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OUR CALENDAR
April
23
Wednesday
April
25
Friday
April
27
Sunday
April
28
Monday
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May
1
Thursday
May
2
Friday
May
3
Saturday
May
8
Thursday
May
10
Saturday
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May
17
Saturday
May
24
Saturday
Giraffage
MORE INFO COMING SOON!
Branchez
MORE INFO COMING SOON!
APLSOZ
MORE INFO COMING SOON!
4/24
The Magic Beans
Old Shoe
All Ages | 8 pm
The Magic Beans
MORE INFO COMING SOON!
Old Shoe
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Turnpike Troubadours
MORE INFO COMING SOON!
Bottle Rockets
In a country where interstates don’t take you to new places, but to the same places, where everywhere you go you’ve already been or you’ve just left, The Bottle Rockets’ new album absolutely nails a sound and a vibe with a palpable sense of place. Lean Forward is suffused with the determination and resilience of their distinctly midwestern roots; theirs is a celebration of pragmatism and tempered optimism, not the delusions and exhortations of glassy eyed zealots—they aren’t going to fall for that. Oh, it’s a flat out, smoking rock record, too.
Lean Forward continues the Rockets’ creative resurgence ignited by 2006’s Zoysia. Reunited with producer Eric “Roscoe” Ambel (who ran the knobs on the Bottle Rockets’ seminal albums The Brooklyn Side and 24 Hours A Day), the Bottle Rockets do what no other band does better — look into the hearts and minds and faces of the dying small towns in America and crafts populist anthems with the sympathetic eye of Woody Guthrie and sonic stomp of Crazy Horse. They are songs that demand the windows be rolled down and the volume turned up. And with the hooks, you’ll wonder how they make such problems sound so good …
Lean Forward is stacked with a sharp lyricism and gritty fatalism that looks off the front porch for inspiration, and has the locked down groove of a band on top of its game. “The Long Way” looks on the bright side of the path not intentionally taken and works into a joyous song-ending jam. Songs like “Done It All Before” and “Get on the Bus” shine with an irresistible buoyancy, as does “Shame on Me” which gets to the meat of the relationship matter that, despite our best intentions, we’re all gonna screw up. “Hard Times” whips up a ZZ Top-inflected boogie with effortless mastery and a dual guitar attack that’ll put some much-needed flare back in your jeans.
On “Kid Next Door,” the lyrics bypass protest in favor of simple commentary on a war coming home, making it a far more powerful song no matter where one stands on the issue. It’s a stone cold classic and handled with the deftness and conviction that speaks to the Rockets’ sober-minded realism. To see that they’ve still got scruffy punk moxie to spare, look no further than “The Way It Used To Be” and the channeling of Bo Diddley via the Stooges on “Nothing but a Driver.”
With their 15th anniversary now in the rear view mirror, the Bottle Rockets show no signs of letting up. Lean Forward is an album that celebrates the forces of erosion not earthquakes, of the marathon not the sprint. Honed in their towns and on their back roads, it is distinctly the Bottle Rockets. Rather than be confining, this identity broadens the appeal and strength of their music far from their backyards into our own. Their specificity speaks universally and the message is a simple one: Lean forward, man, because it beats falling back
OUR LINKS
Jonny Burke
Jonny Burke is a man continually on the move, musically and literally. His debut solo album – “Distance and Fortune” - was quickly followed up with his 2012 release, “Cup Runneth Over.” As producer of the bulk of the project – released independently on his own Dreamcar Records — Burke made an album that is as raw and honest as it gets.
Burke admits that he has enjoyed being on stage and performing from an early age. He was born and raised in New Braunfels, a small town in Texas. His dad taught him his first chords and played him Chuck Berry’s ‘Jonny B. Goode’ when he was a little boy. Burke would listen to albums like Dylan’s “Highway 61 Revisited” and Townes Van Zandt’s “Flyin Shoes” over and over again. By the time Burke was 15, he was already performing in bars. He formed his first band, the Dedringers, and it became a popular regional band while he was still in his teens. “I thought it was the coolest thing in the world to come home after playing a bar and making a little cash,” he recalls. “Nobody in high school could compete with that!”
Since the release of “Cup Runneth Over” Burke has continued to tour the country opening for greats like James McMutry. After a few years residing in Southern California, Burke found himself spending more time in his home state of Texas playing shows and co-writing with friends for what will inevitably become his next project.
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The Faint
Omaha, Nebraska, 2001. For a select assemblage of musicians and their fans, there was no better time and place. More specifically, it’s the city and year that gave us Danse Macabre.
Due to a number of factors, most notably the Internet’s ability to build a global community at the click of a button, it’s unlikely that we will ever again experience a next-big-thing local music scene the way we saw places like Athens and Minneapolis blow up in the ’80s and Seattle explode in the ’90s. And when we look back at the time when music was still consumed in physical forms, Omaha will probably be remembered as the last city where a homegrown scene was developed organically with the assistance of local garages, basements, studios, clubs, and labels.
The Omaha scene that we’ve come to know and love reaches as far back as the early ’90s, but it wasn’t until the turn of the millennium that the rest of the world got hip to what was going on in the middle of America. Around this time—actually, almost exactly 10 years to the day that this is being written—I headed to eastern Nebraska with the magazine that I once edited, DIW, and we did our best to chronicle what we considered to be the most exciting and vibrant hotspot in the country. Sure, part of the appeal was that a city known mostly for a bajillionaire, the College World Series, and mail-order steak was suddenly dumping a huge pile of awesomeness into our record collections, but just as impressive was the fact that unlike most regional scenes, none of these bands sounded like the other. It was also difficult not to appreciate that despite the glaring spotlight on the town at the time, the family that made up Saddle Creek Records—in some cases actual siblings, but mostly just childhood friends—seemed to be taking everything in stride. No enlarging egos, no jealous backstabbing, just a group of hardworking Midwesterners happy to be sharing their music and stories with a world that had finally started to listen. Though Bright Eyes’ Conor Oberst had already achieved some commercial success, by the summer of 2002 the top dog in town was The Faint, thanks to the record that you now hold in your hands.
Though unquestionably confident and completely realized, Danse Macabre wasn’t the album anyone could have expected from the band that debuted in 1998 with Media, a perfectly fine post-hardcore record that, aside from the personnel that made it, has nothing to do with anything else in The Faint’s catalog. After shocking everyone but themselves with the retro dance-rock found on the following year’s Blank-Wave Arcade—the first to feature synth player Jacob Thiele—the group solidified its place in the underground’s upper echelon with Danse Macabre, a dark-wave masterpiece made well before the ’80s became a ubiquitous touchstone for contemporary bands with keyboards. In fact, it could easily be argued that the one-two punch of Blank-Wave Arcade and Danse Macabre helped usher in the era of the modern dance-rock act, predating bands like Franz Ferdinand, The Killers, and Bloc Party. From the middle of nowhere, The Faint had crafted a sound that was suddenly seemingly everywhere.
Whereas Blank-Wave was a raw exercise in bringing The Faint’s ecstatic basement shows into the studio, Danse Macabre was a sleek, shiny vehicle meant to evoke bumping Berlin dance clubs. Never mind that they could only dream of German techno while putting up with Cher remixes nearly 5,000 miles away at Omaha’s gay bars, the only places in town offering even close to what the guys wanted to hear when they went out.
There isn’t a single reason why Danse Macabre is considered part of Saddle Creek’s holy trinity (along with Cursive’s The Ugly Organ and Bright Eyes’ I’m Wide Awake, It’s Morning), but rather a whole host of them: the perfectly aggressive synth lines, Todd Fink’s (née Baechle) menacingly effected vocals, the infectious dance beats, the intriguing bits of industrial and goth, and, at the heart of it all, strong songwriting featuring the kind of minor-key melodies that make singing along inevitable. Engineering and production by Mike Mogis as well as the addition of death-metal guitarist Dapose also helped raise the bar. And then there’s the concept, replacing Blank-Wave’s sexually charged atmosphere with the attitude that you should DIY before you D-I-E. Or, as a wise guidance counselor once said: Do what you love and you’ll never work a day in your life. After all, some of their heroes were punk-rock do-it-yourselfers like Fugazi and Sonic Youth.
“We thought about the Dance of the Dead, the Danse Macabre, being the working-for-a-living people going through these choreographed motions while they’re working,” says Thiele. “They’re doing a really stiff, boring dance that they don’t realize. We decided at some point that that was the Dance of the Dead.”
The guys took their own advice, quitting their day jobs and focusing all of their energy on the band. They also decided not to work with any of the major labels that came sniffing around after Danse Macabre, and Saddle Creek similarly decided to keep things on a smaller scale. It meant that the next big thing never got as big as expected, yet it resulted in Omaha never being forced to compromise its art for the sake of commerce.
OUR LINKS
The Hussy
MORE INFO COMING SOON!
Digital Leather
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Zoogma
Zoogma combines the sonic diversity and precision of a DJ with the excitement and immediacy of a five piece rock group. Known for their energetic performances and retina pleasing light show, the band consistently dishes out heavy-weight beat-driven dance parties across the nation. Sets are kinetic, combining live improvisation with carefully crafted beats and melodic textures.
With the release of their debut album, Recreational Vehicles, along with a relentless tour schedule, the five members have already added their unique voice to the live electronic-rock scene. Evolving in Oxford, MS, Zoogma’s sound can be described as an eclectic fusion of Electronica, Rock, Jazz, World, and Hip-Hop. This blend of genres results in a musical experience that appeals to a range of audiences, with a sound that is refreshingly original yet steeped in the dance music tradition.
Sharing the stage with acts such as Perpetual Groove, Pnuma Trio, Big Gigantic, Eliot Lipp, Keller Williams, The New Mastersounds, and Ozric Tentacles, Zoogma is poised to captivate you!
OUR LINKS
Purusa
MORE INFO COMING SOON!
APLSOZ
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Katchafire
Reggae is one of the bloodlines of New Zealand music -- which accounts for the extraordinary success of Hamilton's Katchafire who, two years ago, emerged as the hardest working band in the country. Their astonishing debut album, the prophetically named Revival, sold in excess of 30,000 copies (double platinum) and they scored massive hits with songs like Giddy Up, the biggest selling single of 2002. Katchafire had tapped into that bloodline of New Zealand and people, being reacquainted with what they had lost, loved it all over again. Katchafire's music was uplifting and celebratory, and their gigs were joyous singalong affairs where people of all cultures and affiliations were welcomed.
Their audiences are still the most cross-cultural, cross-generational in the country. Katchafire were, and remain, unique in New Zealand music. They are a viable, touring eight-piece band which can work the length of the country without exhausting the place. They can return to a venue they played just a few months before and pack it out all over again. That is rare for any band. The success of the band was evident in album sales, opening shows for the likes of Michael Franti and Spearhead, gigs all across the country (three in one day on Waitangi Day 2004, in Hamilton, Manukau and Nelson), three tours to Australia and New Caledonia, and most recently a stadium-filling headlining show in Fiji. And now they are stepping up again with a cracking new album Slow-Burning which shows them reaching a new level.
From the terrific cover slip -- a cheeky homage to the classic Bob Marley album sleeve from which the band took its name -- to the eleven diverse tracks within Slow-Burning is a leap forward, both musically and lyrically. The title is again appropriate; you will feel the fire from this for a long time to come. Produced by Chris Macro (of Dubious Brothers) and with international guests, this is a new level of consciousness music from Katchafire which moves effortlessly from classic JA-sounding roots-reggae to material which could be located nowhere else other than in Aotearoa: when they say "don't frisk me down because of my brown skin" they also bring dignity to bear, "we must hold our head up high". The deeply felt and fiery I And I stands proudly in the local lineage of politicised reggae that was kick-started by Herbs.
More than on their debut they pull in threads of dub and toasting, there are musical references to the sound of classic Trojan records (Close Your Eyes, Hey Girl Version) but, courtesy of the French horn section Mister Gang whom they met in New Caledonia, you can also hear echoes of DD Smash-styled pop. And on Rude Girl, with toasting by Tuff Enchant, the band open with a tricky rhythm and a nod to the music of Cuba. However Katchafire haven't sacrificed their pop sensibilities and songs like Hey Girl, I Got Ya Back and Close Your Eyes should be all over radio this, and every, summer. With Slow-Burning, Katchafire have fulfilled the promise of their debut that here was a band schooled in roots reggae, which has honed its professionalism on the road, and has within its ranks songwriters who can take their place alongside the best Aotearoa has had to offer. Katchafire shows are always celebratory affairs and with Slow-Burning the band have even more to be joyous to be about. Be prepared to celebrate with them.
OUR LINKS
Maoli
“The Boys from Maui,” Maoli are back and this time with their new CD release entitled, “Arise”. Nominees of the Hawaiian Music Awards and the Na Hoku Hanohano Music Awards, Maoli have returned fresher than ever and their newest radio hit, “Blew It” is the precursor release from this 3rd album, which is undeniably destined for national appeal and worldwide attention.
The early beginnings of Maoli (meaning “Native” in Hawaiian) started in Maui with Glenn Awong, a 14-year-old with a passion for music, and Kana Akiu-Corpuz. In their sophomore year, the aspiring vocalist and bassist began writing original music at the encouragement of their high school teacher. It was also during this time that Glenn started recording demos of his songs. By the time he reached his senior year, Glenn was ready to share his music with a greater audience.
In 2005, Glenn and the band he formed, “No Boundaries”, won a Battle of the Bands competition on the island of Maui. With numerous performances already under his belt, Glenn then formed Maoli in 2007 with a new lineup of talented musicians, including bassist, Kana.
Maoli took the islands by storm in 2008 with their debut album entitled, “Groovin” having one hit after the next (“No One”, “Write Me A Letter”, and “So Incredible”); this was the groundbreaking album that first established the group as a premiere Hawaiian Island Reggae recording band. In 2010, Maoli did it again with their 2nd release, “Rock Easy”, featuring another treasure trove of #1 hits; “Breaking My Heart”, “Whisper” and “Rock Easy”. Maoli’s road to success continued as they toured the islands and the world promoting their very own unique Island sound.
In 2012 Maoli welcomed new band member, rhythm guitarist & vocalist, Nu’u Kahalehau. Nu’u hails from a background of musicians, including his father, Shane Kahalehau otherwise known as “Hawaiian Homeboy”. But Nu’u isn’t a stranger to Maoli, as his talents were also featured on the “Rock Easy” album’s #1 hit, “Rock Easy”.
