4/1

Dopapod

Mouth

$11 - $13 | All Ages | 8 pm

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Dopapod

Dopapod is not so much a jam band as they are a band that improvises. They are an electronic band without computers. They are a metal band with groove and soul. They are a funk band that’s not afraid to get intricate. With no regard towards toward stylistic boundaries, the sound that emerges from the quartet both live and in the studio is as varied and diverse as the many influences that they adapt from. Their approach to complementing a distinct genre bending sound to top-notch musicianship is what has kept the quartet committed to evolving their unique brand. This progressive song writing leaves room for boundless improvisational exploration and has been the root of why more and more music lovers are steadily growing in numbers eagerly returning for more.

In the past three years, Dopapod has been tirelessly planting its seed in ears throughout the entire East Coast and into the Midwest with their infectious and sensory live performances. Covering all this ground has seen the young, yet seasoned group make appearances at numerous festivals including Camp Bisco, Mountain Jam, Gathering Of the Vibes, Bonnaroo, Burning Man, Catskill Chill, Bear Creek, The Big Up, Rootwire, and more. Their electric live showcase has been cultivating a fast growing, loyal fan base, and seen them share bills with artists such as Moe, Lotus, EOTO, Papadosio, Zach Deputy, Sam Kininger (Lettuce, Soulive), and Carl Palmer (Emerson, Lake, & Palmer).

Redivider is Dopapod’s third studio effort. Having been recorded and released less than a year after the band’s last record Drawn Onward came out, recording was done at Tyrone Farm, a scenic and completely solar powered farm in the small town of Pomfret, CT. Opting to take a different route than recording in a studio, the band brought their own to the barn of the farm and produced it by themselves. Redivider displays a drastic evolution in the band’s songwriting skills as well as marking the first time ever that the band has added vocals into songs. The added texture serves as yet another dimension in what allows the band to look in multiple directions at one time while remaining focused on a cohesive blend of sound.

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Mouth

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

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

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

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

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4/3

Truckstop Honeymoon

Beans on Toast

18 & Over | 8 pm

Truckstop Honeymoon

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

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

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

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

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

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

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Beans on Toast

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    4/4

    Shovels and Rope

    Inlaws

    $17 - $19 | All Ages | 8 pm

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    Shovels and Rope

    Necessity is the mother of invention. Less is more. Make it work with what you've got. 2 Guitars, a junkyard drum kit (harvested from an actual garbage heap- adorned with tamborines, flowers and kitchen rags), a handful of harmonicas, voices, and above all.. songs. Cary Ann Hearst & Michael Trent prefer to keep it simple. They have cleverly managed to take 3 separate recording projects and combine them into 1 cohesive, folk rock, sloppy tonk, harmonized, loose but tight, streamlined audience killing machine.

    Michael Trent (Texas/Colorado) has just released his second solo album entitled "The Winner", and Cary Ann Hearst (Mississippi/Tennessee) is about to release her second record "Lions & Lambs". Together hey have one duo release "Shovels & Rope" which was came out in 2008 and are currently working on the follow up "Shovels & Rope V.2" in their house, van, and backyard. At the shows, expect to hear a little something from any or all of these releases - while the duo switch instruments and share lead vocal duties. Also prepare to rethink your definition of a live rock band.

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    Inlaws

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      4/8

      Yonder Mountain String Band

      Ben Sollee

      $20 - $23 | All Ages | 7 pm

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      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.”

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      Ben Sollee

      Kentucky-born cellist and composer Ben Sollee likes to keep moving. He kicked off 2014 with the release of his score for the documentary film Maidentrip. In March, he performed at Carnegie Hall as part of a tribute to Paul Simon. And you may have caught Sollee on the road supporting song-writer William Fitzsimmons throughout April and May. If you’ve seen him perform, you know it’s not to missed.

      For listeners just discovering Ben’s music, you’ll find that there’s a lot more to it than songs. Over the 6 years following the release of his debut record, Learning to Bend, Sollee has told an unconventional story with his rugged cello playing. Seeking a deeper connection to communities on the road, Ben first packed his touring life onto his bicycle in 2009. Since then he has ridden over 4,000 miles from show to show. He has been invited to perform and speak on sustainability at a number of festivals including South by Southwest Music (2011) and TEDx San Diego (2012).

