s most promising and poignant singer-songwriter talents, Wade Bowen.

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                                    7/19

                                    Cold War Kids

                                    | All Ages | 7 pm

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                                    Cold War Kids

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                                      7/21

                                      Wild Child

                                      $11 | All Ages | 8 pm

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                                      Wild Child

                                      Wild Child is a band from Austin, TX.
                                      2013 Austin Music Award winners for Best Indie Band and Best Folk Band

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                                      7/24

                                      The Floozies

                                      Break Science
                                      Wick-It the Instigator
                                      Sunsquabi

                                      | All Ages | 7 pm

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                                      The Floozies

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

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

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

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

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

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                                      Break Science

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                                        Wick-It the Instigator

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                                          Sunsquabi

                                          It all began in 2011 when guitarist Kevin Donohue and bassist Andrew Clymer broke away from their hip-hop roots and decided that sample-based electronic music simply wasn’t enough. The Boulder duo set out to find their own blend of live instrumentation and production, which would lead to the creation of SunSquabi. The group very quickly gained notoriety in the Denver/Boulder area and performed their first show at Red Rocks Amphitheater in June 2011 (Global Dance Festival). Shortly thereafter, drummer and Boston native Chris Anderson joined the group and inspired the group to even further seek the limitless potential of the live-electronic realm.
                                          Over the past two years, SunSquabi has performed at some of the country’s most notable music festivals (Wakarusa, Summer Camp, Sonic Bloom, Snowball, SXSW and more). The trio has been consistently touring the U.S. since May 2012, and rapidly gaining recognition from the ever-evolving EDM and Livetronica markets. SunSquabi has shared the stage with Big Gigantic, Pretty Lights, GriZ, Murphy of STS9, Up Until Now, Two Fresh, Conspirator, Michal Menert, Boombox, The Floozies, Archnemesis, Break Science, Minnesota, Ghostland Observatory and many more.
                                          The group is currently recording a new EP, with four previous releases and a 17-track LP titled “Fundamental Interaction” (Nov. 2013). Constantly on the studio grind, SunSquabi is always striving to change and mature their sound, and to continue to break down the expectations of what a “Live-Electronic” band should be. A recent overhaul on the live set has propelled the group into 2014, with plans to tour all over the U.S. They will be making appearances at several major festivals this Summer, with an album release planned for late Summer 2014.

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                                          8/4

                                          Walk the Moon

                                          | All Ages | 7 pm

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                                          Walk the Moon

                                          Formed in Cincinnati by singer/keyboardist Nicholas Petricca, WALK THE MOON built up a devoted following on the strength of their ecstatic live show and their undeniably infectious single "Anna Sun.” A relentless touring machine with an ever-snowballing family of fans, the band quickly graduated from Ohio club scene favorites to international stars. They hit the late-night TV circuit with performances on Letterman, Fallon, Conan, and Carson, played for massive crowds at Bonnaroo and Lollapalooza, and joined the likes of fun., Pink, Panic! At The Disco, and Fitz and the Tantrums on the road.

                                          WALK THE MOON’s live show is not a spectator sport. Instead, it’s an interactive celebration of life and love, a communal commitment to joy and living in the moment. Onstage, Petricca leads audiences in a mass exorcism of the things that bring them down, casting out the demons of doubt and insecurity with hands raised to the sky.

                                          Earlier this year, after six weeks of marathon writing sessions in Ohio, the band relocated to North Hollywood, where they entered the studio with producer Tim Pagnotta (Neon Trees, Tokyo Police Club). What followed was more than two solid months of recording, the band eager to reach new heights with the album's production.

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                                          8/22

                                          Samantha Fish

                                          The Rainmakers
                                          Grisly Hand
                                          The Latenight Callers
                                          She''''s A Keeper
                                          Brody Buster Band

                                          | All Ages | 5 pm

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                                          Samantha Fish

                                          Samantha Fish Is Playin’ Up a Storm on New Ruf Records CD, Black Wind Howlin’, Due September 10 Follow-Up Album to Her Blues Music Award-Winning Debut Was Produced by Mike Zito and Features Guest Appearances by Zito, Yonrico Scott, Charlie Wooton and Paul Thorn

                                          KANSAS CITY, MO – Ruf Records announces a September 10 U.S. release date for Black Wind Howlin’, the new CD from blues-rock guitarist/singer Samantha Fish and follow-up to her 2012 Blues Music Award-winning label debut, Runaway. Produced by Mike Zito, who did the same honors on her last album, Black Wind Howlin’ was recorded at Dockside Studios in Maurice, Louisiana, and features Samantha’s blazing guitar and vocals backed by Mike Zito on guitar and vocals, plus his fellow Royal Southern Brotherhood members Yonrico Scott on drums/percussion and Charlie Wooton on bass. Special guests include Paul Thorn on vocals, Johnny Sansone on harmonica and Bo Thomas on fiddle.