Now, the boys are proud to release their 3rd CD, “Arise.” The album consists of original songs penned by the band’s founder and leader Glenn Awong. Prepare to be taken on a musical odyssey which will exhilarate your soul, one track at a time.
OUR LINKS
Arm the Poor
MORE INFO COMING SOON!
Split Lip Rayfield
The Kansas-based post-punk progressive bluegrass outfit Split Lip Rayfield was comprised of vocalist/banjoist David Lawrence, guitarist/dobroist Kirk Rundstrom, and one-string bassist Jeff Eaton, whose instrument was fashioned from the gas tank of a 1965 Ford. An outgrowth of the group Scroat Belly (though it didn't take long for them to outlive the band that spawned them), the trio debuted in 1998 with a self-titled LP issued on the Bloodshot label. In the Mud followed a year later; by this time, singer and mandolin player Wayne Gottstine had expanded the lineup to four pieces and Eric Mardis had replaced Lawrence on banjo. The new millennium saw the release of a third effort, Never Make It Home, which arrived in stores in late 2000. After three years of touring, which saw the group opening for everyone from Del McCoury to Nashville Pussy, Split Lip Rayfield recorded and released a fourth long-player, Should Have Seen It Coming, in 2004. In early 2006, Rundstrom (who had also released a few solo records) was diagnosed with cancer. He continued to perform with the band for months as he fought and underwent treatment, but Rundstrom ultimately succumbed to the disease in February 2007, just about a week after playing what would be his last show. ~ Jason Ankeny, All Music Guide
OUR LINKS
Red Eye Gravy
Red Eye Gravy is a truly unique Oklahoma music experience. The band creates a stylistic blend of traditional country music with the fast-paced punch of punk – adding a few hints of bluegrass, rockabilly and blues along the way. Integrating that with the homegrown influences of red dirt music, the sound of Red Eye Gravy embodies a timeless, traditional sound punched-up through the modern lens of rock & roll – loud, fast and uncompromising.
The band pummels through an exhilarating live show that captures the audience form the first burst of piercing vocals to the last notes of their deep-rooted sound. Combining a drummer baptized in punk rock, raucous lap steel, swinging doghouse bass, gritty but melodic guitar and the feverish conviction of its vocalist, Red Eye Gravy will have you believing the Grand Ole Opry was just set on fire and burned to the ground. Whether playing original songs, traditionals, or the occasional cover, this band will deliver an unparalleled show.
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Drakkar Sauna
In their old styled poker outfits, or perhaps the garb of a Wells Fargo banker, Jeff Stolz and Wallace Cochran settled the harmophone, guitar, bass drum, and tambourine shoe into another set of the strange breed of sound they like to make. The music has been called deconstructed folk, and murder balladesqe, but the definition they give denies those titles in favor of a little ambiguity. They create tight vocal harmonies, with lyrics that can make you feel they are just a touch insane. The guitar and harmophone and an air-powered organ in a suitcase, serve as the basis for the vocals, the rhythm section being only two feet of Stolz makes for a simplicity that a regular drummer would find impossible, and keeps their sound full of space such that all the elements of each song are apparent. On a couple tunes, they were joined by a stand-up bass player, and two of them found the Sauna playing as a quartet with a trumpet added into the equation. As they played I produced enough sweat to keep me damp the rest of the night. My shirt was also used as a sweat depository for a pretty young woman who thought I was someone else and found herself wearing an embarrassed look when she realized who exactly I was not. I could also see Stolz and Cochran sweating in their costumes. They were probably hotter than I was, with the red lights shining down on them. Maybe this was a night currated by an Old West pimp, and the sounds were made to induce brothel goers to leave their wives and families for real this time and go out on the road with a circus act that could easily attain psychedelic uncertainty, tragic happenings, comic blunders, and a caravan of followers from all walks of life. Who knows for certain. -Justin Hurty
OUR LINKS
5/3
Hearts Of Darkness
Cowboy Indian Bear
Reach
Jorge Arana Trio
metatone
$10 - $26.50 | All Ages | 7 pm
BUY TICKETS!Hearts Of Darkness
Welcome to the heartland's biggest Afrobeat band! Every show is an afrobeat party pandemic where everyone comes down with the fever and nice girls dance dirty!
OUR LINKS
Cowboy Indian Bear
Cowboy Indian Bear is a band from Lawrence, KS featuring members of The Jen Say Kwahs, and Kennedy Luck Club. We are recording our first album with the wonderful Joshua Browning and are planning to release a three song preview for that album by the end of 2008.
OUR LINKS
Reach
MORE INFO COMING SOON!
Jorge Arana Trio
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metatone
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5/8
Jon Wayne & the Pain
3 Son Green
18 & Over | 7 pm
Jon Wayne & the Pain
If Lee Scratch Perry and Deadmau5 died, went to heaven, and recorded an album with Bradley Nowell and Jerry Garcia, they’d end up with something like Jon Wayne and The Pain’s new full length album “Surrender”. In addition to the Minneapolis trio’s signature sound of roots infused Reggae Rock, their latest release adds a bold fusion of Jam and EDM into the fold.
The trio’s previous album “Follow Through” for the most part only teases with a few subtle, dark electronic elements but stays true to the roots infused Reggae Rock sound that could be described as an ideal poolside soundtrack. Until the release of “Surrender”, their sometimes sinister combination of organic drums and guitar with electronic bass and synths could only be heard if fans could catch the band’s live act in clubs and festivals around the U.S. or sift through bootleg uploads on Youtube. Their third full length album is full of electronic instrumentals that build from entrasic dub loops (wait for the drop) then explode into high energy party anthems with intense vocals and powerful acoustic drums.
Pushing boundaries further, Jon Wayne and The Pain inject Roots, Jam, and Ska into the mix with sounds that band members Jon, Chuckie, and Teeto have grown to love while playing alongside some of the most influential musicians in the festival scene. Complete with a sanctioned Grateful Dead cover and a festie-fan shout out track “Festival Friends”, JWP pays tribute to the Jam scene in a big way. Keeping in tune with the sound that made fans rush to see Jon Wayne and The Pain since the band’s early days, heartfelt Reggae-Rock tunes are still a staple in the diverse collection of songs that make up “Surrender”
OUR LINKS
3 Son Green
Since 2007, 3 Son Green has been interweaving their vast web of sound, sense, and solidarity into the ever‐evolving architect it has become. Their RockJamJazzFunk style breaks genre bylaws, and pulls crowds out of their seats everywhere they play. 3 Son Green’s intricate songwriting combined with their natural improvisation is guaranteed to satisfy every music lover’s palette. Their well fueled, expanding flame has, even now, lapped at the feet of the music world at all manner of festivals across the Midwest. These Kansas City grown virtuosos are vaulting to new heights, and leaving no slack behind.
Jamie Anderson – Guitar/Vocals
Evan Carlson – Guitar/Vocals
Steven Pearson – Drums
Trey Green – Bass/Vocals
OUR LINKS
ZoSo
Zoso – The Ultimate Led Zeppelin Experience formed in 1995 to perform the most accurate and captivating Led Zeppelin experience since the real thing. For Zoso, it’s much more than just being a tribute. It’s about touching a golden era in music. Zoso embodies Page, Plant, Bonham and Jones in their spirit, tightly-wound talent and authenticity.
Each band member has been carefully selected to portray both the appearance and playing styles of their Led Zeppelin counterparts. In eighteen successful years of touring, they have perfected their art. As one of the longest tenured Zeppelin tributes, Zoso’s 2400 live shows around the world have established them as the most traveled and successful band in the market.
Zoso’s live shows are not about simply playing the right notes, they are about aura and feeling, harkening back to the unique atmosphere Led Zeppelin created. It’s in the way they play: Each band member’s mastery of authentic vintage instruments coupled with spot-on vocals, guitar, bass, drums, and keyboards, their compelling stage persona and distinct Led Zeppelin sound, with astounding visual imagery recreates the music, magic, and mystery of a Zeppelin concert. The impact is so powerful that band members constantly hear from young rockers that they were the catalyst behind turning them into new, die-hard Zeppelin fans.
Their passion, musical ability, showmanship and precise attention to detail earned them critical acclaim, name recognition and a loyal national following. The Los Angeles Times hailed the group as being "head and shoulders above all other Zeppelin tributes," and the Chicago Sun-Times declared Zoso is "the closest to the original of any tribute."
If you missed Led Zeppelin live in the 70's or are looking to relive the "Hammer of the Gods" phenomenon, you must experience what the St. Petersburg Times calls "the most exacting of the Zeppelin tribute bands in existence."
OUR LINKS
Liverpool
Liverpool: A Tribute to The Beatles
In 1964, four lads from Liverpool, England, landed on American soil and changed music forever. Fifty years later, The Beatles' legacy is as strong as ever. Liverpool: A Tribute to The Beatles has spared no expense to bring the look, the sound and the songs of the fab four to the stage. The Liverpool experience sets itself apart from other tribute acts, with authentic costumes, vintage instruments, Vox amplifiers and a larger-than-life video show. Always with a loyal following in tow, Kansas City-based Liverpool has been dazzling audiences near and far for more than two decades. Get ready to sing, dance, and take a trip back in time to where it all began: Liverpool.
OUR LINKS
Skrillex
MORE INFO COMING SOON!
Dillon Francis
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What So Not
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Milo and Otis
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Almost Kiss
One of Six Tribute Bands
Considered talented enough to be placed on the world famous, “Gene Simmons Family Jewels” in front of an international audience, Almost KISS caught the eye of Family Jewels’ Producers and Executives in 2010 and were chose to be included as one of six tributes to be endorsed by Gene Simmons. Since then, this amazing group of four musicians has continued to excite crowds all over the country, growing substantially in popularity.
Complete Kiss Image on Stage
Part of what makes Almost KISS show so enthralling is the way in which they have so meticulously recreated the complete KISS image on stage. The boys feature authentic vintage instruments, makeup, and custom made costumes and boots. Their unmistakable New York accents and KISS antics truly bring out the outlandish, charismatic personas of the original four Gods of Thunder we all adore. In being true to the original characters, Almost KISS derives the majority of their song list from a specific part of the KISS katalog, primarily performing material that KISS played in live concert settings from 1974-1983. This long and wonderful list of songs spans material from the early tunes they played at small, dingy clubs in New York City to huge, international numbers such as “Lick It Up.”
Their touring takes them to festivals, college campuses, corporate events, benefits, nightclubs, and private functions from Missouri to Texas and Wisconsin to the Caribbean. No matter where the band travels, people always enjoy Almost KISS because people, young and not-so, still (and probably always will) love KISS.
International
2011 and 2012 will take Almost KISS internationally to St. Thomas and St. John in the U.S. Virgin Islands for a few big shows and rumors of travel abroad to Germany, Mexico, and Canada are constantly swirling.
Hottest Band in the World
Almost KISS are four KISS fans: Devote and true. They choose to pay homage to the hottest band in the world and bring the show closer to you than you’ve ever experienced before. Pucker up…this is the Hottest Tribute band in the world!
OUR LINKS
KC/DC
KC/DC!!! What else really needs to be said?????? The region's ONLY band exclusively playing both the Bon Scott and Brian Johnson eras of AC/DC. No other band in the history of rock 'n' roll has created better music to party your ass off to than AC/DC. We're actually jealous of you if you come to one of our shows...yes JEALOUS!!! We wish we were sitting out front listening to these ass-kicking rock anthems and drinking too much right-along side you...because we ourselves are just big fans of this music and what it represents--HAVING FUN WITH YOUR FRIENDS! (but playing these tunes ain't too bad either, so don't feel sorry for us!). This is HIGH ENERGY stadium rock that will leave you Thunderstuck! There's not a single "Debbie Downer" moment in any of the tunes we play. We do not wish to "inform" anyone of any issues (other than the fact that you need to loosen up and have some damn fun!), no songs to make you "think", no songs to express our "inner-rage", no songs to relate to the "lowest common denominator" of society, no political views. Just good-old blues based boogie-woogie hard rock 'n' roll that you can dance to, drink to, fight to, drive fast to, have sex to, scream-along to, and just plain LIVE to. LET THERE BE ROCK!
OUR LINKS
Looks That Kill
Looks That Kill-A Mötley Crüe Tribute, is the most epic and authentic tribute to the most notorious bad boys of American rock n' roll of all time!! Looks that kill will transport you back to when whip lash hard rock songs and melodic power ballads ruled the world!!
The band consists of four dedicated musicians out to do one thing And thats
to bring you, The most Amazing Mötley Crüe Show, Consisting of Motley Crue’s catalog of music from the beginning to the present. Songs like Dr. Feel good, Same 'Ol Situation, Girls Girls Girls, Live Wire, Kickstart My Heart, Wild Side and their huge rock ballad Home Sweet Home.
No other Mötley Crüe Tribute, brings you the music, the experience and
THE LOOKS THAT KILL……….
OUR LINKS
5/31
Andy Frasco & The UN
Mike Dillon’s Band of Outsiders
Mouth
All Ages | 7 pm
Andy Frasco & The UN
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 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.
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.
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Mike Dillon’s Band of Outsiders
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
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Vampire Weekend
Ezra Koenig, Rostam Batmanglij, Chris Baio, and Chris Tomson formed Vampire Weekend in 2006 while attending Columbia University. In 2007 the band signed to XL Recordings. Their self-titled debut album was released on January 29th, 2008. "Contra", the bands second album, will be released January 12th, 2010.
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Cults
MORE INFO COMING SOON!
The Bloody Beetroots
Beyond chaos!
The Bloody Beetroots is Sir Bob Cornelius Rifo, the Italian producer born the same year as punk rock, a fact emphatically made clear by the “1977” tattooed across his chest.
In fact, that tattoo is about the most identifying public feature of Rifo, whose penchant for wearing masks (see other cultural phenomena from Underground Resistance to “V is for Vendetta”) seems to be a declaration of ominous anonymity that defers the spotlight to his long list of productions, projects, films, art, manifestoes and musical incarnations emanating from his
Bloody Beetroots production epicenter: Bloody Beetroots DJ set where the decks-manning Rifo is joined by FX man Tommy Tea; Bloody Beetroots Deathcrew 77, his “electro-punk” band with drummer Battle and Tea capable of turning a gig for thousands of fans into a political rally/empowerment seminar, and in his forthcoming embodiment, Church of Noise, which is nothing short of a “cultural-musical movement,” as Rifo calls it, with Dennis Lyxzen of Swedish hardcore punk-pioneers Refused and The (International) Noise Conspiracy.