      Closer to home, Ben has devoted a tremendous amount of energy to raising awareness about the practice of mountaintop removal mining in Central Appalachia. His 2010 collaborative album Dear Companion (Sub Pop) brought together fellow Kentucky artist Daniel Martin Moore with producer Jim James (My Morning Jacket) to shed light on the issue. In teaming up with international organizations such as Patagonia Clothing and Oxfam America, Ben has come to be known as a thoughtful activist who mobilizes his audiences to take environmental actions through the power of live music.

      Like his contemporaries Chris Thile and Abigail Washburn, Sollee’s music is difficult to pin down. Following a performance at the Lincoln Center’s American Songbook series, the New York Times remarked how Sollee’s “…meticulous, fluent arrangements continually morphed from one thing to another. Appalachian mountain music gave way to the blues, and one song was appended with a fragment from a Bach cello suite, beautifully played.” It’s Ben’s quality of narrative and presence on stage that unifies his musical influences.

      However, always on the move, Sollee’s musical career has expanded beyond the stage into film and TV. Shows like ABC’s Parenthood and HBO’s Weeds have placed featured Ben’s songs. In 2013, he was invited by director Mark Steven Johnson to write a song for the film Killing Season starring John Travolta and Robert De Niro. Ben has also has written music for ballet, most recently performing with the North Carolina Dance Theater in the world premiere of Dangerous Liaisons, and is currently at work on scores for several pieces of theatre. He continues touring, including headlining dates throughout the United States in the fall of 2014, and has recently returned from his first solo tour of Europe, which took him to three countries to play eleven shows in two weeks.

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      4/8

      Dr. Dog

      Mewithoutyou

      $25 - $27 | All Ages | 7 pm

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      Dr. Dog

      On January 13th DR. DOG will release Live at a Flamingo Hotel, the first ever bottling of the band’s legendary live performance. While studio releases have seen high critical acclaim, it’s the band’s live show that has truly cemented it as one of America’s best and brightest acts, a rock n roll juggernaut that has won its large and ever-growing fan base by exceeding expectations.

      “That’s always what we’ve wanted to do,” says bassist/vocalist Toby Leaman. “We’re one thing on a record and a different thing live. Somebody goes to a DR. DOG show and they come back again and they bring more people with them. Our live show is vital to how we view ourselves as a band.”

      With Live at a Flamingo Hotel, the band has captured the essence of a DR. DOG show; no matter the venue or town, the medium is the message. That tiny article is important: It’s “A” flamingo hotel, not “The,” which lends itself to that idea of transient perfection, a band that gives its all to each and every audience, every night, all the time. “That’s the point of a DR. DOG show, transporting you in some way,” says Leaman. “Whether it’s a shit basement in Texas or an amphitheater in Philadelphia, it doesn’t matter, this is the place; this is what we do, no matter what.”

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      Mewithoutyou

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        4/9

        The Magic Beans

        Jon Wayne & the Pain

        $11 - $13 | All Ages | 8 pm

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        The Magic Beans

        The Magic Beans are a traveling band from Nederland, CO set out to bring their unique, genre-blending music to the masses and inspire a good time. Their diverse songs move your mind, while tight grooves move your booty when they come to town or through the speakers. Drawing from a wide range of influences, The Magic Beans leave nothing off the table as they combine americana, funk, rock, and electronica into a one sound and sometimes even one composition. Their sound has been described as space funk, ameritronica, and groove grass. The group uses no pre-recorded tracks or samples in favor of a more traditional approach to music: original songwriting, diverse instrumentation, and continually pushing the envelope are what have set this group apart. Seamlessly combining acoustic roots music and traditional instruments with modern technology and electric dance music, The Magic Beans are as unique as their place of origin, the Colorado Rockies.

        The Magic Beans have shared the stage with an eclectic group of musicians: ranging from members of String Cheese Incident, Lotus, Leftover Salmon, ALO, The Motet, to acts like Eliot Lipp, Railroad Earth, Kyle Hollingsworth Band, Great American Taxi, Zac Deputy, Elephant Revival, Greensky Bluegrass, Split Lip Rayfield, Juno What, Papadosio, & The Werks just to name a few. They've performed over 200 shows as group across the nation in venues like; Ogden Theater, Boulder Theater, Mishawaka Amphitheater, Bluebird Theater, Cervantes Masterpiece Ballroom, Animas Theatre, Belly Up Aspen, the Cabooze, George's Majestic, Parish austin, The Grenada, Gothic Theater, Funky Biscuit, State Bridge Amphitheater, Fox Theater, City Hall, 320South, The Eldo CB, Ghost Ranch Saloon, and many more across the country. The group has a full studio album and live shows available for free to fans at themagicbeans.bandcamp.com and has also put on two of their own festivals and participated in countless charity and benefit events. Look for the groups second studio effort, a double album, to be released early next year.