                                          Kansas City-based Samantha Fish has been on a major roll ever since she teamed up with Cassie Taylor and Dani Wilde on Ruf’s 2011 release, Girls with Guitars, and fueled by the trio’s Blues Caravan tour of Europe and the U.S., created an international buzz in the blues world. Later that same year she recorded Runaway, her solo debut on Ruf, which mixed gutsy riff-blues rockers like “Down In The Swamp” with the mellow small-hours jazz of “Feelin’ Alright,” while marinating her songwriting in the groove of the Rolling Stones and even tipping a hat to Heart. “It’s all the sounds I grew up with,” she explained at the time, “with my own spin.” Earlier this year Samantha joined labelmate Devon Allman for a sultry duet of the Tom Petty classic, “Stop Draggin’ My Heart Around,” that appeared on Devon’s Turquoise CD and accompanying video.

                                          Hitting a receptive international blues and rock press, Runaway was hailed as a thrilling opening statement, earning a string of rave reviews and radio airplay, climaxed by her winning the Blues Music Award (BMA) for “Best New Artist Debut” in 2012. “I’m truly humbled by the recognition,” Samantha said afterward. “I can barely wait to make record number two…”

                                          Now, the wait is over, as Samantha Fish unleashes a major storm of her trademark guitar work and soulful vocals on Black Wind Howlin’. “It has a rebellious streak,” says the bandleader of her game-changing new album, “and a prevalent theme is, ‘I’m not gonna take your sh*t anymore…’”
                                          No “sophomore slump” here, as Black Wind Howlin’ leaps from the speakers with 12 smoking tracks that chart Samantha’s evolution as songwriter, gunslinger and lyricist. “Since completing Runaway back in 2011, I’ve been on tour pretty much non-stop,” she proclaims. “I’ve spent a lot of time writing, playing and listening to music. I feel like the themes and the sound of my music have matured. To me, it’s about the human experience from my perspective, as well as people I’ve come into contact with over the last few years.”

                                          Rather than trying to duplicate what she accomplished on her first success, Samantha re-defines her sound throughout the tracks on Black Wind Howlin’. She can be brutally rocking on cuts like the tour bus snapshot of “Miles To Go” (“Twelve hours to Reno/ten hours til the next show”), the swaggering “Sucker Born” (“Vegas left me weary, LA bled me dry/skating on fumes as I crossed the Nevada line…”) and the venomous “Go To Hell” (“Oh, this ain’t my first rodeo/You hit yourself a dead end/Your voodoo eyes, ain’t gonna cast a spell/So you can go to hell!”). “I’ve become tougher,” she notes of these head-banging moments, “and I think that was reflected in the sound we went for.”

                                          And yet, elsewhere, backed by the versatile production of longtime collaborator Mike Zito, you’ll find Samantha shifting gears to the aching slide-guitar balladry of “Over You” (“Echoing words, said I’d never make it on my own…”) and the redemptive country song, “Last September” (“Don’t remember the curves of my face/Can’t feel the warmth in my embrace/Well I’m here to remind you…”).

                                          She might stop off for a gritty cover of Howlin’ Wolf’s “Who’s Been Talking,” and co-wrote “Go to Hell” with Zito, but all other tracks are Samantha’s self-penned originals, and it’s a mix that will keep listeners on their toes. “I wanted this record to have a modern rocking sound,” she explains of the album’s vibe. “I also wanted it to have elements of Americana, country and roots.”

                                          For Samantha, the recording sessions proved just as rewarding as the writing “I had a dream team of musicians and special guests,” she recalls. “And Dockside Studios quickly became one of my favorite places on earth.”