Bloody Beetroots has always been an anomaly amidst the cocooned trends and coddled pedigrees of dance music. After fits and starts in Italian garage-punk bands, Rifo launched Bloody Beetroots in 2007. Over the next three years, he would win the support of electro house heavyweights Etienne de Crecy and Alex Gopher in Europe, and Dim Mak’s Steve Aoki stateside, with each production more elaborate and ambitious than the last.
From the start, Bloody Beetroots was capable of synergizing sonics and sensibilities from The Damned to Debussy, the anthemic wistfulness of new wave and primal screams of hardcore punk, into remarkably actualized efforts that became platforms for larger socio-political historiography and cultural histrionics: the homage to Italian Futurism of “Rombo,” the cinematic soundtrack to Nazi resistance (and you thought it was just dance music) that is “Domino”--the striking black and white video for which features Rifo using only a book as weapon, and the kick drum pattern, in an irony too rich to ignore, recalling New Order’s “Blue Monday.” Then there’s the sci-fi fantasy anarchism of writer Michael Moorcock in “Cornelius” and the Trekkie techie nerd joy of smearing sounds that is simply, cerebellum-meltingly “Warp.” Clearly on Rifo’s watch, anything’s not only possible--but from the sheer vastness of sounds and media that have materialized--probable as well. From one-man studio production to full band live show with Bloody Beetroots Death Crew 77, dance tracks to films, photography, fashion and socio-political activism are all encompassed.
“Electronic dance music is the bridge that spans my musical influences,” explains Rifo. “My intention was to use the energy of punk to give it a devastating new form--one that embraces different universes of sound, the ordered chaos that I live every day, the unique shape that every thought should have.” This “ordered chaos” has resulted in much more than music on many levels. This isn’t dance music as hedonistic escape, he says, this is shared adrenaline as catalyst and call to action. Free your ass and your mind will follow, to flip a Funkadelicism.
“The music is meant to inspire, to dream and to give a reason of strength, but it also has the power to bring people together forever. And that's why I try every day to give my audience a full view. Photography, music, fashion, icons and world history. There are many levels of communication.”
It’s this communication he is confident that can spark thought and action in listener’s lives, because similar experiences have in his. “My life is about growth, development, art and courageous actions. I firmly believe that life is made of this,” Rifo continues. “I’ve spent a lot of time over the last four years with anarchic subcultures--musical, artistic, political--and I saw in the eyes of the people the desire to reverse the situation. Anarchy, to me, is a way to free ourselves from the bite of our time. I use a multi-disciplinary action to make people free.”
Rifo clearly wants people to have more than just a good time, he wants them to re-imagine their whole world and start a new one. “I see no real revolution of our time. For years the underground world has tried to fight the rival ‘normal’ world. It’s time to create a parallel one. If we can’t fight the system, we must learn to benefit from it to build something new.”
Hence, Church of Noise, Rifo’s inaugural collaboration with Sweden’s Dennis Lyxzen (Refused/The (International) Noise Conspiracy). “Dennis and I have decided to break the mental barriers and we are here today to fight together,” he explains. Of their otherwise unlikely pairng he says, “There are many common ideas between Romborama [his debut album] and The Shape Of Punk To Come [Refused’s seminal album]. Both are primarily inspired by the anarchism of Malatesta.”
You don’t have to know your anarchist history to get what Church of Noise is about: faith and frequencies, the familiar and the ferocious, and most of all, freedom. With its siren-call of bittersweet strings waving like morning-after battle flags as well as the raw, chugging live bass and guitar-shards framing vocals that alternate between adrenal caterwaul and spoken-word break-downs (“...It only takes a sound to change the beaten path/It only takes love and courage to take it all back”...), Church of Noise is the most ambitious Bloody Beetroots recording to date.
Truly as Rifo’s calls it, “a cultural/musical movement.” From its manifesto (yes, manifesto): “Church of Noise is a congregation of lovers, fighters, sinners, artists, misfits, outcasts, losers and weirdos. In other words, normal, irrational, angry, happy, fucked-up people," it says, sounding as much like an apocalyptic cult or maybe even an Alcoholics Anonymous meeting, very lower-case catholic and all-embracing but also something very positive and looking forward.
“My whole life has been determined and shaped by the people I’ve looked up and the people that have supported me,” says Rifo. “Bloody Beetroots and Church of Noise is something I owe to people to potentially be as important to them as things that influenced me to make the choices and live as freely as I have.” Mindless techno bollocks this ain’t. Enjoy. But more importantly, be inspired. To dance, sure. And hopefully, to live freer.
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Cas Haley
Cas Haley is breaking out on his own terms.
Connection, his Easy Star Records debut, is aptly named. It’s all about those deep-running connections that make him what he is—those unbreakable links between artist and audience, between styles of music, between art and life, and most of all, between all people. As Cas points out, reggae’s core message is, after all, "one love."
His crystalline voice and funky, easygoing beats earned Cas a second-place finish on America’s Got Talent, which in turn netted him a measure of fame and a following. But the contest also locked the Texan singer/songwriter/guitarist into a major label deal that didn’t feel right. So, not wanting to be turned into a manufactured product, he struck out on his own. The superb result: Connection, a collection of songs basking in the philosophical and musical maturity that comes from staying true to his artistic vision.
Raised by musician parents, Cas grew up surrounded by the sounds of blues and 60s-70s rock. He got serious about the guitar at age 12 and was "taught by the tribe" of musicians passing through the house. "The kitchen would be turned into the practice room or for jam sessions, so I was pretty much born into that lifestyle," he says. And from the very beginning he was more inclined to create his own music than to slavishly learn covers.
Also prominent at home were the Bob Marley records his mother would play, which made a profound impression. After a period of heavy immersion in the sounds of the ska/punk/skateboard culture, Cas was blown away by the classic reggae-pop of bands like UB40 and Sublime, and his mature style began to take shape.
Those pop-inflected island grooves and his joyful, versatile voice helped bring Cas to the brink of stardom on America’s Got Talent and sell 30,000 copies of a debut album with virtually no promotion. And they’re fundamental to the soul of his music—what he calls the "relaxing, effortless playing where everything fits together." Elements of soul, blues, and pop swirl through Cas’s strong reggae beats. Just like disparate musical styles, "we’re way more connected than we think," Cas says. "We separate ourselves in so many different ways, but the whole theme of the album is that we’re all connected."
"Every color," he sings in the title track, "is created from the same light."
Easy Star, the leading U.S.-based independent reggae label, is the ideal home for Connection. The label has been stretching beyond its strictly roots-reggae format, signing progressive bands and artists like John Brown’s Body, Tommy T, and The Black Seeds. “Cas’s sound is unique, accessible, and a great way to keep expanding the Easy Star audience," says CEO Eric Smith. "And it’s not often we come across a singer-songwriter this talented, regardless of genre, so we had to work with Cas.”
Mixed by Danny Kalb (Ben Harper, Beck), Connection bristles with chill grooves, rocking guitars, and funky horns, all fueling Cas’s irresistible melodies. Meanwhile his lyrics effortlessly balance simple, spiritual truths with thoughtful reflection. Cas’s songs recognize the complexities of life—love, family, worldly troubles and uncertainties—but always come back to the central message of connection.
It’s the journey that matters; Cas is aiming for success on his own terms. "If I’m not doing it authentically then I don’t want it," he says. His only goal: "To authentically express myself and help others do the same. Because it’s a sweet life to be able to do that."
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Mike Love
MORE INFO COMING SOON!
Kimie
MORE INFO COMING SOON!
John Butler Trio
In June this year, John Butler proudly announced the new line up of the ever evolving John Butler Trio. Prominent Melbourne musician Nicky Bomba (drums and percussion) of ‘Bomba’ fame and principal drummer on ‘Sunrise Over Sea’ joined the band and bass player Byron Luiters from Sydney outfit Ray Mann Three completed the new line up. Having spent the past few months bunkered down in his Fremantle studio with his new band mates putting down tracks for their forthcoming fifth studio album entitled ‘APRIL UPRISING’, John Butler is pleased to announce fans will get their long awaited live JBT hit when the band perform throughout the world early in 2010.
The new album title April Uprising came from an incredible journey John undertook for the ‘Who Do You Think You Are’ TV series. He traces the Butler name through generations of hardship to a matriarch who sang for her survival and follows his Bulgarian ancestry to a forebear caught up in a violent revolt called the April Uprising.
The recording process for the new album (the first release from the JBT in 3 years) has been shared with avid JBT followers via a special studio sessions page on the band’s website: www.johnbutlertrio.com John Butler describes the first new track, One Way Road; “One Way Road is the combination of pretty much most of my musical influences; dancehall, roots & rock. Some how we found a way to bring all these feels in a way that sounds natural and not too contrived or cerebral. I’m really happy with how we captured the vibe of his song”.
With sold out performances over the past two years, not only on home turf but also worldwide, on the back of their highly acclaimed and 3 x platinum accredited ‘Grand National’ album, the John Butler Trio have reaffirmed their status as one of Australia’s leading artists. ‘APRIL UPRISING’, scheduled for release early in 2010, will unveil a whole new journey for the band.
John Butler comments on the forthcoming new album, “The whole rehearsal and recording process so far has been a lot of fun and very gratifying. I feel the sounds and general spirit and energy of this album are best summed up in the words – free, melodic, funky, phat and rocking. There’s definitely a certain attitude that comes across on the album. Perhaps there’s a conviction, in a song writing and production sense, that I haven’t tapped into so much on earlier works that seems to be more prevalent on April Uprising. There’s chemistry and language that Nicky, Byron and I have found that really compliments these songs in all their different facets”.
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Frank Turner
For three long and often lonely years of life on the road, plying a brand of honest and passionate folk/punk, Frank Turner continued to rise to prominence with an ever increasing following. But it was in the sweaty climes of the Lock Up Stage at Reading and Leeds 2008 that his solo career really started to take off. Inside the packed out tents, heaving with adoring fans and intrigued passers-by, Frank led the congregation in a mass sing-a-long; a stirring set that not only sparked the interest of the British mainstream but resonated unassumingly across the pond as a wealth of American punk bands watched approvingly from the sidelines.
No stranger to the festival, Frank had not only played the Lock Up Tent with former hardcore band Million Dead back in 2005 but also as a tentative solo artist in 2007 when debut album ‘Sleep Is For The Week’ was just an underground success. Within the following year, Frank’s popularity grew with yet more touring and the release of second album 'Love Ire & Song' in March 08. He started to play larger headline shows and develop the live band that he was looking for.
The profits of all his hard work came together that festival weekend; it kicked started a new wave of interest and thanks to the unwavering support from Radio 1 DJs Mike Davies and Steve Lamacq, the rest of Radio 1 began to follow suit. Soon enough when Frank’s single 'Long Live The Queen' – taken from ‘Love Ire & Song' – was released in October, it made the R1 C-list, was Single Of The Week on Sara Cox’s show and helped sell out Frank’s largest UK headline tour culminating in a bursting-over-capacity-finale at London’s Scala. The following single 'Reasons Not To Be An Idiot' released in January of this year eclipsed those successes by graduating to the R1’s B-list, 6Music’s A-list and XFM’s daytime playlist, prompted a Live Lounge session for Sara Cox, a Hub Session for George Lamb as well as making iTunes Single Of The Week all helping to recruit a new army of Frank followers.
It was also during this time that sections of the US punk fraternity began to take notice. Having watched the infamous Lock Up Stage set at Reading and Leeds, Vinnie from Less Than Jake got in contact asking to release 'The First Three Years' album (a collection of all early and previously unreleased material, live tracks and b-sides released in the UK in December 08 on his vinyl label Paper and Plastick. Chuck Ragan took him on the Revival Tour with Tim Barry across America, he did a few shows with up and coming stars Fake Problems and New Jersey boys The Gaslight Anthem invited him to support them on their huge UK and European dates in the early part of this year. It was evident that word was spreading throughout the punk scenes both sides of the Atlantic and by the time Frank flew in to Austin, Texas for the annual industry showcase SXSW in March, a whole new chapter in his story was about to begin.
Frank’s brand of folk songwriting, catchy melodies and punk passion had reached the ears of the CEO of US independent label Epitaph Records, Bad Religion’s legendary guitarist: Brett Gurewitz. Excited by what he had heard and seen when Frank headlined LA’s notorious Viper Rooms in March, Gurewitz got in contact and soon enough plans were formulated and a worldwide deal was inked. With loyalty and integrity firmly intact, Frank kept his relationship with his existing label Xtra Mile Recordings for all releases in the UK and Ireland and so the two labels will work closely for what will undoubtedly be an exciting new era in Frank’s ever evolving career.
“Frank Turner’s music is a revelation to me,” says Gurewitz. “I can’t stop listening to it. It’s a real privilege to get out there and help Xtra Mile spread the Frank Turner gospel.”
Epitaph is the perfect home for Frank. With its fiercely independent spirit, rich in punk and hardcore history it is also home to the song-writing talents of Nick Cave and Tom Waits on sister label Anti; mirroring Frank’s cross-over appeal of punk ethics and strong song-writing abilities. Inspired by the likes of Bad Religion as a kid, this really is a dream come true for Frank.
So with this exciting plot in place the year ahead is looking pretty good. His third studio album, ‘Poetry Of The Deed’, released worldwide in September, sees Frank venture in a more rock direction recruiting his outstanding band for the recording process. Performing live has always been at the very heart of the Frank Turner experience and whilst he’s still writing all the songs, they will be recorded live to help bring that experience to the album. Grammy nominated producer Alex Newport – who has previously worked with Death Cab For Cutie, At The Drive-In, Two Gallants – is on production duties after contacting Frank directly asking if they could work together. Coinciding nicely with the release are tours in America and Europe as well as the massive UK headline tour in October, where having previously supported The Gaslight Anthem at London’s Shepherd’s Bush Empire, he will return triumphantly to headline for the last night of the tour.
Before that though, another summer of further touring and festivals lies ahead. He will jet off to the East Coast of America to support The Offspring for 12 dates of their tour in July, performing solo to potentially 30,000 people. He’ll play at Camp Bestival and Jersey Live fest and return full circle to this year’s Reading and Leeds Festival. This time, however, he will play the larger Radio 1/NME tent midway through the afternoon and judging by what happened last year it’ll be another defining moment in this story of one beardy man and his acoustic guitar. The best is yet to come.