        Scott Hachey – Electric/Acoustic Guitar, Vocals
        Josh Appelbaum – Bass Guitar
        Casey Russell – Keyboards, Synth, Acoustic Banjo/Guitar, Vocals
        Cody Wales – Drums, Beatbox
        Hunter Welles – Electric/Acoustic Mandolin

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        Jon Wayne & the Pain

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

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

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

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        4/11

        Fortunate Youth

        $11 - $13 | All Ages | 8 pm

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        Fortunate Youth

        Fortunate Youth is a collaboration of South Bay Reggae stand-outs. Rising from various bands, they’ve created a phenomenal 7-piece masterpiece bringing more fire to the stage than ever before. Combining rootsy vibes and unique bass lines united with multiple harmonies, boisterous guitar solos, and heavy keys separates Fortunate Youth from every other mainstream Reggae band. With their high energy approach and positive stage presence they provide an unforgettable show to every music fan. Fortunate Youth’s objective is to ensure a performance that leaves you feeling euphoric and curious of what might happen at the next show.

        In 2011 they supported Tribal Seeds on their nationwide Tribal Youth Tour to spread their conscious music to the nation. F.Y. linked up The Green, from Hawaii, for a Midwest/Westcoast run before jumping back in the studio to record. They have hit the masses promoting only their 6-song EP titled “Up-Lifted EP” and just released their full-length album, “IRIE STATE OF MIND” on July 1, 2011. Fortunate Youth will also be touring very heavily through 2011 including a Naitonwide CD Release Summer Tour.

        Upon Releasing their full-length album they quickly rose to #2 on the iTunes Reggae Charts and also locked in a #13 position on Billboard Top 100 Reggae Albums. Receiving great praise for early success Fortunate Youth strives to spread their interpretation of Reggae music to Music Lovers worldwide.

        They have had the honor to share the stage with bands such as Groundation, Toots & The Maytals, The Green, The Wailers, Katchafire, Tribal Seeds, The Expendables, Pepper, Dirty Heads, Natural Vibrations, Tomorrows Bad Seeds and Sashamon.

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        4/16

        Reptar

        $13 - $16 | All Ages | 8 pm

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        Reptar

        There are four boys who make up Reptar. They have offered twice as many (if not more) explanations for why they chose to name their band after a Rugrats character. Â But these days, the Athens, GA based group is sticking to this one: “I first tried to name the band Invisible Boyfriend,” giggles singer-guitarist Graham Ulicny. “And everybody goes, ‘that is the stupidest name I have ever heard in my life.” So why Reptar? “It is the second stupidest band name we have ever heard.”

        Indeed, there is no pretense behind Reptar, which also includes Andrew McFarland (drums), Ryan Engelberger (Bass), and William Kennedy (analog keyboards). Â Still, the ability to amuse and arouse their fans is just as important to them as indulging their musical curiosities. Â This sonic wanderlust extends from African Music to post-punk to psych-pop and converges joyously in songs such as “Blastoff” and “Rainbounce,” and it’s won them high fives from NPR and NME alike.

        Their aesthetic percolates even more vibrantly through their debut LP, Body Faucet, out May 1, 2012 on Vagrant Records. Â A set of shimmering sing-along anthems produced by Ben Allen (Animal Collective, Deerhunter, Washed Out), Body Faucet is propelled by jerky guitars and persistent beats. Â “The record feels like a big dream with different chapters,” says Ryan. “Ghost Bike” captures the space between witnessing a friend’s death and surviving it. In “Sebastian” (named after a saint who became a gay icon), it’s experiencing, then remembering, a sexual awakening with a close friend. Â Lyrics and music flow in a liquid form from real places, each song oozing with a different color and substance. Â “We wanted to capture the thoughts we project on our surroundings and the ideas that flow in and out of us each day,” says Graham. Â Indeed, much of the record deals with exploring and interacting with one’s surroundings in new, occasionally frustrating, ways. Â The album builds with songs such as “New House,” expressing a future of possibilities. Â A centerpiece of sorts, notes Andrew, “it’s the most driving song on the record, and it’s really empowering live.”

