8/4

Walk the Moon

COIN

$26.50 + F&T | 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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COIN

COIN proudly call themselves a “product of the ’90s”. A borrowed nostalgia for the decade that isn’t uncommon among Nashvillians. COIN hasn’t adopted the detached smugness and angst often associated with ’90s alt acts and contemporary ’90s alt revival acts. They are entirely devoid of ironic, tongue-‐in-‐ cheek rock n’ roll posturing or odes to the joys of slackerdom. Instead, lead singer, keyboardist, and lyricist Chase Lawrence opts for earnest songs about actual human emotions: falling in (and out of) love, worrying about the future, and missing the past. It’s the same brand of wide-‐eyed sincerity found on Pet Sounds—just replace the theremin with a microKORG and the harpsichord with guitarist Joe Memmel’s crisp Telecaster lines. Their songs are hopeful, but behind the spring reverb and airy synths, there’s subtle regret and even morbidity. They’ve recently finished writing and recording their debut album in Nashville with producer Jay Joyce (Cage the Elephant, Sleeper Agent, Eric Church, Emmylou Harris, Little Big Town). The forthcoming album is guitar driven and sonically mature, but still true to their synth-‐pop sensibilities.

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8/4

Dawes

John Moreland

| All Ages | 7 pm

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Dawes

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    John Moreland

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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.

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      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.

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      Grisly Hand

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        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.

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        She's A Keeper

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          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.

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          8/27

          The Psychedelic Furs

          The Church

          | All Ages | 7 pm

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          The Psychedelic Furs

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            The Church

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              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."

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              Dirty Heads

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                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.

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                8/28

                Hard Working Americans

                | All Ages | 7 pm

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                Hard Working Americans

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                  9/1

                  X

                  | All Ages | 8 pm

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                  X

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

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

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

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

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

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                  9/10

                  FIDLAR

                  Dune Rats

                  | All Ages | 8 pm

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                  FIDLAR

                  FIDLAR - A biography

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

                  "What the fuck is in this shit?"

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

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

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

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

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

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

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                  Dune Rats

                  MORE INFO COMING SOON!



                    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

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                        Stephen “Ragga” Marley

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                          Morgan Heritage & Tarrus Riley

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                            9/12

                            O.A.R.

                            Allen Stone
                            Brynn Elliott

                            | All Ages | 6 pm

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                            O.A.R.

                            MORE INFO COMING SOON!



                              Allen Stone

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                                Brynn Elliott

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                                  9/13

                                  Albert Hammond Jr.

                                  | All Ages | 8 pm

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                                  Albert Hammond Jr.

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

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

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

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

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

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

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

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

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

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

                                  - Kim Taylor Bennett

                                  OUR LINKS


                                  9/15

                                  Jeff Austin Band

                                  | All Ages | 8 pm

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                                  Jeff Austin Band

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

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

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

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

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

                                  OUR LINKS


                                  9/22

                                  Eligh

                                  | All Ages | 8 pm

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                                  Eligh

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                                    9/25

                                    Radkey

                                    | All Ages | 8 pm

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                                    Radkey

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

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

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

                                    They also like music.

                                    OUR LINKS


                                    9/27

                                    The Growlers

                                    | 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

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                                    Zappa Plays Zappa

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                                      10/2

                                      Dale Earnhardt Jr Jr

                                      | All Ages | 8 pm

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                                      Dale Earnhardt Jr Jr

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

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

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

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

                                      OUR LINKS


                                      10/7

                                      Built to Spill

                                      | All Ages | 8 pm

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                                      Built to Spill

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

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

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

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

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

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

                                      OUR LINKS


                                      10/8

                                      Bully

                                      | All Ages | 8 pm

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                                      Bully

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

                                      OUR LINKS


                                      10/14

                                      Beats Antique

                                      MOon Hooch

                                      | All Ages | 7 pm

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                                      Beats Antique

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                                        MOon Hooch

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

                                        OUR LINKS


                                        10/14

                                        Lydia

                                        Seahaven
                                        Turnover
                                        The Technicolors

                                        | All Ages | 8 pm

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                                        Lydia

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                                          Seahaven

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                                            Turnover

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                                              The Technicolors

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                                                10/15

                                                BRONCHO

                                                | All Ages | 8 pm

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                                                BRONCHO

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                                                  10/17

                                                  Youth Lagoon

                                                  Moon King

                                                  | All Ages | 8 pm

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                                                  Youth Lagoon

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                                                    Moon King

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                                                      10/21

                                                      Lettuce

                                                      | All Ages | 7 pm

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                                                      Lettuce

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

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

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

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

                                                      OUR LINKS


                                                      10/24

                                                      Blitzen Trapper

                                                      | All Ages | 8 pm

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                                                      Blitzen Trapper

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

                                                      OUR LINKS


                                                      10/29

                                                      Jon McLaughlin

                                                      Tess Henley

                                                      | All Ages | 8 pm

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                                                      Jon McLaughlin

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

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

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

                                                      Selected Discography:

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

                                                      OUR LINKS


                                                      Tess Henley

                                                      MORE INFO COMING SOON!