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Vintage Trouble
The Bomb Shelter Sessions │Biography
Vintage Trouble formed in 2010 out of the ashes of a few other bands, and not by chance, Ty Taylor (vocal) and Nalle Colt (guitar) teamed up with drummer Richard Danielson and bassist Rick Barrio Dill. They entered The Bomb Shelter Studio, recorded an album's worth of material in three days, which was intended to be demos and ended up being pressed into CDs. The Bomb Shelter Sessions became Vintage Trouble’s first album. Selling it at their gigs was easy and not surprisingly so were the calls to feature their music in several commercial media.
With a unified decision to stay in Los Angeles to build their musical foundation as a band, weekly residences in the area lead to a large assembly of fans in a short amount of time. These fans became known as the "TroubleMakers." It was that underground buzz that lead to legendary manager Doc McGhee taking notice and signing Vintage Trouble to his roster after hearing only a single chorus. Doc's first order of business became breaking the band in England, right away. Their first venture overseas resulted in a similar groundswell with Music Weekly naming them 2011 Breakout Artist of the Year and HMV hailing them as their "Next Big Thing.”
Their return to the U.S. and Harvelle's was nothing short of epic, with a line forming down the block before the club even opened. Vintage Trouble felt the homecoming as a true testament to their fans’ dedication at spreading the word and sharing their music. The crowd inside was just as amped; young and old, newbies and old faithful, all anticipating the transference of energy from the band to their soles. Vintage Trouble didn't disappoint. The next day the band would be on a plane back to London to appear on Later… with Jools Holland. This performance was one of the most talked about of the year, blowing up Twitter as the 6th most tweeted topic worldwide just hours after the show. The very next day, their self-released debut, The Bomb Shelter Sessions entered the charts, becoming the No. 1 "R&B Album" and No. 2 "Rock Album" on Amazon UK—No. 6 on Amazon overall and No. 13 on iTunes, charting in the "UK Top 40" by the time it was officially released in July.
The band went on to play 80 shows in 100 days in front of an estimated 400,000 people throughout the UK and Germany. The next three months brought them an opportunity playing theaters, opening for Brian May's Anthems Tour, and then as the support for Bon Jovi in stadiums and arenas on the UK, Ireland and German legs of the tour, playing to over 200,000 people in just under two weeks—all the while headlining smaller venues, after-hours clubs, and pubs. Guitarist Magazine ran a feature about Nalle, and The Bomb Shelter Sessions was named one of the "Top 25 Guitar Albums of the Year” by Total Guitar Magazine. They won the Classic Rock Award for "Best New Band of 2011"—an honor that German Music Magazine would also bestow upon them.
Things exploded around their penultimate show in Glasgow. The demand for tickets was so great that they were bumped up from a 500 seat venue to play for over 800 freshly converted “TroubleMakers.” Ty was invited to front Queen for Freddie Mercury's 65th birthday celebration in London, setting the stage for Vintage Trouble to embark on their third overseas tour, with destinations including Italy, Germany, Paris, Belgium, and the Netherlands. They played Hyde Park Main Stage twice in eight days (The Wireless Festival and Hard Rock Calling). They were featured on Sky News, recorded an MTV The Studio Sessions with Tony Visconti, in addition to 17 live radio sessions throughout the tour, including Radio 2- Janice Long, 6 Music With Craig Charles, Q Radio, BBC Radio London and BBC Radio Scotland.
2012 proved to be just as busy. The band sold out The Troubadour in Los Angeles and took up residencies at both The Cosmopolitan and Hard Rock Hotels in Las Vegas. Their first video "Nancy Lee," filmed entirely with an iPhone, won at the Original iPhone Film Fest, not just taking the Music Video category, but the festival's grand prize as well. In February, Google Music selected Vintage Trouble as the featured artist at Sundance where their live performance rocked the film community and they made their first appearance in Rolling Stone. Their too-brief Australian tour included the Sydney Festival and the Australian Film Awards and was met with such an overwhelming response that a return trip is guaranteed sooner rather than later. Vintage Trouble’s SXSW showcase in Austin was named "the fourth best live performance of the festival" by Paste Magazine (only behind The Jesus and Mary Chain, Jack White and Bruce Springsteen). In celebration of the official U.S. release of The Bomb Shelter Sessions, Best Buy also featured Vintage Trouble on their TV screens in stores nationwide.
The release of The Bomb Shelter Sessions, combined with their electric live show has catapulted Vintage Trouble into the US limelight, earning them a sponsorship by Supercuts, an iTunes rock download of the week for new song “Pelvis Pusher,” along with praise from NPR, Rolling Stone, The Wall Street Journal and Billboard for what The New York Times raves, "Like Otis Redding, Vintage Trouble makes music that is a little bit of everything ... You can slow dance, groove, rock and let it all go."
Following unforgettable TV performances on The Late Show with David Letterman, The Tonight Show with Jay Leno, Conan and Jimmy Kimmel Live, Vintage Trouble recently wowed audiences at this year's SXSW festival, capturing the attention of Yahoo Music who raves, “Imagine James Brown singing lead for Led Zeppelin, and you’ll get an idea of Vintage Trouble’s muscular, in-the-pocket sound.”
Vintage Trouble is currently on a world tour that has already seen them open for Lenny Kravitz, The Cranberries, Joss Stone and recently, The Who. Their world tour continues in 2013 with performances at Coachella, Glastonbury and Rock In Rio, a Japanese headlining run and The Who’s European Tour. The band will open for The Rolling Stones at Hyde Park in London this July, and will return to the US for a headlining tour in August.
Vintage Trouble’s Ty Taylor, Nalle Colt, Richard Danielson and Rick Barrio Dill together form a quartet of sincere musicians whose combination of hard work, talent, and luck are undoubtedly going to take them right where they deserve to be: on our radios, in our cars, our headphones, our televisions, at the venues where we go to see our favorite bands and on the soundtrack of our favorite moments in life.
By Nick Faigen
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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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Dar Williams
The initial idea came in a flash. Dar Williams was driving on an isolated highway, crossing from New York into Ontario, surrounded by frozen fields, silver trees, and empty sky, when inspiration struck.
“I thought, ‘I want to write a biker song!,’” Williams says with a laugh. “And then my second thought was, ‘I want to write an epic biker song.’ The Greek messenger of the dead is named Hermes, and I want to write about him-the god of travelers and thieves.
“I had this picture of Hermes starting to take a silver-haired woman down to her death, as she’s asked him to do, and instead he seduces her, saying ‘I love people like you who are experienced and worldly.’ And then I thought, why don’t I really freak out my record company and make a whole album about Greek mythology? So I decided to look at each of the gods of the Parthenon and see if their stories sprang to life for me or not.”
And from that moment came “You Will Ride With Me Tonight,” the fifth song on In the Time of Gods, the ninth studio album by the beloved singer-songwriter. Produced by Kevin Killen (who has worked with such giants as U2, Elvis Costello, and Peter Gabriel), and featuring a remarkable set of musicians including Larry Campbell, Charley Drayton, Gerry Leonard, and Rob Hyman, the ten songs that resulted from exploring this theme became some of the richest music and most evocative writing of Williams’s career.
The complex and mysterious world of mythology aligned with several other issues that Williams was grappling with. “I’m interested in power right now,” she says. “I’m in my 40s, and I’m shocked that the café conversations I had in my 20s-’Somebody has to do something!’- are now my responsibility. I see people who are actually doing things that you always dreamed somebody would do, and I can help make that a reality. So the stakes are higher, in a good way, but you also see the shadow, the reckless behavior, where a person can lose it all in a weekend.”
Of course, the ceaseless turmoil in the world today is of great concern to this seasoned artist who’s also a wife, mother and “involved neighbor,” as she puts it, active in her community. “A lot of what’s going on is actually really gross,” she says, “and to see it as epic, instead of doomed, is helpful for me. These stories and characters helped me make sense of it.”
Williams, though, wanted to be sure that she was serving the songs themselves, and was prepared to abandon the mythology theme any time it didn’t naturally fit; “I didn’t want it to be a gimmick or a test,” she says. But she was pleased to find how flexible and expansive these archetypes really are. “The Light and the Sea” began with the notion of the sea god Poseidon, but became a meditation on retaining a moral compass.
“As I get older, my big struggle isn’t being virtuous and moral, it’s more about what I do in chaos,” says Williams. “When I’m stressed out, I say and do terrible things. There’s a light to follow, and you can lose it in chaos.”
Other songs brought ancient themes directly into the Hudson Valley home Williams shares with her husband, their son, and their young, Ethiopian-born daughter. She describes “Write This Number Down” as “an Athena-ish song” written for her younger child. “It’s telling her not to lose faith, because even when the justice system isn’t up to what you want it to be, there will be networks of people who will help you find justice.”
Williams also wanted to write a song for her husband. “When I go on the road, there’s an understanding that it is part of our relationship,” she says. “In the Parthenon, there is one goddess-Vesta, goddess of the hearth-who sits in the middle of the hall stoking the fire. I never thought that I needed a hearth, but that’s my home, and also my marriage, an anchor in my life that just gets better all the time. So ‘I’ve Been Around the World’ does correlate, but I would have written that story no matter what.”
As documented on her last album, the 2010 two-disc retrospective Many Great Companions, Williams’s growth as an individual over her almost two-decade-long career has gone hand-in-hand with her evolution as an artist. Raised in Chappaqua, N.Y., and educated at Wesleyan University, Williams spent 10 years living in the thriving artistic community of Northampton, Mass., where she began to make the rounds on the coffeehouse circuit. Joan Baez, an early fan of her music, took Williams out on the road and recorded several of her songs.
In 1995, two years after self-releasing The Honesty Room, she signed with Razor & Tie Entertainment, beginning a relationship now in its 16th year. Along with her studio albums, she’s also released the onstage document Out There Live (2001) and the DVD Live at Bearsville Theater (2007).
The final song on In the Time of Gods manages to bring all of her concerns-social, creative, and personal-under one roof. “We have a mountain close to our house called Storm King,” says Williams. “When a circle of clouds gathers around the top of it, that means the rain is coming. Pete Seeger lives across the river and can see the mountain, and I wrote a song saying that Pete is the storm king now. He looks down and watches over us, guides and warns us, like the mountain does.
“So my ‘Storm King’ is not a king of Greek mythology,” Williams continues. “He’s a father figure who influences me from two miles up the road, where he composts and chops his own wood, and reminds me of my responsibilities. ‘Storm King’ is my way of saying that we aren’t living in 400 BC Greece, we are evolving in time. And that’s what you’re allowed to do with mythology-to let it evolve and show who your Parthenon is now.”
That’s the great achievement of Dar Williams’s album. With ease and grace, it reminds us that wherever we are, whenever it may be, we are always living In the Time of the Gods.
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The Detroit Cobras
One of the earliest groups to emerge from the Detroit garage rock scene, the Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band -- while the bandmembers devoted themselves to performing other people's material rather than recycling established hits, the Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality. The Detroit Cobras were formed in 1995 by Steve Shaw, who developed a taste for classic R&B from spending time with Alex Chilton, whom he met through his friends in Detroit primitives the Gories. The first edition of the Detroit Cobras featured former exotic dancer Rachel Nagy on vocals, Shaw and Maribel Restrepo (ex-Vertical Pillows) on guitars, Jeff Meier (from Rocket 455) on bass, and Vic Hill on drums, and they released their first 7" in 1996.
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O.A.R.
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Phillip Phillips
MORE INFO COMING SOON!
moe.
moe. is the preeminent progressive rock band on the music scene today. In a remarkable career that's touched upon three decades and produced 17 albums, the quintet of Al Schnier and Chuck Garvey on guitars and vocals, Rob Derhak on bass and vocals, Jim Loughlin on percussion and vibes, and Vinnie Amico on Drums, continues to push the standard for performance art.
Critical acclaim and a solid national and international fan base has built a dedicated following that grows each year. Whether touring across the globe, headlining music festivals, or sharing the stage with such celebrated acts as the Allmans, The Who, or Robert Plant, among others, what keeps moe. at the forefront of the music scene is not only the energy and vitality of their music and songwriting, but the showmanship in which it is delivered.
From its humble, inconspicuous beginnings as a local bar band in Buffalo in the late 1980s, to headlining Radio City Music Hall on New Year's Eve the past two years, moe.'s journey has been one of hard work, perseverance, and dedication. Their music is clever, melodic, refined; their performances are entertaining, mesmerizing and epic. There's a reason that Rolling Stone magazine placed Chuck and Al among the top twenty new "guitar gods," why the pair were featured in Guitar World and Modern Guitar; why Jim and Vinnie have been featured in Drum! magazine; why Rob in Bass Player and State of Mind magazines — all in the last year — because they're that good! The renowned guitar play between Al and Chuck is fast becoming the stuff of legend. The exceptional vibe and percussion work by Jim is brilliant. The understated bass play by Rob is masterful. The seamless, efficiency of Vinnie's drum play is extraordinary. The interaction among the five represents rock and roll at its best.
The news keeps getting better— moe. is just hitting its creative stride. Their much anticipated album, Sticks and Stones, set to be released in January 2008, comes a year after the critically acclaimed, The Conch, and only months after the release of Warts and All Volume 5. They continue to tour extensively: from San Fran to Amsterdam, from Tokyo to Toronto, from Chi Town to Bean Town, from Austin to Atlanta, playing and packing venues large and small, or intimate and grand. Long a featured act at music festivals, the past year they performed at Lollapalooza, Langerado, All-Good, Ottawa BluesFest, and Vegoose, to name a few; yet made time to promote and perform at their own festivals — Summer Camp, Snoe.down, and moe.Down.
By all accounts, for this "legendary jam band," as Rolling Stone magazine recently described them, it would be best to keep your eyes on this band and your ears tuned in to their music. Witness history in the making. This is welcome news for the moe. faithful and the band's ever-expanding fan base. Yet — even better news for the world of rock and roll — moe. has finally come into their own.
Sticks and Stone: moe.'s Experiment in Rock and Roll
The dust had yet to settle at moe.down 8 this past September when moe. — Al Schnier, Vinnie Amico, Rob Derhak, Chuck Garvey, and Jim Loughlin — packed up its gear and headed off to the Berkshire Mountains. The destination was western Massachusetts, the small enclave of North Egremont, to conduct an experiment in musical composition. The object was to create and produce an album. The second studio release in a year. The first, the critically acclaimed, The Conch, was years in the making. For this album, for the most part, there was no music written. Perhaps a few lyrics or concept for a handful of songs, and two older compositions never recorded in the studio. The result, Sticks and Stones, ten songs guaranteed to tickle your ivory, will be released on January 22, 2008.