        If Reptar had a superpower, it’d be the knack for warming up every space they inhabit. Â “Our music is very physical,” says Ryan. Â “We always try to get people moving.” This is wired into the DNA of the band, which honed its chops on house shows and continues to keep them a central part of its life. Â These shows began three years ago when they moved into a teetering, buttercup yellow abode together. Â “It was slanted at a 20-degree angle,” Ryan explains, “and we’d have shows in the front room.” Â Word spread, and soon they were popping up around at other houses, then clubs.

        Reptar even rounded out their stint at last year’s SXSW by playing in a friend’s backyard. Â Impressed by this commitment to connect, NME later rhapsodized about that bouncy set performed on a flatbed truck, anointing Reptar one of the “biggest buzzes” at the festival. Â “Little kids were running around selling cupcakes to drunk people for exorbitant amounts of money,” marvels Graham. Â Reptar, of course, played for free.

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        4/18

        Drive-By Truckers

        $26 - $33 | All Ages | 7 pm

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        Drive-By Truckers

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

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        4/18

        Farmers Ball

        18 & Over | 8 pm

        Farmers Ball

        Farmer's Ball is an annual local music fest-a-thon and/or battle of local bands taking place Nov. 8 and 10 at the Bottleneck. Farmer's Ball is a way to expose listening audience to new, exciting local music. It's also a way to throw a huge party to entertain and celebrate the local music community of Lawrence. Win-win. (Note: if you're the attentive type, you'll know that we held a spring edition of Farmer's Ball in April. There's such a wealth of local bands making quality music, and the "Autumn Harvest" theme was too good to turn down, so an autumn edition was planned this year as well. Lucky you!)

        The 8 bands that will be playing in KJHK's 2007 Farmer's Ball event are:

        Les Somniferes
        Blue(ish)
        Stik Figa
        Soundquist
        The Jen Say Kwahs
        Rusty Scott
        Five Defy
        Mammoth Life

        The Farmer's Ball has a diverse, fresh group of bands this year, and we know you can't wait to see them all live!

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        4/19

        Bane

        Backtrack
        Malfunction
        Amenaza

        $14 - $16 | All Ages | 7 pm

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        Bane

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          Backtrack

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            Malfunction

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              Amenaza

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                4/20

                Passafire

                Stranger

                $11 - $13 | All Ages | 8 pm

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                Passafire

                Calling Savannah, GA home, Passafire was formed in 2003 by students attending Savannah College of
                Art and Design. After performing on a stage outside Atlanta’s Hi Fi Buys Amphitheatre in 2006 where
                the hybrid rock band, Pepper, was opening for 311, a member of Passafire slipped to Pepper a copy of
                the band’s self-titled debut album, Passafire. Pepper had just founded the independent LAW Records
                with plans to selectively recruit and nurture bands they actually experienced and were impressed by while
                out on the road - as opposed to sitting in some distant office and combing through piles of demos. “We’re
                out there every day, meeting and playing with new bands,” says Pepper bassist/singer, Bret Bollinger.
                “It’s not a guessing game. We get to meet them, watch them live...”
                “And spot their work ethic,” Singer/guitarist, Kaleo Wassman interjects with emphasis,
                Passafire developed their sizable fanbase by logging miles all over the US (particularly, in the southeast),
                which attracted the established booking agent, Monterey International who has taken the band to the
                next level of touring. Passafire has performed with a variety of major acts including The Wailers, Van
                Halen, Israel Vibrations, 311, Toots and the Maytals, Los Lonely Boys, Bares Hammond, John
                Brown’s Body, Matisyahu, the Aggrolites and Dub Trio. The band lives on the road, playing live
                throughout the year. Singer, Ted Bowne doesn’t mind the grueling schedule and adds, “Touring is the
                best way to keep the buzz about the band going. What keeps it fun and exciting is the people we meet
                and places we get to see. We are in a new city every day so there's always something to go see or do. If
                we didn't tour constantly, we wouldn't be doing as well as we are. That's a fact.”

                Buy Tickets Here: http://pipelineticketing.frontgatesolutions.com/choose.php?a=1&lid=72575&eid=82010

                OUR LINKS


                Stranger

                MORE INFO COMING SOON!