                                                        11/5

                                                        Heartless Bastards

                                                        Slothrust

                                                        | All Ages | 8 pm

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                                                        Heartless Bastards

                                                        MORE INFO COMING SOON!



                                                          Slothrust

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

                                                          OUR LINKS


                                                          11/12

                                                          Young the Giant

                                                          Wildling

                                                          | All Ages | 7 pm

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                                                          Young the Giant

                                                          MORE INFO COMING SOON!



                                                            Wildling

                                                            MORE INFO COMING SOON!



                                                              11/12

                                                              Martin Sexton

                                                              | All Ages | 8 pm

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                                                              Martin Sexton

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

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

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

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

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

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

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

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

                                                              OUR LINKS



                                                              OUR CALENDAR

                                                              August
                                                              4
                                                              Tuesday

                                                              Crossroads KC

                                                              Buzz Under The Stars

                                                              Walk the Moon

                                                              COIN

                                                              DOORS AT 7:00 pm

                                                              SHOW AT 7:30 pm

                                                              SOLD OUT!
                                                              $26.50 + F&T
                                                              All Ages
                                                              August
                                                              4
                                                              Tuesday

                                                              Madrid Theatre

                                                              Dawes

                                                              John Moreland

                                                              DOORS AT 7:00 pm

                                                              SHOW AT 8:00 pm

                                                              BUY TICKETS!
                                                              $24.50 + F&T
                                                              All Ages
                                                              August
                                                              22
                                                              Saturday

                                                              Crossroads KC

                                                              The Bridge Spirit of KC Fest

                                                              Samantha Fish

                                                              The Rainmakers
                                                              Grisly Hand And more!

                                                              DOORS AT 5:00 pm

                                                              SHOW AT 6:00 pm

                                                              BUY TICKETS!
                                                              $11.50 + F&T
                                                              All Ages
                                                              August
                                                              27
                                                              Thursday

                                                              DOORS AT 7:00 pm

                                                              SHOW AT 8:00 pm

                                                              BUY TICKETS!
                                                              $25 + F&T
                                                              All Ages
                                                              August
                                                              28
                                                              Friday

                                                              DOORS AT 7:00 pm

                                                              SHOW AT 8:00 pm

                                                              BUY TICKETS!
                                                              $27.50 + F&T
                                                              All Ages
                                                              August
                                                              28
                                                              Friday

                                                              Madrid Theatre

                                                              Hard Working Americans

                                                              DOORS AT 7:00 pm

                                                              SHOW AT 8:00 pm

                                                              BUY TICKETS!
                                                              $24.50 + F&T
                                                              All Ages
                                                              September
                                                              1
                                                              Tuesday

                                                              The Bottleneck

                                                              X

                                                              DOORS AT 8:00 pm

                                                              SHOW AT 9:00 pm

                                                              BUY TICKETS!
                                                              $31 + F&T
                                                              All Ages
                                                              September
                                                              10
                                                              Thursday

                                                              The Bottleneck

                                                              FIDLAR

                                                              Dune Rats

                                                              DOORS AT 8:00 pm

                                                              SHOW AT 9:00 pm

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

                                                              DOORS AT 6:00 pm

                                                              SHOW AT 7:00 pm

                                                              BUY TICKETS!
                                                              $30.50 + F&T
                                                              All Ages
                                                              September
                                                              12
                                                              Saturday

                                                              DOORS AT 6:00 pm

                                                              SHOW AT 7:00 pm

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

                                                              The Bottleneck

                                                              Albert Hammond Jr.

                                                              DOORS AT 8:00 pm

                                                              SHOW AT 9:00 pm

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

                                                              The Bottleneck

                                                              Jeff Austin Band

                                                              DOORS AT 8:00 pm

                                                              SHOW AT 9:00 pm

                                                              BUY TICKETS!
                                                              $16 + F&T
                                                              All Ages