                                          It hasn’t been that long since a teenaged Samantha Fish first started showing up at her local Kansas City blues club, Knuckleheads Saloon, and began soaking up the sounds of visiting modern blues guitar masters like Mike Zito and Tab Benoit, then going back to ’80s heroes like Stevie Ray Vaughan and following the lineage to the pre-war Delta masters. “I fell in love with it,” she told Premier Guitar of her growing passion for the form, “and started doing my homework by listening to the old guys like Son House and Skip James.”

                                          With those influences as her template, Samantha incorporated the sounds of the classic rock of The Rolling Stones and Tom Petty, alongside contemporary artists like Sheryl Crow and The Black Crowes, in putting together a sound that would become her own.

                                          By the age of 18, Samantha had settled on a searing lead guitar style that expressed her own voice rather than mimicking clichéd blues licks note-for-note. She quickly broke into a dues-paying period on the Kansas City jam circuit: an apprenticeship at the sharp end that tightened her musical chops, polished her stagecraft and gave her the grit to overcome occasional skepticism about her age, hair tone and gender. “I always hated the idea of the gimmick,” she told Premier Guitar. “People come out just because you are a girl, but then you have so much more to prove once you get them in the door.” And Samantha has delivered on that promise, as evidenced by one listen to the new recording. “I really got to do exactly what I wanted to do on Black Wind Howlin’,” she says, “and I’m incredibly proud of it.”

                                          Samantha Fish will support the release of her new album with constant touring. For more information on the artist, visit www.samanthafish.com and www.rufrecords.de.

                                          OUR LINKS


                                          The Rainmakers

                                          Twenty-five years ago, the summer of 1986, The Rainmakers released their first album. Four young men from the Midwest began to live out the rock ‘n’ roll dream - their music on the radio, touring the country and the world, recording in top studios, playing in music clubs and arenas across the U.S. and Europe, videos on MTV, great reviews in Rolling Stone, Newsweek, and newspapers across the U.S.
                                          The Rainmakers brought their Missouri-born version of roots rock ‘n’ roll to fans far and wide. Songs were sung, memories were made, and they lived to tell about it.
                                          But all rock’n’roll bands have to grow up sometime - and after 6 successful albums and countless sold-out shows from Kansas City to Oslo and all points in-between, the Rainmakers broke up in 1998. Band members raised families, got real jobs (ouch!), and found ways to play music in ways that fit their changing lives.

                                          25 ON. Where does the time go? When a great band breaks up, where does the music go?
                                          25 ON. February 2011. The Rainmakers reunite for the first time in 14 years. Original members Bob Walkenhorst on vocals and guitar, Rich Ruth on bass, and Pat Tomek on drums, are joined by Jeff Porter on lead guitar. New songs are written, a new album is recorded in a 5-day music blow-out. Old friendships and things learned along the way make for a new album that has the spirit of youth, and the wisdom and viewpoints of lives well-lived.
                                          A tour of Norway and live dates in the Midwest start to happen, and the band and their fans find out that something is still working, and that something is great songs, great performances, and a reconnection with the people who made the Rainmakers part of the soundtrack of their life.
                                          “When the music is playing, we are all 25 years old again”, says Bob.

                                          OUR LINKS


                                          Grisly Hand

                                          MORE INFO COMING SOON!



                                            The Latenight Callers

                                            "Ladies and Gentlemen, we are The Latenight Callers...and we're much obliged..."

                                            The Latenight Callers assembled themselves in a seedy basement in Lawrence, KS, around a card table strewn with liquor bottles, cigarettes, and shared tales of strange and debaucherous encounters....

                                            The band soon moved their base of operations to a seedy basement in Kansas City, MO, turned up their amps, their synths, their bullhorns, and refined their dark, dancy tales for execution in front of the public at large...

                                            The Latenight Callers were subsequently referred to as "Patsy Cline singing for Portishead", "Sexy Lounge Rock", "Noir-a-Go-Go" after their live shows swayed, swaggered, and charmed their audiences into their back-seats...

                                            Kansas City knows the grit and allure of the Noir world through it's own history, and The Latenight Callers write a new chapter in that crime-novel that is the lust, the murder, the open road of The Cold, Cold Heart of America.

                                            OUR LINKS


                                            She''''s A Keeper

                                            MORE INFO COMING SOON!