                  4/22

                  Infamous Stringdusters

                  $16 - $19 | All Ages | 8 pm

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                  Infamous Stringdusters

                  Dismiss labels. Forget trying to fit into a scene. Be true and play your songs.

                  That encompasses the prevailing spirit of Let It Go, the fifth studio album from Grammy-nominated bluegrass expansionists The Infamous Stringdusters. The new effort, released April 1 on the band’s own High Country Recordings, finds the band on firm footing, at ease with an evolving sound that defies categorization. It’s acoustic music, sure, but not the kind you’ll hear from any other band. Roots can be traced but boundaries don’t exist.

                  The Infamous Stringdusters have proven they can both mine the past and look forward to the unknown, and their new album is a touchstone for a group of tightly bonded musicians completely comfortable with each other and their collective identity.

                  Perhaps the sentiment is best summarized through five joined voices in the mountaintop gospel-hued title track: “If it’s worry you’ve been feeling over things you can’t control, it’s time to let it go.”

                  The Evolution

                  When The Infamous Stringdusters first emerged eight years ago, the band was immediately branded fast-picking Nashville wunderkinds, a new-generation super group built to revive the high lonesome sound. Then came immediate accolades—IBMA awards, a chart-topping self-titled album for Sugar Hill Records and a Grammy nomination for “Best Country Instrumental” (for “Magic No. 9″ from the 2010 album Things That Fly). Incendiary chops, complete with undeniable instrumental virtuosity and heartfelt harmonies, immediately positioned the band to be longstanding bluegrass torchbearers.

                  But for the five members of The Stringdusters—Andy Hall (Dobro), Andy Falco (guitar), Chris Pandolfi (banjo), Jeremy Garrett (fiddle) and Travis Book (upright bass)—reverence for traditionalism has always been only part of the equation. The group has always remained intent on fostering something bigger, more original. It’s this desire—and the combined efforts of uniquely creative minds—that has brought the quintet to its current place as multi-dimensional string explorers, mixing tight song craft from a variety of musical styles with a flare for improvisation. Armed with an exhilarating, often-unpredictable live show, the open-minded approach has certainly resonated and allowed the band to easily fit on a diverse set of stages—from Telluride and Grey Fox to Bonnaroo and High Sierra—building crowds along the way that fill some of the country’s best rock clubs.

                  The Lifestyle Experience

                  The past year was particularly transformative, as the band members realized there was no need to go through the formulaic motions in a shaky music industry. Bolstered by the support of a loyal and dedicated grassroots fan base, The Infamous Stringdusters are constantly looking for opportunities to create new experiences. Oftentimes it happens on stage, like the recent sit-ins from Grateful Dead bassist Phil Lesh or jazz guitar legend John Scofield. Other times it’s through accompanying adventures, like the band’s August 2013 trip on the Middle Fork of Idaho’s Salmon River.

                  Following the group’s 2013 summer American Rivers Tour, which doubled as an awareness campaign for water sustainability issues in partnership with prominent outdoor industry companies including Patagonia, Klean Kanteen and Osprey Packs, the band members and select fans and friends embarked on a six-day float trip through an unspoiled wilderness area. With instruments in tow, the band played music daily, standing on the banks of the river or sitting together in campsite circles. The inspiration of natural surroundings yielded fresh songs that landed on the new album. “Middlefork” is a newgrass instrumental that conveys the mood of being free in pristine open spaces. “Where The Rivers Run Cold” features a fast progression and introspective lyrics that peak with a bold chorus about enjoying the beauty that surrounds.

                  In The Studio

                  When it was time to record Let It Go, the band came together in the fall at White Star Sound, a secluded studio with rustic, close-knit accommodations and state-of-the-art equipment, located on a vast, historic farm outside of Charlottesville, Virginia. It’s a quiet place, accessed by a dirt road, where chickens wander freely and long pastoral views can be enjoyed in every direction. With no distractions, it was the perfect place to distill an overflowing well of ideas that had been filling since the band’s last release, 2012’s Silver Sky.

                  The result is easily the band’s most cohesive musical statement to date. It’s a record that respects the studio process. Dynamic picking is delivered with restrained grace, in service to song. There’s stylistic range within the context of a unified vision, as melodic reflective tunes wander between nuanced expansive folk (“I’ll Get Away”), anthemic country jams (“Colorado”), freewheelin’ acoustic rock (“Peace of Mind” and “Light & Love”) and dusty balladry (“Rainbows”).