There is a reason that moe. is the preeminent progressive rock band on the music circuit today. Their discography marks a continuous progress and evolution in performance art. Each and every release is a step forward, refining a musical signature very much their own, yet very much a part of the tradition of rock and roll. Broadly speaking, though that tradition may have its roots in the span of the American experience, rock and roll came to fruition in the 1960s and 1970s. The music from that period set the benchmark for the years that followed. This makes the many accolades and comparisons that moe. has received for their music — from Zepplin to Zappa; from Steely Dan to the Dead — all the more meaningful and, let's be serious, pretty good company for moe. to be in. It means that their résumé is solid enough, that critically their reputation is strong enough, and that subsequently they've earned a place carrying forward the tradition of rock and roll on its evolutionary progress. It's at once fascinating and exhilarating, and must be quite satisfying for the band and its many followers.
Which brings us back to Sticks and Stones. This album represents another step forward in the musical evolution of moe. Most artists would likely tell you that their compositions are well-rehearsed before entering a studio. That time for exploration and experimentation with the music has passed. Not so with Sticks and Stones. moe., in effect, created their own MacDowell Colony. An artistic retreat. They rented a hundred and fifty year old church, long since decommissioned and renovated; and apparently, an ideal environment for artistic expression. Secluded, the church offered the band a time and place to create. They wrote and recorded the album, largely collaborative songwriting, during the weeks after moe.down. Eighty percent of the music was written during the recording session. The music the listener hears was recorded at the near moment of conception. Specifically to capture the core of the music in its essence.
That said, Sticks and Stones is remarkable. They've produced an exceptional work of art. The arrangement and structure is a departure from the continuous flow of Wormwood and the intricately cultivated sound of The Conch, their last two studio efforts. The music on Sticks and Stones is fresh, immediate, concise. The two opening numbers, "Cathedral" and Sticks and Stones," are quite catchy tunes, venturing into melody with a solid rock beat. If the guys were seeking to infuse an element of old-fashioned rock and roll with this album, these two songs set the pace. Because they nail it. There's such a wonderful blend of music coming at you in "Cathedral," so much instrumentation throughout the song, in and around the vocals, building to a near anthem quality, it's hard to believe the composition wasn't months in the making. Then, abruptly, your greeted with the driving, rocking beat of "Sticks and Stones." Its light and whimsical lyrics dovetail nicely with crisp guitar work and an engaging solo near the end.
As the song fades it makes way for the pulsing, dramatic wave that slowly envelopes the listener with the third track, "Darkness." The song begins at a crawl and suddenly jumps into gear. Listen to Jim on the vibe. It sets the tone for the song throughout. The music is reminiscent of late sixties, early seventies edgy, acoustic-electric rock, but with the addition of the vibe. Kind of like CSNY meets Gary Burton. The lyrics, a not so subtle social message that asks, who, ultimately, are we going to blame? How much longer must we live in fear? are a perfect compliment to the music and delivered passionately by Rob.
The next number, "Conviction," steps out and greets the listener like an old friend. For those who follow moe. on tour, they'll be pleased to hear the studio rendition of this gem. Composed by Al Schnier, it features the addition of guest artist Allie Kral, the exceptional and talented violinist from the band Cornmeal (she plays violin and viola on four tracks).
On its heels, track five, "Zed Nought Zought" or "ZOZ," the album's only instrumental piece, is a well-placed transitional number. Long-time fans will relate to the ethereal quality of the jam. New fans will enjoy the light and airy flow. The first time through listen to the interaction of the guitar play between Al and Chuck as the composition builds from one crescendo to the next. The next few times through listen to the rhythm. The exceptional vibe and percussion work by Jim. The understated bass play by Rob. The seamless, efficiency of Vinnie's drum play. The interaction among the three with the solid guitar up front represents moe. at its best.
"ZOZ" provides the perfect segue to the next phase of Sticks and Stones. Tracks six and seven, "Deep This Time" and "All Roads Lead to Home" are, respectively, two more old-fashioned rock and roll numbers. The former, "Deep This Time," features nifty, slide guitar play, the soulful backing vocals of Nadine LaFond, and a driving beat. The latter, "All Roads Lead to Home," is the kind of tune that can play in your head for hours on end. The backing vocals, the guitar work, the harmony and melody combine to offer a pop-rock quality with an edge. moe. aficionados will recognize this piece. A Chuck Garvey composition, the song's been in the band's repertoire for a few years, though rarely performed.
It leads us to "September," which slows the pace down considerably. The mood of the music is somber and introspective as one may expect from the symbolism of its title. The combination of the acoustic guitar and violin are moving and well-balanced.
Don't get too mellow. "Queen of Everything" is going to perk you up real quick. This is a honky-tonk, smoking blues number. The song features Rob on vocals bolstered by hot slide guitar and slick picking between Chuck and Al, respectively. Not only is this song a catchy, foot-stomping number, but demonstrates the range of music Sticks and Stones achieves. In a matter of minutes the music has shifted from an ethereal jam to soulful rock to pop melody to honky-tonk.
Speaking of range, if the final cut on the album, "Raise a Glass," doesn't send you on a pub crawl then chances are you probably wouldn't be reading this anyway. Arranged in the tradition of an old Irish or English folk song, it features the violin play of Allie Kral and the backing vocals of old friends Umphrey's McGee. A sing-along, this is one of the more unique songs moe. has ever recorded, and will undoubtedly become a fan favorite. A number that will have the audience in any venue, bar or music hall, singing loudly.
And when you think about it that's how music should be. Bringing out the best. Singing along. Feeling good. Which is everything that Sticks and Stones is about. The music is engaging, filled with heady rock and roll, catchy melodies, and great musicianship. The music is also deep. Each and every song is well-crafted; produced, engineered, and mixed to a high degree of professionalism. In the final analysis, Sticks and Stones is an achievement for moe. An experiment in musical composition that will surely be embraced by long-time fans and generate many more for years to come.
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Pimps of Joytime
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Trombone Shorty & Orleans Avenue
Trombone Shorty (Verve) -- New Orleans native Trombone Shorty began his career as a bandleader at the young age of six, toured internationally at age 12, and spent his teens playing with various brass bands throughout New Orleans and touring worldwide with Lenny Kravitz. He is currently the front man for his own ensemble Orleans Avenue, a funk/rock/jazz/hip-hop band. Together, Trombone Shorty and the band have toured across the U.S., Europe, Australia, Russia, Japan and Brazil. In 2010, Trombone Shorty released his debut album, the Grammy®-nominated "Backatown," followed by "For True" in 2011, which topped Billboard magazine's Contemporary Jazz Chart for 12 weeks. His newest album, "Say That to This," was released in 2013 and features funk/jazz elements of New Orleans. Trombone Shorty appeared in several
episodes of HBO's "Treme," and has recently appeared on "The Tonight Show with Jay Leno, Jimmy Kimmel Live," "Late Night with Jimmy Fallon" and "Conan." In 2012, he performed at the White House in honor of Black History Month with music royalty such as B.B. King, Mick Jagger, Jeff Beck and Booker T. Jones. At this year's Grammy Awards, he performed alongside Madonna, Macklemore & Ryan Lewis, and Mary Lambert. In 2012, he received the President's Medal from Tulane University in recognition of his charitable work with the Trombone Shorty Foundation. In collaboration with New Orleans Mayor Mitch Landrieu, the Trombone Shorty Foundation donates quality instruments to schools across New Orleans.
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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.
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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.
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Langhorne Slim
“Langhorne’s stronger than ever vocals lead the journey blending his poetry through the beautiful chaos and bearing a wisdom that reflects a broken heart battling the perils of true hope.“ - BMI
Since Langhorne Slim first swept onto the Brooklyn music scene with a guitar in his hand and a song in his heart, folks have been trying to find the right hole for this square peg. Listeners have drawn comparisons to celebrated artists from across the generations, citing folk legends like Dylan and Guthrie, alternative phenom Beck, and contemporaries like Conor Oberst and Ray LaMontagne. Critics have tried their best to tag him, pulling out genre labels from Americana to anti-folk or just breaking it down to rock and roll.
Langhorne has shared stages across the world with acts such as The Avett Brothers, Josh Ritter, and The Drive-By Truckers. He’s astonished the foot-stomping masses at premier festivals including Bonnaroo, Lollapalooza, and Austin City Limits. With his remarkable performance on Late Night with David Letterman and his songs being featured everywhere from indie buzz film The Waitress to the hit show American Idol to a nationally-televised Traveler’s Insurance commercial, chances are Langhorne Slim songs have reached you in one way or another even if you were yet to formally make his acquaintance. Langhorne makes no apologies for his genre-busting style, claiming his music is “just a reflection of what I'm doing at that one time, and that's what music has always been to me."
“(A) shimmery slice of heartache.” – Twang Nation
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6/21
Split Lip Rayfield
Mountain Sprout
Cowgirls Train Set
Carrie Nation & The Speakeasy
Coyote Union
Honky Suckle
Deadman Flats
Grisly Hand
$21.50 - $61.50 | All Ages | 1 pm
BUY TICKETS!Split Lip Rayfield
The Kansas-based post-punk progressive bluegrass outfit Split Lip Rayfield was comprised of vocalist/banjoist David Lawrence, guitarist/dobroist Kirk Rundstrom, and one-string bassist Jeff Eaton, whose instrument was fashioned from the gas tank of a 1965 Ford. An outgrowth of the group Scroat Belly (though it didn't take long for them to outlive the band that spawned them), the trio debuted in 1998 with a self-titled LP issued on the Bloodshot label. In the Mud followed a year later; by this time, singer and mandolin player Wayne Gottstine had expanded the lineup to four pieces and Eric Mardis had replaced Lawrence on banjo. The new millennium saw the release of a third effort, Never Make It Home, which arrived in stores in late 2000. After three years of touring, which saw the group opening for everyone from Del McCoury to Nashville Pussy, Split Lip Rayfield recorded and released a fourth long-player, Should Have Seen It Coming, in 2004. In early 2006, Rundstrom (who had also released a few solo records) was diagnosed with cancer. He continued to perform with the band for months as he fought and underwent treatment, but Rundstrom ultimately succumbed to the disease in February 2007, just about a week after playing what would be his last show. ~ Jason Ankeny, All Music Guide
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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.
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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!
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Carrie Nation & The Speakeasy
Carrie Nation & the Speakeasy is a high-energy, acoustic brass 'n' grass outfit based out of Wichita, KS. The band, whose sound has been described as a stagecoach in overdrive, has brought their eclectic blend of punk, bluegrass, dixieland, and circus tunes to packed bars, basements, and festivals across the United States since 2007.
With tunes that cover just about everything from drinkin' to
dyin' to livin' and lyin', CNS can fill the dance floor with their blazing bluegrass and circus tunes as quickly as they can provoke existential introspection with dark, slinky tunes reminiscent of a New Orleans funeral march. Blaring trombones melt into break-neck banjo solos, while the "junkyard" trap set and stand-up bass churn out hard-driving rhythms that carry the force of a Kansas freight train.
This unique blend of styles combined with the high energy maintained on stage, allows CNS to fit perfectly into any lineup including folk, bluegrass, punk, metal, ska, or jam. Always providing an energetic and drink 'em down atmosphere to any place they play, Carrie Nation & the Speakeasy has proven a dedication to their live shows with a solid understanding of what entertainment really means.
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Coyote Union
MORE INFO COMING SOON!
Honky Suckle
Honky Suckle is a band comprised of five stellar musicians Rj Flores-Guitar,vocals; Dave Smith-Upright bass,vocals; Kyle Young-Harmonica,vocals; Eric Howell-Resonator,Banjo,vocals; Adam Howell-Drums,vocals.
Blending rock and punk influences with roots music's raw power they bring a real intensity seldom heard. Self restraint allows these musicians to pump out consistant on -point arrangements while still able to unleash rythmic and individual prowess when warrented. A unique blending of four and five part harmony round out the sound that crowds have come to love. Rowdy live shows and genuine emotion leave people wanting more. Don't miss a live show, you won't forget it.
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Deadman Flats
Deadman Flats continues to stretch the limits of experimental bluegrass by injecting it with their own flavor of hard-edged acoustic deathpunk homegrown in their native Kansas. This explosively energetic string band catalyzes outrageous outbursts of dance and foot-stomping with their bouncy, up-tempo outlaw anthems about women, whiskey and the simple things in life. Those keeping tabs may find i...nfluences such as: rock and roll, punk, metal, old-time, blues, rockabilly or country intermingled with Deadman Flats' traditional bluegrass instrumentation. Deadman Flats' “anything goes” attitude enables them to identify with people in all walks of life. No matter what musical preferences one might have, chances are Deadman Flats has something that's right up your alley.
Deadman Flats is comprised of four boyhood friends from Kansas; Alex Law (guitar), Matt Stambaugh (mandolin), Pat Watt (banjo) and Hank Osterhout (bass). Deadman Flats first emerged on the scene in Lawrence, KS early 2006 as a late night party band. They soon earned themselves a cult following that enabled them to rapidly expand their presence throughout the Midwest. In late 2011, DMF added a ...new member to their lineup: the infamous blues harmonica player Brody Buster.
In their tenure, Deadman Flats has performed at hundreds of venues and festivals throughout the United States for enthusiastic audiences of all ages. Some of the more notable venues include: Crossroads (Kansas City), Liberty Hall (Lawrence,KS), Cervantes' Masterpiece Ballroom (Denver, CO), George's Majestic Theater (Fayetteville, AR), Wakarusa Music Festival and Yonder Mountain String Band's Harvest Festival, just to name a few. Deadman Flats has also traveled over seas to Europe, performing extensively in Belgium and Holland.
Deadman Flats has recently come out of hiatus and are scheduled to tear down many a midwestern town near you!
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Grisly Hand
MORE INFO COMING SOON!
Yonder Mountain String Band
Yonder Mountain String Band has always played music by its own set of rules. Bending bluegrass, rock and countless other influences that the band cites, Yonder has pioneered a sound of their own. With their traditional lineup of instruments, the band may look like a traditional bluegrass band at first glance but they’ve created their own music that transcends any genre. Dave Johnston points out “What could be more pure than making your own music.” Yonder’s sound cannot be classified purely as “bluegrass” or “string music” but rather it’s an original sound created from “looking at music from [their] own experiences and doing the best job possible.” The band continues to play by their own rules on their new record The Show.