                                              Brody Buster Band

                                              Brody is a musician, originally from Paola, KS, who has thoroughly shaken the world with his ambient talent. Brody Buster began playing Blues Harmonica at the age of seven. By eight, he had become a professional musician playing in Blues clubs on famed Beale Street in Memphis Tenn. At 10 years of age, he appeared on the Tonight Show with Jay Leno and opened B.B. King's Blues Club in L.A., jamming with The King of the Blues, B.B. King. In 1996 at the age of twelve, Brody was invited to perform at the prestigious "Montreux Blues and Jazz Festival" in Montreux Switzerland with Quincy Jones, Isaaac Hayes, Oleta Adams, Chaka Khan, Phil Collins, Keb Mo', Richie Havens and Melvin Taylor. Brody has been a regular performer at the Kansas City Blues and Jazz Festival since 1994.

                                              Brody can be seen today performing all over the Kansas City area as well as special performances in Los Angeles, Chicago and other regional venues.

                                              OUR LINKS


                                              8/27

                                              The Psychedelic Furs

                                              The Church

                                              | All Ages | 7 pm

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                                              The Psychedelic Furs

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                                                The Church

                                                MORE INFO COMING SOON!



                                                  8/28

                                                  Slightly Stoopid

                                                  Dirty Heads
                                                  The Expendables

                                                  | All Ages | 7 pm

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                                                  Slightly Stoopid

                                                  Illustrating the perfect underground success story, Slightly Stoopid's dual front-men Miles Doughty (Guitar, Bass, Vocals) and Kyle McDonald (Guitar, Bass, Vocals), created their own label, Stoopid Records, in the early 2000's to avoid signing a record deal and keep their DIY work ethic and freedom. West coast DUB/Rock pioneers later added musicians Ryan 'RyMo' Moran (Drums) and Oguer 'OG' Ocon (Congas, Percussion, Harp, Vocals) from the B Side Players, as well as C-Money (Trumpet, Keyboard) and Dela (Saxophone) from John Browns Body; solidifying their on stage line up. Slightly Stoopid has built a large n' loyal fan base, and has soared to one of the most successful independent artists of this decade. The buzz surrounding the group continues to increase with each successive release; their album catalog sales have topped the 700,000 mark and the group continues to fill the most prestigious concert venues around the world.

                                                  The Slightly Stoopid story can be traced to Ocean Beach, California, when childhood chums Miles and Kyle formed the group in 1995, mixing reggae and punk sounds into one smooth stylistic cocktail. Soon after, late/great Sublime frontman Brad Nowell caught wind of the group, and signed them to his Skunk Records label – while the band members were still in high school. A pair of releases soon followed for Skunk - 1996's punk-tinged SLIGHTLY STOOPID (featuring a guest appearance by Nowell on the song "Prophet" – later covered by Sublime and released on their box set, EVERYTHING UNDER THE SUN) and 1998's surf-inspired cult classic THE LONGEST BARREL RIDE.

                                                  The group self-released 2001's ACOUSTIC ROOTS: LIVE AND DIRECT (a 40-minute acoustic set, captured live at San Diego 's Rock 105.3 radio station) – the first for their own label, Stoopid Records, before issuing 2003's EVERYTHING YOU NEED on Surfdog (a musical departure for the band, that sold more than 130,000 copies). The band's talent for mixing styles was never more apparent than on 2005's CLOSER TO THE SUN (on Stoopid Records / Caliplates / Reincarnate), which featured collaborations with such renowned reggae names as Barrington Levy and Scientist. A year later, Slightly Stoopid issued their first-ever electric live album, WINTER TOUR '05-'06, as well as their first-ever DVD, 'Live in San Diego,' while 2007 saw the release of the group's fifth studio effort, CHRONCHITIS, which debuted at #55 on the Billboard 200, and #2 on the indie charts.

                                                  And through it all, Slightly Stoopid has logged some serious road miles – in addition to their incessant criss-crossing of the U.S., which includes appearances at prestigious festivals such as Coachella, Lollapalooza, Austin City Limits, and New Orleans Jazz Fest, among others, the group has played sold-out shows in Australia, Japan, Guam, Amsterdam, Portugal and Denmark, the U.K., Germany, Holland, and the Dominican Republic. "Without [the fans], we'd just be playing at the bar," admits Kyle. "They make it worth our while – when we go out and people are having that good of a time, the energy goes back and forth. Just a good time – we rely on each other's energy." And all you have to do is look at the list of artists that Slightly Stoopid has played with, to get a feel for how much of a large and diverse audience they appeal to - the Dave Matthews Band, Damian "Jr. Gong" Marley and the Marley Brothers, Sublime, the Roots, G. Love & Special Sauce, Ozomatli, Toots and the Maytals, and Pennywise, among others, as well as their first-ever sole headlining tour of amphitheatres in 2008, joined by their friends Pepper and Sly & Robbie.