                  The members of The Infamous Stringdusters now all reside in different locations. Hall and Pandolfi recently felt the calling of the mountains and both moved to Colorado. Guitar ace Falco returned to his roots in Long Island to be near family, while Garrett remains in Nashville, where he’s known as a prolific songwriter. Book dwells quietly in the Blue Ridge Mountains of Virginia, near the site of the band’s annual October festival The Festy Experience.

                  Occasional separation has proven to be a good thing. It’s important to remember these are five musicians with unique individual talents, but they all realize they have an undeniably special chemistry when they come together. That was apparent from day one. But now after years of growth—both personal and professional—the band has cast off labels and found an existence where music is about a greater connection. Through friendship, democracy, skill, passion and open minds, it’s a broader lifestyle filled with community and plenty of celebration.

                  OUR LINKS


                  4/25

                  TOUR DE COMPADRES featuring NEEDTOBREATHE

                  Ben Rector
                  Drew Holcomb & The Neighbors
                  Colony House

                  | All Ages | 6 pm

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                  TOUR DE COMPADRES featuring NEEDTOBREATHE

                  MORE INFO COMING SOON!



                    Ben Rector

                    MORE INFO COMING SOON!



                      Drew Holcomb & The Neighbors

                      Drew Holcomb and The Neighbors

                      Some artists are able to articulate a vision at the very beginning of their career, while others hone their craft over time, growing into their vision as they mature.

                      “I am definitely in the latter category,” explains Drew Holcomb, a Tennessee-born, duck hunting, bourbon drinking, 1st edition book collecting, golf playing Eagle Scout with a Masters degree in Divinity from Scotland’s University of St Andrews (he wrote his dissertation on “Springsteen and American Redemptive Imagination”) who has spent the better part of the past decade as a professional musician – recording, writing, and touring with his band Drew Holcomb & The Neighbors.

                      Since releasing their first album, 2005’s Washed In Blue, Drew & The Neighbors (Ellie Holcomb, Nathan Dugger, Rich Brinsfield) have established themselves as a formidable indie act, selling more than 75,000 records, playing more than 1,500 live dates, selling-out headline shows, and touring alongside such varied acts as The Avett Brothers, Ryan Adams, Los Lobos, NEEDTOBREATHE, Susan Tedeschi, North Mississippi Allstars, Marc Broussard, and more. Their songs have been used in countless television shows and commercials, most notably in TNT’s Emmy Award winning 2011 Christmas Day NBA Forever spot, which paired the song Live Forever with a mesmerizing montage of past and present NBA video footage.

                      The hard work has paid off with the band’s sixth album Good Light showcasing Drew’s signature brand of singer/songwriter Americana in its finest form yet. Recorded live at Ardent Studios in Memphis, Good Light arrives shortly following Drew’s 30th birthday and the birth of his first child, daughter Emmylou (named for – you guessed it – Emmylou Harris), with wife and band-mate Ellie Holcomb. I think about my daughter every time I sing the title track, how I want to sing it over her when she is old enough to start understanding the world of truth and consequence,” says the Memphis native who now calls Nashville home.

                      “This album perfectly tells the story for a new stage in my life,” explains Drew “On past albums I was searching for my voice, both literally and figuratively. I co-wrote a lot of songs, peppered the music with too many influences, and let too many other voices in my head.”

                      With this album, Drew dedicated himself to the process of songwriting, stripping away extra layers, ridding himself of past boundaries and expectations. He wrote more than 40 songs for Good Light, mostly alone on his 1934 Gibson Archtop, eventually whittling the selections down to a final 12 tracks.

                      Drawing from personal experience to craft songs that speak to all of us, Drew explores the universal need to find meaning and joy in the midst of heartbreak and disappointment throughout Good Light. The last song on the album Tomorrow opens with the lyric, ‘Nothing ever turns out like you thought it would.’ It’s a theme that permeates the album.

                      “I have been through really difficult things,” Drew continues. “When I was 17, I lost my younger brother, and have lived through the grief of that great absence. On the other hand, I have experienced the joy of being married to the girl I always wanted, and have been loved really well by her…Everyone has all these different ingredients; our geography, our family, our interests, the places we have been and the places we long to see, the loves we have found and the loves we have lost. Each of us has a story, and it’s the only one we can tell. With this album I’m telling my story, in the hope that it helps other people tell theirs.”