The Colorado-based foursome has crisscrossed the country over the past eleven years playing such varied settings as festivals, rock clubs, Red Rocks Amphitheater in the band’s home state, and recently the Democratic National Convention in Denver at Mile High Stadium opening for Barack Obama. Their loyal fanbase has been built from this diverse setting of music venues as fans latched on to their genre-defying original sound.
In between tours the band spent time this last year working on its fifth studio album. Set for a September 1 release on the band’s own label, The Show is the second album with rock producer Tom Rothrock (Beck, Elliott Smith, Foo Fighters). While some might scratch their heads as to why a string band would want a rock producer, this decision was a natural choice for the band. “We don’t have a lot of nostalgia for the past,” says banjo player Dave Johnston. “You shouldn’t try to recreate the 1940s. I like to think of us as informed by the past and all the great performers before us. But we also want to look forward rather than give people something that has already been perfected.”
The Show has the similar acoustic instrumentation (Adam Aijala on guitar, Johnston on banjo, Jeff Austin on mandolin and Ben Kaufman on bass with all four singing) as many of its classic bluegrass forefathers. Though once again drums are present (as with the self-titled fourth album) with the great Pete Thomas of Elvis Costello’s bands adding a rhythmic backdrop to Yonder’s still-acoustic sound on six of the tracks. The record consists of thirteen songs all written by Yonder.
The band has long cited such varied influences as the bluegrass of Del McCoury, Johnson Mountain Boys, Jimmy Martin, Bill Monroe, Osborne Brothers as well as the punk rock of Bad Religion, Black Flag and the Dead Kennedys. Somewhere in between these two tent poles are early 20th Century composers and alternative rock bands like Grandaddy and Postal Service. It’s all funneled through the band’s unique chemistry, honed since they first met at an informal club performance in 1998. With band members writing individually, in different pairings and as a collective, the album proves that this group is a collection of creative peers and you can hear it in the rich tapestry of music that makes up The Show.
Here Yonder offers such traditional bluegrass sounding fare as “Out Of The Blue” and “Casualty.” The band has explored its country roots in the past and does so again this time on “Steep Grade, Sharp Curves,” a song that describes the roads around its home base in Nederland as well as a particularly dangerous femme fatale. A little further from the roots is the impressionistic “Isolate” with its simple but ominous bass line and minimal arrangement. There is also a bevy of rockers like “Complicated,” “Fingerprints” and “Belle Parker,” a gem of a song about a hard-hearted woman. The band even finds some excellent middle ground between bluegrass and rock on “Fine Excuses” thanks in part to a scorching guitar solo from Adam Aijala. There is also the extended “Honestly” -- at eight-minutes, the longest song on the album, with a middle section that is an excellent platform for lengthier live excursions that are as improvisatory as any electric band on the live music circuit.
The band is a regular at bluegrass festivals like the Telluride Bluegrass Festival and the band's own Northwest String Summit as well as massive multi-stage events like Austin City Limits Festival, Bonnaroo and Rothbury. Fans are no doubt drawn to Yonder’s anything goes attitude, its humor and passion about music, and the band’s ability to stretch out live. “We love that people come to see us,” Johnston points out. “Everyone appreciates good music. Some people want to go to a recital and some people want to party.”
But as its fans know, Yonder Mountain String Band does something a little different, more than just a musical party. The Show is the band’s most varied and versatile album to date, and the summation of the journey that these guys are on together. It’s bluegrass for the masses, acoustic tunes filled with dazzling chops, and it’s fun to boot. The humble Johnston sounds as surprised as anyone by the band’s success, but knows that it all boiled down to chemistry, which has never changed. “Somewhere down there we all kind of recognized that we had something unique,” he explains. “But there is no way I could have imagined the amount of success that the band has had.”
OUR LINKS
Railroad Earth
MORE INFO COMING SOON!
Robert Randolph & The Family Band
Robert Randolph ~ We Walk This Road
Artist Notes
This record is a celebration of African-American music over the past one hundred
years and its social messages from the last thirty. Although we cover a whole
timeline of different eras on We Walk This Road, what ties these songs together
remain their message of hope, their ability to uplift.
After we finished our last record, Colorblind, we began searching for a great
producer to help guide the follow up. We wanted someone who understood me and
the road I’ve walked this far, who understood our connections of my roots within
rock and gospel and the church, who would help us put those things in their most
compelling context.
T Bone Burnett shared the vision of how gospel, blues and rock could be put
together in a way that could relate to my history and connect to my present. It was
important to us that we make the record we wanted to make, even if the end result
was unclassifiable. We just focused on making great songs and great music that
spoke to me, and that reflected the way I try to speak to the world.
We recorded We Walk This Road over about two years, after T Bone had finished
his record with Alison Krauss and Robert Plant. We went into the studio with
virtual libraries of songs, whole volumes worth of material to go through. T Bone
brought in old archival songs from the twenties and thirties and many of them were
in the public domain. I had songs that I had written with the band, or that other
artists had sent me, and we sat down and starting sifting through history.
When we found something we liked, we would either cover it or re-work it using
our own words or melodies. Through this creation came an education. T Bone
opened a lot of doors for me serving as a link between the past and the present. He
knows how to take something from the past and bring it into the present while still
allowing the artist to make it his own, in the same way that Hendrix took Dylan’s
“All Along the Watchtower” and made it belong to him.
T Bone listens to music that our grandmothers would listen to as children–not even
music that our fathers listened to, but songs that go even further back…some from
Gospel and Christian blues, the music that people working in fields across the
south likely sang nearly a century ago. Those are the real roots of rock and roll,
where everything else comes from.
I was only allowed to listen to modern Christian and gospel music growing up, so
there was so much I didn’t know about. My mind is expanded now. The record is
finished and I still feel as if I’m not done. I’ve spent over $5,000 on iTunes in the
past eighteen months just catching up. Before this record, I didn’t sift through
music past the Seventies. I didn’t know about Blind Willie Johnson, or Chess
Records. I thank T Bone for being a tour guide into the deepest parts of my musical
roots.
We connected the last one hundred years of African-American music in the way
people used to: You write your own songs, you cover other people’s material, you
re-work older songs. We had some amazing people come in to help. Leon Russell
came by to hang out and wound up playing piano on the last track, “Salvation.”
Ben Harper plays guitar and sings on “If I Had My Way.” The base of that song
came from Blind Willie Johnson, and it was really difficult to get right. It was a
country tune for a while. I had honestly given up on it. But Ben came down and
said, “Let me get in there! I know just what to do!” He went in there and smoked
the choruses, and I thought, “Now we’ve got a tune.” It’s one of my favorite songs
on the record.
Where We’ve Been
I grew up in the House of God church. The pedal steel was a big part of our church
tradition. I grew up watching older guys play, and I started playing when I was
fifteen. When I was nineteen, someone gave me tickets to a Stevie Ray Vaughan
concert. After that, I wanted to play pedal steel like Stevie Ray played his guitar. I
wanted to take another path than the people who played traditional pedal steel to
take it to a whole new level.
We started playing and touring around New York City in 2000, playing clubs like
Wetlands, and things started to take off. We were selling out large New York clubs
with no record deal, and it started to spread to Philly and Boston. Soon, we signed
to Warner Brothers, and word began to get around about us nationally. Great artists
like Eric Clapton and Dave Matthews and B.B. King accepted us. Young artists,
too: we toured with the Roots and Pharrell and John Mayer. We have been
fortunate to be accepted by a wide range of fan bases, and we have been able to
build from there. I definitely feel as if everything has been working up to this
moment, to this record.
Where We’re Going
I’m very excited to play these tracks live. Those people who have been our fans
and followers should see the progression from our last record to this one, and the
road we’ve taken won’t seem too foreign to them. When people come to see us,
they know that it’s really about the message, about making them feel good.
Hopefully, this record will inspire them in the same way. It certainly makes me
feel happy. I can’t see myself recording depressing lyrics, lyrics that leave people
without a sense of hope. It’s not in me to use the power of the microphone to make
music like that. That’s why this record is uplifting - it’s got great messages. It’s all
there.
My goal is to open the door for people, in the same way that musical doors have
been opened for me. I want to take this musical history and make it relevant to give
people a better idea of who I am and where I came from. I think even though I’m a
young guy who was born into the era of hip-hop and contemporary gospel, I can
help bridge the cultural gap between people who are seventy-five years old and
kids who are fifteen years old by reaching back into this history of music.
We Walk This Road was done in our belief in what we all need right now: young
voices saying something positive without preaching in hopes of inspiring people.
When you stick to what you believe in, and with the roots of where you come
from, things will always work out.
OUR LINKS
Xavier Rudd
When he debuted in 2002 with the album To Let, Xavier Rudd began a journey that would see him become one of the most iconic voices in Australian music, literally and figuratively. With each new album, this journey has wound like a river making its way toward the ocean - twisting and turning, flowing and cascading as it relentlessly pushes forward.
Introducing himself as an artist of both imagination and conscience, Xavier Rudd’s ability to marry uplifting melodies with thought-provoking themes and concepts produced music that, one way or another, made you feel good. With an array of guitars, yidakis (didgeridoos), stomp box and percussion, Rudd re-introduced a lot of Australians to the sounds and stories of the land’s original owners, while introducing the rest of the world to an entirely new sound altogether. And, over the course of a decade, he has taken this sound to every corner of the globe; producing six studio albums, two live albums, multiple ARIA nominations and a global fan-base of likeminded souls.
This journey – truly befitting a storyteller – continues with Xavier Rudd’s seventh and most moving album, Spirit Bird.
Shaped by his history but continuing to break new ground, Xavier Rudd is at his most creative on Spirit Bird – once again painting breathtaking pictures with vivid, unmistakable tones. Hypnotic ceremonial rhythms ease effortlessly into tender folk songs. Gritty guitar blues sits perfectly alongside entrancing yidaki passages. Rudd’s voice, and the voice of his ancestors, yet again bearing truth and knowledge.
Led by the heart-warming Follow The Sun; Spirit Bird weaves together Rudd’s trademark mixture of blues, reggae, indigenous and folk music in new and familiar ways... at times recalling the simplicity of Solace, and at others the electricity of Dark Shades Of Blue. There is the youthfulness of To Let, but the wisdom of Koonyum Sun. It is Xavier Rudd by every measure.
And whether it is a message, or just some words from the heart; Spirit Bird is a defining moment in the evolution of one of Australia’s most important artists. The moment where the river meets the ocean.
OUR LINKS
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 Urge
MORE INFO COMING SOON!
Six Percent
MORE INFO COMING SOON!
7/8
Michael Franti & Spearhead
SOJA
Brett Dennen
Trevor Hall
$34 - $77.50 | All Ages | 2 pm
BUY TICKETS!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
SOJA
SOJA
Jacob Hemphill (lead vocals & guitar) met Bobby Lee (bass) in the first grade in Virginia, shortly after Jacob returned from living in Africa with his family. The two instantly became best friends, and in middle school found a common love for hip hop, rock and reggae music. Throughout middle and high school, they met Ryan Berty (drums), Patrick O'Shea (keyboards) and Kenneth Brownell (percussion). Together they formed SOJA. In the formative years the band gigged locally in the DC area while a couple of the guys finished school. All the while making plans to hit the road after graduation...
In 2005 the band hit the road... and they hit the road hard. Often dubbed "road warriors", SOJA has brought their unique sound and stage show to nearly every city in North America, as well as many cities throughout Europe, South America, the Pacific Islands and the Caribbean. While touring in Puerto Rico the band linked up with sax player Hellman Escorcia & trumpet player Rafael Rodriguez. These two exceptional musicians earned their position as SOJA's mainstay horn section by helping further develop the band's eclectic sound.
With no signs of slowing down. SOJA is planning a world tour for 2011/2012 in support of their upcoming album release. It's all about the message in the music for this band. "People think we write music about the earth for the earth's sake, but its not really like that. If we harm the earth, it will reject us. For all we know, its happened one hundred times before. This place gets too hot, that's it. Reset button. That's why I sing what I sing - to pull us all in the same direction, the same future. Without that, were finished (Jacob Hemphill)."
There is no doubt about it. This band is on the forefront of a Revolution with hopes to bring about positive change: environmentally, politically and socially. "Maybe we need to WANT to fix it. Maybe stop talking, maybe start listening. Maybe we need to look at this world less like a square and more like a circle. Maybe just maybe God's not unfair, maybe we're all his kids and he's up there. Maybe he loves us for all our races, maybe he hates us when we're all so racist. Maybe he sees us, when we dont care, that its heaven right here, but its hell over there. Then maybe the meek will inherit this earth, cause it was written before... so..." Everything Changes - SOJA.
OUR LINKS
Brett Dennen
Brett Dennen (born 1979) is a singer-songwriter out of Oakdale, California. Emerging as one the new millennium folkies alongside Jack Johnson and James Blunt, he has been compared to Bob Dylan, James Taylor, and Paul Simon, all of whom he credits as being significant influences on his musical career. His first album is the self-titled Brett Dennen, which was released in 2004. His second album So much more includes the singles "Ain't no reason" and "The one who loves you the most" as iTunes top downloads in the days following the album's release in November 2006. With his music featured in the hit television show Grey's Anatomy and commercials pitching cable services, millions of people have already heard snippets of Brett's music. With a voice that has could be compared to Billie Holiday's and a unique style emphasizing simplicity, the themes he sings about are as old as Woody Guthrie but with clever ironic phrasing and indelible impressions of prophets begging on sidewalks and old ladies on fire escapes cursing his name. Perhaps his inspiration is visual He credits Paul Simon's Graceland of getting into his head at a young age when his parents played it constantly. He is an admirer of the two "Bob's", Bob Dylan and Bob Marley. He also cites Joni Mitchell's Blue as one of his major influences.
OUR LINKS
Trevor Hall
Greetings. My name is Trevor. I play music…and love doing it. It has been a wonderful teacher, friend, and companion over the years. This is the part where I tell you a little about my life… so far. I grew up in South Carolina until the age of 16. I had a wonderful childhood, a great family, and good friends. I started playing music fairly young. My dad was a drummer and a musician himself. I guess I got some of his genes. Every day after school, I would come home, pick up my guitar, and write songs for a couple hours. It was my favorite time of the whole day. I began playing for my parents, who supported me to the fullest. For my 15th or 16th birthday, my dad got me some time in his friend's recording studio. I made my first record, which was mostly sold to my friends and family. It was at that time when my family and I started taking the music more seriously.
In 10th grade, I was very fortunate to have traveled to California to attend Idyllwild School for the Arts, an international boarding school east of Los Angeles. My time there was some of the best years of my life. I studied classical guitar and met many wonderful people from around the world who greatly influenced my life in a profound way. My greatest lesson there was observing how art spoke to everyone…no matter what race, what faith, or what country you were from. I saw how it brought people together, and that made me feel good.