                                                  "I think consistently touring is important," explains Miles. "Most people take the route of trying to be successful without even getting out there for people to hear what your band is about. The most important thing is you can be playing in front of zero people or 20,000 people, and you've still got to rock the show. When we were first starting out, literally, we played in front of nobody. We'd show up at the club, and it would be bartenders and security guards, and 'Yo, play your hour set – here you go!' But after you play that show, they tell some of their friends and their friends tell some friends. I think the Internet has helped us a lot too, because people were able to spread the word about the music easier. The most important part is being out there 200 days a year. You're going back to towns twice a year, so people get to come out, and that gave us a real loyal following. Wherever we go, you have these Stoopidheads going crazy. For us, it's pretty much the greatest job in the world."

                                                  2008 saw the band issuing their first-ever 'odds and ends' collection, SLIGHTLY NOT STONED ENOUGH TO EAT BREAKFAST YET STOOPID – the group's newest release for their growing label, Stoopid Records (which will also feature releases by other groups, including the label's first signees, Santa Cruz's The Expendables). Included on SLIGHTLY NOT STONED ENOUGH are outtakes from both the CLOSER TO THE SUN (including tracks that were previously issued as a limited edition bonus CD) and CHRONCHITIS sessions, as well as bevy of new material recorded at Miami's famed Circle House Studios, and such cover tunes as UB40's "I Would Do For You" and the traditional "I Know You Rider" (most notably covered by the Grateful Dead). Also making their first appearance on a Slightly Stoopid studio album are newly recorded renditions of such long-time live standards "False Rhythms" and "Sensimilla."

                                                  Seemingly always on the move, there appears to be no slowing down in sight for Slightly Stoopid, and according to Miles, that's precisely what fuels the group's creativity. "For us, the most important thing in the future, we just want to stay busy and always playing music – whether creating, touring, or just sitting on your couch and jamming. I think we'll always be recording. And just have fun – without the fun part, it ain't worth it."

                                                  OUR LINKS


                                                  Dirty Heads

                                                  MORE INFO COMING SOON!



                                                    The Expendables

                                                    The Expendables' distinctive live performances and unique brand of music, described as an eclectic mix of genre-bending rock, reggae and surf, have charmed audiences far and wide. Rapidly approaching status as a full-time touring act, the band is a rising star on the West Coast. To date, The Expendables has performed with in-demand musical acts such as Slightly Stoopid and reggae legend Eek-A-Mouse; appeared live on the Vans’ Warped Tour; and hosted its own radio show on The Santa Cruz X 103.9 FM. The Expendables landed number one in the Metro Santa Cruz Top 10 list of favorite bands in local music. In addition, Lion Entertainment and Your Music Magazine awarded the group first place in their Battle of the Bands contest in 2002. The Expendables has three original full-length albums to its credit: "No Time to Worry" (2001); "Open Container" (2002); and the most recent "Gettin' Filthy,” the polished result of a two-month recording stint at Herbie Herbert’s Sy Klopps Studios in San Francisco.

                                                    OUR LINKS


                                                    9/11

                                                    Catch a Fire Tour 2015

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

                                                    | All Ages | 6 pm

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                                                    Catch a Fire Tour 2015

                                                    MORE INFO COMING SOON!



                                                      Damian “Jr. Gong” Marley

                                                      MORE INFO COMING SOON!



                                                        Stephen “Ragga” Marley

                                                        MORE INFO COMING SOON!



                                                          Morgan Heritage & Tarrus Riley

                                                          MORE INFO COMING SOON!



                                                            9/12

                                                            O.A.R.

                                                            Allen Stone
                                                            Brynn Elliott

                                                            | All Ages | 6 pm

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                                                            O.A.R.

                                                            MORE INFO COMING SOON!



                                                              Allen Stone

                                                              MORE INFO COMING SOON!



                                                                Brynn Elliott

                                                                MORE INFO COMING SOON!



                                                                  9/13

                                                                  Albert Hammond Jr.

                                                                  $15 | All Ages | 8 pm

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                                                                  Albert Hammond Jr.