                      OUR LINKS


                      Colony House

                      MORE INFO COMING SOON!



                        5/5

                        Luke Wade

                        $13 - $15 | All Ages | 8 pm

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                        Luke Wade

                        As seen on The Voice!

                        OUR LINKS


                        5/8

                        Cherub

                        Mystery Skulls
                        ForteBowie

                        | All Ages | 7 pm

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                        Cherub

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

                        OUR LINKS


                        Mystery Skulls

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                          ForteBowie

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                            5/16

                            Alligator Fest

                            The Bon Ton Soul Accordian Band

                            | All Ages | 6 pm

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                            Alligator Fest

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                              The Bon Ton Soul Accordian Band

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                                5/18

                                Other Lives

                                Riothorse Royal

                                $16 | 18 & Over | 9:30 pm

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                                Other Lives

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                                  Riothorse Royal

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                                    5/19

                                    Bad Manners

                                    $16 - $18 | All Ages | 8 pm

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                                    Bad Manners

                                    Bad Manners, composed of vocalist Buster Bloodvessel (born Douglas Trendle), Louis Cook (guitar), David Farren (bass), Martin Stewart (keyboards), Brian Tuitti (drums), Gus Herman (trumpet), Chris Kane (saxophone), and Andrew Marson (saxophone), were one of the many bands to take their inspiration from the Specials and the ska revival movement in England in the late '70s. They quickly became the novelty favorites of the fad through their bald, enormous-bodied frontman's silly on-stage antics, earning early exposure through 2-Tone Records package tours and an appearance in the live documentary Dance Craze. In the early '80s, they managed several U.K. hits including "Ne-Ne Na-Na Na-Na Nu-Nu," "Lip Up Fatty," "Special Brew," and "Can Can." By the mid-'80s, the ska craze was over and the band retired temporarily after the release of 1985's Mental Notes, only to return in 1989 with Return of the Ugly, remaining a live attraction despite a lack of concurrent hits. By the mid-'90s, a third wave ska revival renewed interest in the band. Eat the Beat was released in 1996 and Uneasy Listening followed in 1997, as well as several collections from the band's peak years.

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                                    5/23

                                    Turnpike Troubadours

                                    Jamestown Revival

                                    | All Ages | 7 pm

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                                    Turnpike Troubadours

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                                      Jamestown Revival

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                                        6/2

                                        Scott Bradlee’s Postmodern Jukebox

                                        | All Ages | 7 pm

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                                        Scott Bradlee’s Postmodern Jukebox

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                                          6/4

                                          The Avett Brothers

                                          | All Ages | 7 pm

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                                          The Avett Brothers

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

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                                          6/4

                                          HONEYHONEY

                                          $13 - $15 | All Ages | 8 pm

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                                          HONEYHONEY

                                          MORE INFO COMING SOON!



                                            6/5

                                            Ben Harper and The Innocent Criminals

                                            | All Ages | 7 pm

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                                            Ben Harper and The Innocent Criminals

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                                              6/6

                                              Old 97s

                                              HONEYHONEY

                                              | All Ages | 7 pm

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                                              Old 97s

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

                                              OUR LINKS


                                              HONEYHONEY

                                              MORE INFO COMING SOON!



                                                6/13

                                                Missouri Chainsaw Grassacre

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

                                                | All Ages | 11 am

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                                                Missouri Chainsaw Grassacre

                                                MORE INFO COMING SOON!



                                                  Split Lip Rayfield

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

                                                  OUR LINKS


                                                  Mountain Sprout

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

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

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

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

                                                  OUR LINKS


                                                  Horseshoes and Hand Grenades

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

                                                  OUR LINKS


                                                  Cowgirls Train Set

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

                                                  OUR LINKS


                                                  Loaded Goat

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

                                                  OUR LINKS


                                                  Cutty Rye

                                                  MORE INFO COMING SOON!



                                                    The Souveneers

                                                    MORE INFO COMING SOON!



                                                      6/14

                                                      The Melvins

                                                      Le Butcherettes

                                                      $19 - $21 | All Ages | 8 pm

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                                                      The Melvins

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

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

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

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

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

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

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

                                                      OUR LINKS


                                                      Le Butcherettes

                                                      MORE INFO COMING SOON!