In my senior year of high school, I signed a record deal with Geffen Records. After graduation, I moved to LA to give my music full attention. I was very blessed to have worked with great producers such as John Alagia (John Mayer, Jason Mraz, Dave Matthews) and The Laboriel Brothers (Sting, Paul Mccartney). Unfortunately, other than an EP, none of the records I made with Geffen ever came out. They dropped me from the label in 2008. But that didn't deter me. I picked up my guitar, wrote 14 new songs, and recorded an acoustic album with my good friend/percussionist Chris Steele. We have named that album "This is Blue." It was a wonderful, liberating experience. I feel very lucky to still have the opportunity to create music with good friends and people.
Over the years, I have toured and played with wonderful acts such as Steel Pulse, The Wailers, Matisyahu, Stevie Nicks, Ben Harper, Colbie Caillat, Los Lobos, Ziggy Marley, Rusted Root, and many others. It has been such a blessing to cross paths with so many beautiful people and wonderful musicians. They all have influenced me so much.
My favorite part of the whole thing thus far is meeting new people on the road. It is funny how people come together, connect, and establish friendships. I never knew that I would have friends in Peoria, Illinois or Vail, Colorado. Through music, we have all been able to come together, share our ideas and love, and then move on. I cannot express how thankful I am to all the fans who have supported me over the years. I have truly greatly enjoyed meeting all of you. I hope we get to cross paths again soon.
Thanks for taking the time to read a little bit about my journey. I hope that your travels are going smoothly and unfolding nicely. Until we meet again…
OUR LINKS
Gavin DeGraw and Matt Nathanson
MORE INFO COMING SOON!
Mary Lambert
MORE INFO COMING SOON!
Lucero
Lucero’s sixth studio album and major label debut, 1372 Overton Park, was released October 6th, 2009 on Universal Republic Records. Produced by Ted Hutt (The Gaslight Anthem) and featuring horn arrangements by legendary Memphis session player Jim Spake (Al Green, John Hiatt, Solomon Burke, Cat Power), the record marks a decided turn toward the Memphis soul sound that has long informed the band’s records from afar. 1372 Overton Park follows the band’s 2006 release, Rebels, Rogues & Sworn Brothers, hailed by Pitchfork as “the best showcase for the band’s taut dynamic yet.” After a run of festival and club dates this summer, Lucero will tour throughout the fall in support of the new album with the Lucero Ramblin’ Roadshow & Memphis Revue, a traveling roadshow featuring Amy LaVere, Cedric Burnside with Lightnin’ Malcolm, Jack Oblivian, John Paul Keith & the One Four Fives and The Dirty Streets. Please see reverse for a list of dates.
The new album’s name comes from the address of the Memphis loft in which all four band members lived, practiced and even recorded portions of their 2003 release That Much Further West (the history of the space itself is even more colorful—in the `70s, 1372 Overton Park was a karate dojo where local resident Elvis Presley, among others, took lessons). Over recent years band members have gradually moved out leaving lead singer and guitarist Ben Nichols the sole resident of the space until word finally came down that the building would be sold and demolished. Almost as if marking the end of an era not only for the building but for the band as well, this record turns the page and signals a strong move toward the Memphis soul sound that has long served as an influence for the group. Nichols explains, “When [saxophonist] Jim Spake put that first horn track down, we began thinking of the record as having a certain sound. We heard pieces of Memphis history being played over our songs and it floored us and we just went with it.”
While 1372 Overton Park serves as a love letter to Memphis and its musical heritage, the band has far from abandoned the country/rock/punk influences that they’ve become known for over their previous five records and countless tour dates in front of rabid fans. “I think the fact that we don't claim a genre is very important to what Lucero is,” according to Nichols. “There are too many rules in punk rock. Too many rules in country music. We’re hard headed and…god damn if we don’t do things the way we want to do them.”
Playing between 150-200 live shows a year, Lucero has come to be known as much for their hard-touring work ethic as for their critically acclaimed records. In addition to his work with the band, lead singer Ben Nichols also released a solo record in early 2009 and co-stars in MTV’s $5 Cover, a series about the Memphis music scene.
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Murder by Death
Indiana's Murder by Death layers the vocal sounds of an old saloon with haunting strings and the hard driving rhythms of pure rock n' roll, producing what Stuff magazine has called "lush, orchestrated songs," somehow simultaneously reminiscent of Johnny Cash and Radiohead. Added to that thick and intriguing sound are a series of dark and ironic lyrics, combining the mood and tone of Nick Cave and the Bad Seeds with the narrative force of the Decemberists or a short story by Nathanial Hawthorne. Adam Turla fills out these sometimes frightening, sometimes beautiful lyrics by conjuring up a cast of character voices, allowing the songs to speak with the force of the characters themselves, and providing the listener with a sense of ensemble unique in rock music.
But this ensemble feel is not only the result of Turla's vocal playfulness, but of the cohesive playing of the band itself. Sarah Balliet channels her Kentucky Bluegrass roots through the skilled hands of a concert cellist, playing point and counterpoint to the lyrics and guitars with magnificent grace and style. Matt Armstrong's bass guitar provides the rhythmic framework of the band, but also takes the lead with surprising frequency, guiding Murder by Death into driving highs and brooding lows. And Alex Schrodt's drumsticks almost dance across the skins, giving the band what the Chicago Reader called "a rhythm section Nick Cave or the Faint would die for." The result is a fascinating slice of American Gothic, replete with trail rides, whiskey shots and Old Scratch himself.
Murder by Death's unique sound has developed over several years of touring and recording. Constantly evolving their sound, the style changes from their first release "Like The Exorcist, But More Breakdancing" to their sophomore release, "Who Will Survive, and What Will Be Left of Them?". "Who Will Survive..." grew from a small, limited pressing album into a sleeper hit as they constantly toured the country, touring with bands as diverse as The Weakerthans, Rasputina, Lucero, Against Me!, The Pogues,
William Elliott Whitmore, and The Reverend Horton Heat. "Who Will Survive's..." rich narrative structure, which recounted the travails of a small western town besieged by the devil, not only garnered popular and critical attention, but inspired a number of artistic reactions and responses, including ballet and stage productions, paintings, and even a PhD thesis.
The band's new album, entitled "In Bocca al Lupo," forgoes the integrated narrative structure of "Who will Survive..., " presenting the listener with an album built on thematic connections. "In Bocca al Lupo," which translates roughly to "In the Mouth of the Wolf" (a phrase said before students take exams in Italian classrooms, and to which the students respond "Kill the Wolf"), examines themes of sin, transgression, punishment, and redemption, touching on different lives and different stories in each individual song. The resulting album resembles the 1979 murder mystery from which the band takes its name-a pastiche of bad deeds and good intentions, of last minute heroism and, in some cases, nearly impossible forgiveness.
Musically, "In Bocca al Lupo" is as diverse as the various stories that the album recounts. The songs themselves reflect the stories they tell-gritty rock and roll beats drive "Brother" and "Sometimes the Line Walks You," complex tango rhythms twine themselves through "One More Notch," and lonely western guitars accompany the simple elegance of "Shiola" and "Raw Deal." Each of the album's ballads and waltzes, chants and hard hitting rock songs, meld content and form, creating meaning in the music itself. Murder by Death's unique musical aesthetic ties these seemingly disparate tracks together. With the help of producer J. Robbins (Jets to Brazil, Jawbox, Against Me!) the lush melodies and harmonies so unique to the band transform these varied sounds into a coherent and cohesive album, an album whose overall sound and sensibility melds the darkest moments of Modest Mouse's "Good News for People Who Love Bad News" with the maudlin country roots of Western folk rock. The band's thick, fretted, knotty sound provides a through line, tying together an album as musically diverse as the backcountry roads and basement rooms that inspired it.
"In Bocca al Lupo", on Tent Show Records, the band's own label, shows off Murder by Death's maturity, both as songwriters and musicians. The album is alternately rough and gentle, elegant and complex, intelligent and playful; it moves from one to the other without breaking stride, without interrupting the album as whole. Murder by Death is known for their talent as performers, for their live presence, the ambiance and energy present in their music. "In Bocca al Lupo" harnesses this energy and distills it, adding to it the maturity of a band constantly on the road.
Bio by P. Alex Dodge
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The Delta Saints
As if the warm familiar melody of rootsy porch music has been plugged in and turned up: The Delta Saints are driving listeners from the comforting recline of their porch swings right to the edge of their seats. It’s a fusion of traditional southern soul and funk-inspired power, all layered with furious harmonica lines that simultaneously tie the group together and threaten to unseat it all in one sweep.
It’s the unsettling sound of strength. A strength fueled by talent and bridled by a passion to relate to another that catches the attention of passers-by with its language-like quality. You can hear within it a conversation between five men able to speak to one another through their instruments.
The essence of the Midwest and the bayou work together to make a sound unique but befitting of Nashville. And the energy that sweats from this gritty howling dynamic is a message heralding love and loss and consequence. And though the songs may end, the intensity generated from the act of something old made new again will hauntingly remain.
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- The Delta Saints Homepage
- On Facebook
- On Spotify (Will launch Spotify Application)
- On Twitter
- On MySpace
Old Crow Medicine Show
Old Crow Medicine Show (OCMS) have come full circle playing their own brand of American roots music with a rock and roll attitude. They met in New York in 1998 and hit the road, traveling city to city in a van and busking in the streets. They eventually settled for a year in North Carolina, where they ran into a bit of good fortune while playing in front of a local pharmacy to an impressed Doc Watson; the folk icon promptly scheduled the band to play at his MerleFest.
Soon after, OCMS relocated to Nashville and found themselves gracing the stage of the Grand Ole Opry, touring with Merle Haggard and regularly appearing on NPR’s A Prairie Home Companion. OCMS can attribute much of their success to their relentless touring schedule. Between headlining shows and countless festivals, the band is constantly on the road and thrives off of their fans and live shows. They have made a name for themselves as energetic performers with an unbridled spirit. Combined, their albums have gone on to sell over 500,000 units.
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Carolina Chocolate Drops
The band got together in 2005 at an event called the Black Banjo Gathering in Boone, NC. We met each other there and circumstances soon permitted that we live close to each other and we started to visit our mentor, 90 year Black fiddler, Joe Thompson. Since then, we have been lucky enough to play our music all over the world and the US.
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Maggie Rose
Cool and confident, yet warm and approachable with a laugh that’s as melodic as the songs she sings, it’s difficult to look at Maggie Rose and not think that she was born under a very special star. And maybe she was. How else can you explain her journey from Potomac, Maryland—hardly a mecca for country music—to Nashville by way of storied record executive Tommy Mottola (Celine Dion, Mariah Carey)?
Mottola wasn’t a friend, or even a family friend. More like a friend of a friend of a friend. But Maggie’s biggest supporter and business partner, Tom Natelli, who had encouraged and nurtured the young songbird’s talent early on, had the chutzpah to ask around until he found someone who knew someone, who knew someone, who lived next door to Tommy. The music executive was impressed enough to encourage Maggie to pursue her music, but since country wasn’t his forte, he equipped the aspiring star with a handful of contacts and enough information to make her way to Nashville. It didn’t take any persuading though. Singing was her dream. She stepped away from Clemson University, where she performed with a Bruce Springsteen cover band, and into her career with encouragement of her parents and Natelli.
Tommy may have knocked on doors, specifically producer James Stroud’s (Willie Nelson, Chris Young, Tim McGraw), but Maggie kicked them down all by herself. And despite the connection to Mottola and the rock cover band experience, she kicked them down country
style. Country by choice.
Maggie explains that in her home, she was exposed to an array of musical offerings: “My mom loved certain artists and I think the people she actually played are clearly influences of mine. She loved Bonnie Raitt, Tracy Chapman. She loved the Beatles, which everyone loves the Beatles, but their sense of melody is so strong. And I loved Dixie Chicks. There was a really good mix of music. The fact that I gravitated toward country when there were so many other options shows that’s where I belong. Because it’s not like that’s all I was exposed to, that’s what I wanted to listen to.”
Why? The singer-songwriter smiles and simply says, “You can hear the story.” It’s that mindset and a healthy dose of diligence that kept Maggie in Nashville since the age of 19. Starry-eyed and a bit naïve, her first run at commercial success positioned her as a voice to be heard and gave her a foothold in Music City, but the songs weren’t quite what she needed. Even she admits, “I just wasn’t ready. I think that was the only difference between then and now is that I’m just ready. In fact, I’m chomping at the bit to get this album out. And before, I wasn’t excited about what I had to share yet. I was excited about being able to sing and do what I love, but I wasn’t totally connected to a body of work. I had singles here and there, but that doesn’t make an artist. I wanted to do something that people could latch on to, and I wanted to start a conversation with my music that people could be a part of.”
With iconic country music producers Blake Chancey and James Stroud at the helm, Maggie starts the conversation on Cut To Impress by writing almost half of the songs on the album. The remaining cuts are tunes that she has been performing for the past five years—songs that not only survived her evolution from the young girl, Margaret, to the young woman,
Maggie, but became part of her musical make-up.
And they are KILLER tracks. Killer. Yes, there’s a body count on this album. From the flirtatious “Fall Madly In Love With You,” to the musical mini-movie “Looking Back Now,” Maggie shows she has a bit of a dark side, but she doesn’t dwell on it because she has sass, too. From the opening swampy, gospel-tinted track, “Preacher’s Daughter,” to the debut single, “I Ain’t Your Mama,” she reveals a delightful blend of feminine attitude that will empower her female fans and bring the boys to their knees with desire.
It isn’t all serious though. Humor is a tricky maneuver for any recording artist, but in the tongue-in-cheek “Hollywood,” Maggie is guaranteed to capture a grin, giggle or guffaw with clever lyrics like, “Tiny dogs in little bitty purses, cosmos everybody nurses, they get as trashed as we do…”
But give the girl a chance to wail, like she does in “Put Yourself in My Blues,” or the beseeching second single, “Better,” and that’s when you realize what she’s had all along. That’s when you see what brought her to Nashville. Songwriting can be learned, but to be able to convey a heartbreak, to sing a tear, that is a gift. And Maggie’s voice can soar without overpowering the listener. She’s not singing at you, she’s singing to you. She’s making that connection that she so desperately wants to make.