                                                                  MORE INFO COMING SOON!



                                                                    9/27

                                                                    The Growlers

                                                                    $16 | All Ages | 8 pm

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                                                                    The Growlers

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

                                                                    OUR LINKS


                                                                    9/29

                                                                    Zappa Plays Zappa

                                                                    All Ages | 7 pm

                                                                    Zappa Plays Zappa

                                                                    MORE INFO COMING SOON!



                                                                      11/12

                                                                      Young the Giant

                                                                      Wildling

                                                                      | All Ages | 7 pm

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                                                                      Young the Giant

                                                                      MORE INFO COMING SOON!



                                                                        Wildling

                                                                        MORE INFO COMING SOON!




                                                                          OUR CALENDAR

                                                                          May
                                                                          29
                                                                          Friday

                                                                          The Bottleneck

                                                                          Wakarusa Pre-Party Tour 2015

                                                                          Mouth

                                                                          Wick-It the Instigator
                                                                          Andy Frasco

                                                                          DOORS AT 8:00 pm

                                                                          SHOW AT 9:00 pm

                                                                          BUY TICKETS!
                                                                          $11 - $13
                                                                          All Ages
                                                                          May
                                                                          30
                                                                          Saturday

                                                                          Crossroads KC

                                                                          Wakarusa Pre-Party Tour 2015

                                                                          Andy Frasco

                                                                          Wick-It the Instigator
                                                                          Mouth

                                                                          DOORS AT 7:00 pm

                                                                          SHOW AT 8:00 pm

                                                                          BUY TICKETS!
                                                                          $11.50 - $4.50
                                                                          All Ages
                                                                          May
                                                                          30
                                                                          Saturday

                                                                          The Bottleneck

                                                                          The Steel Wheels

                                                                          DOORS AT 8:00 pm

                                                                          SHOW AT 9:00 pm

                                                                          BUY TICKETS!
                                                                          $14 - $16
                                                                          All Ages
                                                                          June
                                                                          2
                                                                          Tuesday

                                                                          DOORS AT 7:00 pm

                                                                          SHOW AT 8:00 pm

                                                                          BUY TICKETS!
                                                                          $1.50 - $18.41
                                                                          All Ages
                                                                          June
                                                                          4
                                                                          Thursday

                                                                          Starlight Theater

                                                                          The Avett Brothers

                                                                          DOORS AT 7:00 pm

                                                                          SHOW AT 8:00 pm

                                                                          BUY TICKETS!
                                                                          All Ages
                                                                          June
                                                                          4
                                                                          Thursday

                                                                          The Bottleneck

                                                                          HONEYHONEY

                                                                          DOORS AT 8:00 pm

                                                                          SHOW AT 9:00 pm

                                                                          BUY TICKETS!
                                                                          $13 - $15
                                                                          All Ages
                                                                          June
                                                                          5
                                                                          Friday

                                                                          DOORS AT 7:00 pm

                                                                          SHOW AT 8:00 pm

                                                                          BUY TICKETS!
                                                                          $35 - $7.95
                                                                          All Ages
                                                                          June
                                                                          6
                                                                          Saturday

                                                                          DOORS AT 7:00 pm

                                                                          SHOW AT 8:00 pm

                                                                          BUY TICKETS!
                                                                          $21.50 - $5.25
                                                                          All Ages
                                                                          June
                                                                          9
                                                                          Tuesday

                                                                          The Bottleneck

                                                                          yojimbo

                                                                          DOORS AT 8:00 pm

                                                                          SHOW AT 9:00 pm

                                                                          18 & Over
                                                                          June
                                                                          11
                                                                          Thursday

                                                                          Crossroads KC

                                                                          Lucinda Williams

                                                                          DOORS AT 7:00 pm

                                                                          SHOW AT 8:00 pm

                                                                          BUY TICKETS!
                                                                          $28 - $5.25
                                                                          All Ages
                                                                          June
                                                                          12
                                                                          Friday

                                                                          The Bottleneck

                                                                          Weaver

                                                                          DOORS AT 8:00 pm

                                                                          SHOW AT 9:00 pm

                                                                          18 & Over
                                                                          June
                                                                          13
                                                                          Saturday

                                                                          DOORS AT 11:00 am

                                                                          SHOW AT 1:00 pm

                                                                          BUY TICKETS!
                                                                          $21.50 - $5.25
                                                                          All Ages