                                                        6/27

                                                        Umphrey's McGee

                                                        | All Ages | 7 pm

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                                                        Umphrey's McGee

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

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

                                                        OUR LINKS


                                                        6/30

                                                        Dark Star Orchestra

                                                        | All Ages | 7 pm

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                                                        Dark Star Orchestra

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

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

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

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

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

                                                        OUR LINKS


                                                        7/7

                                                        311

                                                        | All Ages | 7 pm

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                                                        311

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

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

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

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

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

                                                        For more info www.311.com

                                                        OUR LINKS


                                                        7/15

                                                        Wilco

                                                        Steve Gunn

                                                        | All Ages | 7 pm

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                                                        Wilco

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

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

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

                                                        http://wilcoworld.net/wilco-promo/

                                                        http://thewholelove.com/

                                                        http://wilcoworld.net/#!/wilco-fan-video-project/

                                                        http://wilcoworld.net/#!/almost/



                                                        OUR LINKS


                                                        Steve Gunn

                                                        MORE INFO COMING SOON!



                                                          8/28

                                                          Slightly Stoopid

                                                          Dirty Heads
                                                          The Expendables

                                                          | All Ages | 7 pm

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                                                          Slightly Stoopid

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

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

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

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

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

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

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

                                                          OUR LINKS


                                                          Dirty Heads

                                                          MORE INFO COMING SOON!



                                                            The Expendables

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

                                                            OUR LINKS


                                                            11/12

                                                            Young the Giant

                                                            Wildling

                                                            $25 - $28 | All Ages | 7 pm

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                                                            Young the Giant

                                                            MORE INFO COMING SOON!



                                                              Wildling

                                                              MORE INFO COMING SOON!




                                                                OUR CALENDAR

                                                                April
                                                                1
                                                                Wednesday

                                                                The Bottleneck

                                                                Dopapod

                                                                Mouth

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                BUY TICKETS!
                                                                $11 - $13
                                                                All Ages
                                                                April
                                                                3
                                                                Friday

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                18 & Over
                                                                April
                                                                4
                                                                Saturday

                                                                The Bottleneck

                                                                Shovels and Rope

                                                                Inlaws

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                BUY TICKETS!
                                                                $17 - $19
                                                                All Ages
                                                                April
                                                                8
                                                                Wednesday

                                                                DOORS AT 7:00 pm

                                                                SHOW AT 8:00 pm

                                                                BUY TICKETS!
                                                                $20 - $23
                                                                All Ages
                                                                April
                                                                8
                                                                Wednesday

                                                                Liberty Hall

                                                                Dr. Dog

                                                                Mewithoutyou

                                                                DOORS AT 7:00 pm

                                                                SHOW AT 8:00 pm

                                                                BUY TICKETS!
                                                                $25 - $27
                                                                All Ages
                                                                April
                                                                9
                                                                Thursday

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                BUY TICKETS!
                                                                $11 - $13
                                                                All Ages
                                                                April
                                                                11
                                                                Saturday

                                                                The Bottleneck

                                                                Fortunate Youth

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                BUY TICKETS!
                                                                $11 - $13
                                                                All Ages
                                                                April
                                                                16
                                                                Thursday

                                                                The Bottleneck

                                                                Reptar

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                BUY TICKETS!
                                                                $13 - $16
                                                                All Ages
                                                                April
                                                                18
                                                                Saturday

                                                                Madrid Theatre

                                                                Drive-By Truckers

                                                                DOORS AT 7:00 pm

                                                                SHOW AT 8:00 pm

                                                                BUY TICKETS!
                                                                $26 - $33
                                                                All Ages
                                                                April
                                                                18
                                                                Saturday

                                                                The Bottleneck

                                                                KJHK PRESENTS

                                                                Farmers Ball

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                18 & Over
                                                                April
                                                                19
                                                                Sunday

                                                                The Bottleneck

                                                                Up To Eleven Presents:

                                                                Bane

                                                                Backtrack
                                                                Malfunction

                                                                DOORS AT 7:00 pm

                                                                SHOW AT 8:00 pm

                                                                BUY TICKETS!
                                                                $14 - $16
                                                                All Ages
                                                                April
                                                                20
                                                                Monday

                                                                The Bottleneck

                                                                Passafire

                                                                Stranger

                                                                DOORS AT 8:00 pm

                                                                SHOW AT 9:00 pm

                                                                BUY TICKETS!
                                                                $11 - $13
                                                                All Ages