Maggie is committed to this career. Much like her very successful contemporaries, there was never a Plan B. “It even scares me to think about it,” she shudders. “I was lucky and crazy enough to make the move at a pretty young age, so before any serious decision making had to be done—is it this or this?” Even with the disappointments that face any new artist— promises broken, faith rattled, hopes shattered, dreams dashed—Maggie persevered. And she sees now where her experiences hold the promise of longevity. “If I’ve learned this much in five years, 20 years down the road, I’m going to be dangerous. So, I think that music
will always be part of my life.”
It’s Maggie’s turn now. Meticulously choosing her album title from a song she co-penned, “Mostly Bad,” is the best representation of where the ingénue is at both musically and emotionally. “That one is a really playful, fun song. ‘Cut to impress’ is a line from the second verse and it jumped out to me because it represents so much about this album. It’s a really confident statement about all the album cuts—play on words. But it’s also that I’ve finally cut out a place for myself as an artist that is unique and real.”
A little good, a little bad, a lot confident and very much intentional. That’s her word. Maggie says, “That has been my keyword for this whole process, ‘intentional.’ I think that everything I do as an artist now should be with a purpose. I think that the way I write should be with intent behind it. It can serve different purposes, but make sure that every
word written is intentional.”
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Backroad Anthem
Backroad Anthem is a country/rock band based out of Fayetteville, AR.
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Jurassic 5
After a 7 year hiatus, Jurassic 5 is back together for a summer 2013 reunion tour. Check the Events tab for dates and tickets!
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Dilated Peoples
Dilated Peoples is an American hip hop group from Los Angeles, California. They achieved notability in the underground hip hop community,although they have had little mainstream success in the US, with the exception of the song "This Way", a 2004 collaboration with Kanye West, Xzibit, and John Legend appearing in the music video. They reached the Top 40 of the UK Singles Chart with two tracks, "This Way" and "Worst Comes to Worst." Their members include DJ Babu (producer/DJ), Evidence (emcee-producer) and Rakaa Iriscience (emcee) The group also received a publicity spike after their track "Who's Who" appeared on the racing video game, Need for Speed: Underground in 2003.
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Beat Junkies
MORE INFO COMING SOON!
Pat Metheny Unity Group
Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young
age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn
players with an advanced rhythmic and harmonic sensibility - a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional “jazz guitar” sound for a
new generation of players. Throughout his career, Pat Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument.
Metheny's versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. He has been part of a writing team with keyboardist Lyle Mays for more than twenty years - an association that has been compared to the Lennon/McCartney and Ellington/Strayhorn partnerships by critics and listeners alike. Metheny’s body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical.
As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996). He has also taught music workshops all over the world, from the Dutch Royal Conservatory
to the Thelonius Monk Institute of Jazz to clinics in Asia and South America. He has also been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a serious musical instrument. Years before the invention of MIDI technology, Metheny was using the Synclavier as a composing tool. He also been instrumental in the development of several new kinds of
guitars such as the soprano acoustic guitar, the 42-string Pikasso guitar, Ibanez1s PM-100 jazz guitar, and a variety of other custom instruments.
It is one thing to attain popularity as a musician, but it is another to receive the kind of acclaim Metheny has garnered from critics and peers. Over the years, Metheny has won countless polls as “Best Jazz Guitarist” and awards, including three gold records for
(Still Life) Talking, Letter from Home, and Secret Story. He has also won eighteen Grammy Awards spread out over a variety of different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an
unprecedented seven consecutive Grammies for seven
consecutive albums. Metheny has spent most of his life on tour, averaging between 120-240 shows a year since 1974. At the time of this writing, he continues to be one of the brightest stars of the jazz community, dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their audience as well as realizing their own artistic visions.
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Bruce Hornsby
Twenty five years after winning a Best New Artist Grammy and launching one of contemporary music’s most diverse and collaborative careers, Bruce Hornsby is still, blissfully, making joyful noise—and finding clever, expansive ways to chronicle the dynamic musical snapshots along the journey. Now comes the release of Bride Of The Noisemakers--an ambitious 25 track, double CD chronicling 2007-2009 live performances of some of the singer/songwriter and pianist’s hand-picked songs of the past 20 years. The songs are recorded live capturing the playful, freewheeling spirit and unique chemistry of his longtime band The Noisemakers.
The Noisemakers consists of bassist J.V. Collier (who has played with Hornsby 17 years), keyboardist/organist John “JT” Thomas (21 years), saxophonist flutist Bobby Read (18 years), guitarist/mandolin player Doug Derryberry (13 years) and drummer Sonny Emory (the relative newcomer of the bunch, nine years). Released eleven years after Here Come The Noisemakers, a double-CD live document of the group’s early years (with original drummer Michael Baker), Bride Of The Noisemakers is a powerful expression of how the group sounds today.
Tapping into many of the genres that have influenced Hornsby’s artistic output over the years—pop, jazz, bluegrass, country and modern classical music—Bride of the Noisemakers features songs from previous releases such as Big Swing Face (2002), Halcyon Days (2004), and Levitate (2009) in addition to Camp Meeting (2007), which featured bassist Christian McBride and drummer Jack DeJohnette, and Hornsby’s acclaimed 80s and 90s releases, including Scenes From The Southside (1988), Hothouse (1995) and Spirit Trail (1998).
“I think the guys in the Noisemakers like the gig because there’s never a dull moment and we attempt to keep the spontaneity factor high,” says Hornsby. “The watchword is always, ‘Watch Bruce.’ I’m a fairly loose leader and I don’t like to rehearse! We mostly just ride around the country on a bus and laugh a lot. Hopefully you can hear that loose spirit in our shows; I just don’t take things too seriously.”
For all his talents as a singer, bandleader and pianist with an instantly identifiable sound, Hornsby is a songwriter at heart who is committed to portraying his songs in new ways that allow them to evolve and expand. This approach was further developed by his time with The Grateful Dead, playing over one-hundred shows with the band between 1990 and 1995. Hornsby found in the Dead’s vibrant tradition of loosely blending folk, blues and improvisation a kindred spirit.
In recent years, Hornsby has pushed his artistic limits working with bluegrass legend Ricky Skaggs, The Bruce Hornsby Trio and jazz legend Charlie Haden. Hornsby has also scored the Kobe Bryant documentary (“Kobe Doin’ Work”) for Spike Lee and contributed to all-star collections paying tribute to Fats Domino and The Band. A University of Miami music alum, Hornsby has also partnered with The Frost School of Music to establish the Creative American Music Program, a curriculum designed to develop the creative skills of talented young artist/songwriters by immersing them in the diverse traditions that form the foundation of modern American songwriting.
“In the spirit of musical evolution, I’m always trying to keep my band on their toes,” Hornsby says. “I was a sideman once and I know the kind of dismal prison it can become when you play the same thing the same way night after night, as if there’s the same set list for the year. In the ten years since we released our first Noisemakers project, we are a very different group, anchored by a different drummer in Sonny Emory, who joined shortly after Michael Baker left. It just felt like it was time to do this again to show what we sound like now. It was time for a document of what I feel are definitive versions of these songs.”
In July of 2006, Bruce Hornsby released a 4 CD/1 DVD box set titled Intersections (1985-2005) which breaks his lengthy career in music down into three distinct categories: “Top 90 Time,” “Solo Piano, Tribute Records, Country-Bluegrass, Movie Scores” and “By Request (Favorites and Best Songs).” Typical of the artist’s freewheeling approach to his own music, which involves ensuring that even his most-heard pop songs don’t become frozen in time “museum pieces,” a full third of the music was previously unreleased and most of the familiar tracks were presented as unreleased live versions. The set also featured “Song H,” a new composition which was nominated for a Best Pop Instrumental Grammy Award in 2007.
Intersections is definitive in many ways, yet only tells part of the Virginia native’s incredible musical story. His three Grammy wins typify the diversity of his first decade of recording: Best New Artist as leader of Bruce Hornsby and the Range; “Best Bluegrass Recording” for a version of “The Valley Road” that appeared on the Nitty Gritty Dirt Band’s Will The Circle Be Unbroken Volume II; and a shared award with Branford Marsalis in 1993 for “Best Pop Instrumental Performance for “Barcelona Mona,” a song for the 1992 Olympic Games.
The sales stats and breadth of his superstar collaborations (including being sampled many times by rap/hip-hop artists) speak volumes about Hornsby’s unique fusion of mainstream appeal and wild musical diversity. His albums have sold over 11 million copies worldwide, and the title cut from The Way It Is was the most played song on American radio in 1987, winning the ASCAP “Song of the Year” award. Harbor Lights was the 1994 winner of the Downbeat Reader’s Poll Beyond Album of the Year (meaning all music other than Jazz and Blues). Tupac Shakur “co-wrote” a new song over “The Way It Is” music with Bruce, using new words, called “Changes”; it was a major worldwide hit, selling 14 million copies.
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8/2
Play Dead
All Ages | 7 pm
Play Dead
The Players
Dylan Bassett - Percussion
Brad Boerger – Guitar & Vocals
Joe Comparato – Bass & Vocals
Michael Hamm – Guitar & Vocals
Bradford Hoopes – Keyboards & Vocals
Colin Mahoney - Percussion
As we approach the 50th anniversary of the Grateful Dead in 2015, this group of talented and eclectic musicians has come together to celebrate the remarkable repertoire and live experience of the Grateful Dead. More than what you’d expect from a typical tribute band, this group embraces the foundation of what made the Dead’s sound so unique by creating a landscape of masterful improvisation, rich harmonies and beautiful melodies across all genres of music.
While this group of players has never before taken the stage together, they have all been in connection for more than 20 years and possess over a century of experience writing, teaching, performing and producing music. Boerger and Comparato have played and performed together in the L.A. Ramblers, The Deal, The Coyote Project and most recently Stranger Tractor. Additionally Boerger’s music roots include Tofu Teddy, The Red Zone, The Parlor Frogs, Diamond Eyed Jack & Flint Gray. Hoopes’ credits include The EZ Pieces, Ardys & Bradford, The Secondhands and with Mahoney, venture back into the 80’s with the east coast jam band MoonRocks. Hoopes and Hamm have played together in The Yards since 2003. Bassett and Mahoney are a seasoned and accomplished percussion duo with numerous credits for session work as well as their performances in their bands Sunu (in which both Bassett and Hamm play), Truckstop Honeymoon and 40 Watt Dreams (in which Mahoney play).
Together Play Dead produces an uncanny rendition of a part of musical history that was genius, ahead of its time and may never be experienced again. To say the music and culture of the Grateful Dead had a profound effect on the course that music has taken over the years is a grave understatement. Whether you’re a card carrying Deadhead, a Hi-Fi music aficionado or just a music junkie who loves a good groove you will not want to miss Play Dead.
Let The Music Play The Band!
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The Talbott Brothers
MORE INFO COMING SOON!
Tyler Gregory
Hailing from the rolling hills of Kansas, Tyler Gregory can regularly be found busking on city streets with his deep voice and steam-powered melodies bouncing off the street-side architecture. His sturdy songcraft takes cues from WWII-era blues bellowers like Leadbelly and Son House.
Gregory's mix of blues and roots music howls with a sense of passion and freedom. Singing songs portraying stories of travel, land, and the meaning of simplicity, Gregory goes full force on his guitar/stomp-box live performance arrangements.
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Ziggy Marley
Ziggy Marley's life story is filled with changes and transitions. In fact, change has been the one constant in his life. From his earliest days, raised in Trench Town, Jamaica, to the present, he has been guided by his keen awareness and driving compassion. These qualities are the earmarks of his work and his journey.
The eldest Marley son is not one to let any moss grow under his feet. His 2006 release, Love is My Religion (Tuff Gong Worldwide), garnered a Grammy for Best Reggae Album at the 49th Annual Grammy Awards, giving him a total of four Grammys as an artist. It was his second solo album, and the first to be released independently on the Tuff Gong Worldwide label.
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Reverend Horton Heat
It’s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Problem Children, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can’t be wrong). But whatever you happen to call them, their country-flavored punkabilly and onstage antics have brought the Reverend Horton Heat a strikingly diverse fan base and a devoted cult following. The Rev himself, aka Jim Heath, leads the way with signature guitar riffs, while pounding out the bottom notes (often on top of) his upright bass is Jimbo Wallace, while Scott Churilla keeps time on the drums.
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Pinata Protest
MORE INFO COMING SOON!
Red Eye Gravy
Red Eye Gravy is a truly unique Oklahoma music experience. The band creates a stylistic blend of traditional country music with the fast-paced punch of punk – adding a few hints of bluegrass, rockabilly and blues along the way. Integrating that with the homegrown influences of red dirt music, the sound of Red Eye Gravy embodies a timeless, traditional sound punched-up through the modern lens of rock & roll – loud, fast and uncompromising.
The band pummels through an exhilarating live show that captures the audience form the first burst of piercing vocals to the last notes of their deep-rooted sound. Combining a drummer baptized in punk rock, raucous lap steel, swinging doghouse bass, gritty but melodic guitar and the feverish conviction of its vocalist, Red Eye Gravy will have you believing the Grand Ole Opry was just set on fire and burned to the ground. Whether playing original songs, traditionals, or the occasional cover, this band will deliver an unparalleled show.
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8/22
The Rainmakers
All Ages | 7 pm
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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Reverend Horton Heat
It’s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Problem Children, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can’t be wrong). But whatever you happen to call them, their country-flavored punkabilly and onstage antics have brought the Reverend Horton Heat a strikingly diverse fan base and a devoted cult following. The Rev himself, aka Jim Heath, leads the way with signature guitar riffs, while pounding out the bottom notes (often on top of) his upright bass is Jimbo Wallace, while Scott Churilla keeps time on the drums.
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Pinata Protest
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Red Eye Gravy
Red Eye Gravy is a truly unique Oklahoma music experience. The band creates a stylistic blend of traditional country music with the fast-paced punch of punk – adding a few hints of bluegrass, rockabilly and blues along the way. Integrating that with the homegrown influences of red dirt music, the sound of Red Eye Gravy embodies a timeless, traditional sound punched-up through the modern lens of rock & roll – loud, fast and uncompromising.
The band pummels through an exhilarating live show that captures the audience form the first burst of piercing vocals to the last notes of their deep-rooted sound. Combining a drummer baptized in punk rock, raucous lap steel, swinging doghouse bass, gritty but melodic guitar and the feverish conviction of its vocalist, Red Eye Gravy will have you believing the Grand Ole Opry was just set on fire and burned to the ground. Whether playing original songs, traditionals, or the occasional cover, this band will deliver an unparalleled show.